Quantcast
Channel: The Allen Ginsberg Project
Viewing all 1329 articles
Browse latest View live

Friday's Weekly Round-Up - 287

$
0
0



Wait Till I'm Dead, Allen Ginsberg's recently-published collection of uncollected posthumous poems, (which has not had anything like the notices that it should have), recently received an attentive and intelligent review in Empty Mirror from poet-scholar Marc Olmsted  ("What we come away with is wanting more..") - see here

Drawing attemtion to Andrzej's Pietrasz's Allen Ginsberg in Poland (Andrzej's just back from a visit to the Beats show in Paris and he brought his camera)

Jeff Nightbyrd, erstwhile underground newspaper editor, 'Sixties hero, activist, has just put out a video portrait of his memories of Allen 



see also his videos on William Burroughs and on (surprisingly?)  W.H.Auden
 -  here and here  

Steve Silbermanjust recently posted a rare audio on Soundcloud - Allen reading his poem, "On The Conduct of the World Seeking Beauty Against Government" (with spontaneous accompaniment ondoussn'gouni and vocals by jazz geniusDon Cherry).
"On returning from a trip to Nicaragua in 1986 with a dream with that line. So I figured to write a poem that would end with that line" - "On The Conduct of the World Seeking Beauty Against Government"" ("Is that the only way we can become like Indians…?")  
(The piece was recorded (by Steve) on March 4 1990, at Lone Mountain College, San Francisco, at a benefit for the Maitri Hospice)  

Van Morrisonin an interview with Rolling Stone this week declares his loyalties:
Interviewer (David Fricke): What about Irish literature, writers like W.B.Yeats,James Joyce,Oscar Wilde - you've cited and drawn from it over the years. Were you reading them in school?
VM: No I was reading Allen Ginsberg. But I was definitely influenced by William Blake - more Blake than Yeats. Blake was, in a lot of respects, a British nationalist. But he was beyond that as well in imagination and spirituality. You can't get much more blues than "Let The Slave"[Morrison's 1985 adaptation of a Blake poem]. I once saw Ginsberg do a gig at the Troubadour in L.A He was doing Blake stuff. I thought, "This all connects".   



 Plans for a re-release of Allen's legendary Blake album. More news on that soon.

From the recently-published  CUNY Lost and FoundTed Joans item - Poet Painter/Former Villager Now/World Traveller (edited by Wendy Tronrud and Ammiel Alcalay(with a Preface by Diane di Prima)) in two volumes - an (undated) letter from Allen:
"..You're the only one I know (Ted, who)'s been pilgrimaging all over Africa, will you ever write a book of geographical/tribal/ritual/travel/fact/politics/local religion/gossip/guide/reflections/roads? The religions or rituals are just as old or older than any , anywhere, and so (it)'s important for you to record living traces of them now for possible hip adaptation in the West, just as I've adapted some Indian ritual/tricks to the U.S. use, like mantra and meditation& grass customs - i.e, as West mind returns to Nature as it must to survive, all the old tribal knowledge will be more & more helpful to the lost tribes of U.S…"   


                                                           [Ted Joans (1928-2003)]

To conclude with a further snippet of Beat ephemera
A rare 1957 postcard (from Ginsberg to Burroughs) is up for sale at Blackwell's (Rare Books)  (England):




"...Cadiz Bar for girls - Calle Montserrat. Eat at Casa Manolo - Calle S Pedro + S Jeronimo. Cant find boy bars except seen couples sat at Casa Monolo like Catalana. Dig the Romanesque paintings at Cat[edral?]. Love Allen












Allen Ginsberg in Baltimore 1973

$
0
0

Allen Ginsberg at the Maryland Institute College of Art, Baltimore,  October 1973

A vintage reading today from 1973 (see here) -  Allen reads, principally, from poems that will appear in the collection, Mind Breaths

AG: (I've been here) pretty regularly about every third semester. So I've been here, I think, since the mid 'Sixties, presenting sequentially, every alternate year, the new poetry that I've written in the last seasons. So that's probably what I'll do this time again. I was here about a year-and-a-half ago [1972]. So I'll read poems written in the last year-and-a-half., since I was here in Baltimore at the Maryland Institutelast time. So I'll read poems mostly, actually, since New Years 1973 to this last month, and sing songs written in the last couple of…springs..since last spring and last winter, which means a lot of the material tonight will be preoccupied with broken bones, since on January 21st I slipped on the ice at my front door and had a spiral fracture of my right leg and went around limping in a cast for five months and on crutches, which was sort of a teaching in.. the problem was that I had been irritated at having to take care of some dogs in the barn and so I stomped out angrily to take care of them without putting on the right kind of shoes, out of impatience and blind irritation, and so got my immediate just desserts! (an immediatekarma shot, so to speak). So a lot of the reference, then, will be just plain litetral reference to broken bones (and some songs - so both songs and poems will be preoccupied with that). 

And the other thing I should explain is that I've been working with some Tibetan teachers, meditation teachers, in the last couple of years, and more closely this year, and so I've been doing varities of sitting practice and mantra practice (most of them very simple and easy-to-describe and not too mystical, not too complicated to explain now). For a long time… (The reason I'm explaining is that they are referred to in the poems, so it'll be clear what the poems are about ).. I was usinga mantraah-aah- sha-sa-ma-ha (a Tibetan style, related to the Tibetan Book of the Deadactually, which some of you know about - some of you have heard of the Tibetan Book of the Dead?) - Would you.. those who… yeah... So that's sort of part of the "whispered transmission" related to the Tibetan Book of the Dead - It isn't in the book written down, it's part of the oral tradition, from the.. from Vajradhara Buddha throughTilopa, NaropaMarpa, Milarepa, Gampopa,and theKarmapa lamas, through to the present time, an unbroken whispered transmission of how to use the mantra of spaciousness - AH! - to create space, or to open space, or to appreciate the spaciousness of the situation that we're in - varities of it  - ah! (crown), kaaa!  (speech), shaa!  (heart), thaaa! (belly-button), maaa! (genitals)  aaaa! (anus)

So, for different centers, different varities of that sound.  So, to begin with the evening then with a chanting of AH! to open up a little space and then go on to a poem using the same mantra 

This we haven't rehearsed at all..so.. so we haven't rehearsed this at all, So everything you hear will be fresh-born from spontaneous-minded space.
[Beginning at approximately five-and-a-quarter minutes in - accompanied by harmonium - and concluding at approximately sixteen-and-three-quarter minutes in - Allen begins with chanting and singing]

This is followed by the long poem - "Thoughts Sitting Breathing" - ("AH! - the  pride of perfumed money, music  food from China, a place to sit quiet/ "AH! - how jealous the million Pentagon myrmidons with billions of dollars to spend on Rock n Roll restaurants and high thrones in the sky filled with Electric Bombers - AH! - how jealous they are of the thin-stomached Vietnamese boy"…"All Space is fore-given to Emptiness -/From earth to heart, free space/for Causeless Bliss.")

and (at approximately twenty-eight-and-a-half minutes in) - "What Would You Do If You Lost It?" ("said Rinpoche Chogyam Trungpa Tulku in the marble glittering apartment lobby…"…."None left standing! No tears left for eyes, no eyes for weeping, no mouth for singing, no song for the hearer, no more words for any mind")
 (off-mic comments (to unidentified accompanist) - "that was the first poem we did that we didn't run over again" - "oh yeah" - "try it" - "sure") - 

Next poem, (at approximately thirty-six-and-three-quarter minutes in)  (with guitar and harmonium accompaniment) -  "Prayer Blues"[announced as "Broken Bone Blues"]  ("When you break your leg/ there's nothing to stand on…"…."JOD HE VOV HE /I submit to your Name."
[AG: (at approximately forty-six-and-a-quarter minutes, end of first tape) - "Could you hear the words? or was I too close, or was the balance alright for the syllables to be heard? - Could you actually hear it? Was there anybody who could not hear?.. over that side? ..ok..I'll ty and make it clearer.. "]  

 [performance continues (on next tape), continuing with guitar and harmonium]] 

"Everybody Sing" ("Everyone's just   a  little/ bit it homo sexual/whether they like it or not.."…. "I'll take you by the hand/and love you through the land/and ease your tender misery.")

[(at approximately two minutes in on second tape)  - "Broken Bone Blues" [announced as "Last Broken Bone Blues" - ("Broken  Bone  Bone  Bone.." …  "...& I'll come down & bless you again.") - concludes with the quotation - "Naropa, your clay picture of a body  believing in an "I" deserves to be broken" 

[(at approximately six-and-a-quarter minutes in, Allen resumes reading (three poems))] - "Yes And Its Hopeless" ("hundred million cars running out of gasoline/million coal stoves burnnig shale carbonmist over cities.."… " ...dead corpse of Myron the neighbor Farmer, the live corpse of Ginsberg the prophet/Hopeless.")

"Under The World There's A Lot of Ass, A Lot of Cunt"- ("a lot of mouths and cocks…" - "Dysentery, homeless millions, tortured hearts. broken souls")

and, (from)  "Returning To The Country For A Brief Visit" ("Reading Sung Dynasty poems, I think of my poems to Neal/dead a few years now, Jack underground…"..strong as on earth"..."I do not know who's hoarding all this rare work" - "Old One the dog stretches stiff legged..".."I lift the book and blow you into the dazzling void"..  "Robins and sparrows warble in mild spring dusk"…"I always remember the spring I climbed Glacier Peak with Gary".."You live in apartments by rivers and  seas.."...When all these millions of people die, will they recognize the Great Father?") 

Next, [at approximately fourteen-and-three-quarter minutes in on second tape], a petition:"Mock Sestina - The Conspiracy Against Timothy Leary" ("The government charged Tim Leary with conspiracy/They kidnapped the philosopher from Afghanistan under arrangements prepared by the burglers of Watergate…"… "prison threats dreamed up by the burglers of Watergate")


This is followed (at approximately eighteen minutes in on the second tape] - "Night Gleam"- We're now.. we began in January, actually New Years Day was the first poem, that ah-aah- sha-sa-ma-ha shit ondharmakaya wipe-the-world away, that was New Years, and now we're into July 1973 - England ' ) - ("Over and over thru the dull material world the call is made…"…"over and over thru the dull material world I make the call").

[AG: I think we've been here one hour, so I think I'll take a break now for about fifteen minutes and then I'll go on from about nine-fifteen to ten-fifteen, and read poems from Summer until now, July through October, and chant a few more mantras.}

[At approximately twenty-and-a-quarter minutes in, the tape picks up simply ambient sound   "….in an A-chord, I guess - an A chord - I might do something else - say his name? - does it say a name? - I think so  - that's a light…"] 




[At approximately twenty-one-and-a-half minutes in, Allen performs "The Heart Sutra"] - "Tibetan..Er..Buddhist (originally Pali then Sanskrit) Sino-Japanese use and then English also. So the version I sing, or chant, is translated bySuzuki Roshi of the San Francisco Soto Zen temple - the Sutra on the essence of transcendent knowledge, the great highest perfect wisdom sutra. The mantra at the end of the sutra isgate gate, para gate, parasam gate, bodhi svaha, which we did before. This is a larger presentation of the same. The smallest presentation of the same information is the mantra AH! - the slightly larger form  is gate gate, para gate, parasam gate, bodhi svaha, larger form, or heart sutra [begins singing at approximately twenty-three-and-three-quarter minutes in, concluding at approximately thirty-minutes in ("..that was the ancient presentation of most ancient news/als0 presented in the form of improvised blues/because we have our own spontaneous mind from which to choose/any of the nails of the universe or its nuts and bolts and screws") ...

[Allen then continues (from approximately thirty to approximately forty-three-and-a-quarter minutes in) with a remarkable extended spontaneous improvisation on Buddhism's "Four Noble Truths" and "Eightfold Path"] - ("So I'll begin with the First Noble Truth of those four… ")…



("(I) made it (all) up..(right there, but) I never got it into a blues form properly")

Allen continues

"Poem - What I'd Like To Do"- No, I read that earlier today, so..
[beginning at approximately forty-four minutes in] - "On My Illness" - ("Lord, heart,  heal my right temple the bookshelf banged rising to fuck Peter embraced naked on the big wooden couch mattress.."..."lotus, scepter, book of..

[Then Allen reads from the title poem of "Mind Breaths"]
"(Thus cross-legged on round pillow sat in Tetin Space -/  I breathed on the aluminum microphone-stand, a body's length away"... "...a calm breath, a silent breath, a slow breath breathes outward from the nostrils") 

[Then, beginning at approximately eight minutes in, (and concluding at approximately eleven-and-a-half minutes in) on the third tape]So, now it's 10.10, I'll finish with a mantra...finish with  "Hare Krishna, Hare Krishna, Krishna, Krishna, Hare Hare, Hare Rama, Hare Rama, Rama Rama, Hare Hare"

 [AG - Thank you - Hum Hum Hum - Followed by: ambient post-reading noise - Student: Do a little Blake? - AG: Well I've been going since 7.15 and it's now 10.15, that's three hours…That was pretty good - Bill..(sic) - thank you for the magazines - Could I put this together first, because otherwise I'll lose everything?… thank you) - etc etc]

Audio for the above can be heard here






The Unknown Kerouac

$
0
0


Just out from Library of AmericaThe Unknown Kerouac- edited by Todd Tietchen (with several texts newly translated from the French byJean-Christophe Cloutier

The publishers write:
  
"Edited and published with unprecedented access to the  (Jack) Kerouac archives, The Unknown Kerouac presents two lost novels, The Night Is My Woman and Old Bull in the Bowery, which Kerouac wrote in French during the esoecially fruitful years of 1951 and 1952. Discovered among his papers in the mid-nineties, they have been translated into English for the first time  by Jean-Christophe Cloutier, who incorporates Kerouac's own partial translations.
Also included are two journals from the heart of this same crucial period. In Private Philologies, Riddles and a Ten-Day Writing Log, Kerouac recounts a broef stay in Denver - where he works on an early version of On The Road, reads dime novels, and even rides in a rodeo - and shows him contemplating writers like Chaucerand Joyce and playing with riddles and etymologies. Journal 1951, begun during a stay in a Bronx VA hospital charts, in ecstatic, moving, and self-revealing pages, the wave of insights and breakthroughs that led Kerouac to the most singular transformation of American prose style since (Ernest) Hemingway.
This landmark volume is rounded out with the memoir Memory Babe, a poignant evocation of childhood play and reverie in a robust immigrant community, in which Kerouac uncannily retrieves and distills the subtlest sense impressions. And finally, in an interview with his long-time friend and fellow Beat, John Clellon Holmes and in the late fragment Beat Spotlight, Kerouac reflects on his meteoric career and unlooked-for celebrity."

A full listing of the contents can be found here

John Winters early review (for WBUR) can be found here 

An excerpt (an essay entitled "America in World History", from a handwritten journal dated September 3 - October 9, 1946) may be seen on the Esquire magazine web-site and read here

Dowland - 2 - Fine Knacks For Ladies

$
0
0

JOHN DOWLAND - FINE KNACKS FOR LADIES  (The Pedlar's Song)




AG: Connected to that ("Weep You No More Sad Fountains")  is (John Dowland's) "Fine Knacks  For (The) Ladies"
 (one page before, page 111)

[At approximately sixty-one minutes in (and concluding at approximately  sixty-two-and-three-quarter minutes in) , AG plays a recording of  John Dowland's  "Fine Knacks For Ladies" - ("Though all my wares be trash, the heart is true" - "Sing it to Andy Warhol!" - "the orient'st pearl we find" - "orient'st")


Fine knacks for ladies, cheap, choice, brave and new!
Good pennyworths - but money cannot prove.
I keep a fair but for the fair to view.
A beggar may be liberal of love.
Though all my wares be trash, the heart is true,                                                   The heart is true.

Great gifts are guiles and look for gifts again;

My trifles come as treasures from my mind,
It is a precious jewel to be plain,
Sometimes in shell the orient'st pearl we find,
Of others take a sheaf, of me a grain.                                                                            Of me a grain.

Within this pack pins, points, laces and gloves,
And divers toys fitting a country fair,
But in my heart, where duty serves and loves,
Turtles and twins, court's brood, a heavenly pair.
Happy the heart that thinks of no removes!                                                               Of no removes.
 [At approximately sixty-two-and-three-quarter minutes in (by way of contrast) AG suggests - "Do you want go back and hear that "..Sad Fountains.." one more time?" - AG lines up Campion recording - " I was digging syllables here too" - "Well",  (at approximately sixty-seven minutes), "the last note was great", - "So that goes to "Fine Knacks..".."There's another version of "Fine Knacks..", Do you want to hear it?" -
AG plays a second sprightly version of "Fine Knacks.."]

Here is Alfred Deller's version



AG: That's a  tenor, male tenor, a lute, (and bass-viol).  One other great tune I'd like to play. The same song done..done (by) another group …the..(choral)...


That's a totally different arrangement. I gather that the original was done for four parts and they're interchangeable. Yeah?

Student: I'm really curious about the "Weep You No More Sad Fountains", if the poet wrote the piece with music in mind because.. the music just does not seem to get the words at all.

AG: Well, who wrote this? Does anybody know who wrote the words? (that's listed in our anthology as "Anonymous", but it's obviously a song) - And the music is by Dowland, right? 
(It's) of the time.  I think what seems unfitting..  While I was listening to that I was thinking that the modern renditions don't sound like the great John Dowland going around with a lute from court to court in Europe singing these words. I thought he had some other muscle, or vigor, or spring in his voice, and in his time too. That was my guess. [AG turns to Student (Pat)] Do you anything about (this)…? These modern versions are..

Student (Pat) : They do tend to attempt a fidelity to what they considera scholarly fidelity, and to reduce everything to the least common denominator, so.. 

AG: Yeah, there's something a little obnoxious about the pronunciation and the style's very (old)..

Student (Pat): Some of the words...

AG: I mean, compared to, compared to, say, (Basil) Bunting's voice on those, the arty-ness of the.. (Bunting's true artfulness).. the arty-ness of these renditions are academic-sounding.  Still, they give you the notes. That's what I'm interested in.  
But, sure, it was meant to sing.

Student: So, when they, when they repeat those lines at the ends of those poems, does that come with the musical arrangements or is that because of the..

AG: It's just like (Bob Dylan"The answer my friend is blowing in the wind, the answer is blowing in the wind" - "It's blowing in the wind". It's a repeat, a refrain, that's called the refrain. And they can improvise.

Student: I was wondering if it was on the page like that?

AG: Oh, probably. I don't know. I don't have the music here. It probably was..The music might be in the Elizabethan Songbook..so.. (to) find.. what was that? "Weep You No More, Sad Fountain"? - There are a a couple of books here. 

Student [looking through the book]: It doesn't look like it was written by Anonymous. Anonymous is not here..

Student: Allen, it's interesting because Celia Zukofsky, when she does a lot of (Louis) Zukofsky's poems to music does them in round form like that with the voice...

AG: Uh-huh, Four-part?

Student; Yeaj, I'd never understood it until…

AG: Yeah, well, they're going back to this era, this time. This is a.. I think it was ..the title given at the time was "The First Booke of Songs or Ayres of Foure Parts ("Ayres", I think, meaning a mode, or key, actually, in that sense)

Student: It doesn't have it as mode here..

AG: Well, it does, when I was looking it up in the dictionary. And it has, in the original. "Ayre" also would be a mode - The First Booke of Songs or Ayres of Four Parts with Tableture For The Lute.." (so that, so made), that all the parts together or each of them separately may be sung to the lute, Orpherion or viola da gamba")  - And then, in this case, I guess, they took all four parts and just put it to voice for that version. Dowland's original, and left out the..  

The question there was whether the refrains were repeated? in the original?
Student:  (And) "lies/Sleeping", "lies/Sleeping".
AG: You're talking about "Fine Knacks.."?
Student: Well, the last line doesn't follow the poetic line. She (He) repeats it one more time. I was a little curious..
Student: "That now lies sleeping""That now lies sleeping"
AG: Just once (there)
Student: Oh, yes AG: Okay, Our time is up.
  
To conclude with two distinct renditions. Here's the eminent British tenor (Benjamin Britten's companion) Peter Pears and lutenist Julian Bream (from 1959)



and the rock star Sting (from his 2006 album, Songs from the Labyrinth


[Audio for the above can be heard here, beginning at approximately sixty-and-three-quarter minutes in and concluding at the end of the tape]

George Gascoigne's Lullaby

$
0
0

                                                       [George Gascoigne (1535-1577)]

[Allen Ginsberg's 1980 Naropa "Basic Poetics" class continues. An inscription on the tape notes that the first forty-five minutes of this class are missing (were not recorded) but the class picks up with this fresh tape, recorded February 21, 1980]   

AG: Next, (George) Gascoigne, now we're getting serious - page one-nine-nine - one-nine-nine, oh, I'm sorry, page one-twenty-nine,  the "Lullaby" ("The Lullaby of A Lover") - Is anybody familiar with this poem? Has anybody read it before? Somebody like to read it? Somebody who hasn't read ever?, just  improvise it as you go along …Yes… please do.. strong voice

Student (reads): Sing lullaby, as women do,/Wherewith they bring their babes to rest,/And lullaby can I sing too/As womanly as can the best./With lullaby they still the child,/And if  I be not much beguiled,/Full many wanton babes have I/Which must be stilled with lullaby.

AG: Full many wanton babes have I/Which must be stilled with lullaby./ First, lullaby my youthful years

Student (continuing): "It is now time to go to bed,/For crooked age and hoary hairs/Have won the haven within my head/With lullaby, then, youth be still;/With lullaby content thy will;/Since courage quails and comes behind,/Go sleep, and so beguile thy mind./Next, lullably my gazing eyes…

AG: No, it's "first", "next", "lullaby, my gazing eyes". See, he's talking about himself. He's saying, "goodbye to me" - "goodbye eyes", "goodbye youth(ful).." - it's really awful! Anyway. But, "next" - there's emotion there. Go on. Act it out. Make-believe you're eighty years old - or forty. Mae-believe you're fifty-three years old.

Student (continuing): Next, lullaby my gazing eyes/Which wonted were to glance apace./For every glass may now suffice/To show the furrows in my face;/With lullaby then wink a while,/With lullaby your looks beguile;/Let no fair face nor beauty bright/Entice you eft with vain delight."

AG: Okay. May I interrupt again? What (Ezra) Pound, what (Basil) Bunting would have done with reading "With lullaby then" (you see that's a "then"), sounding every sound, because every sound actually exists in that poem (in those poems), they're so well-built that every sound can be pronounced and really make a little mark in your ear, and it's really prettier that way, rather than, you know, skimming it. You don't need to skim it when you're reading aloud because it is so rich-sounding. So you can slow it and read it and...


 Student (continuing): "And lullaby, my wanton will;/Let reason's rule now reign thy thought,/Since all too late I find by skill/How dear I have thy fancies bought;/With lullaby now take thine ease,/With lullabythoy doubts appease./For trust to this: if thou be still/ My body shall obey thy will./  Eke lullaby, my loving boy,/My little Robin, take thy rest;/Since age is cold and nothing coy/Keep close thy coin, for so is best;/With lullaby be thou content,/With lullaby thy lusts relent,/Let others pay which hath no more pence…

AG: "Let others pay which hath mo'pence" - Let others play who have more money than we've got -  "Let others pay which hath mo' pence", I think..

Student (continuing):  "Thou art too poor for such expense./  Thus lullaby, my youth, mine eyes/My will, my ware, and all that was./I can no mo delays devise,/But welcome pain, let pleasure pass;/With lullaby now take yoour leave,/With lullaby your dreams deceive;/ And when you rise with waking eye,/Remember then this lullaby."

AG: The whole thing is built beautifully, but at the very end, when he has "Thus lullaby, my youth, mine eyes/My will, my ware, and all that was", it's like a great.. (There's a beautiful series of poems that have, like, listslike that within a few lines. This also begins to get really serious in terms of recognition of death and suffering - First Noble Truth- suffering, (which, beginning around.. well, earlier, we had "this ae nighte, this ae nighte,/ Every nighte and alle", but, as a personal subject for literary poets it becomes… it comes through clearer and clearer,until you get up to Thomas Nashe and Henry King and others where.. poems written at the time of the plague, where there is the omnipresenceof death. Here's a lullaby but it's going to be more serious. I just like the sound, the good sound, of that poem. And it's really beautifully built. And it's still a song, a lullaby song.

[Audio for the above can be heardhere, beginning at the beginning of the tape and concluding approximately five-and-three-quarter minutes in]

Marlowe & Raleigh (The Passionate Shepherd)

$
0
0

[Abraham Bloemaert - Shepherd and Shepherdess (1627) oil on canvas - in the collection of Niedersächsisches Landesmuseumover (Germany)]

AG: Does everybody here from high school remember (Christopher) Marlowe and (Walter) Raleigh's little complimentary poems, "The Passionate Shepherd to His Love" and "The Nymph's Reply to the Shepherd"? Has everybody read those? - A few. Well, let's get on to those.  [Editorial note - Earlier recordings of Allen reading those two poems can be found here] Do you want to read... Let's start with the Marlowe. Rachel [sic], do you want to read that? - That's on page.. Marlowe is (on) two-eleven….page two-eleven of (the) Norton (anthology)..way ahead, jumping ahead.. Want to try that?

Student (Rachel): "Come live with me and be my love/ And we will all the pleasures prove./That Valleys..."

AG: Now, wait a minute, wait. After all this stuff about vocalization.. 

Student (Rachel) : I just can't read.

AG: Ah! - Well, you've got to. If you've going to write poems, you've got to be able to read it. So just read it. See, the whole problem is how not to read with a dying fall or monotone. I mean, if you were going to say to some cock [sic]you know, "Come live with me and be my love", like, how would you say it?  How would you say it, talking to someone that you were trying to make (it) with, make out with.? You've got to… It's not quite a question of drama, but you have to put some empathy into the tones.. because, if we don't pick up on the tones, even mockingly, or something, because otherwise it makes it sound like,  "Come-live-with-me-and-be-my-love" , it's like back to (the) grammar school again, grammar school, 1920 - Okay…Well, come on! - Make-believe I'm eighteen-years-old!  Address in your mind someone you feel you like. Imagine someone that you really like..

Student (Rachel): "Come live with me and be my love/And we will all the pleasures prove/That Valleys, groves, hills and fields,/Woods or steepy mountain yields/And we will sit upon the Rocks,/Seeing the Shepherds feed their flocks,/By shallow Rivers to whose falls…."

AG: One other suggestion is, when there's a run-on line - "By shallow Rivers to whose falls/Melodious birds sing Madrigals" - the rhythm is really more interesting if it's read as a.. in other words, just keep it on (and if there's a comma, maybe break). So you take a.. so if you follow punctuation to the breath, it makes a lot of sense.

Student (Rachel): "And I will make thee beds of Roses/And a thousand fragrant posies/A cap of flowers and a kirtle/Embroidered all with leaves of Myrtle;/  A gown made of the finest wool/Which from our pretty Lambs we pull;/Fair lined slippers for the cold/With buckles of the purest gold;/ A belt of straw and Ivy buds,/With Coral clasps and Amber studs:/And if these pleasures may thee move/Come with me and be my love…"

AG: So but you could also do there -   "And if these pleasures/ may thee move/Come live with me/ and be my love…" Because, those are the rests, like in the music, see? - I don't know if this text is like unto the original manuscipt, but generally punctuations can be used as rests to..to figure out how, one - to help you in reading, so you know where to take a breath (because if  they've got it there, it means somebody has done it before, generally, and it's not too long a breath, so that you could actually pronounce it), and the other is - if you get a long breath in a poem like this and they cut a line in the middle, sometimes you have a long breath and then you have to take a fast short one but..but then you get a chance to stop in the middle of the next line and take another one. So that, actutally, it's really helpful when reading to pay attention to that. So, ending:

Student (Rachel): "The Shepherd's Swains shall dance and sing/For thy delight each May morning/If these delights thy mind may move/Come live with me and be my love" 

AG: Come live with me, and be my love" - I always
Student: (What kind of music goes with this?)
AG: Well, it's probably a madrigal, I bet..
Student: (Yeah, that's what I think…)

AG:  And that line is so great - "And we will sit upon the Rocks,/Seeing the Shepherds feed their flocks,/By shallow Rivers to whose falls/Melodious birds sing Madrigals" - That's really sweet.. sound there…Probably, it would be great to hear this as a madrigal.

Student: There might be a music to it. 
AG: Oh, probably 
Student: I've seen… It might not be this particular poem.  I can check.
AG: Do you know how to check this out?
Student: Yeah
AG: Oh please do, yeah. Because this was (and "The Reply") obviously, were  big, big numbers, big top-ten-of-their-day, famous, you know, traded back and forth between Marlowe and Raleigh, so it must have been a big...

So the Raleigh is on page… "The Nymph's Reply" - (page) one-thirty-three. Who would like to do that one? ...Okay - Great  - Okay, Nymph!

[At approximately eleven-and-a-quarter minutes in (a second Student begins a recitation of Walter Raleigh's "The Nymph's Reply to the Shepherd"]

Student: "The Nymph's Reply to the Shepherd" - "If all of the world and love were young,/And truth in every Shepherd's tongue,/These pretty pleasures might me move,/To live with thee and be thy love./ Time drives the flocks from……

[Allen interrupts]  
AG:  Wait a minute - "Time"

Student: Okay - 

AG: No, dig that. That's really interesting. Dig that that the drag or the drag of.. - this is important, if you'll bear with me, Excuse me, but this is really a big important moment, because we have the built-in da-da da-da da-da da-da. Dig how then the imposition of that distorts the speech of a very simple statement, where you have "Time drags." But her (the Student's) impulse (and anybody's impulse) would be "Time drags" [Editorial note - "Time drives"], to swallow the "Time" and put the weight on the "drag' ["drive" - sic]. But, that's why I wanted to play that (Basil) Bunting (vocalization) because his "Time/drags/the.." (or "Time/drives/the… (flocks from field to fold)")  - "Time/drives" (and if you say "Time/drives", just in that you've got great music - "Time/drives" - It's "i"/"i" - "Time/drives. When you say, "Time drives", you don't… you don't enjoy it. So for the enjoyment of the sound that's latent in vocalizing it, you've really got to apply vernacular.. (that's why I keep saying apply vernacular rhythm), even in strict meter, and you'll find the right way of saying it that will make it syncopate like the most beautiful thing possible. Because that's what the poets were doing - they knew. They weren't writing da-da da-da. They were writing with a full tone. 
So that was.. But that was, I guess, the clearest example we've had of the built-in conditioning, rhythmic conditioning, that we've got from..from the classical poetic, traditional poetic, teaching that makes us pronounce almost everything in this forced way, rather than enjoying the slowness, slowing down and actually enjoying the possibility -  Yes?

Student:  You know, I'm not sure if that kind of thing is something that we've picked up from.. our rhythms or whatever, because I was reading something about the..talking about the French language.. it said the French, in speaking, emphasized every syllable more or less equally, whereas, I think, with spoken English, there's a tendency to always emphasize every other syllable.   
AG: Every other..
Student  So there's a (musical) line, even in speaking
AG: Somewhat,  except that
Student: It's not like it's always apparent, but it's there.
AG: Yeah, except there are differing theories on that. Like, you know, William Carlos Williams thought that the basic American speech-rhythm was anapestic, strangely enough. That's what he thought. "That's-what-he-thought. Strange-ly e-nough"
Student: (That's got music)
AG: Yeah, well,de-de-de-de dah de-de-dah de-de-dah - "strangely enough" - Yes - "strange enough", he thought, "so he thought""strangely enough/he thought/the basic American rhythms (da da-da-da da-da-da da-da)  - "the bas-ic Ameri-can rhyth-m". So think of that. That it has that possibility. He did say that, in some essay, and I was astounded, because that's an interesting...
Student: That's true. that's...
AG: He did say that, in an essay 
Student; da da-da /da da-da/ da da-da  - that's dactylic?
AG: What da-da-da.. would be dactylic  - da da-da /da da-da/ da da-da  This... 
Student: (This is…)
AG: Okay, okay, basic, if you want….. "basic/American/rhythm" (or the "basic American rhythm"). It (all) depends on which way you're going, which way you're going down the street.
And so, then, the other thing is - Okay, but then the other thing is - da-da da da-da da da. 
I mean, anything you say.. . So Williams says, listen to your own speech to determine little miniscule samples of rhythm, to hear miniscule samples of rhythm, and apply them then to writing on the page. Take the measure right out of your own raw ear, instead of being dependent on the conditioned rhythm .
[to Student] (This is not a rebuke to you, this is like .. I'm not interrupting you to criticize you. I'm…
Student:  Oh no…don't worry!
AG: It's just a great instance with a..with that great… because here you have that great rhythm - "Time drives the flock from field to fold" - that graven voice that you get in (Ezra) Pound that you get in (Basil) Bunting (you've all heard Bunting).  And that was the reason that Pound said in the beginning of the century - "To break the pentameter" (in this case, the tetrameter), "To break the pentameter" (meaning the iambic pentameter) - "To break the pentameter, that was the first heave. Of all those poets at the beginning of the  (twentieth) century.. And that's why they began.. went back and began listening to  (Thomas) Campion and to working with Greek prosody and working with quantity, so that they could actually say "Time/drives" (or (Ezra) Pound could finally write "With Usura/ the line/ grows /thick" instead of "With Usura the line grows thick" -  With Usura the line grows thick - So, okay. Maybe start again?
Student; Yeah I'm going to start over
AG: Okay 

[At approximately seventeen minutes in, Student begins reading Sir Walter Raleigh

Student: "If all of the world and love were young,/And truth in every Shepherd's tongue,/These pretty pleasures might me move,/To live with thee and be thy love./ Time drives the flocks from field to fold,/When Rivers rage and Rocks grow cold,/ And Philomel becometh dumb,/The rest complains of cares to come/ The flowers do fade, and wanton fields…"
AG: See, "The flowers do fade" - "The flowers do fade" - See they do fade. The flowers do fade
Student: ….It's a trap!
AG: Yes, it's a trap, a body trap 
Student: Well I hate it
AG: And that's what's so interesting, because, people, when they think of old poetry, they say, "The flowers do spring, the clouds do fly" - It's that "the flowers do fade", (or can be interpreted that the flowers do fade). Now there may be some archaic syntax where they meant "do fade" just to be the verb, but, I think there's some element here where we can (even if it wasn't then, I'm sure, I think, it probably was)  "the flowers do fade: - "and wanton fields,/To wayward winter reckoning yields" - [to Student] - Go on - Okay , So. start, "The flowers...     
Student: Okay, here we go - "The flowers do fade, and wanton fields/To wayward winter reckoning yields/A honey tongue, a heart of gall,/Is fancy's spring but sorrow's fall./  Thy gowns, thy shoes, thy beds of Roses…" 
AG: You can pause with the commas.
Student: Okay. I'm in a hurry
AG: Yeah, there's no need to rush. The poem's lasted and is going to be here for eternity, you know… (well, not eternity, but quite a long time) 
Student; "Thy gowns, thy shoes, thy beds of Roses/Thy cap, thy kirtle, and thy posies/Soon break, soon wither, soon forgotten./In folly ripe, in reason rotten."
AG: See, but there you can go through. See that's the point. He's contrasting the little breaks, the little cuts. And then "Thy belt of straw and Ivy buds". And then he's got (a whole) violin.. think of it as a violin solo - "Thy gowns.. thy beds of Roses" - da-da da da-da da da-da da da da - "and thy posies/Soon break/, soon wither/, soon forgotten/ In folly ripe,/ in reason rotten." - Thy belt of straw and Ivy buds". But you have this long bowing, see? - And the same with the breath. Go on.
Student: I can't stand it like that, either of them
AG: Well, "Thy belt of straw and Ivy buds".  I'm exaggerating here, you know that.
Student: Well..
AG: Okay 
Student: I'm just kind of…  [Student resumes reading] "Thy belt of straw and Ivy buds/Thy Coral clasps and Amber studs/All these in me no means to move/To come to thee and be my love."
AG: "All these in me no means to move/To come to thee and be my love "- See, that was unbroken. After all that staccato, or what do you call that? little..
Student: Caesura?
AG: Yeah, caesura. But what do you call it when you have a series of little.. da-da da-da da-da da-dada-da da-da da-da da ?
Student 2: Spaces?
AG: Spaces? - Well, like 'Thy cap, thy kirtle, thy posies and thy gown" - chose? -what do you call that? when you have little short..
Student: Staccato?
AG: Little short bowings, or, you know, figures?, little short phrasings? Anyway, a series of short phrasings that.. What's interesting here, that series of short phrasings, then to longer phrasings about "Thy belt of straw and Ivy buds,/The coral clasps and amber studs"And then - "All these in me no means to move/To come to thee and be my love." - You've got one big long crazy pretty pretty cadenza. Okay

Student: Okay. I'm going to start at 'Thy belt of straw…."
AG: Right
Student: And, if you think… stop me, I'm enjoying it.  I'm learning more, seriously.
AG:  Well, I am too
Student: "Thy belt of straw and Ivy buds,/Thy Coral clasp and Amber studs/All these in me no means to move/To come to thee and be my love/ But could youth last, and love still breed/Had joys no date, nor age no need,/ Then these delights my mind might move/To live with thee, and be thy love."
AG: Traditionally to say - "Then these delights my mind might move - to emphasize the "might". To end , you can do this, if you can do this, then these delights my mind might move
Student: Then these delights..
AG: Yeah, "then", then, Well.. ..she's saying "if", or "had " - If  joys had no date, and if age had no need, "Then, these delights my mind might move//To live with thee, and be thy love." - It's just making sense of it, you know, the common sense of the speech. As….
Student: Thanks.

AG: When I was twelve, I ran into this poem, I thought he was a meanie. Raleigh was really mean, that was a mean answer, like  a put-down to (Marlowe) terrible! - but it's true!. And then, later on, I began to realize that maybe Marlowe was some kind ofsentimental slob!  Because this is so cutting, this is so cutting to Marlowe's pastoral sentimentality, and this is so realistic, actually. Those guys must have had fun. I mean, imagine, like, laying down a great poem like that Marlowe lyric, and then Raleigh picking up on it and writing something equally great and topping him and cutting him, and there, I guess, actually, digging each other, and, you know, showing it to their friends, and knowing how good it was.  You know, like Marlowe's "melodious birds sing madrigals" - there's  nothing as pretty as that in Raleigh - you know, the ear is not.. the ear in Marlowe, or the schmaltz ear in Marlowe - "to whose falls/Melodious birds sing Madrigals", is greater (it's like Dylan Thomas or something), it's greater than the Raleigh poem - but then the Raleigh poem is smarter, and its music is really like the..shrillest funny, funny puckered music - "Thy gowns, thy shoes, thy beds of Roses/Thy cap, thy kirtle, and thy posies//Soon break, soon wither, soon forgotten./In folly ripe..""In folly ripe" -  "in reason rotten." Imagine what Marlowe must have felt when he got that.

Student; Is it known?. Did Raleigh write that, for instance, to Marlowe or, or…? ..

AG: Well, it's "The Nymph's Reply To The Shepherd" and it's written in reply to Marlowe's"The Passionate Shepherd…"

Student: No, no, what I meant is..friends and that..So he wrote that for Marlowe without saying anything, or did he write that for a public audience, as a…..?

AG: I think they were passed around in manuscript probably.  [AG turns to Student (Pat) - (sic)] - Would you know anything about that Pat?... Probably passed around in manuscript among a … you know a  Naropa Institute or something…something like a scene here where people would be, you know playing, being playful or silly, or maybe a San Francisco Poetry Center, maybe, say Robert Duncan wold send it..has done..sent little poems like that to Jack Spicer or Robin Blaserin Vancouver. People answer each other back and forth. Like (Charles) Olson and(Robert) Creeleywriting poems back and forth. Except, rivals - more sense of rivalry. I guess, because.. judging from this.. not letting each other get away with any funny stuff.

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

"Even Such is Time" (Raleigh's Execution)

$
0
0

[The execution of Sir Walter Raleigh (1552-1618) on 29 October, 1618, at Old Palace Yard, Westminster, London (Anonymous Eighteenth-Century English engraving)]

AG: So, then..
Student: Why was (Walter) Raleigh executed?
AG: I don't know. Let's see, He went.. did go to Virginia or something, and… politics.. 
[Students brief discussion]  - (Did he stay?)
AG: No, no he went back to England…" The night before his execution" ["Even Such Is Time"], published in 1628:

Even such is Time, that takes in trust
Our youth, our joys, our all we have,
And pays us but with earth and dust;
Who in the dark and silent grave, 
When we have wander'd all our ways.
Shuts up the story of our days
But from this earth, this grave, this dust
My God shall raise me up, I trust.

"But from this earth. this grave, this dust/ My God shall raise me up, I  trust". [AG reading from the textbook] - "The poem as a whole existed only in manuscript form until 1902". 
So that was..that was, page 137, on another poem of his.

[Details on Sir Walter Raleigh's execution - see David Hume - The Execution of Sir Walter Raleigh and the events leading thereto 

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

Friday's Weekly Round-Up - 288

$
0
0


October 7, 1849 -  the death of Edgar Allan Poe. 
More Allen-Ginsberg-on-Poe postings here, here and here 

October 2017 marks the Centennial of the English poet David Gascoyne. Enitharmon, his English publisher, have taken the occasion to reprint a 1986 letter/memoir/note he wrote to Allen - See here  


October in the Railroad Earth - October is Kerouac month… (every month is Kerouac month! - but this month (this weekend) in Lowell, Massachusetts, it's the annual Lowell Celebrates Kerouac). Full details about the weekend's activities -here



Allen Ginsberg En Route to G(h)ent (from 1979)  - another rare cassette just out from Counter Culture Chronicles- "An intimate look, Allen Ginsberg on tour in 1979 (in Belgium/ Holland), featuring Peter Orlovsky,Harry HoogstratenandSteven Taylor - Allen and his party travel by bus to Ghent after a successful reading at the Leeuwerik in Eindhoven. They are joined on the trip by organizer Benn Possett,Simon Vinkenoog and a clueless journalist. Harry's beau Suze Hahn is at the wheel. Allen talks about politics, his relationship with Jack Kerouac, recites poetry, and gives a crash course on traditional and modern verse. The conversation continues at a local bookshop. We follow Allen to the concert hall and the tape concludes with a couple of songs on stage."



David S Wills has an interesting article over at Beatdom this week - Chinese Kerouac covers!
Here's one  (but he features many):





Andy Clausenisinterviewed by The Sunflower Collective on the Beats and Allen, and shouldn't be missed -here 

Jeanne Hodesh interviews Hettie Jones (on the occasion of the publication of her 
correspondence with Helene Dorn (Love H), and, similarly, shouldn't be missed - here 

Martin Scorcese's 2005 Bob Dylandocumentary, No Direction Home (featuring, amongst other things, this interview with Allen) receives a 10th anniversary digital/Blu-Ray box-set release (available in the coming weeks) - See more about that upcoming release - here 



More anniversaries - October 7, 1955, Allen performs"Howl" for the first time at the Six Gallery    (" I saw the best minds of my generation…")


Terry Gross Interview, 1994

$
0
0

















[Terry Gross. 1987 in the studio on NPR's "Fresh Air"]





"I saw the best minds of my generation destroyed by madness, starving hysterical naked, dragging themselves through the negro streets at dawn, looking for an angry fix"

TG: Allen Ginsberg, reading his now classic poem "Howl". Ginsberg was a cultural hero to several generations. He was one of the leading Beat poets in the (19)50's, in the (19)60's he was an icon of the counterculture, through the (19)70's and (19)80's, he continued to write and to explore Eastern religions. By the (19)90's, he was an inspiration to up-and-coming performance poets. Ginsberg died of liver cancer in 1997 at the age of 70. His work has since been revived through documentaries, CDs, biographies and poetry collections. When I spoke with Allen Ginsberg in 1994, we talked about his poem "Howl". It was partly inspired by his mother who had been in a mental hospital

AG: She had been there for several years and I had put her there after a breakthrough of some very violent behaviour towards her sister and a cousin she was staying with. And then I had gone out to San Francisco but the grief was very much on my mind. I had a friend, Carl Soloman, with whom I had been in a mental hospital six years before, and he was back also in Pilgrim State too. So I addressed a poem ostensibly to him but the emotions were I think were directed towards my mother, both grief and a sense of solidarity.

TG: Yeah, I know, Part 1 begins with one of your most famous lines

AG: Yeah

TG: "I saw the best minds of my generation destroyed by madness.."

AG: "..starving hysterical naked.." The original phrase was "starving mystical naked", but I figured that was a little too simple-minded, because the problem was not all the problem of society, was also the neuroses of the people, so there's a certain ironic edge to it which I don't think critics of the time realized. So I said "starving hysterical naked". So it wasn't just a one-dimensional protest for the safety of madmen, you know. It was also, like a, like, trying to give a..quick sketches of a series of cases that I drew from real life

TG: I want to move on to another poem, "America"

AG: Yeah

TG: ..which was read the same night as "Howl", at the same reading..

AG: Yes. And at the very first unveiling of that poem. It's really funny. The text in the recording differs a little from the text that I wound up with. There are a few extra lines, some very funny lines actually..  

TG: It really is very funny. You get a lot of laughs from the audience

AG: Well, it sounds like a stand-up comedy routine. That's the era, actually, of Lenny Bruce around San Francisco. He was playing, I think, at the Purple Onion, I went down to see him and watch his act, actually. But I hadn't expected that kind of reaction, and I didn't think the poem was that good (nor did (Jack) Kerouac), it was just sort of, like, a joke, like, a take-off, a send-up of America, very light-hearted, but it's done with many different voices in a kind of schizophrenic persona - you know, one minute serious, one minute faggoty, one minute desperate, one minute religious, one minute patriotic, one minute "I'm outting my queer shoulder to the wheel"  

TG: Why don't we hear the beginning of"America", as you read it in 1956 at Town Hall in Berkeley

"America, I've given you all and now I'm nothing/America two dollars and twenty-seven cents January 17, 1956. /I can't stand my own mind. /America when will we end the human war?/ Go [bleep-sic] yourself with your atom bomb/I don't feel good don't bother me./I won't write my poem till I'm in my right mind./America when will you be angelic? /When will you take off your clothes?/When will you look at yourself through the grave?/When will you be worthy of your million Trotskyites? /America why are your libraries full of tears?/ America when will you send your eggs to India? /I'm sick of your insane demands./ When can I go into the supermarket and buy what I need with my good looks?/America after all it is you and I who are perfect not the next world./ Your machinery is too much for me./ You made me want to be a saint. /There must be some other way to settle this argument.         

TG: Allen Ginsberg recorded in 1956. You must have seen yourself as a provocateur, in a way, at a very young age. I was thinkingthat you were.. you were just coming from a place that was not average, you know, your mother was mentally ill, your mother had been a Communist, you were gay, you were an intellectual, you loved poetry, you know, everything about your life kind of set you apart.

AG: But also you..but you've got to realize that by this time I had already known William Burroughs and Jack Kerouac twelve years. This is not some sudden discovery of a community or ideas..

TG: Right

AG:  ...We had had a long period of privacy and silence to ripen our art, to know each other and to amuse each other and to understand each others language and intelligence and sort of enlarge our own consciousness with the experience of others. Also I had already had some sort of natural religious experience and we had all by this time tried out some of the psychedelic drugs (in addition, on top of the natural religious experience that was without drugs) and already had traveled a bit, and so we were.... I wasn't a young kid then, I was twenty-eight years old, you know. It was quite a ripe time.

TG: Was it surprising to you to find people like Burroughs and Kerouac, who you felt this kind of friendship and aesthetic closeness with?

AG: No. It was just some sort of natural kinship that we felt, almost felt instantly, on meeting

TG: But did you expect you'd ever find that?

AG: Not exactly. But I hadn't even conceived of such a thing. I'd conceived of friends, and had had friends at high-school, but I was still in the closet. Kerouac was the first person I was able to come out of the closet to and tell him about it and actually slept with him once or twice (tho' he was primarily straight - but he was very tender toward me and saw that I was in solitary and in a great deal of confusion and anguish and he took a sort of kindly view. Burroughs was always out front and clear and lucid and intelligent (as he is now, at the age of eighty, he was so at the age of thirty-four, I think he was then). So I was lucky when I was seventeen that I met people whose genius sort of ignited my own talents to..sort of up-graded, I think, my own natural intellgence. But I'm really a student of Kerouac and of Burroughs and in some respects an imitator. I've had a steadier life and so I'm perhaps more on the scene (as of now), on the air, going around, giving readings, but I feel myself basically a pupil of Kerouac's ear and his intelligence in language and his awareness of the pronunciation of consonants

TG: When you talk about being a student of Kerouac's, I've never been able to tell how much your style of reading influenced him and how much his style of reading influenced you

AG: Oh, I think his style influenced me. It was way back in (19)47-48, I heard him read (William) Shakespeare aloud and it was such an interesting intonation that he put into the soliloquy of..Hamlet, I think, where Hamlet is sitting down on the steps saying.."What am I? ..What am I doing? ..I'm nothing but a John O'Dreams?" [" Yet I,/A dull and muddy-mettled rascal, peak/Like John-a-dreams.."] - and the way Kerouac said "John O'Dreams", it was like his mind went off into a little dream n that phrase. So i began seeing that there were intonations, differences of pitch, possible. You know, most poetry was..still is.. pronounced in a montone or duotone..way (it's like I'm talking now, in a sort of monotone) but there's possibilities in conversation where you go from, you know, a little high woodlewhen you're talking to a little baby, down to very serious heart tones, when you're talking to your grandmother in her last days on earth..

TG: Of course with your readings. I always felt that there was a sort of Hebraic intonation, even though I know that Buddhism was probably an even greater influence on you and you certainly hear that in your voice too, but there is a kind of Hebraic sound

AG: The Hebraic thing is very real. My grandfathers were rabbis and one of the most strong musical influences I ever had was hearing a recording of Sophie Braslau, a great operatic singer, singing Eli Eli (Lama Sabachthani), with a kind of melisma, I guess you would call it,  sort of,  a very beautiful way of bending the notes that's characteristic of the Hebrew melody.

TG: Now when did that start to enter your reading style?

AG: Well, certainly with "Kaddish" because I was imitating the dovening motion of Kaddish, with, you know, the sound of "Yitgadal v’yitkadash sh’mei raba b’alma di-v’ra khir'utei" -  da-da-da, da da-da, da-da-da - "Magnificent  mourned no more, marred of heart, mind behind, married dreamed, mortal changed" - That  is.. The whole rhythm of the poem has a kind of combination of Ray Charles' "I Got A Woman" -  "Yes indeed, yes indeed, yes indeed" (which I'd been hearing the morning before I wrote the poem) and a rhythm of the original Hebrew Kaddish that was still running through my mind and body. The first time I heard it, actually, a Jewish friend played it to me in dawn-light, the morning I started writing the poem

TG: And the Kaddish is the Hebrew prayer for the dead.

AG: Yes it's a kind of mass and prayer for the dead in the synagogue. And (for) aminyan, a group of elders, that can get together and moourn for the dead

TG: So I guess you didn't say the prayer when your mother died

AG: Well, I didn't know it as well, but I did try and do it actually. I wandered around San Francisco with Jack Kerouac and Philip Whalen and we went into various synagogues bu tthere was no minion so that we couldn't do it. So this is a way of making up about a year, a couple of years, later

TG: And this is a couple of years after your mother died

AG: Yeah, my mother died in (19)55. Incidentally, you know, I sent her the original.. a copy of the original manuscript of "Howl", which she received about a week before she died, and she wrote me a letter which was postmarked the day she died, which is quoted in "Kaddish", in which she said (that) she got my poems, she can't tell whether it's good or bad - that my father should judgem beacuse he's a poet, but.. judging from the.. that I should.. she'd read it obviously, and said "get married, Allen, and don't take drugs".  And she said, 
"I have the key. The key is in the window. The key is in the sunlight in the window". And then she died of stroke, I think, (within)  perhaps hours, or within twenty-four hours, of writing the letter. So I received that letter after I heard that she died. It was like a message from the Land of the Dead, so to speak

TG: Is there a particular section of Kaddish that you've had the most problem with controlling your emotion?

AG: Yeah. There's a section that begins… When I'm visiting my mother in the mental hospital for the last time and I walk in and I see that she has had a stroke, and then, suddenly, there's a break in the poem and there's kind of a lyrical rhapsody -  "Communist beauty, sit here married in the summer among daises promised/ happiness at hand..." - And then the section that ends "O beautiful Garbo of my karma". It's really a nice, exquisite, poetic passage, and it's also full of feeling,  and it's like a flash-back in the midst of tragedy to a happier day. And so there's a lot of emotion buried there from childhood. 
Also, at the very end, the section, "O mother/what have I left out?/O mother/ what have I forgotten?..".. "with your eyes/with your eyes/With your Death full of Flowers" - That has a sort of cumulative emotional build-up that's quite great

TG: I want to play an excerpt of Kaddish and, you wrote this in the late 1950's, the recording that we're going to hear was made at Brandeis University in 1964

AG: Yes

"with your eyes running naked out of the apartment, screaming into the hall/with your eyes being led away by policemen to an ambulance/with your eyes strapped down on the operating table/with your eyes with the pancreas removed/with your eayes of appendix operation/with your eyes of abortion/with your eyes of ovaries removed/with your eyes of shock/with your eyes of lobotomy.with your eyes of divorce/with your eyes of stroke/with your eyes alone/with your eyes/with your yes/ with your Death full of flowers"

TG: That's Allen Ginsberg reading an excerpt of "Kaddish" 
Your mother was institutionalized several times.

AG: Many, many times. All during my childhood I had to go out to visit her at Greystone Hospital

TG: Were you frightened by her madness?

AG: Sometimes. Sometimes sorrowed, sometimes frightened, sometimes stuck with the responsibility I  couldn't carry out as a kid, going out alone to see her alone in a mental hospital when I was twelve, thirteen, fourteen, that I was a..  or having to stay at home and take care of her while my father was at school, teaching,  and getting into crisis situations with her that I couldn't handle, actually, It kind of broke my brain, broke my spirit, to some extent.

TG: Now when you started doing hallucinogenics, like LSD, did your hallcinations ever scare you because you'd seen you r mother have hallucinations and illusions because of her mental illness?

AG: Well, no, not really. I realized that if everybody began disagreeing with me, I'd better look around twice!,  and think three times, and be pretty sure I knew what I was doing. And so I've been able to be in situations where everybody disagreed, but at the same time maintain my sanity, so to speak, by simply following my heart, really . I have as much a tendency to paranoia as anybody in the United States at this point but at least I can see its paranoia, and most people don't see their own paranoia

TG: That's interesing. So your mother's delusions actually helped you figure out what was real and what wasn't?

AG: Well, yeah, I sort of went through the mill already so I was kind of innoculated

TG: Huh

AG: Yeah, I would say that the experience of having to deal with someone who was a..sort of deluded and hallucinating (and also (hearing) voices and all) helped me deal with my own psychic disturbances and also the psychic disturbances of other people ( I seem to have a kind of tolerance, you know, "in one ear and out the other", for.. you know..like.. so that I can be with people who are qite disturbed, get disturbed myself but not so much so that I  have to turn my back, until, you know, all hope is lost.  

Walter Raleigh's "The Lie"

$
0
0
    [The Buddha teaching The Four Noble Truths. Sanskrit AstasahsrikaPrajnaparamita Sutra  manuscript, written in the Ranjana script,  Nalanda, Bihar, India, circa 700-1100 CE]

AG: I'd like to go with  (Walter Raleigh's) "The Lie" because that gets into the heavy-metal suffering - The First Noble Truth - when people really are on the verge of death and seeing life as a maya, samsara, evidence of shadow, even in Elizabethan days. So it's First Noble TruthSecond Noble Truth, suffering, transitoriness. However, the Third Noble Truthun-atman - the Buddhist notion of un-atman (no soul, emptiness, liberation from self poison) is here translated into Heaven (there's a hope of God, or there's a hope of salvation, or Christ, generally). So it's interesting to see the progression for some of them are theistic and looking for God at the end of death, and some are non-theistic and have a kind of a grandeur involved in the death, where there's no recourse. So what has he got here? - "The Lie"

"Go, Soul, the body's guest,/Upon a thankless errand;/Fear not to touch the best;/The truth shall be thy warrant" -  page 135, page 135 -  I'll start again. And I guess this must have been a song, possibility in the form of a song (tho' likely he wrote it in a tower when he was about to be killed. -  and that'd be a chance to practice the chords!)

[Beginning at approximately twenty-seven-and-a quarter minutes in  (and continuing until approximately thirty-and-three-quarter minutes in) AG reads Walter Raleigh's "The Lie" in its entirety] - 



"Go, Soul, the body's guest,/Upon a thankless errand;/Fear not to touch the best;/The truth shall be thy warrant"/Go, since I needs must die,/And give the world the lie.
"Say to the court, it glows/And shines like rotten wood; Say to the church it shows/What's good, and doth no good:/If church and court reply/Then give them both the lie.
"Tell potentates, they live /Acting by others action;/Not loved unless they give,/Not strong but by a faction; [Allen editorializes here  - "Tell potentates" - that's  (Jimmy) Carter and (Leonid) Brezhnev now" (1980)]- "/If potentates reply,/Give potentates the lie.  
"Tell men of high condition,/That manage the estate,/Their purpose is ambition,/That practice only hate./And if they once reply,/Then give them all the lie.
"Tell them that brave it most,/They beg for more by spending,/Who, in their greatest cost,/Seek nothing but commending./And if they make reply,/Then give them all the lie.
"Tell zeal it wants devotion; Tell love it is but lust;/Tell time it is but motion;/Tell flesh it is but dust./And wish them not reply,/For thou must give the lie,
"Tell age it daily wasteth;/Tell honor how it alters;/Tell beauty how she blasteth;/Tell favor how it falters./And as they shall reply/Give every one the lie.
"Tell wit how much it wrangles/In tickle points of niceness;/Tell wisdom she entangles/Herself in overwiseness./And when they do reply,/Straight  give them both the lie.
"Tell physic of her boldness;/Tell skill it is pretension;/Tell charity of coldness'/Tell law it is contention./And as they do reply,/So give them still the lie.
"Tell fortune of her blindness;/Tell nature of decay'/Tell friendship of unkindness;/Tell justice of delay./And if they will reply,/Then give them all the lie.
"Tell arts they have no soundness,/But vary by esteeming;/Tell schools they want profoundness,/And stand too much on seeming./If arts and s chools reply,/Give arts and schools the lie.
"Tell faith it's fled the city;/Tell how the country erreth;/Tell manhood shakes off pity;/Tell virtue least preferreth./And if they do reply,/Spare not to give the lie.
"So when thou hast, as I/Commanded thee, done blabbing, -/Although to give the lie/Deserves no less than stabbing, - /Stab at thee he that will,/No stab the soul can kill."

Well he's still got the line about "the soul" there..  That's pretty great construction, and sometimes dazzlingly outrageous - that thing about "Tell time it is but motion/Tell flesh it is but dust". By the time you get to there, it really is, you know, like, taking an axe to everybody's mind.. going  like, you know, like striking like.at every possible reference point and sense of reality. And absolutely real. I mean it really is. He's speaking ardor at the door of death.

[Audio for the above can be heard here, beginning at approximately twenty-five-and-three-quarter minutes in and concluding at approximately thirty-one-and-a-quarter minutes in]

"Nature That Washed Her Hands in Milk"

$
0
0



AG: [continuing with the poems of Sir Walter Raleigh] -  Then, there's some pretty snow, snow stuff - snow and milk  - page 137. A couple of… that one stanza there, one or two stanzas ,that are on .. well some of the same theme [suffering and death]. The first line of "Nature, That Washed Her Hands In Milk" - that's a real cute.. "Nature that washed her hands in milk", that's a real weird, sweet notion ((Jack) Kerouac wrote a lot of poems aboutman is existing in milk and living in lilies (sic). He has a poem that begins, "Man is existing in milk and living in lilies'. [Editorial note - from Mexico City Blues - 228th Chorus - "Praised be man, he is existing in milk/and living in lilies -/And his violin music takes place in milk/And creamy emptiness"]  So, "Nature that washed her hands in milk" (it's just funny to write about milk, you know, pretty poems about milk and snow and fleece andquiet lambs, a sort of poetic prettiness, sort of..  So, toward the end, or mid.. - let's see, one, two, three, fourth stanza:

"But time (which nature doth despise,/And rudely gives her love the lie,/Makes hope a fool and sorrow wise)/His hands do neither wash nor dry;/But being made of steel and rust/Turns snow and silk and milk to dust."

That's really pretty - "turn snow and silk and milk to dust - good sound - just simple words "snow" and "silk" - "snow and silk and milk to dust" - "snow and silk and milk" - it's good, just a good.. good piece of phrasing there - "The light, the belly, lips, and breath" - that's a nice "belly" too, for, you know, one of those little enumerations  - "The light, the belly, lips, and breath,/He dims, discolors, and destroys"…"Yea, time doth dull each lively wit/And dries all wantoness with it." -  funny speed-up there - "And dries all wantoness with it."  

Okay, I just wanted to get that little piece rolling in.

[Audio of the above can be heard  herebeginning at approximatelythirty-one-and-a-quarter minutes in, and concluding at approximately thirty-three-and-a-quarter minutes in]

Comprehensive Reading

$
0
0
                                                                   [Edmund Spenser (1552-1599)]

AG: Edmund Spenseris a colossus, and he's so big that I think we'll go around him Except, maybe, one or two, one or two little short things - the Epithalamion - a big Leviathan poem here, marriage poem. What I would suggest is that you go home and read it. It's got a great stanza form, it's got a great rhythmic form. So what we might do (here) is read just the first and last stanzas, just to get the stanzaic form get a taste..  Page 162 - I'm sorry..   

Well, he's very brilliant in, you know what I mean, an enormity in every direction -"The Faerie Queene" is really worth reading (you know, I have never read it all through - because that was one of my life-time ambitions - to sit down and read through The Faerie Queen - in the last couple of years I read through all of Milton and all of Blake and I think my next big project is sit down and read all through Spenser)

One of the things I would like to do, incidentally, in terms of what I'd like to do for teaching, that I missed in my education, was reading all through Chaucer (because I never did study Chaucerian English, because I never wanted to read it, so I got stumbledand all through Spenser (which I haven't done).  Then, the big epic pieces - Paradise Lost, I finally read a couple of years, aloud, all through, beginning to end (which Gregory Corso did in the "Fifties - he and his girlfriend read the whole thing aloud - it's easy - one… what is it?..twelve books or something?, one book a night, fifteen or twenty minutes, he read Paradise Lost aloud). I wanted to read all through Blake, and then about three years ago, I sat down and spent two weeks, throughout the day, doing nothing, in Baltimore, was in Baltimore, got an apartment, with a friend, and the two of us sat there and just read Blake for..it was about twelve, thirteen days. In the middle of that I wrote a long poem called "The Contest of Bards"thinking of  Blake's meter. I'd never read all through..the next thing that would be to do..  that I would like to do would be to read all through
Wordsworth (all of "The Excursion") and all through Byron (that I've never done) and all through Shelley (that I've never) and all through Keats - there's a great way of dealing with a poet, or dealing with poetry - you take one poet and read everything that he wrote so you get the total immersion in one great, brilliant mind-nut. I did that with Yeats when I was younger (read everything that Yeats wrote)  And everything Williams and everything Pound wrote - and everything Eliot wrote. Some poets, I try to read every poem.. I guess the one poet I did in college was Yeats, beginning to end, everything I could get my hands on - Yeats, Rimbaud, people like that. But Spenser was always too big a mountain to climb, or I never had the time, so I just read in and out of Spenser. I guess that's pretty nearly almost-everybody's experience one way or the other (like Bunting mentions he can't stand reading masques - M-A-S-Q-U-E - the masque form, found it tedious)

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

Edmund Spenser (Epithalamion)

$
0
0



AG on early English poetry continues

AG: Well, [Edmund Spenser] I think I'll read one stanza (the first and last stanza of the Epithalamion)  just to get to swing through one long stanza, strophe, or whatever you call it.

" Ye learned sisters which have oftentimes
Beene to me aydinge, others to adorne;
Whom you thought worthy of your gracefull rymes,
That even the greatest did not greatly scorne
To heare theyr names sung in your simple layes,
But joyed in theyre prayse.
And when ye liste your owne mishaps to mourne,
Which death, or love, or fortune's wreck did rayse
Your string could soon to sadder tenor turne
And teach the woods and waters to lament 
Your doleful dreriment.
Now lay those sorrowfull complaints aside
And having all your heads with girland crownd,
Helpe me mine owne loves prayses to resound,
Ne let the same of any be enviede:
So Orpheus did for his owne bride,
So I unto myself alone will sing,
The woods shall to me answer and my Eccho ring." 
  
And the next to the last  ((page) 170 - 167, 167 mid-page) - 

"Ah when will this long weary day have end,
And lende me leave to come unto my love?
How slowly do the houres theyr numbers spend?
How slowly does sad Time his feathers move?
Hast thee O fayrest Planet to thy home
Within the Westerne fome:
Thy tyred steedes long since have need of rest.
Long though it be, at last I see it gloom,
And the bright evening star with golden crest
Appeare out of the East.
Fayre child of beauty, glorious lampe of  love
That all the host of heaven in rankes doost lead, 
And guydest lovers through the nightes dread,
How chearfully thou lookest from above,
And seems to laugh atweene thy twinkling light
As joying in the sight 
Of these glad many which for joy doe sing,
That all the woods them answer and their echo ring."   
  
"And ye high heavens.." ((page) 170) - 

"And ye high heavens, the temple of the gods.
In which a thousand torches flaming bright
Doe burne, that to us wretched earthy clods.
In dreadful darkness lend desired light;
And all ye powers which in the same remayne,
More than we men can fayne,
Poure out your blessings on us plentiously,
And happy influence upon us raine,
That we may raise a large posterity,
Which from the earth, which they may long possesse,
With lasting happinesse,
Up to your haughty pallaces may mount,
And for the guerdon of theyr glorious merit
May heavenly tabernacles there inherit,
Of blessed Saints for to increase the count,
So let us rest, sweet love, in hope of this,
And cease till then our timely joyes to sing,
The woods no more us answer, nor our eccho ring.

Song made in lieu of many ornaments,
With which my love should duly have bene dect,
Which cutting off through hasty accidents,
Ye would not stay your dew time to expect,
But promist both to recompens,
Be unto her a goodly ornament.
And for short time an endlesse moniment."         

It's like ..really good, long, symphonic cellos - long.. long cello-like breaths. 

Okay I just wanted to get the sound of it. 

to be continued

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

Bob Dylan Wins The Nobel Prize in Literature

$
0
0
    [Bob Dylan & Allen Ginsberg - "The Music Lesson" - Photograph by Elsa Dorfman - © Elsa Dorfman] 

The Nobel Prize in Literature for 2016 was awarded today to Bob Dylan
"for having created new poetic expressions within the great American song tradition".
We're stunned and delighted and thrilled.

Sara Danius, permanent secretary of the Swedish Academy - "He (Dylan's) 's a great poet in the English-speaking tradition and he's a wonderful sampler. A very original sampler. He embodies the tradition and for 54 years now he's been at it, reinventing himself constantly, creating a new identity"

"..if you look far back you discover Homer and Sappho. They wrote poetic texts that were meant to be listened to, performed, often together with instruments and it's the same way with Bob Dylan. We still read Homer and Sappho and we enjoy it. Same thing wih Bob Dylan - he can be read and should be read. And he is a great poet in the grand English tradition."

Here is the announcement of the award in today's New York Times
and here in the LA Times
here in the Washington Post 
here on the BBC
here on NPR
here in The Guardian 

here's Reuters ""greatest living poet") 
here's AP

Here's Expecting Rain - the source for all Dylan information

Plenty more encomiums to follow.

Friday's Weekly Round-Up - 289

$
0
0

                                                                         [Bob Dylan]
                                        [Bob Dylan and Allen Ginsberg, San Francisco, 1965, photo c. Larry Keenan]

Better late than never. Allen's letter to the Nobel Committee, from November 20, 1996 (sic):

"Dear Members of the Swedish Academy,  For the Nobel Prize in Literature I propose 
Bob Dylan. Bob Dylan is a American Bard & minstrel of XX Century, whose words have influenced many generations throughout the world. He deserves a Nobel Prize in recognition of his mighty & universal poetic powers"
Sincerely, 
Allen Ginsberg, Poet, Member of American Academy of Arts and Letters, Co-Director Jack Kerouac School of Disembodied Poetics, Naropa Institute, Distinguished Professor of English,Brooklyn College." 



Yesterday's announcement of Bob Dylan winning the Nobel Prize still has us reeling.

Well, on to other things...


                   [Jack Kerouac - Satori in Paris - cover of the UK (Quartet publishers) 1977 paperback edition]

Lowell Celebrates Kerouac - Rick Dale of The Daily Beat on the annual Jack Kerouac gathering last weekend at Lowell
And here's a report from the local paper, The Lowell Sun
Satori in Paris was the book of focus this year (plus a good deal of attention also being given to the new book, newly-published posthumous work, from the Library of AmericaThe Unknown Kerouac
Robert Everett-Greenreports on the connecting thread between these books - the French connection 
(On Kerouac and "the French connection" - see alsohere
& here  (Cher Ti-Jean parle en français)



Allen Ginsberg in China - Last week we spotlighted David S Wills post on Jack Kerouac Chinese book-covers. Today we alert you to his follow-up - Allen Ginsberg's Chinese publication 




Allen, the teacher - Ed Foster," poet, publisher, and literary historian" (from a recently-published interview with writer, Rob Couteau):

                                                    [Ed Foster - "Self Portrait in a Bathroom Mirror"]

"I remember once, Allen wanted to attend a faculty meeting at my school [Stevens Institute of Technology]. He was just curious: “What’s a faculty meeting like?” “Allen, they’re boring. Like all meetings, they’re terribly boring!” But he insisted, and he came over, with Ted (Berrigan). So, I introduced him to the then president, who introduced him to rest of the people there: “We’re very honored today, the great poet, Allen Ginsberg, is here with us,” and so on. And then, we go into business, the business of the meeting. 

Allen falls asleep. Instantly. That’s the best thing you could possibly make of any meeting anywhere at any time – just fall asleep! Meetings are inhuman, they’re awful. In the seven or eight years that I was the director for the humanities and social sciences at my school, I never held a meeting. Not one."

and, again: 
"I recall that, when I went out to Naropa to teach, Allen knocked on the door just moments after I arrived and took me to the local grocery store to buy supplies – but only organic! – and chided me when I chose a tomato that didn’t meet that standard!"
"..He was the most generous, open, and helpful of people."

                                                                        [Nathaniel Mackey]

Nate Mackey in Perimeter 4, another recent publication, with more of Allen-teaching recollection:   

"It's funny that.. when I met Allen Ginsberg, one of the writers whose anti-academicism had given me pause, when I really got a chance to sit down and hang out with him—I guess it would've been the first year I went to teach at Naropa for a week in the summer, so that would've been 1991, something like that—a lot of what he talked to me about—maybe it was because he saw me as this guy who'd been in academia all those years and was looking for a common place of connection—a lot of what he talked about was teaching atBrooklyn College. 
He was proudly announcing that he'd gotten tenure. [laughter] I was trying to get him to tell me stories about the people I was interested in. "What was (Robert) Duncan like? What was (Lawrence) Ferlinghetti like back in those days?" That kind of stuff. "Who were the musicians you were hanging out with? I hear you're a friend ofDon Cherry." He'd talk about that too, but he was quite proud of his syllabi. He was telling me about what he was teaching, the reading series he ran, who he was inviting. and stuff like that. He seemed to be genuinely delighted with the whole teaching project, both at Naropa and (also) at Brooklyn College".


True Confessions – More true confessions -  Somehow we missed this last month in Bustle
(and, not entirely unrelated, from a little bit further back - this)

Bob Dylan, Nobel Laureate!  -  Yes! - Allen would've been so pleased!




Allen Ginsberg in London 1965

$
0
0

                ["Allen Ginsberg Reading At Better Books", LP cover, 1965 - Illustration by Alan Aldridge]

A rare and important Allen Ginsberg reading in London - his famous reading in the basement of Miles' Better Booksbookshop - in the Spring of 1965

"Recorded on a Ferrograph (reel-to-reel tape-recorder) byIan Sommerville"

"The reading originated after Ed Sanders provided Ginsberg with Miles' name as manager of Better Books, a connection he followed up on his arrival in London from Prague in May 1965. The impromptu reading, though unannounced, was packed (the audience included Donovan, (who provided the pre-reading entertainment) and Andy Warhol, Gerard Malanga andEdie Sedgwick, (in town on their way to Rome), and its success provided the catalyst for the upcoming International Poetry Incarnation  (Albert Hall poetry reading)." 

From the sleeve-notes (of the limited edition LP, released 1965 - from which the following recordings were taken);

"Many of the poems Allen Ginsberg read at Better Books were introduced by him with comments on their nature. He introduced the reading by saying; "What I will be reading here tonight, since most everybody here is an editor of a little magazine or a friend, is caviar in a sense, which is to say writing which is not published, and which I do not know whether or not to publish because I do not know whether or not they are concerned. Also some poems written in the last five years and some written in the last few months in Czechoslovakiaand Poland."



"The first four selections on side one  ["Who Will Take Over The Universe?" - "From Journals" - "Women" - "From Journals"] - "Most of these I'll be reading are writings from journals and so are not poems. they are writings, with the faults of writings rather than the perfection of poesy"]  


"From Journals" continues ("Now I am brooding on a pillow with my arm resting on my head..") -  "Vulture Peak"["Vulture Peak is in India near where Buddha pronounced The Diamond Sutra and the Flower Sermon"]   - "Poem Around The Greek Jukeboxes" [Paerama is a small village outside of Piraeus, near Athens with a great many jukeboxes and Greek boys dancing to the jukeboxes, mostly Bazouki music, which is the contemporary music of Greece"] - "The Olympics" ["There's a bugbeat group in Prague called The Olympics…in Czechoslovakia, like in London, there are young beautiful blonde kids, with long, long hair down to their shoulders and gangs of screaming twelve-year-old teenagers that come to theaters in the centre of Pragie, and whistle and shriek and go into fainting ecstasies listening to them. This is a poem written listening to the Olympics, which also means Olympians or Gods, as you know."]



[Side two - "Mantra"- "Music of the Spheres" - "Morning"- "Why is God Love. Jack?" - "The Moment Return" -  ["The tracks (here) on side two had no introductions except the Mantra that opened the second half of the reading. This Allen called "an example of Tibetan concrete poetry""]  

Still to come - the last two tracks on side two - "The Spectre" and  (Kral Majales) "King of May" 



Sunday October 16 - Oscar Wilde's Birthday

$
0
0
                                            [Oscar Wilde and Lord Alfred Douglas ("Bosie")]

Allen (from a letter to the author (M.G.Roy) and the editors of the "Beat Generation" Monarch Notes, December 5, 1966 ("Dear Messrs Roy, Cooperman, Leavitt and Violi.."))

 "...Accusations of "phony" madness against Oscar Wilde,whom I find an immensely sympathetic figure of letters, run through the book, as if it were important to the subject at hand.  It isn't."

born October 16, 1854, in Dublin, Ireland. 
Today - and a day we celebrate - is Oscar Wilde's birthday.



We know it's been since proven a fraud but we're happy to share this wax-cylinder recording (from 1900) of  purportedly the authentic voice of Oscar Wilde reading from
"The Ballad of Reading Gaol" (Reading Gaol, as we previously reported, is currently hosting Inside - Artists and Writers in Reading Prison, Sunday readings from Wilde, through to the end of the month)  


  

Six Silver Poets

$
0
0

                                                                          [Fulke Greville]

                                                                  [Sir Philip Sidney]     

 [George Peele]


[Robert Southwell]

[ Samuel Daniel] 

                                                           [Michael Drayton]


AG: For the next session can you read Fulke Greville.
Student: What page is that?
AG: Fulke Greville.  (And)..Well, page 171, some of (Sir Philip) Sidney's SonnetsSidney's Sonnets (176, 77)
Song by George Peele on page 183, Robert Southwell"The Burning Babe" on page 186, Samuel Daniel, "Care Charmer Sleep", Sonnet, (page 187), "Are There Shadows?" (page 190) and Michael Drayton's Sonnet (on page 195), Number 61  ("Since there's no help, come, let us kiss and part") -   
Is that too much for you to…Shall I repeat that?  Is that too confusing?
Student: No
A: So, Fulke Greville, Sidney…check out Fulke Greville Sidney, Peele, Southwell, Daniel, Drayton…...

[Audio for the above can be heard  here, beginning at approximately forty-one-and-a-quarter minutes in and concluding at approximately forty-two-and-a-half minutes in]

Vital Native American Eco-Resistance (1980 & 2016)

$
0
0


                   [Native American-Led Protests Against Dakota Access Oil Pipeline,  October 2016]

Some sort of synchronicity. We had scheduled this post (Allen at Naropa in 1980, announcing a Native American-led protest against the sacrilege and environmental disaster of the proposal for South Dakota uranium mining), prior to the breaking news of Amy Goodman's arrest (and yesterday's acquittal) over reporting on demonstrations against the proposed Dakota Access Pipeline.



For more on the Pipeline and forDemocracy Now's full coverage of the issue - see here

                               [Amy Goodman, hosting Democracy Now! from Mandan, North Dakota]

Amy  isn't the only high-profile journalist who has been arrested.  Deia Schlosberg, documentary filmmaker, is currently facing 45 years in prison on three felony charges. More on her story - here


So, to the posting:



Briefly detouring from his Naropa class on "Basic Poetics" (the English poetic tradition) - "we've gotten so discontinuous",  Allen announces today then (February 1980) -  contemporary activity regarding local activism, specifically by the Native American movement against the encroachment and sacrilege of the mining companies

AG:  There's apparently the beginning of a very interesting American Indian conference (with American Indian [Native American] poets and prophets, and Hopi Orayvi people). There's one going on now [February, 1980], actually, I think, one of the Hopi leaders is now giving a little prophetic talk to the CU (Colorado University) students, eight (o'clock) to nine (o'clock) tonight, and they'll be…it'll be going on all week. You can get.. you can get information at the Oyate Indian club at the university (University Memorial Center, University of Colorado, Boulder - Room 183C ) - I don't have a phone number for them. I got a notice from the Black Hills Alliance national office, and also from a local, I think, American Indian Defence Rights notice. But, on… this'll be going on all week, and in the evenings, and this Thursday coming, when we were going to have our class, from seven to midnight (or seven  to eleven), there's going to be a lot of interesting stuff at the Glenn Miller Ballroom.  Simon Ortiz, who's a West Coast American Indian poet, is going to be giving a reading, just at the same time as this class. So, if you're not here, it'll be alright if you're going over to (hear) Simon Ortiz because he's really interesting (but I'll be here for the class anyway, because I… there's something.. we've gotten so discontinuous that I'd like to continue this.) There'll be other poets, Indian folk-singers, that night after our class - Robert Nakademian (sic)  and Paul Ortega  But this is something that's going on from seven to eleven at the UMC Ballroom on Thursday. Do you have a notice for that somewhere?


                                                                            [Simon Ortiz]

Student: Yeah, I just got one here.
AG: Yeah, what does it say?
Student: Ten to eleven on Thursday night there's….. it doesn't say where.. oh, at the Glenn Miller ballroom.
AG: It's the Glenn Miller Ballroom from seven to eleven, all evening.
Student: Phone number?
AG: Is there a phone nunber there to check things out?
Student: No… I don't think so.
Student 2: It should post that at Naropa
AG: Yeah.
Student: If you do go there, you'll see Oyate.. during the afternoon, before three o'clock poetry class, I'm pretty sure they have a booth there..
AG: You're in contact with that scene?... Where did you get that? Is that in the paper?
Student: Yeah
AG: Which
StudentColorado Review
AG: Uh-huh - Yeah, it looks interesting. There'll be things on… Tonight it's  Thomas Banyacya, who's from, I think, from,  a Hopi elder from the Third Mesaor something like that. I've met him somewhere along the line, a couple of years ago. And then, this Friday is a sort of a climax, there's stuff about..  see what they're trying to do is take off the Indian Black Hills, and, apparently American Indian territory has most of the uranium in the United States. So it's like this double-, triple-, quadruple- whammy symbolic rape, (not only, you know,  getting the poisoned metals out of the ground but also taking it out of the sacred territories, so, it's like apocalyptically, symbolically, fitting. And so, (on) Friday, they'll have a whole bunch of stuff on  energy development and how it affects people, with representatives of the American Indian Environmental Council, Alburquerque (all sorts of local groups coming in). And then March 1st, there's going to be a….1980 Black Hills International Survival Gathering  - "Members of the Black Hills Alliance National Office will meet in the Denver Boulder area. There is a phone.. yeah.. Three White Mountain Alliance (449-9487),  if anybody's interested in that.
Student: 449-9487?
AG: 449-9487  449-9487  0r 469-8630,  from nine a.m to six pm -  "The purpose of the meeting is to establish a support network from Colorado for the Black Hills gathering and Mount Taylor action" (I guess Mount Taylor action is Southern Colorado? -  or New Mexico? - New Mexico - Mount Taylor, New Mexico, was right south of Los Alamos, which is a big..   I flew over that last year, took a plane, and it's this giant desert area. I don't know if you've ever been down there, but that, it's this vast desert area in the mid…. right in the middle of New Mexico, and then, as you fly over, you see, all these uranium mines owned by Kerr-McGee, and, I guess, Exxonor whoever. And with all their poisonous-looking green tailings going down into the streams and into big tailing ponds, that is the detritus for the mining building up in river water beds and river courses. So, apparently, there's a whole series of mobilizations of protests on that. And I think there's a 1980 Black Hills Gathering, July 18th-27th in Black Hills, South Dakota.
I'll pass this (announcement) around if anybody wants to see it:



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

A 1980 "Teach-In"

$
0
0

                     [The format of the "Teach-In", derived from 'Sixties protests against the Vietnam War]

AG: And theother thing, simultaneously is a heating up of all the war protest groups - the Alliance To Resist War and Violence [sic], and there's now a classic "teach-in" going to take place (like in the 'Sixties - "teach ins"?). There's another "Teach-in" coming up, from Thursday on, Thursday and Friday, big "teach-in" at C.U. (Colorado University) . Simultaneous with Simon Ortega [sic -  Editorial note - confusing him with Daniel Ortega, Allen means Simon Ortiz], (no, just before Simon Ortega), that's going on simultaneously. So they'll be a film - The Intelligence Network, "a documentary of  U.S. Intelligence Agencies abuses", teachings on the Iranian Revolution, teachings on American economical and political crisis ) (that's on Thursday) Friday, films and a big teach-in on Afghanistan(which should be really interesting, if you want to get the other side, because there's probably some huge other side that we haven't heard yet [sic]). Then, eight to ten, "Oil Imperialism in the Middle East" (These are all sort of professors at C.U. or Iranian intellectuals or Afghanistani specialists.) Saturday,"U.S. Foreign Policy in the Middle East" in the morning, "Causes of World War III", from nine to eleven, "Registration for Draft and the Lessons of Vietnam", from eleven to twelve-thirty (so that'll be, like, a draft-counseling "t-in", teach-in), and then a plenary session in the afternoon "What To Do?" and a social get-together at the churches... So I'll put that up somewhere at Naropa.
So.. wanted to take care ofboth of these (announcements). It's really interesting, like, slowly things are cruising back to normal ...protest

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

Viewing all 1329 articles
Browse latest View live