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Christmas!

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Scribbled Christmas comics from Allen Ginsberg from twenty-three years ago.

Remember "Put on my tie in a taxi, short of breath, rushing to meditate" 

 (from American Sentences)?

It's ok, Allen. You can rest now.


Our 2013 posting of Jack Kerouac's Christmas memories of Lowell can be accessed here

Not forgetting William Burroughs' The Junky's Christmas  (Christmas 2014 posting)






and, keeping up the theme of Beat Kitschwe've been looking at recently, Here's Patsy Raye & The Beatniks 

- Merry Christmas everyone!



back next week

(hey, it may be a bit retro', but we love our "Google Friend Connect" Members - join this site - see button on the top right-hand corner) 


December 28 - A 15-year-old Ginsberg declares….

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December 28

December 28, 1941 - A young precocious (fifteen-year-old) Allen Ginsberg writes from Paterson, New Jersey to the Editors of the New York Times - about unconscionable delays with regard to U.S. involvement in the continuing conflicts of the Second World War -  ("mental impotence and political infirmity on the part of a handful of U.S. Congressmen")

(This is the first, and earliest, letter in the 2008 (Bill Morgan-edited) Da Capo edition of  The Letters of Allen Ginsberg

AG:

Dear Editor,
I have long believed,  in principle, the ideals of Woodrow Wilson and regretted that we did not choose to live with the world when the time came to 'resolve that our dead shall not have died in vain'' by joining the League of Nations.
I am normally a more or less passive individual. However, I think I am growing cynical. I chuckle and feel a bit of grim humor when I read of our growing regret for the world's biggest blunder, our refusal to join the League. One can almost see a pained and astonished expression growing on the faces of America as the people now realize, under a reflowering of Wilson's vision, what they did to themselves and the world in 1920.
So now finally we have a reflowering of Wilson's vision, witnessWinston Churchill's speech before Congress, another fine speech on the 28th by  Senator Guffey, and a passionate appeal for a new league by Edward I James in last Sunday's Times. However, it seems that our futile regret is too little and too late. Our stupidity has reaped its harvest and we have a bumper crop, since we sowed the world's biggest blunder. The death toll in this war has been at least four million (including Spanish, Chinese, and Abyssininan wars). There is no preventable catastrophe in recorded history paralleling this.
That is a grim joke on ourselves, four million dead as the result of mental impotence and political infirmity on the part of a handful of U.S. Congressmen.But in the middle of all this tribulation one can gather infinite consolation by speculation as to what will happen to those Congressmen when they get to hell.
We will know better this time, but in any case, the devil has prepared a nice hot bath ready for many more Senators.

Allen Ginsberg


     
[June 1943 - two years on - Allen Ginsberg's highschool yearbook page with classmates inscriptions] 


                                          [Soap-bubbles? Wilson's idealism? - Contemporary cynicism]

Postscript [2015] re Woodrow Wilson 


                                                          [Woodrow Wilson (1856-1924)]

- from The New York Times, November 29, 2015 -

"Woodrow Wilson's Legacy Gets Complicated"

 - "Was Woodrow Wilson a key founder of modern liberalism, a visionary whose belief in an activist presidency laid the groundwork for the New Deal and the civil rights legislation of the 1960's. Or was he a virulent and unrepentant racist, a man who not only segregated the federal work force but nationalized the Southern view of politics, turning the federal government itself ino an instrument of white supremacy for decades to come?.."
  

Eileen Myles

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        [Eileen Myles, 1978 - Photograph ny Robert Mapplethorpe, 2015 - Photograph by Catherine Opie]

Eileen Myles has had quite a year - publication these few months back of, not one but, two new books -I Must Be Living Twice - New and Selected Poems 1975-2014and the re-publication of her 1994 novel (now so-called, as against "short stories"), Chelsea Girls (both from Ecco Press, an imprint of HarperCollins). The meme was (perhaps) set with this - Rachel Monroe's September 21 article in New York magazine - "After 19 Books and A Presidential Bid Eileen Myles Gets Her Due" - "Four decades into a writing career spent decidedly and defiantly in the underground scene", Monroe writes, "Myles is having an unexpected bout of mainstream success". "Lately…people have started using the word "legend" when talking about her life and work. Isn't it weird for her to find herself installed in this 21st-century version of a canon after spending her whole life outside it?" - Eileen's response is then quoted - "I always aimed at being a legend", she tell me, grinning. "In the (19)70's in New York, Allen (Ginsberg) was treated like a legend. But he was still engaged - and it was always a thrill when he would show up at your reading, like a kind of validation. So it's, like, there are people whose work you respect, and you want to succeed them."
IMust Be Living Twice, Monroe notes, is "a 368-page bid for that legendary status".
Michelle Dean in The Guardian, a week or so later, takes up the theme - Eileen's "ascension into the mainstream" - "The New York poet has been writing since the mid-70's but with new fans - like Lena Dunham [sic] - she's become one of 2015's most celebrated literary stars" - Vice, in its interview with her ups the ante (Cool For You was one of Myles' earlier titles) - "Eileen Myles Has Always Been Cooler Than You")



If a Paris Review interview is still a "cool" literary marker (it is, isn't it?) then Eileen's conversation for this past Fall's issue (with Ben Lerner) solidifies/defines things. 

And here's another recent interview (with Jake Blumgart) for The New Republic.


- & with Adam Fitzgerald for Interview - (opening with the observation, "Eileen Myles isn't interested in being your fucking legend..") 

Eileen's ubiquity is not simply confined to the printed page. Paul Weitz's recent (2015) movie,Grandma (starring Lily Tomlin as an irascible lesbian poet in her mid-60's) opens with a quotation from her writing ("Time passes. That's for sure"). And the current series of the Emmy-award-winning tv show, Transparent, features a character (played by Cherry Jones) loosely based on her (two poems used for the show were actually written by Myles and she also has a cameo).


The "rock star poet" (but is that a flattering or limiting soubriquet, inviting irrelevant comparisons with poets like Patti Smith, Bob Dylan?). Whatever it means, she's been that for some time now.    Hear this illuminating  radio interview from almost five years back  


Here (there's plenty) is another interview -  and another interview   


and in response to a more focused questioning -  on poetry and politics: 
"I think I learned from observing when I was young, the impact of my friend Allen Ginsberg that poetry both propelled a poet to a unique kind of prominence by virally changing the culture around him/her by the skill of their assertion of -not even necessarily "the political" but - by describing in their work (and their life) what was urgent to him or her and through that finding out pretty quickly how supremely political that action was and is."



In Chelsea Girls, the narrator (who shares a name with the author) ponders how to inscribe her book:
"Allen Ginsberg asked me to sign his book.I must have stood there for five minutes drawing a complete blank - "Hi Allen, from one howl to another". "Dear Allen, I'm glad you think I'm a poet. Love Eileen". "I'm the only woman you like, right Allen?"

Bob Rosenthal, Allen's long-time secretary verifies Allen's respect for her - "(H)e liked Eileen's poetry, actually, I think because she was gritty and earthy and direct" 





From an audio interview(from  2002) with Paul E Nelson:
"Yeah, and I met Allen when I was 25. I went to the Nuyorican Poets Cafe, and at that time it was sort of.. there was a little gay connection between Burroughs and Ginsberg and whoever else liked the young Puerto Rican boys who hung out at the Nuyorican Cafe. So they were, right... We...We all assumed that they were there to hear us, you know, but, in fact, it was the boys!  But, nonetheless, Allen heard me read a poem and he just came running up to me and was like, "Who are you?" and stuff, and connected. And in a weird way, Allen, of course, he didn't know what to do with me. It was clear that this girl was sort of boyish maybe, and I think he figured out that I was queer but that didn't stop him from trying to fix me up with his boyfriend, you know, because Allen was just a tribal sort, you know, and sort of like "Here's a girl. I don't know what to do with her, so I'll fix her up with Peter (Orlovsky)"
And he even walked up to me at a reading atSt Mark's Church a week or two later and I was standing there with a circle of poets (but we were all young, you know, people in their twenties, me and the guys, basically) and Allen walked up very politely and said, "Peter Orlovsky would like to take you on a date. May he call you?" - It was like, it was so Old World, it was like he was inviting me out on a date, it was like an arranged date with me and his boyfriend. And I  actually would have gone, but I didn't know, I just didn't know, what to do with a date with…Peter..with Allen's boyfriend, except to go on it. And then, you know, but, in fact, it never happened. But Allen was very quick, you know, to.. He liked me and was very open and was trying to do what he knew to do with me - although, he did, he hooked me up with (Lawrence) Ferlinghetti too and got me published in City Lights, which I just thought was the beginning of everything, you know. And it kind of was - it kind of was and kind of wasn't". 

Here's  Eileen on Allen.
  (her contribution to Jason Shinder's 2006 anthology, The Poem That Changed America - "Howl" Fifty Years Later)







EM: "'...who lit cigarettes in boxcars boxcars boxcars racketing through snow toward lonesome farms in grandfather night". Whenever I teach "Howl" I jump on this line. It's my favorite because the thingness of the word ("boxcars, boxcars, boxcars") is exactly what you see at a light while a train is passing- all throughout this poem Allen wrote cinematically but never more succinctly as he did in this line. Boxcars, boxcars, boxcars.It was what you saw, is all. "Howl" is remarkable because Allen did the complete thing - he wrote both a poem and a culture to put it in. Poetry went to the movies here and it never came out. I think the poetry world (something that probably shouldn't exist) is ever more cursed with public events that ask is poetry political, relevant, over, commercial, popular, etc. because in this poem it was all those things at once.  Many of us write poems that are some of those things for some people we write for "a" culture, not for "the" culture. Allen  wrote "Howl", that's who he was, and "Howl" changed things. How? And I'm looking in the poem not out and around it, because the poem is the theater of "Howl", the movie theater, I mean. It's replete with trailers - "who sang out of their windows in despair, fell out of the subway window, jumped in the filthy Passaic"
Somebody knows how many "who"'s there are in "Howl" (and someone even knows who all those whos are). I considered calling Bob Rosenthal, Allen's longtime secretary, or Bill Morgan, the archivist-painter who sold Allen's papers toStanford, to find out who was that guy "who jumped off the Brooklyn Bridge" - and lived! [Editorial note - It was allegedly Tuli Kupferberg, but he jumped from the Manhattan not the Brooklyn, Bridge, and it was not an act he wished to be remembered for, or regarded as an act of courage or even as something to be laughed at] - I remember the story and people laughing that there acually was such a guy, like he was even pointed out one night in the bar - That's him.  But my point actually just is that the poem functions so often literally like a trailer. The announcer voice of the poem keeps folding all those lives in as preview of the spectacle the poem will produce, meanwhile it's producing it now, and so much of the excitement of "Howl" isits capacity to produce those to effects at once. You're rubbing your hands as you read - ooh, this is going to be really good - but the experience is already happening.
And were all those whos poets, or poetlike people. It seems to me that Allen actually pluralized the identity of each poet by means of these wavelike lines, announcing the poet's arrival again and again. He (or she) wasn't exactly a poet, didn't need to be. The poet came in this cascade of people. Allen made the poet's identity something vague and postmodern. He was one of them, not which one. They were more like the barnacles on the poet's boat as he surged forward carrying them, because they "who drove cross country seventy-two hours to find out if I had a vision or you had a vision or he had a vision to find out Eternity…"
Well, it's a little Pete Seeger, isn't it, the singer in a broad room inviting us to join in 'cause whose vision is this after all?. Or maybe Mitch Miller: "America, sing along!" Authorship (or poetness) seems really secondary in the poem-spectacle that everyone seems to be writing here (in "Howl") . It's Allen's identification, bringing all those lives in close, that works, and it also occurs to me (and Allen I think said this often) that it works a little bit like it did for Christopher Smart, Ginsberg's other great literary predecessor besides (William) Blake (and William Carlos Williams). And I'm thinking of the Smart of "Rejoice in the Lamb", (part of) which begins, "For I will consider my Cat Jeoffry.."."Rejoice in the Lamb" is a long (about eight hundred lines) and obsessive poem, which goes on, in a stiff but attentive evocation of  catness: "For he rolls upon prank to work it in./For having done duty and received blessing he begins to consider himself/For this he performs in ten degrees./For first he looks upon his forepaws to see if they are clean/For secondly he kicks up behind to clear away there./For thirdly he works it upon strech with the forepaws extended./Four forth he  sharpens his nails by wood/For fifthlyhe washes himself." The poem ends like this - "For by stroking of him I have found out electricity./For I perceived God's light about him both wax and fire/For the Electrical fire is the spiritual substance, which God sends from heaven to sustain the bodies both of man and beast./For God has blessed him in the variety of his movements//For, tho' he cannot fly, he's an excellent clamberer/For his motions upon the face of the earth are more than any other quadruped /For he can tread to all the measures upon the music/For he can swim for/For he can creep".  Christopher Smart was living in a madhouse in restraints  when  he wrote this poem, never published in his lifetime. I mention it because it's entirely structured in repetitions, a poem in chant form, much like "Howl" and thr cumulative  effect of the slightly-recoiled paw of the first line is the cat practically moves. A poem that uses repetitons throughout, a standard of religious verse (which both Smart's and Ginsberg's poems are), ultimately has the effect of being a flipbook, a kimd of low-tech predecessor of film (as Ginsberg knew it and increasingly not as we know it now - since film's gone digital), and an equally good producer of altered states, and bliss.Like when you jumped up and down in childhood saying "taxicabs, toxicabs. taxicabs", the words started to sound strange, but you also got "high".




I turn to Kenneth Angertoo in search of this mode, a euphoric one, considering Scorpio Rising (1964) to be another epoch-changing work of art. Anger's method was refered to in one description as "semiotic layering" which works just as well for "Howl". Kenneth Anger was relentlessly cultish, andthough his accomplishment and influence weren't any smaller than Allen's, maybe the scope of who he was aiming the work for, audience-wise, was more precise. But his film employed the same biker boy references, and fanatical love for a number of American subcultures of the 'Fifties, was homoerotic, and, in the context of the film, the effect of its culture was totalizing in the extreme. The building repetition of belt buckles, motors, flashing signs, and flags finally produced a world that triumphed by its end - the case was made. Allen's ambitions were messier and planted more wildly."Howl", like a Brian de Palma film, ends again and again. And even in the mostly nonspecific and linear-feeling Molochsection - "Moloch in whom I sit lonely! Moloch in whom I dream Angels! Crazy in Moloch!  Cocksucker in Moloch!"-  And, later - "Moloch who entered my soul early! Moloch in whom I am a consciousness without a body! Moloch who frightened me out of my natural ecstasy! Moloch whom I abandon! Wake up in Moloch!" - then, finally "Light streaming out of the sky" - Where did that last one come from? Allen was such a diligent student of ecstasy and vision that he knew that as the swastikas and belt buckles flicker, something happens, the road opens, and a space opens up as well inside the poem, the cat creeps, or perhaps you just stayed up all night, praying to Moloch, and dawn is its mystical reply.
"Howl" is a poem full of miracles and events, not the least of which is its own machinery. Because you are in it, witness, and you watch the poem grow. The only promise in this poem is more, and it makes good, not in some other world but in this one that you read in.
Yet aren't these all photographs - or stills?
"with mother finally ******…" What do those asterisks mean? Fucked? Fried? What? Such a place to begin a stanza, which then turns into a passage of endings - "and the last fantastic book flung out of the tenement window, and the last door closed at 4 A.M, and the last telephone slammed at the wall in reply and the last furnished room emptied down to the last piece of mental furniture, a yellow paper rose twisted on a wire hanger in the closet".
All those "last's" feel like the sort of things you'd see in, say, the Holocaust Museum or a museum of the American Indian, or even in an anonymous family album that turns up in a thrift (store). Tragic or no, after each of these "last's" I hear a click of the shutter  - it needs to preserve. (William Carlos) Williams, in his Introduction to the City Lights version of "Howl" makes passing reference to the resemblance between the poem's hell and that of Jews in th last was.
I never thought about "Howl" as a Holocaust poem, though I've been aware rereading it that it has Holocaust phrasing, the trauma of the Holocaust is all over it. So why not allow the overt thought to surface, that maybe this poem forced America to experience, in an indirect fashion, something it otherwise felt compelled to refuse?  The sheer madness, the total horror of the Holocaust. Pictures of emaciated corpses, the same pictures again and again is one version, but what is the invisible horror of "Howl" that all the "angelheaded hipsters" are running from? Is it the world we now know? Allen drops the loving leash of friendship around his own neck when he repeatedly promises his institutional war buddy, "(Solomon, I'm with you) in Rockland/where we hug and kiss the United States under our bedsheets the United States that coughs all night and won't let us sleep"
Carl Solomon is a Jew and he sounds more and more like Allen's mother ("you imitate the shade of my mother"), whom Allen may have needed to affirm his attachment to, and her own stay in a mental hospital. Through Solomon, he did.
I haven't touched the especially poignant and relentless flavor of Allen Ginsberg's misogyny . There are so many instances of it here - "the one-eyed shrew of the hetrosexual dollar, the one-eyed shrew that winks out of the womb" - actually all three fates are pretty bad. And elsewhere in the poem, women provide opportunity for male bravado - "you've murdered your twelve secretaries" - or holy self-abasement - "you drink the tea of thebreasts of the spinsters of Utica". Yuck, right? And he must have been singing the hipster virility of Neal Cassady when he referred to someone "who sweetened the snatches of a million girls trembling in the sunset". I guess male = sugar. No sweet pussy on its own? Not in this man's howl. In the Beat canon in general ( see Kerouac) thanks to birth, we're blamed for life. It's a belief that might be as old as Buddhism, or Judaism. At best, we (females) are occasions of reflected light, practically the walls of the womb itself, the home and the office. You light up my life, we sing.
All of this somehow brings me to the boxcars line again. If women at best reflect male light, what is the entire concept of America doing in "Howl"? Isn't it some big moon too? An imaginary space? In a poem or country where female energy is repressed or erased, doesn't it return as structure itself? The poem is a woman we're gathering in? What is this dream? - "'who lit cigarettes in boxcars boxcars boxcars racketing through snow toward lonesome farms in grandfather night" - I keep wondering about that "grandfather night". The "lonesome farms", of course, are a case of attributing how you feel sitting in the car to the farms and they're out there. But "grandfather night" seems very old. Older than America. I wondered if this poem's train isn't speeding through a night in which people are being yanked out of their beds never to be seen again. Are on the train being carried to an unspecified destination. America? A country of incarcerated black men and smiling blond women. Is the pederast the new Jew? Ask Nancy Grace. For Ginsberg, pederasty was just another of his happy crimes. Yet look at the Michael Jackson trial. Right now [2006] it's the only one, pinned mostly on homosexuals, for Christ's sake, though statistically most pederasts are heterosexual dads. The train is traveling through time, the effluvia of "Howl", taking pictures as it goes. It's a gift to look at this American poem at this moment in time,  to wonder where it was really coming from and where it went."

More Eileen on Allen - here.
More Eileen on Eileen (Eileen interviewed) here, here and here 

 here's Eileen, in a promo,  singing the praises of theJack Kerouac School at Naropa



Here's some vintage (1993) poetry



Here's a lecture at California College of the Arts in 2010




Here's a more recent reading/performance by Eileen at the Gloucester Writers Center, Spring of last year





 [Boulder Creek, Swimming Party, July 1991 - Photograph by Allen Ginsberg - © The Estate of Allen Ginsberg]

[Eileen Myles, Los Angeles, 2015 - Photograph by Aldo Rossi & Eileen Myles, New York . 1981 - Photograph by Irene Young]

"one of the essential voices in American poetry" -  I Must Be Living Twice, reviewed by Jeff Gordinier this past Sunday in the New York Times

Patti Smith's Birthday

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                                                      [Patti Smith - Photograph by Jesse Ditmar]

Patti Smith gets to celebrate her 69th birthday tonight with her band at San Francisco's Fillmore, ending up a year that saw the 40th anniversary of her landmark recording, "Horses" and the release of her latest memoir,M Train

For more of Patti on M Train, see here



And here's her conversation with 
Paul Holdengräber at the New York Public Library

And here she is, speaking on Just Kids and M Train on Democracy Now!



Here's Penelope Green's October 2015  New York Times profile -  "Patti Smith, Survivor 


And here's a little vintage Patti - ("Jesus died for somebody's sins/But not mine")



and here's Patti, from back in 1972, reading twelve poems from her first collection, Seventh Heaven,at the Poetry Project at St Marks Church


HarperCollins just released, this year, Patti Smith - Collected Lyrics 1970-2015



 & not forgetting Patti's work with a camera.



Her polaroids, her recent "Camera Solo" sacred objects collection



Here's Patti speaking on photography at a recent showing (2013) in Canada at the Art Gallery of Ontario in Toronto 




and here she is on her photographic, (indeed art-life, life-life), mentor (and the subject of her National Book Award-winning memoir), Robert Mapplethorpe 




Here's one more vintage Patti posting  (Live in Stockholm in 1976!)



Earlier birthday postings on the Allen Ginsberg Project - here and here and here

Other Patti postings - here and here

Many happy returns of the day,  Happy Birthday, Patti!

New Years Greetings From The Allen Ginsberg Project!

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60s animated GIF

From Allen Ginsberg's brain and out into the world! - Happy New Year everyone!

Jan I 2016 Happy New Year!

Google Friends - Technical News - Updating Announcement

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We love our Google Friends. That little box on the top right-hand side maybe (is) outdated, and, to many of you, irrelevant, but it has a special place in our hearts -  primary evidence of commitment by you, the reader, to what we do, a clear indication of the growth of this site, positive (ongoing) feedback.

So, a message from Google to all our current "Friends", and for those who we hope will become Google Friends.  We pass it on because we don't want to lose you and it seems relevant    

"In 2011", the administrators write,  "we [Google] announcedthe retirement of Google Friend Connect for all non-Blogger sites. We made an exception for Blogger to give readers an easy way to follow blogs using a variety of accounts. Yet over time, we’ve seen that most people sign into Friend Connect with a Google Account. So, in an effort to streamline, in the next few weeks we’ll be making some changes that will eventually require readers to have a Google Account to sign into Friend Connect and follow blogs."

"As part of this plan, starting the week of January 11, we’ll remove the ability for people with Twitter, Yahoo, Orkut or other OpenId providers to sign in to Google Friend Connect and follow blogs. At the same time, we’ll remove non-Google Account profiles so [the Allen Ginsberg Project] may well see a decrease in [its] blog follower count."

So - "If (you) use a non-Google Account to follow (this) blog, (you'll) need to sign up for a Google Account, and re-follow. With a Google Account, (you'll) get blogs added to (your) Reading List, making it easier for (you) to see the latest posts and activity of (all) the blogs you follow."

So, there you go. For those of you for whom this is relevant, re-sign up to The Allen Ginsberg Project.  For those of you who haven't signed up, please, we implore you, do so. Like we say, we love our Google Friends! 

Happy New Year, everybody!

Wait Till I'm Dead

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2016 sees upcoming (next month!) the publication of Wait Till I'm Dead - UnCollected Poems, the new (posthumous) book of poems by Allen Ginsberg.

Here are the blurbs:

"Ginsberg has been one of the most influential poets in America in our time….a spectacular career" (New York Times Book Review)

"Ginsberg is both tragic and dynamic, a lyrical genius, con man extraordinaire, and probably the single greatest influence on American poetic voice since Whitman"
 (Bob Dylan

"Sooner or later anyone interested in American poetry must embrace Allen Ginsberg" (Houston Chronicle)

"(Ginsberg) wrote any number of splendid singular poems that no other American poet of our age was capable of penning" (San-Diego Union Tribune)

"An iconic American poet…an often outrageous, groundbreaking poet and tireless social activist." (Kirkus Review on The Essential Ginsberg)

"Ginsberg's poems are X-Rays of a considerable part of American society during the last four decades." (New Yorker on Collected Poems 1947-1997)  

"Allen Ginsberg's poems from "Howl" to "Kaddish" to "The Fall of America" have influenced generations of writers and made him a defining figure of the twentieth-century. Ginsberg's Collected Poems, first published in 1984, and expanded in 1997, was originally thought to contain all of his poetic work. But now, for the first time, have been gathered Ginsberg's uncollected poems, and the result, Wait Till I'm Dead, is a landmark publication, spanning five decades of Ginsberg's writing life.
The first new Ginsberg collection in over fifteen years, Wait Till I'm Dead is edited by renowned scholar Bill Morgan, with a foreward written by award-winning poet Rachel Zucker. Many of the poems collected in this volume were scribbled in letters or sent off to obscure publications and unjustly forgotten. Tracing the chronology of his life, Wait Till I'm Dead follows Ginsberg from his high school days and earliest political satire to his activism, spiritual maturation, and on-the-road experiences world-wide. The collection concludes with his personal thoughts on mortality as he watched his friends, and himself, grow old.
Throughout the collection, Ginsberg pays homage to his contemporaries and poetic icons, including Frank O'Hara, John Ashbery, Robert Creeley,Lawrence Ferlinghetti,William Carlos Williams and Ezra Pound. The collection also feature several of Ginsberg's collaborative poems, works coauthored by Gregory Corso, Jack Kerouac, Ted Berrigan, Ron Padgett,Gary Snyder, and Kenneth Koch, providing an inside view of famed Beat poets and their relationships. Containing 103 previously uncollected poems and accompanied by original photographs and extensive notes, Wait Till I'm Dead is the final major contribution to Ginsberg's sprawling oeuvre, a must-read for Ginsberg neophytes and longtime fans alike."  

See this page here from Grove Press, for their announcement.  Buy this book!


Basic Poetics Continues - (Correct Pronunciation)

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 [Madonna - detail from a Madonna and Child (c late.1480's) by Giovanni Bellini (1495-1516) in the Collection of the Metropolitan Museum of Art, New York ]

The Allen Ginsberg Project has been, for some now, providing annotated transcripts to some of Allen Ginsberg's extraordinary Naropa lectures. So we continue - taking off from where we left off - Allen's  January 7 1980  "Basic Poetics" class . These first two segments are (somewhat untypical?) caught up in matters of pronunciation (and resultant metrics) - technical matters ("It'll come up over and over again, so you might as well get it straight" is Allen's justification) 

Following some preliminary business (the list for books to be ordered - "either put your name on (the list) or not.."), the class begins;
  
AG:  "I syng of a mayden.."

I sing of a maiden
  That is makeles
King of alle kinges
  To here sone che ches.

He cam also stille
  Ther his moder was,
As dew in Aprille
  That fallith on the gras

He cam also stille
  To his moderes bower,
As dew in Aprille
 That fallith on the flower,

He cam also stille
  There his moder lay
As dew in Aprille
  That fallith on the spray

Moder and maiden
  Was never non but che,
Wel may swich a lady
  Godes moder be

"I sing of a maiden.." It's sort of an endless (shot). As you may have noticed, I was uncertain what the actual rhythm is. Did anybody notice? - I was uncertain, actually, as to how you pronounced it because it's actually Old English and Medieval English. So I looked it up in some other books, and, in the first place, the spelling in our book (the Norton Anthology) is way off. It makes it difficult. But one thing I noticed that I hadn't… (if you turn,  in the Norton (Anthology), to page 1306 - the original poem that we were looking at is on page 57 - "I syng of a mayden.." ), and you turn to page 1306, (and) they have.. they actually do have it analyzed, metrically . However, they've got different spelling, and the angle is (that) the "e" is actually pronounced (so that gives it an extra syllable in all those lines) so that changes it quite a bit, but it makes it a lot more..obvious what it should be - 
"I syng of a maiden that is mak-e-les" (the "e" is pronounced - "mak-e-les" (as you see, they've got a little cusp, little cup over it - that's the unaccented syllable - "makeles") - "I syng of a maiden/that is makeles/king of alle kinges (so the "e" in "alle", A-L-L-E) - "king of alle kinges  "king of alle king-es" - " "I syng of a maiden/that is makeles/king of alle kinges/To here sone che ches" (so that fits into place)
So then I found also in the.. I checked it out in the Oxford Book of English Poetry(an older edition,  when people were more scholarly- 1935) - "I syng" (S-Y-N-G) (if you want to notate it, incidentally, for fun, if you've got a pencil)  - "I sing" (S-Y-N-G) - "I syng of a maiden" (M-A-Y-D-E-N) -"I syng of a mayden that is makeles" ("makeles", incidentally, I said  "matchless" - but "matchless" means "mate-less", "without a mate", in other words, without a copulater (a virgin, without a copulater) - "I syng of a mayden that is"mate-less" (makeles) - she never got "made" by anyone! - "I syng of a mayden that is makeles" - "king of alle kinges" (all the "i"s  are "y"s apparently -(K-Y-N-G)) -  "king of alle kinges - (A-L-L-E) -  "To here sone che ches" (and, as you notice, by the way, she also says.."to" means "for"here). So, the "king of alle kinges" she chose for her son. She chose the king of kings for her son ("king of alle kinges/To"( - or for) her son she chose) - Actually, I'd never figured it out, I'd never realized what it all meant. I'd been bullshitting about it. I hadn't, you know.. It's been sticking in my mind and (I've been) running through it over and over again. I keep looking at it and finding it more and more clear metrically and more and more clear as far as what it's talking about (which is generally what happens with poetry - you get involved in some sugar-coating (the rhythm or a phrase, an interesting phrase, like "as dew in April fall upon the spray" ("As dew in Aprille/That fallith on the spray"), and as you begin contemplating it more and more, hearing it more and more in your ear, there are all sorts of unresolved kinks, like "what does it mean?" or "how do we really say it?" - or "To here sone che ches"? - you know, I never figured that out. It was some (well, it is) archaic way of saying "for her son she chose king of all kings" ("king of all kings she chose for her son").This is a little more complicated because we've got a slightly different language here to deal with 
So what would it be, I think, is, as far as sound - " "I syng of a mayden that is makeles" -  "I syng of a mayden that is makeles" - maker-less? macer-less? - macer-less? - [to Student] - How do we know that? Did you hear that from.. you.. you can read some of the.. what is it? Middle English?
Student: Yes
AG: So . The "a'''s are short.
Student: That's right  (and)  a little long "e"
AG: Pardon me?
Student: A long "e" - Continental  pronunciation - "makeles"
AG: Makeles?
Student: The long "e" in "makeles", long vowels
AG: Yes, "Mayden" is "maiden"
Student: Except that they give it a Cockney pronunciation.
AG: My-den? - "I syng of a Myden that is Makeles? - Right! - M-A-Y - No wonder. Of course - "I syng of a mayden that is makeles" - That, again,  sounds better and better
 - "I syng of a mayden that is makeles" - And then what? - "King of all king-es"?
Student(s):  (I think you.. No - alla (alle) - I guess the "all" as in "alle"
AG: Yes, Ok, "king of alle.." but what about the kings? - K-I-N-G-E-S?
Student: ("Kinges" has that hard "g' sound - hard "g" in "king")
AG: "Kinges"? So then it would be (that) - "King of all kinges" ("King of alle King-es") "King of all of the King-es" - Okay - "I syng of a maiden/that is makeles/king of alle kinges/To here sone che ches" . But now, am I doing something wrong with "To here sone che ches"? - "To here sone che.." - " ..King of alle kinges/To her son che ches", I guess.
Student: (Ches is like the seat of his pants)
AG: "Ches"?  - [to Student] - How do you know that?
Student:  I don't!
AG: Ches? What, like Prez? - Chez?
Student: (That) sounds good
AG: Do you know? (or not) - Okay..
Peter Orlovsky; What does "ches" mean?
AG: Chose, choose. She chose. She ches? (She chez?) - "King of alle kinges/To her son che ches". Okay, but the principle.. once we've established what the language is pronounced like, it's also, "what is the rhythm going to be?, or what word is going to be accented. I was talking about that a lot with  (Cohen (sic?)) the other day - how do you figure out really what rhythm to say and I would say (that) you'd have to follow it as if you were making sense out of the line, as if you were talking to somebody and really saying something for real - So "the king  of all kings for her son she chose" or "the king  of all kings for her son she chose" (you know, like a soap opera), so how would that be?
Student : In the back (of the book) it says that "sonne" and "ches" have a strong (relation).. 
AG: Oh,  Well, lets see what they say - (Well lets see what they say)   - "King of all.." - "King of alle kinges for her son she chose" - "King of alle kinges for her son she chose"? - It could be, but, you know, you can't really trust them. Here's a problem. Let's dwell on this for a while. It'll come up over and over again, so you might as well get it straight. It's real interesting. Unless you have a really good ear, unless you know the organic principle of poetry, unless you write it or unless you're fresh-minded to it (there is, although there is much subtlety and study by people who write such books as these, or ourselves), you can make big mistakes in accenting, because you.. There really is very often a difference between the formal accent (what it might be according to the rules) and (then) the way you would pronounce it if you were pronouncing it to make sense). I think there is an example of that on page 1305 (I was just noticing this point) - the quotation from (William) Shakespeare -"All this the world well knows; yet none knows well"….  

to be continued

[Audio for the above may be heard here, beginning at the beginning of the tape and continuing to approximately ten-and-a-quarter minutes in]

Basic Poetics - (Meter and Emphasis)

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AG: "All this the world well knows; yet none knows well" (Shakespeare) - Well they [the anthologists] have got two different ways. There's two different ways of pronouncing it. As they say (as you'll notice) - "Most practiced readers of verse will carry the first pattern in their minds, while actually reading along with and sometimes in contrast with the first" - while actually reading in contrast to the first. So.."All this/ the world/ well knows/yet none/ knows well" would be the iambic pentameter. "All this/ the world/ well knows/yet none/ knows well" would be the formal regular count. Does everybody understand that?

– Iambic pentameter, meaning five feet – Iamb– light and then heavy – the light iambic accent, a light accent, and then a heavy –“All this”, “I go”, “I deal”, “Ideal” (“Ideal" is a word with an iambic meter, right?). Is everybody... Is that clear for everybody? I mean there may be some people who have never heard of iambic and trochaic, but, starting off at that foot (starting off at our feet!), iambic feet.

So – “All this the world well knows yet none knows well" - (But) you wouldn’t really say that, you’d say,  “All this the world well knows yet none knows well.” – “All this the world well knows..” (because  you’re saying basically, “all this the world knows well”). So, if you were an actor, on stage, you’d say “All this the world well knows..” So “well” would take an accent, right?

Now. in neither of their interpretations has it occurred to them that the word “well” might take an accent there – dig? – are you following?

The classic example of that is.. (that I’ve used teaching in school here before) - “The Ship of State..”  who wrote “The Ship of State”?  the American poem, “Thou too, sail on, O ship of state” [Editorial note - the actual title of the poem is, in fact, "The Building of the Ship"] (the poem) that Winston Churchillquoted in his famous "Iron Curtain" speech in Fulton, Missouri, in 1946


AG: Oliver Wendell Holmes or something? [Editorial note - it was actually Henry Wadsworth Longfellow] -  “Thou too sail on, O ship of state” – That was always used in the college high-school textbooks back in the (19)20’s as an example of -  “Thou too/, sail on/ O ship/ of state” - Iambic again. However, if you pronounce it, it's “Thou too/, sail on/ O ship/ of state” – In other words, you see,  the “O” is an exclamation.. Except, they’ve made an exclamation.. they’ve counted an exclamation, as an unaccented syllable.  So it gets really goofy  - meaning, really, the degeneration of the whole system, actually. And that’s why people abandoned the system , this kind of system of measurement around (Walt) Whitman’s time and began working on a different system of measurement, because it ran so far counter.. the actual system of measurement ran so far counter to the way American conversational vernacular rhythmic (bopping)  tripped along that it was not really a reliable guide and that it was better to listen to speech and then begin to construct your own rhythm than construct your own system of measurement (which is what William Carlos Williamsdid). And so, at the end of this long.. the light at the end of this long tunnel of the whole of of English Literature would be (going to a study..towards the end of this term)..will be, (at least), checking out systems of home-made Operation Bootstrap measurement of the line.

However. .. So [back to  "I Syng of A Mayden"]. I would say… “King of all Kings for her son,she chose” would be just as good as "for her son she chose" - “For my son, I’m gonna have the king of all kings! - that’s the vernacular  -“King of all Kings for her son,she chose”. So it could be – or it could be “King of all Kings for her son, she …" but that.. already that begins to get corny or rhetorical - “King of all Kings for her son, she chose” – Does that make any sense? Corny or rhetorical if I emphasize the word “son” rather than “her son”? Maybe, or either way  - “King of all Kings for her son,shechose”  
So it'd probably be (ok either) way you put it.

So, you have that much (just like a pianist interpreting a Beethoven score, or a little ChopinNocturne, in this case), you have the possibility of interpreting it as you want, as you understand the poem, and interpreting it rhythmically, as you understand the poem, and shifting emphasis, just as a pianist does when he’s.. there are certain..when he’s interpreting a little Nocturne, or little piece of music. Depending upon what emphasis, what accent, what speed, he wants to do it, it gives it a different emotional tone, slightly different body-English. So you have the same possibility of varying the body-English in reading these poems – and that’s what makes them really interesting, I think. It gives them musical possibilities – And actually that’s what (Bob) Dylan does with his own songs, he’s constantly shifting the accents around., as you notice, from year to year, as he reinterprets how to pronounce “Just Like A Woman” or "Like A Rolling Stone” or “Idiot Wind”…   

to be continued

[Audio for the above may be heard here, beginning at approximately ten-and-a-quarter minutes in  and continuing to approximately sixteen-and-a-half minutes in]

John Wieners Birthday

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                                            [Allen Ginsberg and John Wieners, Miami, 1972]

It's January 6 - It's John Wieners birthday - an annual celebration.  What an interesting past year it's been.  2015 saw the release of not one but two new Wieners collections - from City Lights, a selection of John's journals (Stars Seen In Person), and from Wave Books,  Supplication, a brand new Selected Poems. 



Way back in 1959, as an author's note forDon Allen's groundbreaking Grove Press New American Poetry anthology, Wieners wrote:
  

“Born on January 6. 1934, I graduated from Boston College in June of 1954, and attended Black Mountain for the spring of 1955 and the summer of 1956. In between I worked in theLamont Library at Harvard, until the day that Measure #1 arrived in Boston, and then they fired me. I first met Charles Olson on the night of Hurricane Hazel, September 11, 1954, when I accidentally heard him read his verse at the Charles Street Meeting House. They passed out complimentary copies of Black Mountain Review #1and aint been able to forget.”

From 1970 (for the Auerhahn Press catalog):

 "My themes are heartfelt ones of youth and manly desire. Their subjects are despair, frustration, ideal satisfaction with Biblical and classical referential echoes. Their forms are  declarative, orderly and true, without invention. General sources are Edna St Vincent Millay, United States prose writers off the 20th Century, lyricists in the Greek anthologyHomer, Sappho; HoraceVirgilius, the songs of Geoffrey Chaucer, and subsequent strains of the English tradition. Characteristic stylistic devices are the direct address of German lieder, Near Eastern intimacy and Chinese abbreviation.

And, again, in 1974 :

"Poetry since 16 has been an obsession, every day, every minute, hearkening to the form of poetry, its practitioners and personables continue to remain fixed as divinities equal to those of the French novelists since 1945 or the Pléiades of court presentation. I have kept the sun and moon myself upon a balcony bent under its power to lead my attainment toward magnitudinous worldly success and ultimately the presentation towards one person of its worth. For what would it matter if I could not be of use or of importance to this possible derelict in the world's eyes, but to my heart, husband god, king emperor. And yet not that. Simply a poor person in need of myself.
Along its possession blossoms many rewards, leisure, conversation, books, friends, entertainment for the ultimate collected editions to merit his devotion."



For the exquisite pleasure of hearing John reading from his own poetry - see here 


(from a reading given at The Poetry Project(St Mark's Church) in New York in February of that year, hitherto unpublished (the transcription is by Joshua Beckman and Simon Pettet) 




"Now, I go into dime-stores on Saturdays after matinees.
 I do because there are girls in the stores.

But that’s going out of our mutual way, and what I wanted to do was set up some sort of a person as methodology for understanding my own effects in society. It’s reaction against myself.

In the ordinary accustomed passage to the working combinations of well-applied machinery and carefully-planned traffics. So much time goes into the overall programming of new appliances and neat fixtures, simply so I want to know who I am and what I mean just to others.

Day-to-day events. Not enough thinking of certain geniuses getting together to lay down future courses of events in deliberate protective mechanisms merely allowing men and women as myself the chances and opportunities to uncover the rights of purblind facts of ourselves dictated down canals of legend.

I have an uncertain past or palace in Tangiers. Photographed parties unremembered giving or nor attending, though life says I have the balls know I did, Parisian gowns
I’m supposed to own and read from diaries, dipped favorite colors l’amour of gracious the king of Spain Gods on over unearthly manorial ramblings.

Babs, they call me. 96 pounds, living off coke.
Carried away in one handsome manservant, arms to the next two rooms one may never see married half a dozen times to princes, a baron, a movie actor, a South American playboy, boy

What I want to know is why do I live alone on fifty-dollars a week in a two-hundred-and-ten dollar apartment on the Beacon Hill side of Boston?

Walk that I love, Walk-up that I love above the city high-looking Charles behind the State House Capitol. Queen of town. I guess lucky stars are something to do with it
the cooling labors of millions of well-to-do citizens. Something close to it the cooperative authors of decades, generation in legion nearby central, searching of their total shore recognisance both here and there within their own assessments. not Storrs
Kootenay sacrifices willingly at comparison.



I was born Colorado gold-mine, despite daily assurances such places do exist
the mind’s enemies would have us deny that structures, the Waldorf Astoria take place, Grant Avenue was known DuPont, and St. Mary’ church at the corner of Grant and still California, perusing legends I believe William O’Brian wishes to call Bill
as he feels should be spoken at a certain moment. For instance, last evening
out of a dream. We were together through the Russian summit meeting.

Was I Stalin, note-worthy Napoleon? they called me, called Storrs, are they Connecticut livelihood, viceroy of China, in deed, when I am prelate not to chairman Chao May-Stung, but immortal bard itself.

Picketing at the pier I read the twenties working woman protest dime store
heiress returns denials absentee ownership I found a million dollar baby or
dinner dance debut guarantees one half of a million schmeckers tabbed outlay.
All disproved not a word of it true. As far as I know, born on welfare ADC and still near unto it.

Countess Hogwits, Reverend Lowe, on page 213 did the world invoke one of ten Americans with a six closed sense crawls himself through 00C 1933 – 1943
The former Barbara Hutton chooses clothes with an intuitive sense of the feminine. She can be both pretty and chic. A difficult paradox. Crisp and immaculate 2W porcelain and looks at night like a doll wearing a fantastic Edwardian dog collar of rubies and on the tennis court like small boy.

Veronica Lake with Donald Bain the Citadel Press, New York subsidiary of Lyle Stuart Inc. 222 Park Avenue South 10003, manufactured 1971
What a good year it was.
My father died.
Of course he would shoot me now if he could,
but I won’t go into that, since I saw a tennis court recently."


For more on John Wieners (memories by friends and associates) see here

For more John Wieners on the Allen Ginsberg Project - see - here, here and hereplus….   here  here and here See also this posting, and here and here, and, from this past August, here

Basic Poetics - (Bob Dylan)

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AG:  …That's what (Bob) Dylan does with his..songs, he's constantly shifting the accents around, as you notice, from year to year, as he reinterprets how to pronounce “Just Like A Woman” or "Like A Rolling Stone” or “Idiot Wind”. As he changes from year to year, he seems to go progressively towards the vernacular, less and less from oratorical long long long fake sound but more and more to try to pronounce it in its tones as if you were actually talking. I think "She breaks just like a little girl", at first, and then "She breaks/just like a little girl", that's at one point. Later on, it gets more..  Does anybody notice that? - The progression of his pronunciation (though there are a lot of variations in that), it does tend more and more toward vernacular pronunciation as far as interpretaton as to how the lines should be done rhythmically. And that's what gives it the strange new syncopation. Because, actually, in the back of the mind, there is the "She breaks/just like/a lit/tle girl" - which is actually the classical way - "She breaks.." - da-da/da-da/da-da/da-da - She breaks just like a little girl - "She breaks/ just like a little girl" (that syncopates it immediately) - "She breaks, just like a little girl" gives it a whole other thing. And he's used all of those at one time or other. So, in every good poets' ear there's all those possibilities. 

Student: Does he study this stuff, or is he just a natural?

AG: Well, actually, a long time ago, back in (19)68.. I think he's a natural, but about 1967-68, he asked me to bring him books of classic stuff and so I brought along…Wyatt, some of this (early English poetry), (Sir Thomas) Wyatt, early ballads, Emily Dickinson,(William) Blake, (Arthur) Rimbaud, things like that, when he was sick, when he was in hold-up.. - A big library - we brought up to Woodstock, all the... about fifty bucks worth of  cheap interesting paperback books of  (Edgar Allen) Poe, Vachel Lindsay, you know, a lot of classics. And I noticed.. and then in (19)71, ((1970)), he had on his bookshelf a whole series of very elegant books called the Child Ballads. You know what those are? Those are the great classical collections of ballad..of..I've forgotten who the name..Mr Child put it together - a collection called theChild Ballads. I think I saw it was four or five volumes that he had - three, four or five volumes (he had the expensive set, I noticed - I was jealous because I never had them!)
So, yes, sure he reads. And, of course, a lot of that stuff came down anyway through the folksingers, through Pete Seegerand others. In the (19)30's and (19)40's, there was some - John Jacob Niles  - there was a revival of English folk song and ballad as part of the folk music revival, as part of the left wing Commie pinko folk-revival!  So he got it that way if he didn't get it out of books, but then he went to books too. 

[Audio for the above may be heard here, begining at approximately sixteen-and-a-half minutes in and continuing to approximately nineteen-and-three-quarter minutes in] 

Friday's Weekly Round-Up - 250

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The "Friday Weekly Round-Up", a miscellany of Ginsberg and Beat-related news, a regular feature here on the Allen Ginsberg Project (absent these past few weeks) reaches its two-hundred-and-fiftieth today (Out with the birthday cake!)

Our Allen, another essential site for Ginsberg enthusiasts, has been monitoring and keeping track. 
Randy Roark has been posting.  For example (on Allen's response to Jerry Aronson's definitive The Life and Times of Allen Ginsberg movie) - "He saw a working copy at one point and after it was over said, "So that's who I am?" 



Raymond Foye chimes in - "I watched this film with Allen on tape a few days before he died, just the two of us, sitting on his hospital bed at the loft on 14th Street. It was kind of heavy and also kind of amusing - Allen so true to form, watching a film documentary on himself on his deathbed, essentially"
Jerry Aronson himself responds - "WOW! Actually, I showed Allen the finished film in 1992 when it was really done and he had not watched much of it and I was anxious waiting for his response. When it was over he said: So that's Allen Ginsberg? And I nervously said, Well? He responded "OK" thank goodness....A year later I was invited to Thanksgiving at Eugene's house (his brother) in Long Island with the whole family. They had not seen the film so Allen had me bring a copy. To them it was a home movie and they were laughing and talking about how cute they looked. Allen glanced at me and gave me the OK sign. That's when I knew it was REALLY finished.


[Allen, being interviewed by Jerry Aronson for The Life and Times of Allen Ginsberg, Chautauqua Park, Boulder, July 1982, during the Jack Kerouac 25th Anniversary of On The Road Conference - Photograph by Randy Roark]

More cinema news -

On American Cinematographer, the cinematographer Edward Lachmanspeaks with Iain Stasukevich about his work on the 2010 movie version of Howl 

On Monday, this coming Monday, (at REDCAT, CalArt's Downtown Center for Contemporary Arts) the eagerly-awaited US premiere of "And When I Die I Won't Stay Dead", Billy Woodberry's documentary on the life and times of the greatBob Kaufman  

The William Burroughs DVD  (We've already featuredLuc Sante's accompanying notes) - A further review (by Clayton Dillard on Slant magazine) may be accessed here



Speaking of Burroughs, did we mention this? - Josef Rauvolf's two-hour special on Czech radio tomorrow, starting at 9.15 AM (Czech time) - Vitava - That can be listened to here. 



                                                                     [Haruki Murakami]


                                                                     [Motoyuki Shibata]

Popular (world-renowned) novelist Haruki Murakami (alongside essayist-translator  Motoyuki Shibata) will participate in a unique international collaboration during
Patti Smith and Philip Glass's June 4th 2016 performance(s) of their hommage to Allen,  "The Poet Speaks", when it takes place at Tokyo's Sumida Triphony Hall this summer.

"Lorsque ce spectacle est présenté en dehors d'une zone anglophone("When this show is presented outside an English-speaking region"), the organizers told AFP, "les paroles sont traduites sur grand écran"("the lyrics are translated on the big screen"), cette fois, il s'agira d'une traduction entièrement nouvelle réalisée spécialement par MM. Murakami et Shibata"("this time it will be an entirely new translation especially made by Mr. Murakani and Shibata")

June 22nd (till October the 3rd) - looking forward to the big Beat Generation exhibition scheduled for the Centre Pompidouin Paris.

And continuing the Paris news - Just two more days of Ugo Rondinone's I ♥ JOHN GIORNO show at the Palais de Tokyo
Jean-Jacques Lebel can be seen interviewing John Giornohere



                                                                       [Ashraf Fayadh]

The appalling Ashraf Fayadh case that we reported on here  continues to be an issue of the gravest concern. There has been a call, for next Thursday, January 14, for a worldwide reading of selected poems and other texts, in support of Ashraf Fayadh. Learn more about that action here  



Joan Baez's Birthday

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  [Joan Baez, 1986 - Photograph by Allen Ginsberg - © The Estate of Allen Ginsberg]




Joan Baez turns 75 today - Joan Baez, peace activist, golden-throated singer, America's conscience 

Joan on Allen (in Jerry Aronson's The Life and Times of Allen Ginsberg) - "I loved what Allen did. There was something wonderfully liberating about it and wonderfully liberating about him. He was serious about other people's lives, he was serious about ending the war in Vietnam, and Allen took risks, and was serious, and at the same time was very colorful and very crazy. and we need that,"

[A female demonstrator offers a flower to military police at an anti-Vietnam War protest at the Pentagon in Arlington, Virginia, 21 October 1967]


[Allen Ginsberg & Perer Orlovsky, sitting on the train tracks, Rocky Flats, Colorado, 1978, ant-nuclear protest]  










Tim Cahill's piece in Rolling Stone (from February 1, 1973) - "Joan Baez in Hanoi - 12 Days Under The Bombs", 


                                                              [Joan Baez in Hanoi, 1972]

And, six years later, May 30, 1979, Joan's Open Letter to the Socialist Republic of Vietnam - "to reaffirm your  stated commitment to the basic principles of freedom and human dignity", "to establish real peace in Vietnam"




The opening sentence from  And A Voice To Sing With, her 1987 autobiography - "I was born gifted. I can speak of my gifts with little or no modesty, but with tremendous gratitude, precisely because they are gifts and not things that I created, or actions about which I might be proud."


  

from 1965 Don't Look Back (goofing around with Bob Dylan)



from 1978 (again with Dylan) in  Renaldo and Clara



Jeremy Isaacs'1997 Face To Face interview (you'll recall his insightfulinterview with Allen) can be seen in three parts -  here, here and here

Tavis Smiley's2008 interview with Joan can be seen here and here

Bob Costas 1993 interview's  here and here  

and here's an unlikely interview set-up  Joan Baez and right-wing media baron, Roger Ailes  


Here's the BBC presentation of the  2009 documentary, How Sweet The Sound 



Happy 75th Birthday, Joan Baez 


                                
and today also, Beat aficianados, is Herbert Huncke's birthday

Herbert Huncke 101 (Huncke's Window)

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["Herbert Huncke, New York, 1984, my kitchen, at the table, wry conversation - his new manuscript, Guilty of Everything, still to be edited" - later amended to "Herbert Huncke - aged 69 - retired fron the street on Methadone program, head tilted wise-eyed for wry conversation, about to say something charming, flattering or honest, at the kitchen table, New York March 1984" (Ginsberg caption) - Photo © Allen Ginsberg Estate]

Herbert Huncke, the "Beat Godfather", was celebrated at a Centennial last year. See here - (and also here and here). (also here). For today, for the 101, a little quieter celebration. 

Laki Vazakas, videographer, documentarian, and long-time friend of Huncke's, (his full-length portrait Huncke and Louis is a definitive document, not to be missed)  presents "Huncke's Window", an elegaic pan around Room 828 in the Chelsea Hotel (Huncke's latter-day location).
 Music is by Ross Goldstein. 




I Syng of A Mayden - Analysis - 1

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Wecontinuethis week with our transcription of Allen's January 7, 1980 "Basic Poetics" class, which starts off with some detailed (one might even argue, obsessive) attention to prosody (to meter and language and sounding and emphasis), specifically with regard to the early English anonymous lyric -"I Syng of A Mayden"(Allen's confession - "I'm still trying to get that poem sounding right"). Always with these transcriptions we try to provide a link to the original audio, in this case, something that's especially important. 
It's one thing to read these words, but transcription can only go so far. You need to actually hear the subtle distinctions here that he's making.  

[Audio for the following can be heard here, beginning at approximately nineteen-and-three-quarter minutes in and concluding at approximately thirty-four minutes in]     

AG: So how would this go finally? - "I syng of a mayden that is makeles" - "makeles"? - "King of alle kinges/To here son che ches" - "Sone" also? - we got "son". Now, okay, ""To her son she ches" - The version here on (page) 1306 in (the) Norton (Anthology) is almost identical with the version in the Oxford book (Oxford Book of English Verse) but the Oxford book also has an "e" at the end of "son" (S-O-N-E). Does anybody know how to interpret that one? . So it'd be "to her sone" that she chose - "Son"? or "Sone"?   
Student: It used to be "son"
AG: Son. The "e" on the end wouldn't change it?
Student: Normally, if the "e" comes directly before a vowel sound it's not pronounced. In this case it's (aspirated "e") - That's normally, but over-ruling that...
AG: Well, it might be alright either way. See, I don't know. That's why (I was wondering) is there an expert in the house? - "I syng of a mayden that is makeles/king of alle kinges/to here son she ches.." - that's alright - "for here son as she ches" - "to her son.." - "king of alle kings/to here son as she ches" - "king of alle kings/to here son as she chus" - it's fine. In fact "king of alle kings/to here son she ches" cuts it a litle too short at that point, so I don't know. Alas, I'm not scholar enough to teach you correctly on this but I'm inquisitive enough to arouse curiosity (at least in myself) - So,  "I syng of a mayden that is makeles/king of alle kinges/to here son she ches/He cam also stille/Ther his moda was.." (Mother - M-O-D-A?) - He cam also stille/Ther his moda was/As dew in Aprille/That fallith on the gras/
He cam also stille/To his modas bower,/As dew in Aprille/That fallith on the flower,/He cam also stille/There his moda lay/As dew in Aprille/That fallith on the spray." - "Moda" and "Myden" (no, Muda and Mayden (M-A-Y-D-E-N)) - Muda and Myden? Mother and Myden? - "Moder and Myden was.." - "Moder and mayden/Was never non but che/Wel may swich a lady/Godes moder be" - "Godes moder be" (G-O-D-E-S) - [to Student] - Do we have "God his mother be'" here?
Student: Yes
AG: In the original.. 
Student:  G-O-D-E-S
AG: Yes. "Godes moder be" - I guess the editors here had to make all these different choices and try and get it straight, working at a different language, but the original really sounds good. 
So I wanted to, once all the way through now. If I can get it straight - I'll try and remember all the.. (It's like interpreting a symphony, you know).  Get ready - Okay - "Mayden".."I.." - What about "syng" (S-Y-N-G)? - How would John Lennon say it? ("I sang of a maiden")  - "syne"? "sing"? - "sing", I guess.
Student: What about "was"?
AG:  (The) line's sense ?
Student; "He was"?
AG: Yes? - Well "was", G-R-A-S here (it's spelt G-R-A-S here). By the way, "falleth" - the "f" here - F-A-L-L-Y-T in the spelling in this book, spelling in the Oxford Book - "that fallyt.." - That 's why I was saying "that fallyt  on the gras","that fallyt on the flower", "that fallyt on the spray". It's is not "falleth, but "fallyt", apparently - You know that one?
Student: Yes, as in the "thorn(s) of death", and it's pronounced "t"
A: It is pronounced "t-h"? (the "t" is pronounced "t-h"?),  so we can state...
Student: It's crossed, it's not a straight letter "t".
AG: Well, no, I guess it's not Old English, it's Old English printed in the Oxford books with the English typeface. So I'm baffled beyond that. [to Student] - Do you know Old English well enough to…  Where did you study it?
Student:  (I've just been reading a lot)
AG: Could you get a book that has the original .. in the original..
Student: It's in Carleton Brown's Religious Lyrics of the Fifteenth Century?
AG: Could you get a hold of that?
Student:  I have a copy. Oddly enough it's printed not in short lines but in a split line..
AG: Oh! 
Student: (the) Anglo-Saxon, and I'm not sure, but that's probably how it occurs in the manuscript. You normally do (take from) the manuscript, unless the manuscript's in prose, or something)
AG:  Okay. Could you bring that in?
Student: Sure
AG: So the next stage of our examination of this poem, we'll get back, further and further back to the original. It's like unravelling of a woolen sleeve, it's like… great… I always liked this poem but I've never understood. So now it's a way of getting around, getting into it.  So bring that in next time. Maybe we'll get it up on the (black)board (because it's short enough), if it's in, like, the Anglo-Saxon's split-line (that we did) , so, put it up on the board with the right spelling. Okay?

AG:  [to Student] What's your name? [Student answers] - : Are you in the class also? 
[Student: Yes] - Are you in the class regularly? - [Student: Yes] - Okay. Great
AG: Where did you study Anglo-Saxon? - [Student:  Anglo-Saxon I studied on my own..] -
AG: Where did you get your..? [Student: London, Ontario] - Where? - [Student: London, Ontario]
AG: Yeah -  Where's Wilfred Laurier University??  near Toronto..
Student (2):  (Is it in) Guelph?
AG: Uh?
Student (2): I think it's in Guelph  [Editorial note - Wilfred Laurier University is a public university based in Waterloo, Ontario. It has several other campuses, including Brantford, Kitchener, and Toronto, Ontario]

AG: That reminds me. I will be absent  the first week of February. Peter (Orlovsky) and I and Steven Taylor, a musician, are going to play,do a night club tour - Philadelphia and... main point, Philadelphia, and thenPassim'son Harvard Square for that week, and also Wilfred Laurier University. So I'll do the class on the 30th and 31st, and then Friday, the first of February, I leave, and then I'll be back (so I'll miss two classes), and be back for the Monday class the following week - on the 11th, is that? -- I think so - yes - We'll figure (out) something.. I'll figure a substitute, or we'll figure some project to do over that week, some reading project, or else a substitute teacher. Actually, it might be interesting if we can get somebody that knows some older English to go… or some angle that I don't know, to work with that.

So, I'm still trying to get that poem sounding right.

Shall we try it again - in unison? - again - Remember the Cockney - "mayden", (remember) the"e's are pronounced - We're going to pronounce the "sone"? - what was it? - what was that word that I was going to…. "sone"! - I think we're going to put it as sort of .. [to Student, regarding the editors of the Norton anthology] -  What do they do? -  They don't do anything with that. They left the "e" off,  so they haven't really decided themselves - Okay  (Allen leads a group unison reading)  
  
Ah! I didn't get it right in the end!  I…"Wel may swich a lady/Godes moder be" - Is that right? - "Godes moder be" - "Wel may swich a lady/Godes moder be" - ""Wel may such a lady..", ""Wel may such a lady - Right!  - "Wel may /such a lady/Godes moder be" (that makes it sound right) - Wel may swich a lady/Godes moder be". (So, if you say "such"…)

Student: That's like "Wel.."

AG: Okay, "Wel may swich a lady/Godes moder be" - "Wel may swich a lady/Godes moder be" - That would be great that way. See, it's just like if you're developing a photograph, like you're developing a negative, developing a photograph. If you develop the signification, the significance of what's being said, you begin developing all sorts of  more interesting accents, and also you begin developng more all sorts of interesting tones - tones - all sorts of interesting tones - which leads on to another subject to pick up on (but I just want to get the accent enriched) -  "Wel may swich a lady/Godes moder.." (Well may such a lady..), yeah, I thought of it the other day. Yes?

Student: It's "mayden"? Would it be "mayden..."?

AG: Okay..Well, except it says "lady" here, even. Is that the one… but they do say "lydie" in there  - "Lords and Lydies", "Lydies and Gentlemen.." - Well, it might be. It could be endless. I mean, you'd really have to know more English than I know - Moder and mayden/Was never non but che.." - O, "Moder and mayden" was never.. there was never such a mother and maiden as..she - "Moder and mayden/Was never non .."

Student:  "but che"

AG:Yeah - "Moder and mayden".. "Moder and mayden" - You see? - Mother and Virgin - Mother and Virgin - "Mother and maiden/Was never non.." - "Mother and mayden/Was never non., but she?" - no - "Moder and mayden/Was never non but che" - how would you say that? -  there was never anyone but her - "Moder and maiden/Was never non - but che" (I would say) -"but never" - "was never non but che" - Yeah,  "Moder and mayden/Was never non, but che" 
- It really begins to make sense that way - " Moder and mayden/Was never..", "Moder and mayden/Was never non, but che?" - something like that. Does that make sense? - "Moder and mayden/Was never non, but..""...Was never non but che" (yeah, "never" would be heavier than "none""Moder and mayden/Was never non, but che" (never one)

Student: They say "none"

AG: There was never no-one but her, you know.  What?

Student: You could accent the "non"

AG: Well, I would say, the "never" is more heavier.. It's like "was never one but.. one.. there was never a mother and maiden like her. There never was a mother and a maiden but that one. So. Mother and mayden would never.. there was never none.. there was never none but she.. They choose it, but it could be.. but, anyway, you would have to fill it with flavor of accent of some sort. Yeah?

Student: I thought it was  saying that mother and she were never..none but mother and baby.

AG: Well, okay, what does it mean then? - You see, in order to know how to pronounce it, you've got to figure out what it means!

Student: (You were saying it was mother and a maiden?)

AG: Now, wait. I assumed it was a mother that is someone who gave birth, (or someone who was pregnant and became mother)  and maiden (virgin). Mother and virgin..is "makeles", right ("makeles" is without a mate ). Mother and maiden..

Student:  Therefore none but mother and maiden.

AG: Well then, how would you accent it if you wanted to give it your significance then? - Mother and Maiden..

Student: Never none but she

AG: Never none but she?

Student (2): She wasn't...   (She was the only one)

AG: Right!  - That would be (better). Mother and Maiden was never one but she -"Mother and Mayden was never one but she" - if you really want to… That's pretty good - "was never none but she". But then, when you get it that way, "Mother and mayden was never none but she", it really gets pretty. It gets prettier and prettier. That is, the more you find out what it means, and the more you pronounce the.. the more you accent it according to what it means, the prettier the rhythmic subtlety comes and the prettier the whole construction, the whole machine becomes (particularly if you're then considering what you do to set it to music - "Moder and mayden/ Was never non but che" [Allen makes up a melody and sings it] - it suggests all sorts of things. And if "but" is accented, then that would mean, if you were making it into melody, it would be a higher pitch - "Was never non but che" - because there is also this consideration.   

[Audio for the above can be heard - and should be heard - here, beginning at approximately nineteen-and-three-quarter minutes in and concluding at approximately thirty-four minutes in]

I Syng of A Mayden - Analysis - 2

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          [Madonna and Child  (c. 1435-37) Domenico Veneziano,from the Berenson Collection, Florence]

AG: I don't know if it's in, if it's mentioned in this book [in the Norton anthology] - yes, on page 1308 - One really.. I was looking over this stuff, (and) there are explanations - one really interesting sentence on the "love that well which thou must leave ere long", you know - See that? At the bottom of the page? - " "love that well which thou must leave ere long" [Editorial note - the concluding line of Shakespeare's Sonnet LXXIII]

He says (the scholar here says), at the beginning of that paragraph - "When a syllable is accented, it tends also to be raised in pitch - and to be lengthened". In other words, when you say something with an accent, you tend to raise the pitch, say it higher, the tone gets higher, when you accent it (it tends to be, not always), which means if you're a musician that means the melody goes up if you're going to accent it. 

And so, if the "but" [in "I Syng Of A Mayden"] is accented (that is "Was never non but che", Was never non but che" - or ""Was never non but che") ..Yeah?

Student: I still contend that "never" and "non and  "but" are all equal , and "che", being an accent, where the...
AG: Yeah
Student: .. tune turns up at the end,  as well as "Godes moder be"... 
AG: Okay - Well, they're all simultaneous. It's like a mobile. They're all simultaneously heard in the ear. That's what the point is. The charm is the realization of how much possibility there is, how much signifying is going on in all different directions. I would say, yes, sure, "che" is obviously an accented syllable and probably would go up - [Allen attempts singing again - "Was never non but che"). Probably the line then, if you were musical, would go "Was never non.." - "moder and mayden was never non..""was never non..". "was never non but she.." (you could go anywhere with it - it's any way you want it to be) - [Allen sings the line again- "was never non but she.." - or something - [sings it again] - "moder and mayden was..never non but she", "never none but she" - Well, whatever..
Student: Would this have been a hymn?  in church?
AG: This was sung. So..Is there any way we can retrieve the music? Is there anybody who knows how to research that out? (I was thinking of that when I was talking with someone..Rizzo (sic), Mr Rizzois he here?. We were thinking of trying to find the music for it . Would you know how to get it? (how) to look that up?
Student: If there's music and it's in a manuscript, we can certainly get that in the Brown anthology, but I don't know...
AG: You might look that up in a footnote and see if it's mentioned at all - but I wouldn't be surprised if.. it must've been. It's so obviously a song
Student: But if it was, the music has just been lost.
AG: Yeah. Yeah, I would guess.. (I'm) pretty sure there was music arranged to it. "I syng of a mayden"! - it's obviously a song! - "I sing of a maiden", so somebody's going to get up and sing about a maiden! (They weren't so literary in those days to start from "I syng of a mayden" and not sing about it!). 

 That's another thing. I think that just.. it just occurred to me -  that's another great mystery unveiled! - If the poem begins like this, in this early time, "I syng of a mayden" (just as (William) Blake's "Songs of Innocence and Experience" were really sung by Blake, although we read them in books of texts, but actually Blake sang them, so this, obviously, was a song that began "I syng..") - and.. er, that's the first time I've noticed it! - So, obviously, it was a song. Practically all of us missed that. How many here noticed that before as significant? [a small show of hands]. So that means that most of us were, like, so, you know, like, inured to poetry, or so used to the dead stereotypes that have descended down over the ages to a point where this kind of metrics and this kind of poetry has been stereotyped and homogenized to a point that we don't even notice what it says! (don't even notice what it says - that's amazing! - even when it says outright, "I sing"). So we're all..  The mysteries are coming out of this poem more and more , the more you  look at it/
That's why I keep coming back to it. "I syng of a mayden that is makeles" - 


                                              ["The Annunciation" - by Marioto Albertinelli (1494-1515]


[Allen concludes the class with some brief remarks on student assignments]
Okay 
Now then. (We'll get off this) (but) We'll come back to it. Yes?. 
Meanwhile, remember, you have your assignment to write an imitation of it and I won't collect it yet, because now you've.. whatever you do, whether you want to add the extra syllables in or not, what I thought would be a good idea on the side of the page where you do your poem, when you do this one, this style, this type, can you also make a metrical paradigm - paradigm? - show me what you did - or how your poem reads, how you want your poem to read in terms of ..the heavy and light accents. Does everybody know how to do that?
Student: Are these to be written for submission or reading?
AG: Both. If there's any good ones we'll read (them). Maybe we can read all of them..sooner or later? . Yeah, submission and reading. But.. writing means for reading, really, anyway.
Student:  Well I just wanted to know if I needed to give in a rough draft
AG: Oh I see, if I'm just going to read it, it can be a rough draft?! - to break my eyeballs open!   - Okay, I see, you can read from rough drafts?
Student: Yes
AG: Oh no, hand them in, I want to look at them. I want to be able to look at them. Wouldn't you? - I mean I'm sure everybody would want to look at them if you get something precise enough and interesting enough. Has everybody worked on that? Has anybody finished? I saw one or two that were already finished that were good. Yeah, let's work on it. I'll do it too. I've got mine started. I'm going to try to do it according.. with all the "e's, with all the extra syllables (now that I've got it more straight). I've been working on little poems like that for a little while, (for) some time now, I used to write them when I was younger and lately, last year [1979], I've been fiddling around in a similar area.   

[Audio for the above can be heard  - here, beginning at approximately thirty-four minutes in  and concluding at approximately forty-and-three-quarter minutes in]

Alliterative Verse - Beowulf

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AG: Okay. I wanted to get on now to more alliterative, the alliterative verse that (W.H.) Auden was doing, (and if I can, a little bit of.. the Kalevala (which is also an alliterative epic) but I don't have the right translation of that. Has anybody happen to  have a copy around their house - (Francis Peabody) Magoun's translation of the Kalevala?   Well I'll try and get a hold of that before our next meeting. So I wanted to go back to...
Student:  Can you repeat that?
AG: Kalevala (K-A-V-E-V-A-L-A) - Kavevala - Kalevala -  Do you know where we can get one of Magoun's translations?
Student: No I've never read that translation
AG: Pardon me?
Student: I've never read that translation.
AG: Which have you used? This one I have here but I don't like it - Everyman's (edition)
- Kalevala?
Student: Kalevala.
AG: Kalevala - Kalevala? - Two accents - Kalevala  Kalevala  
Student: (Who translated the Everyman's?)
AG:  (William Forsell) Kirby, it's an old one. It's not a good one. 



Anyway, so what I wanted to go on, continue, with was the Auden. I had the… from "The Age of Anxietyby Auden, which, for those who weren't in class, we had started off on.. we had run through a little bit of (Ezra) Pound's translation of "The Seafarer", and then we'd done a couple of translations of some fragments of "Piers Plowman", then I was comparing it with later attempts to play with alliterative verse.  (I found a little bit of Tennyson that he tried, incidentally). So (Alfred Lord) Tennyson tried it too

Student: Tennyson tried it too?

AG: Yeah - well it was.. Everybody tried it. It was a very powerful thing, the old…the old.. 
[to Student] Can you read Anglo-Saxon at all? - Well, okay, let's see if.. there's one thing that I would like to hear read aloud…Could you read this? ...Can you come up? - There is the… This is from "Beowulf"

Student: From Beowulf?

AG: Yeah. Just a little fragment, four lines, five lines  


Student: [reads] -  Hie dygel lond/ warigeao wulfhleobu, windige naessas,/ frecne fengelad, set fyrgenstréam/ under naessa genipu  niber gewiteo,/ flod under foldan


AG: Once more 

Student:   Hie dygel lond/ warigeao wulfhleobu, windige naessas,/ frecne fengelad, set fyrgenstréam/ under naessa genipu  niber gewiteo,/ flod under foldan


AG: Okay, So what was happening here is…  [Editorial note - Hrothgar's description of the haunt of the monsters - [lines 1357-6]] -  Okay, I think there's another sample somewhere in here….there's probably another sample around. Is there a sample in our book? Has anybody see that? A sample of some early Anglo-Saxon..

Student: I can come up with some lines...

AG: Okay. I have some more here..  [Allen searches through his papers] I had that somewhere in here…  

Student: (Richard) Wilbur's (poem) - he's got a few lines of it from there

AG: Who?

Student: Richard Wilbur 

AG: Okay. I've seen that. I'd rather..  Okay,  the lines (that) are in front of it.  Yes.  Let's try. Can you read the lines in front of it.? Ah yes, alright. 

Student: The beginning of Beowulf, the first lines.

Yes. Can you read that?

Student: [reads"Hwæt! We Gardena in geardagum,/þeodcyninga, þrym gefrunon.."




AG:  (Hold it) Make the caesura clear and make the ends of the lines clear - Okay? - the rests, make the rests clear

Student: [reads"Hwæt! We Gardena in geardagum,/þeodcyninga, þrym gefrunon/hu ða æþelingas     ellen fremedon./Oft Scyld Scefing   sceaþena þreatum,/  monegum mægþum,     meodosetla ofteah,/egsode eorlas.  Syððan ærest wearð /feasceaft funden,    he þæs frofre gebad,/weox under wolcnum,   weorðmyndum þah,/oðþæt him æghwylc    þara ymbsittendra/ ofer hronrade   hyran scolde,/ gomban gyldan.  þæt wæs god cyning! "  

AG: Okay - "gomban gyldan.   þæt wæs god cyning!".   So..  The original, the early Anglo-Saxon alliterative verse was very tight, apparently. There were the two alliterations at the beginning of the line and usually on (at the end) . (The) (re) generation of it, so people forgot, like, the spareness of it and got more and more pretty about it, less stark, so that, by the time of Sir Gawain and the Green Knight, later on, and "Piers Plowman", it is much more baroque, sort of, so you get.. 

"Thay bowen by bonkes  there boghes are bare/Thay clomben by clyffes  there clenges the colds,/  The heven was uphalt  bot ugly thereunder./ Mist muged on the mor,  malt on the mountes,/ Uch hille had a hatte,  a mist-hakel huge,/ 

In other words, there's a lot extra alliteration in it. There's four alliterated consonants in a line instead of two and one, or three, so it gets more and more profuse, less and less muscular.

[Audio for the above can be heard  - here, beginning at approximately forty-and-three-quarter minutes in and concluding at approximatelyforty-eight-and-a-quarter minutes in]

McClure's Chaucer

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The occasion (unlikely occasion) - The Band's Thanksgiving, 1977, "Farewell Convert" at San Francisco's Winterland Ballroom (subsequently immortalized in Martin Scorcese's 1978 film, The Last Waltz
The reader (similarly, perhaps?, unlikely) - Michael McClure reading the opening lines (from the Prologue) of Chaucer's classic "The Canterbury Tales".

















We continue with Old English and Middle English this week on the Allen Ginsberg Project  




WHAN that Aprille with his shoures soote 
The droghte of Marche hath perced to the roote,
And bathed every veyne in swich licour,
Of which vertu engendred is the flour;
Whan Zephirus eek with his swete breeth       
Inspired hath in every holt and heeth
The tendre croppes, and the yonge sonne
Hath in the Ram his halfe cours y-ronne,
And smale fowles maken melodye,
That slepen al the night with open ye,        
(So priketh hem nature in hir corages:
Than longen folk to goon on pilgrimages,
And palmers for to seken straunge strondes,
To ferne halwes, couthe in sondry londes;
And specially, from every shires ende        
Of Engelond, to Caunterbury they wende,
The holy blisful martir for to seke,
That hem hath holpen, whan that they were seke


[Bar border and initial 'W'(han) with foliate and spray decoration at the beginning of the Prologue of the Canterbury Tales - Harley ms 1758 - Courtesy of the British Library]

Michael in glorious color, reading (from the Scorcese film) can be glimpsed here 

Friday's Weekly Round-Up - 251

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[Allen takes the back-seat - Two photographs - Ryan Weideman (Self-Portrait with Passenger,1990) 
and Brian Graham  (Allen Ginsberg and Brian Graham, Cape Breton, 1992)]

[ - and a third -Steve Silberman, Allen Ginsberg, and Marc Olmstedin San Jose, California, 1986 - Photograph by Marc Geller]

Our good friend Steve Silberman gets to sing Allen's praises once again - "I once told Philip Whalenthat my initial experience of working with Allen was disillusioning because he was a crabby, horny, egomaniacal, middle-aged rock star instead of the sweet, broken-hearted nerd in his poems, and Philip replied, "What's so great about illusions anyway?" Ten years later, I became Allen's teaching assistant atNaropa and it was a much better experience, because I was no longer this painfully self-conscious teenager mooning around him. These experiences made me a writer".  Read more on Steve's "Advice to Writers" - here

Crowded By Beauty- Steve' s review of the recent Philip Whalen biography (in The Shambhala Sun) is available on-line here 



(Jonah Raskin reviews the book for the San Francisco Chronicle here,Aram Saroyan for Hypoallergic, here 
 - see also our (July 2015) posting on the book - here)




Allen in India. Did we perhaps miss this one? Abhimanyu Singh's review of  Jeet Thayil's radio documentary. That documentary, incidentally, can still be listened to here

And what a delight to hear this - Nanao Sakaki's 1990 reading, recently digitalized and uploaded and made available by the University of Arizona Poetry Center.

(More Nanao on the Ginsberg Project - here and here  (also here, here - and  here)



and this
- Tuli Kupferberg's 1966 "No Deposit No Return" albumnow available in its entirety from the ever-redoubtable PennSound 



"I've seen the best minds of my generation laid down in cemeteries.."David Bowie paraphrases Allen Ginsberg in the fade-out of the 1989  Tin Machine song, "Prisoner of Love" (listen closely)

"When I was nine or ten I was given books on Jack Kerouac, (Lawrence) Ferlinghetti,(Allen) Ginsberg, (Gregory) Corso, and all that whole Beat crowd and they sort of became early Bibles to me.." (David Bowie interviewed, 1973



                                                  [David Bowie and William S Burroughs, 1974



Countdown to the Feb 2 publication of The UnCollected Ginsberg - Wait Till I'm Dead -
"Rainy night on Union Square, full moon. Want more poems? Wait till I’m dead.—Allen Ginsberg, August 8, 1990, 3:30 A.M." -  Oh yes, we're waiting.



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