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Showing posts with label <b>Beat Poetry</b>. <a href="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/">Show all posts</a>
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<div class='status-msg-hidden'>Showing posts with label <b>Beat Poetry</b>. <a href="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/">Show all posts</a></div>
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<a href="http://www.larryfinkphotography.com/"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Fink</span></a>
&amp; <a href="http://books.wwnorton.com/books/Author.aspx?ID=5661"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Gerald</span></a>
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talking on<br style="mso-special-character: line-break;" />
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<a href="http://www.powerhousebooks.com/?p=17484"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Beats</span></a></i></b><i style="mso-bidi-font-style: normal;"><br style="mso-special-character: line-break;" />
<br style="mso-special-character: line-break;" />
</i></span></div>
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</span></i><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 12.0pt; line-height: 115%; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">@ <a href="http://www.strandbooks.com/"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">The Strand</span></a> in NYC</span></div>
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<h2 class='date-header'><span>Tuesday, January 28, 2014</span></h2>

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<a href="//3.bp.blogspot.com/-_ZLZRWQJnCo/Us9TBeQhSKI/AAAAAAAADhc/SyXS1ummyUg/s1600/Many%2BAllen%2BGinsbergs.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="388" src="//3.bp.blogspot.com/-_ZLZRWQJnCo/Us9TBeQhSKI/AAAAAAAADhc/SyXS1ummyUg/s1600/Many%2BAllen%2BGinsbergs.jpg" width="400"></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><i><span style="font-size: xx-small;">Many Allen Ginsbergs - only the middle row is real</span></i></span></div>
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</div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: 24.0pt;">
<span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%;">In
2008, the late Carolyn Cassady, one-time wife of Neal &#8211; Jack Kerouac&#8217;s
trickster muse &#8211; revealed some lingering bitterness in an interview when she
remarked that as &#8220;far as I&#39;m concerned, the Beat Generation was something made
up by the media and Allen Ginsberg.&quot; That&#8217;s an unfair dig at Ginsberg.
When Lawrence Ferlinghetti &amp; Shig Murao were prosecuted for the sale of <i style="mso-bidi-font-style: normal;">Howl, </i>Ginsberg &#8211; who became a household
name from the resulting media coverage &#8211; stayed as far away from the trial as
he could. It would have been a far better &#8211; even obvious &#8211; career move for him
to have been sat in the front row of the courtroom in support of Ferlinghetti
&amp; Murao. Instead, he stayed as far away as he could &amp;, when the chance
presented itself, didn&#8217;t take a victory lap after the City Lights publisher
&amp; his book seller were vindicated, but instead hightailed it to India. </span></div>
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<span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%;">This
was well before Ginsberg got to watch fame, alcohol &amp; the media celebrity
machine tear Jack Kerouac limb from limb, a painful public process that led to the
novelist&#8217;s demise first as a writer &amp; then as a person. Indeed, it might
not have been until Ginsberg&#8217;s stint as Kraj Mahales, the King of the May, in
1965 Czechoslovakia &#8211; to which Ginsberg had been deported from Cuba of all
places after protesting Castro&#8217;s persecution of gays &#8211; that the author of <i style="mso-bidi-font-style: normal;">Howl</i> seemed fully to appreciate his own
potential as a symbolic public figure. But even then other poets rolled their
eyes &amp; looked askance. Jack Spicer&#8217;s very last poem, written just weeks
after Ginsberg expulsion from Czechoslovakia, accuses Ginsberg of not
understanding that &#8220;people are starving.&#8221;</span></div>
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<span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%;">That
was 48 years ago &amp;, if anything, the mythos of Ginsberg &amp; radical beat
culture as a forerunner of all things liberational has intensified over the
past half century. In a five-day span late last fall, I saw three separate
motion pictures, either current or very recent, that each included Ginsberg:</span></div>
<br>
<ul>
<li><span style="color: black; font-family: Symbol; font-size: 10.0pt; line-height: 150%; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol; mso-themecolor: text1;"><span style="mso-list: Ignore;"><span style="font: 7.0pt &quot;Times New Roman&quot;;"></span></span></span><span style="color: black; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%; mso-themecolor: text1;">John
Krokidas&#8217; </span><a href="http://www.imdb.com/title/tt1311071/?ref_=nv_sr_1"><i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%; mso-themecolor: text1;">Kill
Your Darlings</span></i></a><i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%; mso-themecolor: text1;">, </span></i><span style="color: black; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%; mso-themecolor: text1;">starring Daniel Radcliffe as the future author of <i style="mso-bidi-font-style: normal;">Howl</i>, Jack Huston as Kerouac &amp; Ben Foster as William S.
Burroughs, which may still be in some theaters<br style="mso-special-character: line-break;">
<br style="mso-special-character: line-break;">
</span></li>
<li><span style="color: black; font-family: Symbol; font-size: 10.0pt; line-height: 150%; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol; mso-themecolor: text1;"><span style="mso-list: Ignore;"><span style="font: 7.0pt &quot;Times New Roman&quot;;"></span></span></span><span style="color: black; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%; mso-themecolor: text1;">Walter
Salles&#8217; </span><a href="http://www.imdb.com/title/tt0337692/?ref_=nv_sr_1"><i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%; mso-themecolor: text1;">On the
Road</span></i></a><i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%; mso-themecolor: text1;">, </span></i><span style="color: black; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%; mso-themecolor: text1;">an attempt to contain Kerouac&#8217;s sprawling autobiographical novel as an
intelligible film narrative starring Sam Riley as Sal Paradise (Jack Kerouac),
Tom Sturridge (like Radcliffe, a British actor) as Carlo Marx (Ginsberg) &amp;
Viggo Mortensen as (as Bull Lee, Burroughs), relatively new to the Netflix
&amp; DVD round after a modest theater run<br style="mso-special-character: line-break;">
<br style="mso-special-character: line-break;">
</span></li>
<li>

<span style="color: black; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%; mso-themecolor: text1;">Robert
McTavish&#8217;s documentary, </span><a href="http://paulenelson.com/2013/03/23/line-has-shattered-van-po-conf/"><i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%; mso-themecolor: text1;">The
Line Has Shattered</span></i></a><i style="mso-bidi-font-style: normal;"><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%;">, </span></i><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%;">recounting
the 1963 Vancouver Poetry Conference, during which 48 &#8220;students&#8221; took seminars
&amp; participated in readings over three weeks from Allen Ginsberg, Charles
Olson, Robert Creeley, Denise Levertov &amp; Margaret Avison &#8211; this film is
still rolling out via the art film / festival circuit </span></li>
</ul>
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<span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 10.0pt; line-height: 150%;">Ginsberg&#8217;s
stature on the curious fulcrum between public intellectual &amp; public
anti-intellectual is worth noting. In addition to Radcliffe &amp; Sturridge,
Ginsberg has also been portrayed by Roger Massih, Wade Williams, James Franco,
Charley Rossman, Hank Azaria, Yehuda Duenyas, David Cross, Tim Hickey, Jon
Schwartz, Ron Livingston, Bill Willens, John Turturro, Richard Cotovsky, David
Markey, Ron Rifkin, &amp; George Netesky. David Cross, who played Ginsberg in
in the Dylan anti-biopic <i style="mso-bidi-font-style: normal;">I&#8217;m Not There, </i>plays
Allen&#8217;s father Louis in <i style="mso-bidi-font-style: normal;">Kill Your
Darlings.</i>&#185;</span></div>
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<h2 class='date-header'><span>Friday, March 30, 2012</span></h2>

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<p class=MsoPlainText align=center style='margin-bottom:10.0pt;text-align:center'><iframe width="640" height="360" src="//www.youtube.com/embed/QVIFaQkFwPE?rel=0" frameborder="0" allowfullscreen></iframe></p>
<p class=MsoNormal><a href="http://www.thebeathotelmovie.com/"><i style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;line-height: 115%;font-family:"Arial","sans-serif";color:#0D0D0D;mso-themecolor:text1; mso-themetint:242'>The Beat Hotel</span></i></a><i style='mso-bidi-font-style: normal'><span style='font-size:10.0pt;line-height:115%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>, </span></i><span style='font-size:10.0pt;line-height:115%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>which<i style='mso-bidi-font-style: normal'> </i>begins a weeklong run at </span><a href="http://www.cinemavillage.com/chc/cv/show_movie.asp?movieid=2417"><span style='font-size:10.0pt;line-height:115%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>Cinema Village</span></a><span style='font-size:10.0pt;line-height:115%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'> in New York tonight, is a charming, if imperfectly intimate, documentary about an important and too-little-understood chapter in American letters, the convergence of all the major Beat writers save for Jack Kerouac in Paris between 1957 &amp; 1959. It was at </span><a href="//maps.google.com/maps?q=9+Rue+G%C3%AEt-le-C%C5%93ur,+Paris,+France&amp;hl=en&amp;ie=UTF8&amp;ll=48.855539,2.342877&amp;spn=0.007158,0.01869&amp;sll=40.047444,-75.478178&amp;sspn=0.008328,0.01869&amp;oq=9+Rue+G%C3%AEt-le-C%C5%93ur+&amp;hnear=9+Rue+G%C3%AEt-le-C%C5%93ur,+75006+Paris,+%C3%8Ele-de-France,+France&amp;t=m&amp;z=16"><span style='font-size:10.0pt;line-height:115%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>9 Rue <span class=SpellE>Gît</span>-le-<span class=SpellE>Cœur</span></span></a><span style='font-size:10.0pt;line-height: 115%;font-family:"Arial","sans-serif";color:#0D0D0D;mso-themecolor:text1; mso-themetint:242'> on the Left Bank that Allen Ginsberg composed <i style='mso-bidi-font-style:normal'>Kaddish, </i>Gregory Corso composed <i style='mso-bidi-font-style:normal'>Bomb, </i>William Burroughs completed <i style='mso-bidi-font-style:normal'>Naked Lunch </i>&amp; <span class=SpellE>Brion</span> <span class=SpellE>Gysin</span> built his </span><a href="http://en.wikipedia.org/wiki/Dreamachine"><span class=SpellE><span style='font-size:10.0pt;line-height:115%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>Dreamachine</span></span></a><span style='font-size:10.0pt;line-height:115%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'> &amp; demonstrated the use of cut-ups, a literary collage device that he appears to have stumbled across independently of Bob Cobbing&#8217;s earlier work, and which Burroughs would make his signature literary tool. Also living there at the time were Peter Orlovsky, Harold Norse &amp; Ian <span class=SpellE>Sommerville</span>, quite a gathering for a 42-room residence. <o:p></o:p></span></p>  <p class=MsoNormal><a href="http://www.imdb.com/title/tt1959550/fullcredits#cast"><span style='font-size:10.0pt;line-height:115%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>Directed</span></a><span style='font-size:10.0pt;line-height:115%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'> by all-around-renaissance man </span><a href="http://www.thebeathotelmovie.com/filmmakers"><span style='font-size:10.0pt; line-height:115%;font-family:"Arial","sans-serif";color:#0D0D0D;mso-themecolor: text1;mso-themetint:242'>Alan <span class=SpellE>Govenar</span></span></a><span style='font-size:10.0pt;line-height:115%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>, the film functions by pulling together interviews with a number of former residents of the hotel, including photographer Harold Chapman, Cyclops Lester, artist Eliot <span class=SpellE>Rudie</span>, designer-musician Peter Golding &amp; Jean-Jacques <span class=SpellE>Lebel</span>, making heavy (and generally felicitous) use of Chapman&#8217;s photos &amp; <span class=SpellE>Rudie&#8217;s</span> artwork, as well as some klutzy dramatic re-enactments (the only one that is really needed is of Bill Burroughs&#8217; &#8220;disappearing&#8221; trick), as well as commentary from some of the standard Beat scholars<span style='mso-spacerun:yes'>  </span>such as Barry Miles &amp; Regina <span class=SpellE>Weinreich</span>. <o:p></o:p></span></p>  <p class=MsoNormal><span style='font-size:10.0pt;line-height:115%;font-family: "Arial","sans-serif";color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>As a retelling of a familiar story, </span><a href="http://en.wikipedia.org/wiki/Beat_Hotel"><i style='mso-bidi-font-style: normal'><span style='font-size:10.0pt;line-height:115%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>The Beat Hotel</span></i></a><span style='font-size:10.0pt;line-height:115%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'> wins points for not belaboring the larger beat narrative &amp; honing in on what its key figures really know, which was &amp; is their experiences sharing the same small establishment run by Madam <span class=SpellE>Rachou</span> &amp; containing this wealth of creative energy. When it ventures much outside this range, its reliability as narrative becomes more questionable &#8211; </span><a href="http://www.allenginsberg.org/uploads/images/city%20lights%20group.jpg"><span style='font-size:10.0pt;line-height:115%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>Neal Cassady</span></a><span style='font-size:10.0pt;line-height:115%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'> is <i>twice</i> identified in the photograph linked to his name as Jack Kerouac. <o:p></o:p></span></p>  <p class=MsoNormal><span style='font-size:10.0pt;line-height:115%;font-family: "Arial","sans-serif";color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>Like so much work around the Beats &#8211; Beat scholars must be the <span class=SpellE>ufologists</span> of literary criticism &#8211; there are a lot of claims here about the revolutionary nature of these geniuses &amp; very little actual demonstration of that genius, as such. I don&#8217;t quarrel with the claims &#8211; I think that largely they&#8217;re correct, especially with regards to Ginsberg&#8217;s best works, Kerouac&#8217;s early writing and Burroughs&#8217; sardonic satires &#8211; but to <span class=GramE>continue</span> to see such unsupported major claims <i style='mso-bidi-font-style:normal'>when plenty of evidence for it actually exists </i>does make me cringe, not just here, but here also. Other than a few lines of <i style='mso-bidi-font-style: normal'>Howl, </i>very little of the work as such is quoted directly, and the most interesting literary discussion as such is <span class=SpellE>Lebel&#8217;s</span> depiction of his translation of <i style='mso-bidi-font-style:normal'>Howl </i>into French. <o:p></o:p></span></p>  <p class=MsoNormal><span style='font-size:10.0pt;line-height:115%;font-family: "Arial","sans-serif";color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>But this is quibbling. I just wish that anybody making a doc today on the Beat movement would commit themselves to doing at least as good a job as </span><a href="http://www.imdb.com/title/tt0090312/"><i style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;line-height:115%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>What Happened to Kerouac?</span></i></a><i style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;line-height: 115%;font-family:"Arial","sans-serif";color:#0D0D0D;mso-themecolor:text1; mso-themetint:242'> Beat Hotel </span></i><span style='font-size:10.0pt; line-height:115%;font-family:"Arial","sans-serif";color:#0D0D0D;mso-themecolor: text1;mso-themetint:242'>has its limits, but its virtues are substantial as well. I would especially point to the interviews with Chapman, <span class=SpellE>Rudie</span>, <span class=GramE>Golding</span> &amp; <span class=SpellE>Lebel</span> for their capacity to give a real feel for what life was like in Paris in the 1950s. The film does an excellent job articulating <span class=SpellE>Brion</span> <span class=SpellE>Gysin&#8217;s</span> oft-misunderstood role in Burroughs&#8217; development &amp; the movement in general, and really excels at suggesting not only how <i style='mso-bidi-font-style:normal'>Naked Lunch </i>was cobbled together, but also how the period at the hotel marked a turn in Burroughs&#8217; work away from being simply the avuncular guru to the wide-eyed Ginsberg and becoming a major artist in his own right. If the film has a blind spot, it&#8217;s in articulating what became of the likes of <span class=SpellE>Sommerville</span> &amp; Sinclair <span class=SpellE>Beiles</span>, and who precisely Madam <span class=SpellE>Rachou</span> was beyond somebody who liked to rent to poets. <o:p></o:p></span></p>
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<h2 class='date-header'><span>Saturday, February 25, 2012</span></h2>

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<h2 class='date-header'><span>Thursday, February 10, 2011</span></h2>

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<p class=MsoNormal align=center style='text-align:center'><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'><a href="http://www.dangerousminds.net/tag/The-Hacienda"><span style='color:#0D0D0D; mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D; mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha:100.0%; mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>William S. Burroughs</span></a></span><br> live in Manchester, UK, 1982</p>
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<h2 class='date-header'><span>Tuesday, January 11, 2011</span></h2>

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<p class=MsoNormal align=center style='text-align:center'><b style='mso-bidi-font-weight: normal'><span style='font-size:20.0pt;line-height:115%;color:#0D0D0D; mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D; mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha:100.0%; mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>A contest for<br> &#8220;<a href="http://howlthemovie.com/"><span style='color:#0D0D0D;mso-themecolor: text1;mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D;mso-style-textfill-fill-themecolor: text1;mso-style-textfill-fill-alpha:100.0%;mso-style-textfill-fill-colortransforms: "lumm=95000 lumo=5000"'>the best minds of my generation</span></a></span></b><b style='mso-bidi-font-weight:normal'><span style='font-size:20.0pt;line-height: 115%'>&#8221;<o:p></o:p></span></b></p>
<p class=MsoNormal align=center style='text-align:center'><a href="http://www.oscilloscope.net/films/store"><span style='color:windowtext;mso-no-proof:yes;text-decoration:none;text-underline: none'><img border="0" height="389" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh3.googleusercontent.com/proxy/nU1NAD81uLTKP2vJmBA9P8nF4zNtOnLuu5jUHCUkX7hsnmA2uw6maW_3_tMyAKLnHfn4FCHAWJUAgprFte1dykPiHwrtRqdaoWXE6siY7E0Dmyc%3Ds0-d" width="585"></span></a></p>
<p class=MsoNormal><i style='mso-bidi-font-style:normal'><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'><a href="http://howlthemovie.com/"><span style='color:#0D0D0D;mso-themecolor:text1; mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D;mso-style-textfill-fill-themecolor: text1;mso-style-textfill-fill-alpha:100.0%;mso-style-textfill-fill-colortransforms: "lumm=95000 lumo=5000"'>Howl</span></a>, </span></i><span style='color:#0D0D0D; mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D; mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha:100.0%; mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>the motion picture by Rob Epstein &amp; Jeffrey Friedman, starring James Franco as Allen Ginsberg, a film that I have called both &#8220;<a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2010/09/i-saw-best-exposition-of-poem-in-major.html"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>a wonderful motion picture</span></a>&#8221; and &#8220;the best exposition of a poem in a major motion picture,&#8221; is now <a href="http://www.oscilloscope.net/films/store"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>available on DVD &amp; Blue-Ray</span></a>. You no longer need live within driving distance of a major urban center or a good college art house film scene in order to view it. And view it you should. Franco as the young Ginsberg is fantastic. The DVD also has extra features not previously available and comes with English &amp; French subtitle options. <o:p></o:p></span></p>
<p class=MsoNormal>The film was nominated for a Grand Jury prize at the Sundance Film Festival and the Golden Berlin Bear prize at the Berlin Film Festival. Carter Burwell was nominated for film composer of the year award for this and four other films at the World Soundtrack Awards. <i style='mso-bidi-font-style: normal'>Howl </i>won the Freedom of Expression Award from the National Board of Review. </p>
<p class=MsoNormal><b style='mso-bidi-font-weight:normal'>I have a copy</b> of the new DVD of Rob Epstein &amp; Jeffrey Friedman&#8217;s motion picture <i style='mso-bidi-font-style:normal'>Howl, </i>starring James Franco as Allen Ginsberg, <b style='mso-bidi-font-weight:normal'>for the</b> <b style='mso-bidi-font-weight:normal'>first three readers</b> of this blog who correctly answer the following two questions:</p>
<p class=MsoNormal align=center style='text-align:center'><b style='mso-bidi-font-weight: normal'><i style='mso-bidi-font-style:normal'>Who actually spent time in jail when the SFPD &#8220;busted&#8221; </i>Howl<i style='mso-bidi-font-style:normal'>?<o:p></o:p></i></b></p>
<p class=MsoNormal align=center style='text-align:center'><b style='mso-bidi-font-weight: normal'><i style='mso-bidi-font-style:normal'>Who played this person in the film?<o:p></o:p></i></b></p>
<p class=MsoNormal>Members of my family, immediate &amp; extended, and regular contributors to this blog are not eligible. Neither are current or former employees of City Lights nor residents of Nowhere Zen, New Jersey. Send your entries via email to Silliman AT <span class=SpellE>gmail</span> DOT com. You <i style='mso-bidi-font-style:normal'>must</i> put HOWL CONTEST in the headline. </p>
<p class=MsoNormal><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint: 242;mso-style-textfill-fill-color:#0D0D0D;mso-style-textfill-fill-themecolor: text1;mso-style-textfill-fill-alpha:100.0%;mso-style-textfill-fill-colortransforms: "lumm=95000 lumo=5000"'><a href="http://web.reed.edu/news_center/multimedia/2007-08/howl_unedited1.28.08.html"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Here</span></a> is Ginsberg at Reed College in February, 1956, giving the earliest recorded reading of <i style='mso-bidi-font-style:normal'>Howl. </i>This may be the only recording of the poem where an audience has never before actually read the text. Ginsberg was hitch-hiking around the Northwest with Gary Snyder at the time, and reads only the first part of the poem. Interesting to note where (and how nervously) the laughter falls. <o:p></o:p></span></p>
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<h2 class='date-header'><span>Saturday, September 25, 2010</span></h2>

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<p class=MsoNormal align=center style='text-align:center'><i style='mso-bidi-font-style: normal'><span style='font-size:8.0pt;line-height:115%'>L-R: John Cassady, Scott <span class=SpellE>Lettieri</span> &amp; Jerry <span class=SpellE>Cimino</span></span></i><span style='font-size:8.0pt;line-height:115%'><br> </span><a href="http://farm5.static.flickr.com/4146/5014055961_ebaeb84c66_o.jpg"><span style='color:windowtext;mso-no-proof:yes;text-decoration:none;text-underline: none'><img border="0" height="404" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh3.googleusercontent.com/proxy/O1kMV-4qi3yaBjKX4vERSs1xhr3PhchApAecIJRg6vfDCQp8bQdF4l_wT6xkMlLRU7zlteH88d8LkTBCp44dCCpv-4cj7mkWEsD2orEkmyE0Ap4%3Ds0-d" width="540"></span></a></p>
<p class=MsoNormal align=center style='text-align:center'><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'><a href="http://www.thebeatmuseum.org/kgo-interview/"><span style='color:#0D0D0D; mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D; mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha:100.0%; mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Jerry <span class=SpellE>Cimino</span> of the Beat Museum<br> &amp; John Cassady (son of Neal<span class=GramE>)</span></span></a><br> discuss <i style='mso-bidi-font-style:normal'><a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2010/09/i-saw-best-exposition-of-poem-in-major.html"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Howl</span></a>*<o:p></o:p></i></span></p>
<p class=MsoNormal align=center style='text-align:center'><i style='mso-bidi-font-style: normal'><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242; mso-style-textfill-fill-color:#0D0D0D;mso-style-textfill-fill-themecolor:text1; mso-style-textfill-fill-alpha:100.0%;mso-style-textfill-fill-colortransforms: "lumm=95000 lumo=5000"'><a href="http://howlthemovie.com/theaters/"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Howl</span></a> </span></i><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242; mso-style-textfill-fill-color:#0D0D0D;mso-style-textfill-fill-themecolor:text1; mso-style-textfill-fill-alpha:100.0%;mso-style-textfill-fill-colortransforms: "lumm=95000 lumo=5000"'>in theaters now<o:p></o:p></span></p>
<p class=MsoNormal align=center style='text-align:center'><i style='mso-bidi-font-style: normal'><span style='font-size:8.0pt;line-height:115%;color:#0D0D0D;mso-themecolor: text1;mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D;mso-style-textfill-fill-themecolor: text1;mso-style-textfill-fill-alpha:100.0%;mso-style-textfill-fill-colortransforms: "lumm=95000 lumo=5000"'>*If you have trouble playing the recording,<br> right-click &amp; download<br> an unedited version <a href="http://vaca.bayradio.com/kgo_archives/61600.mp3"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>here</span></a><br style='mso-special-character:line-break'> <!--[if !supportLineBreakNewLine]--><br style='mso-special-character:line-break'> <!--[endif]--><o:p></o:p></span></i></p>
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<h2 class='date-header'><span>Thursday, September 16, 2010</span></h2>

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<p class="MsoNormal" align="center" style="text-align:center"><a href="http://farm5.static.flickr.com/4085/4958767025_a3cf12971f_o.jpg"><span style="color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-no-proof:yes; text-decoration:none;text-underline:none"><img border="0" height="265" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh3.googleusercontent.com/proxy/Qf14jxC43Ggk3_nkk4p_Ab29E0ljo8FMrFRpZ9zuS36lBWS6XJpIHWIsBlpRdeRov_Z8yBNu106erBd9T8qRUoIx2EI8I2EKCFhR-yoZi1RuIMI%3Ds0-d" width="548"></span></a><span style="color:#0D0D0D;mso-themecolor:text1;mso-themetint:242"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="color:#0D0D0D;mso-themecolor:text1;mso-themetint: 242">I saw the best exposition of a poem in a major motion picture, Rob Epstein &amp; Jeffrey Friedman&#8217;s </span><a href="http://howlthemovie.com/theaters/"><i style="mso-bidi-font-style: normal"><span style="color:#0D0D0D;mso-themecolor:text1;mso-themetint:242">Howl</span></i></a><i style="mso-bidi-font-style:normal"><span style="color:#0D0D0D;mso-themecolor: text1;mso-themetint:242">, </span></i><span style="color:#0D0D0D;mso-themecolor: text1;mso-themetint:242">coming to art theaters starting on the 24th &amp; also, I believe, available thru various video-on-demand services.<i style="mso-bidi-font-style: normal"> Howl</i> is also perhaps the only major motion picture I&#8217;ve ever seen that is, in both form &amp; function, the close reading of a text. I have never seen a film based on a work of literature that even remotely approached <i style="mso-bidi-font-style:normal">Howl&#8217;s </i>devotion to the words on the paper. If you&#8217;re a writer, or care about poetry, you are almost certainly going to love this film. <i style="mso-bidi-font-style:normal">Howl </i>was made for you, with intelligence &amp; more than a little cinematic bravery, and it shows. <i style="mso-bidi-font-style:normal">Howl </i>is a wonderful motion picture. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="color:#0D0D0D;mso-themecolor:text1;mso-themetint: 242">It is a lot harder, however, to imagine <i style="mso-bidi-font-style: normal">Howl</i> appealing to a broad audience. Virtually every word in this film comes directly from the poem itself &#8211; maybe one third of its 90 minutes are given over to a pastiche of different readings that start with the film&#8217;s first words, James Franco as Ginsberg reading the title and dedication at the Six Gallery in 1955, then launching into a surprisingly soft [and quite effective] presentation of its famous opening words<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-left:82.1pt;text-indent:-46.1pt;line-height: normal;tab-stops:45.8pt 91.6pt 137.4pt 183.2pt 229.0pt 274.8pt 320.6pt 366.4pt 412.2pt 458.0pt 503.8pt 549.6pt 595.4pt 641.2pt 687.0pt 732.8pt"><span style="mso-bidi-font-size:10.0pt;mso-fareast-font-family:&quot;Times New Roman&quot;; mso-bidi-font-family:Arial;color:#0D0D0D;mso-themecolor:text1;mso-themetint: 242">I saw the best minds of my generation destroyed by madness, starving hysterical naked<o:p></o:p></span></p>
<p class="MsoNormal" style="tab-stops:45.8pt 91.6pt 137.4pt 183.2pt 229.0pt 274.8pt 320.6pt 366.4pt 412.2pt 458.0pt 503.8pt 549.6pt 595.4pt 641.2pt 687.0pt 732.8pt"><span style="color:#0D0D0D;mso-themecolor:text1;mso-themetint:242">&#8211; <span class="GramE">o<span style="mso-bidi-font-size:10.0pt;line-height:115%; mso-fareast-font-family:&quot;Times New Roman&quot;;mso-bidi-font-family:Arial">r</span></span></span><span style="mso-bidi-font-size:10.0pt;line-height:115%;mso-fareast-font-family:&quot;Times New Roman&quot;; mso-bidi-font-family:Arial;color:#0D0D0D;mso-themecolor:text1;mso-themetint: 242"> from interviews with Ginsberg or the records of the 1957 obscenity trial in San Francisco&#8217;s municipal court, Judge Clayton Horn presiding. This makes for a very curious film dynamic &#8211; terrific for opening the poem up, maybe not so well suited to holding the attention of <i style="mso-bidi-font-style:normal">Borat </i>fans. Actors portraying Jack Kerouac, Neal Cassidy, <span class="GramE">Peter</span> Orlovsky &amp; Lawrence Ferlinghetti are on screen a lot, but not one has a single line in this film. The closest we get is Ginsberg reading Cassidy&#8217;s &#8220;Dear John&#8221; letter explaining that the Adonis of Denver really does want to be straight. Other major figures &#8211; the other poets at the Six Gallery or other witnesses in defense of the poem, which included Kenneth Rexroth, Mark Linenthal, Walter Van Tilburg Clark, Herbert Blau, Arthur <span class="SpellE">Foff</span> &amp; Vincent McHugh &#8211; are missing from the film entirely. <o:p></o:p></span></p>
<p class="MsoNormal" style="tab-stops:45.8pt 91.6pt 137.4pt 183.2pt 229.0pt 274.8pt 320.6pt 366.4pt 412.2pt 458.0pt 503.8pt 549.6pt 595.4pt 641.2pt 687.0pt 732.8pt"><span style="mso-bidi-font-size:10.0pt;line-height:115%;mso-fareast-font-family:&quot;Times New Roman&quot;; mso-bidi-font-family:Arial;color:#0D0D0D;mso-themecolor:text1;mso-themetint: 242">This push-pull between complete erasure &amp; obsessive detailing is a fundamental (albeit strange) dynamic of this project. We learn, for example, which colleges the prosecution witnesses worked at, or hear William Burroughs &amp; Herbert <span class="SpellE">Huncke</span> mentioned by their surnames because they&#8217;re in the poem, <span class="SpellE">tho</span> otherwise never present in the picture, Lucien Carr only by his first name for the same reason, yet Shigeyoshi <span class="SpellE">Murau</span>, who was actually arrested &amp; spent the night in jail for selling a copy of the book to the police, is entirely absent. <b style="mso-bidi-font-weight:normal">He was the co-defendant</b>. And perhaps most strangely, given that Epstein &amp; Friedman are San Franciscans, or that Ginsberg wrote the poem at Peter Orlovsky&#8217;s apartment at 5 Turner Terrace atop Potrero Hill or that the trial was a San Francisco affair, <i style="mso-bidi-font-style:normal">Howl </i>was filmed entirely in New York. <o:p></o:p></span></p>
<p class="MsoNormal" style="tab-stops:45.8pt 91.6pt 137.4pt 183.2pt 229.0pt 274.8pt 320.6pt 366.4pt 412.2pt 458.0pt 503.8pt 549.6pt 595.4pt 641.2pt 687.0pt 732.8pt"><span class="GramE"><span style="mso-bidi-font-size:10.0pt;line-height:115%;mso-fareast-font-family: &quot;Times New Roman&quot;;mso-bidi-font-family:Arial;color:#0D0D0D;mso-themecolor:text1; mso-themetint:242">Except for that portion that was done in Thailand.</span></span><span style="mso-bidi-font-size:10.0pt;line-height:115%;mso-fareast-font-family:&quot;Times New Roman&quot;; mso-bidi-font-family:Arial;color:#0D0D0D;mso-themecolor:text1;mso-themetint: 242"> A major component of the film is a series of animations created by a team led by </span><a href="http://www.comicsalliance.com/2010/09/02/howl-ginsberg-graphic-novel-comics/"><span style="mso-bidi-font-size:10.0pt;line-height:115%;mso-fareast-font-family:&quot;Times New Roman&quot;; mso-bidi-font-family:Arial;color:#0D0D0D;mso-themecolor:text1;mso-themetint: 242">Eric <span class="SpellE">Drooker</span></span></a><span style="mso-bidi-font-size: 10.0pt;line-height:115%;mso-fareast-font-family:&quot;Times New Roman&quot;;mso-bidi-font-family: Arial;color:#0D0D0D;mso-themecolor:text1;mso-themetint:242"> to illustrate those aspects of the poem that are too abstract (<i style="mso-bidi-font-style: normal">Moloch!</i>) or too literal perhaps in their presentation of matters physical (a child emerging from its mother&#8217;s vagina being the most explicit), often as sparkly spirits swoop overhead &#8211; these spirits are not so much elements of the poem (unless of course we imagine them as <i style="mso-bidi-font-style: normal">angel-headed hipsters</i>) as they are aspects of forced narrative cohesion. There are some moments where I laughed out loud at animated clichés (my <span class="SpellE">fave</span> is a forest of undulating penises looking ever so much like seaweed), but the animation mostly solves one of the major cinematic challenges of this work &#8211; what to look at while listening to a poem. <o:p></o:p></span></p>
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<h2 class='date-header'><span>Thursday, August 26, 2010</span></h2>

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<p class=MsoNormal align=center style='text-align:center'><span style='color:black;mso-themecolor:text1'>A talk by <a href="http://homepage.mac.com/photomorphose/Lamantia.html"><span style='color:black;mso-themecolor:text1'>Philip Lamantia</span></a><br> with a reading by <a href="http://www.english.illinois.edu/maps/poets/g_l/kaufman/kaufman.htm"><span style='color:black;mso-themecolor:text1'>Bob Kaufman</span></a></span><span class=GramE>,</span><br> August 20, 1979</p>
<p class=MsoNormal align=center style='text-align:center'><span class=key><span style='color:black;mso-themecolor:text1'>This audio is part of the</span></span><span style='color:black;mso-themecolor:text1'> <span class=value><a href="http://www.archive.org/details/other_minds"><span style='color:black; mso-themecolor:text1'>Other Minds Archive</span></a></span><o:p></o:p></span></p>
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<h2 class='date-header'><span>Wednesday, July 21, 2010</span></h2>

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<p class=MsoNormal align=center style='margin-bottom:12.0pt;text-align:center; line-height:150%'><span style='font-size:12.0pt;line-height:150%;color:black; mso-themecolor:text1'><a href="http://www.thefugs.com/"><span style='color: black;mso-themecolor:text1'>The Fugs</span></a> <br> </span><span style='font-size:8.0pt;line-height:150%;color:black;mso-themecolor: text1'>(Edward Sanders, Steve Taylor, <span class=SpellE>Coby</span> Batty &amp; Scott <span class=SpellE>Petito</span>) <br> </span><span style='font-size:12.0pt;line-height:150%;color:black;mso-themecolor: text1'>sing <a href="http://en.wikipedia.org/wiki/Tuli_Kupferberg"><span class=SpellE><span style='color:black;mso-themecolor:text1'>Tuli</span></span><span style='color:black;mso-themecolor:text1'> <span class=SpellE>Kupferberg&#8217;s</span></span></a> <i style='mso-bidi-font-style:normal'><a href="//www.youtube.com/watch?v=UJSoDuaBJ8k&amp;feature=related"><span style='color:black;mso-themecolor:text1'>Morning, Morning</span></a> <br> </i>at <span class=SpellE>Tuli&#8217;s</span> memorial, <br> July 17, 2010, at <a href="http://stmarksbowery.org/"><span style='color:black; mso-themecolor:text1'>St. Mark&#8217;s Church</span></a>.<o:p></o:p></span></p>
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<h2 class='date-header'><span>Thursday, June 10, 2010</span></h2>

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<h2 class='date-header'><span>Saturday, June 05, 2010</span></h2>

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<p class=MsoNormal align=center style='text-align:center'><object height="385" width="480"><param name="movie" value="//www.youtube.com/v/TqKZZ2HYY8E&amp;hl=en_US&amp;fs=1&amp;rel=0"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="//www.youtube.com/v/TqKZZ2HYY8E&amp;hl=en_US&amp;fs=1&amp;rel=0" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="385"></embed></object></p>

<p class=MsoNormal align=center style='text-align:center'><span style='color:black;mso-themecolor:text1'><a href="http://en.wikipedia.org/wiki/D._A._Levy"><span style='color:black; mso-themecolor:text1'>d.a. levy</span></a> was a major figure<br> in the 1960s&#8217; mimeo / small press scene<br> &amp; a polarizing figure within Cleveland<br> </span><i style='mso-bidi-font-style:normal'><span style='font-size:8.0pt; line-height:115%;color:black;mso-themecolor:text1'>(the police theory seems to have been<br> </span></i><span style='font-size:8.0pt;line-height:115%;color:black; mso-themecolor:text1'>Stop levy, Stop the Sixties<i style='mso-bidi-font-style: normal'>)<o:p></o:p></i></span></p>

<p class=MsoNormal align=center style='text-align:center'><span style='color:black;mso-themecolor:text1'><a href="http://abecedarianfx.blogspot.com/2010/05/da-levy-film-trailer.html"><span style='color:black;mso-themecolor:text1'>Matthew Landis</span></a> responds to <br> <i style='mso-bidi-font-style:normal'><a href="http://www.konpetmoon.com/konpetmoon2/HOME.html"><span style='color:black; mso-themecolor:text1'>the levy film</span></a> </i>trailer,<br> adding a number of other links,<br> including one to a 57-second video<br> of <a href="http://flash.ulib.csuohio.edu/cmp/levy/"><span style='color:black; mso-themecolor:text1'>levy reading</span></a><o:p></o:p></span></p>

<p class=MsoNormal align=center style='text-align:center'><span style='color:black;mso-themecolor:text1'>John Burroughs:<br> a visit to <a href="http://crisisblog.crisischronicles.com/2008/09/25/visit-to-da-levys-grave.aspx"><span style='color:black;mso-themecolor:text1'>levy&#8217;s grave</span></a></span><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'><o:p></o:p></span></p>

<p class=MsoNormal align=center style='text-align:center'><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'><a href="http://www.thing.net/~grist/l&d/dalevy/levy-l1.htm"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>levy&#8217;s death</span></a><br> came just 18 months &amp; 40 miles<br> from the massacre at <a href="http://en.wikipedia.org/wiki/Kent_State_shootings"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>Kent State</span></a><o:p></o:p></span></p>
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<h2 class='date-header'><span>Monday, May 17, 2010</span></h2>

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<p align=center style='text-align:center'><i style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:#0D0D0D; mso-themecolor:text1;mso-themetint:242'><a href="http://www.bigbridge.org/BB14/toc.htm"><span style='color:#0D0D0D; mso-themecolor:text1;mso-themetint:242'>Big Bridge</span></a> </span></i><span style='font-size:10.0pt;font-family:"Arial","sans-serif";color:#0D0D0D; mso-themecolor:text1;mso-themetint:242'>has a big feature on <a href="http://dianediprima.com/"><span style='color:#0D0D0D;mso-themecolor:text1; mso-themetint:242'>Diane di Prima</span></a><o:p></o:p></span></p>

<p align=center style='text-align:center'><span style='font-size:10.0pt; font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'>David Hadbawnik: <a href="http://www.bigbridge.org/BB14/2010_diprima/DiPrimaPREFACE.HTM"><span style='color:black;mso-themecolor:text1;mso-bidi-font-weight:bold'>Diane di Prima &#8211; An Introduction</span></a><o:p></o:p></span></p>

<p align=center style='text-align:center'><span style='font-size:10.0pt; font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'>David Hadbawnik : <a href="http://www.bigbridge.org/BB14/2010_diprima/DiPrima_Meltzer_Interview.HTM"><span style='color:black;mso-themecolor:text1;mso-bidi-font-weight:bold'>Interview with David Meltzer</span></a></span><span style='font-size:10.0pt;color:black; mso-themecolor:text1'><o:p></o:p></span></p>

<p align=center style='text-align:center'><span style='font-size:10.0pt; font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'>Joan Marie Wood: <a href="http://www.bigbridge.org/BB14/2010_diprima/DiPrima_Teacher_1.HTM"><span style='color:black;mso-themecolor:text1;mso-bidi-font-weight:bold'>Diane di Prima, Teacher &#8211; Part I</span></a></span><span style='font-size:10.0pt; color:black;mso-themecolor:text1'><o:p></o:p></span></p>

<p align=center style='text-align:center'><span style='font-size:10.0pt; font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'>Jo Kaufman: <a href="http://www.bigbridge.org/BB14/2010_diprima/DiPrima_Teacher_2.HTM"><span style='color:black;mso-themecolor:text1;mso-bidi-font-weight:bold'>Diane di Prima, Teacher &#8211; Part II</span></a></span><span style='font-size:10.0pt; color:black;mso-themecolor:text1'><o:p></o:p></span></p>

<p align=center style='text-align:center'><span style='font-size:10.0pt; font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'>Dale Smith: <a href="http://www.bigbridge.org/BB14/2010_diprima/DiPrima_Smith_Tracking.HTM"><span style='color:black;mso-themecolor:text1;mso-bidi-font-weight:bold'>Tracking the Spirit: Diane di Prima's </span><em><span style='font-family:"Arial","sans-serif"; color:black;mso-themecolor:text1;mso-bidi-font-weight:bold;text-decoration: none;text-underline:none'>Loba</span></em></a></span><span style='font-size: 10.0pt;color:black;mso-themecolor:text1'><o:p></o:p></span></p>

<p align=center style='text-align:center'><span style='font-size:10.0pt; font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'>Satoko Ogawa: <a href="http://www.bigbridge.org/BB14/2010_diprima/DiPrima_Ogawa_Great_Mother.HTM"><span style='color:black;mso-themecolor:text1;mso-bidi-font-weight:bold'>Great Mother, as an Aspect of </span><em><span style='font-family:"Arial","sans-serif"; color:black;mso-themecolor:text1;mso-bidi-font-weight:bold;text-decoration: none;text-underline:none'>Loba</span></em></a> &#8211; </span><span style='font-size: 10.0pt;color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'><o:p></o:p></span></p>

<p align=center style='text-align:center'><span style='font-size:10.0pt; font-family:"Arial","sans-serif";color:#0D0D0D;mso-themecolor:text1;mso-themetint: 242'>Maria Mazziotti Gillan:<br> <span style='mso-spacerun:yes'> </span><span style='mso-bidi-font-weight:bold'><a href="http://www.bigbridge.org/BB14/2010_diprima/DiPrima_Gillan_Recollections.HTM"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>On Recollections of My Life as a Woman: The New York Years</span></a><em><span style='font-family: "Arial","sans-serif"'> </span></em></span></span><span style='font-size:10.0pt; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'><o:p></o:p></span></p>

<p align=center style='text-align:center'><span style='font-size:10.0pt; font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'>Dale Smith:<br> <span style='mso-spacerun:yes'> </span><a href="http://www.bigbridge.org/BB14/2010_diprima/DiPrima_Smith_Recollections.HTM"><i style='mso-bidi-font-style:normal'><span style='color:black;mso-themecolor: text1;mso-bidi-font-weight:bold'>Recollections of My Life as a Woman: The New York Years</span></i><span style='color:black;mso-themecolor:text1;mso-bidi-font-weight: bold'> </span></a></span><span style='font-size:10.0pt;color:black;mso-themecolor: text1'><o:p></o:p></span></p>

<p align=center style='text-align:center'><span style='font-size:10.0pt; font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'>David Hadbawnik: <a href="http://www.bigbridge.org/BB14/2010_diprima/DiPrima_Hadbawnik_Poets_Theater.HTM"><span style='color:black;mso-themecolor:text1;mso-bidi-font-weight:bold'>Diane di Prima and Poets Theater</span></a></span><span style='font-size:10.0pt; color:black;mso-themecolor:text1'><o:p></o:p></span></p>

<p align=center style='text-align:center'><span style='font-size:10.0pt; font-family:"Arial","sans-serif";color:black;mso-themecolor:text1'>David Cope: <a href="http://www.bigbridge.org/BB14/2010_diprima/DiPrima_Cope_Memento.HTM"><span style='color:black;mso-themecolor:text1;mso-bidi-font-weight:bold'>A Memento for Diane</span></a></span></p>
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<h2 class='date-header'><span>Saturday, October 03, 2009</span></h2>

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<h2 class='date-header'><span>Sunday, August 09, 2009</span></h2>

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<p class=MsoNormal><i style='mso-bidi-font-style:normal'><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'><a href="http://www.kerouacfilms.com/"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'>One Fast Move or I&#8217;m Gone:<br>
Kerouac&#8217;s </span><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;font-style:normal'>Big Sur</span></a></span></i><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242'><o:p></o:p></span></p>
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<h2 class='date-header'><span>Monday, March 10, 2008</span></h2>

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<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>[Warning: There is a &#8220;spoiler&#8221; below, tho only if you don&#8217;t know Gregory Corso&#8217;s history or have never read his entry on Wikipedia.]<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>My very first thought, the instant I began watching <i style='mso-bidi-font-style:normal'><a href="http://www.corsothefilm.com/index.php"><span style='color:black'>Corso: The Last Beat</span></a>, </i>which opens literally on Mount Parnassus, was to wonder what Michael McClure, Gary Snyder or Lawrence Ferlinghetti must think of that subtitle. Ninety minutes later, sad to see this sweet movie end, its subject, Gregory Corso, now buried literally at the feet of his beloved Percy <span class=SpellE>Bysshe</span> Shelley in the Protestant Cemetery in Rome, I realized that just like Kerouac&#8217;s tossed-off phrase that got taken over &amp; caricatured by the media, the term <i style='mso-bidi-font-style:normal'>Beat </i>in the title here means many different things, only one of which &#8211; and perhaps the least important &#8211; would be <i style='mso-bidi-font-style:normal'>beatnik </i>or even <i style='mso-bidi-font-style:normal'>beat poet. </i><o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'><a href="http://en.wikipedia.org/wiki/Gustave_Reininger"><span class=SpellE><span style='color:black'>Gustave</span></span><span style='color:black'> <span class=SpellE>Reininger&#8217;s</span></span></a> documentary is many things &#8211; a partial history of the Beat Generation, an account of a particular school of poetics, a travelogue of important sites for poetry that ranges from the Acropolis to the Beat Hotel, San <span class=SpellE>Remo</span> Bar &amp; Clinton State Prison, a partial history of the last four years of Gregory Corso&#8217;s life, even a mystery story with a remarkable ending &#8211; but most importantly it&#8217;s the tale of the end of life &amp; watching a man summing up his victories &amp; losses over the course of 70 years. So what I hear in that title now is the suffix that comes after <i style='mso-bidi-font-style:normal'>Heart-.</i><o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>The story is in fact framed by two deaths &#8211; that of Allen Ginsberg, right near the film&#8217;s start, which has some amazing footage of the entourage surrounding Ginsberg&#8217;s bed in his Lower East Side apartment as Allen lay dying from the after effects of a stroke in April 1997, monks proceeding through a death ritual, Patti Smith pacing, Corso literally draping himself over Ginsberg&#8217;s body as if to protect him, and that of Corso&#8217;s own death at the film&#8217;s end, told in a far more circumspect manner, even as we see him carted in a gurney to the hospital &amp; watch family &amp; friends all come to say farewell.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>The &#8220;core circle of the Beats&#8221; in the telling here consists of just four people: Ginsberg, Corso, William Burroughs &#8211; who dies just four months after Ginsberg &#8211; and Jack Kerouac. Brion Gysin is mentioned, but only in passing. None of the western poets turn up at all. Instead, the gut of this film consists of following Corso as he returns to </span><st1:place><span  style='font-size:10.0pt;font-family:Arial;color:black'>Europe</span></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'> to see the places that inspired him as a youth: </span><st1:country-region><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Greece</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial;color:black'>, his ancestral Italy &amp; Paris. In </span><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>Europe</span></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>, Corso is not the wasted space cadet living modestly on royalties from a few books that sold in the millions in the 1950s, but a cultural hero to a generation of bright-eyed fawning youngsters amazed to see at last one of the figures who actually lived the romance they envision from the books of the Beats. Where Burroughs (Harvard), Ginsberg (Columbia), Kerouac (Columbia) all came from good educations with all that entails, little <span class=SpellE>Nunzio</span> Corso &#8211; Gregory is his confirmation name &#8211; got his in the Tombs &amp; especially Clinton State Prison for various acts of petty theft (Corso&#8217;s greatest crime appears to have been the theft of a second-hand suit). </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>Clinton</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'> was distinguished by the fact that it had, by prison standards, a good library, thanks to previous tenant Lucky Luciano, the original Godfather. The youngest inmate, <span class=SpellE>Nunzio</span> was encouraged in his self-education by the made guys who literally watched the youngster&#8217;s back. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>The teenager who emerged from prison was a poet well before he first met Allen Ginsberg in a lesbian bar in the Village. Indeed, Corso somehow managed to get Archibald <span class=SpellE>Macleish</span> &amp; others at Harvard to let him audit classes &amp; even had his first book &#8211; <i style='mso-bidi-font-style:normal'>The Vestal Lady in Brattle </i>&#8211; published there before <i style='mso-bidi-font-style:normal'>Howl </i>&amp; <i style='mso-bidi-font-style:normal'>On the Road </i>changed his publishing life forever (<i style='mso-bidi-font-style:normal'>Lady </i>was later incorporated into <i style='mso-bidi-font-style:normal'>Gasoline, </i>one of the best-selling books of poetry ever). In the film, Corso is presented reading from the same few canonical poems again &amp; again (including &#8220;Sea <span class=SpellE>Chanty</span>,&#8221; written at </span><st1:place><st1:PlaceName><span   style='font-size:10.0pt;font-family:Arial;color:black'>Clinton</span></st1:PlaceName><span  style='font-size:10.0pt;font-family:Arial;color:black'> </span><st1:PlaceType><span   style='font-size:10.0pt;font-family:Arial;color:black'>State</span></st1:PlaceType></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>) &#8211; there is a great reading of &#8220;Bomb.&#8221; He comes across very much aware of himself not as a new formalist <span class=SpellE>maudit</span>, but as a satirist. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>There <span class=GramE>are</span> any number of genuinely magic moments in this movie, perhaps the first of which is Corso&#8217;s visit to Clinton State Prison where he talks to a group of young inmates, every one of them black. You can see their suspicion in their body language as Corso begins talking, trying to figure out why this character, who looks just one step removed from being a street alcoholic pushing 70, should be talking to them. But you can see their body language change as it becomes clear that Corso&#8217;s own experiences there parallels <span class=GramE>their own,</span> and what begins as a painfully awkward moment turns into a real dialog. As he walks away from the institution, Corso has nothing negative to say about prison &#8211; it was literally his education, tho I don&#8217;t think that was exactly what the state of </span><st1:State><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>New York</span></st1:place></st1:State><span style='font-size:10.0pt;font-family:Arial;color:black'> had in mind. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Even more profound is the story of Corso&#8217;s childhood. His mother abandoned him on the steps of Catholic Charities and disappeared when he was only an infant. His first poem, the aforementioned &#8220;Sea <span class=SpellE>Chanty</span>,&#8221; focuses on this primal experience. Corso imagines that she&#8217;s returned to her native </span><st1:country-region><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Italy</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial;color:black'> and is long since dead. His father, clearly a brutal man, farmed the child off to foster care and soon Corso was in &amp; out of trouble with the law. When his father was in prison, Corso spent his days living on the streets &amp; his nights sleeping on rooftops in </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>Manhattan</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'>, all at the age of 13. Reininger is circumspect &#8211; too much so in fact &#8211; about Corso&#8217;s own marriages or his own role (or lack thereof) as a father &amp; you don&#8217;t even get a sense from the movie that Corso died in </span><st1:State><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Minnesota</span></st1:place></st1:State><span style='font-size:10.0pt;font-family:Arial;color:black'> where he was being taken care of by a daughter. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Instead, we see Corso the son with functionally no parents. When in </span><st1:country-region><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Italy</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial;color:black'>, Reininger &amp; Corso attempt to track his mother down, to find her grave. But there is no record of her, even tho in </span><st1:country-region><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>Italy</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial;color:black'> all records go back to your birthplace, which should make people easier to find. At different points in the film, this becomes a foregrounded part of the narrative. Eventually, though, <span class=SpellE>Reininger&#8217;s</span> various attempts pay off. The trail leads not to some remote Italian village, but to </span><st1:place><st1:City><span   style='font-size:10.0pt;font-family:Arial;color:black'>Trenton</span></st1:City><span  style='font-size:10.0pt;font-family:Arial;color:black'>, </span><st1:State><span   style='font-size:10.0pt;font-family:Arial;color:black'>New Jersey</span></st1:State></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>, and to a small house in which his mother has been living for decades. The film actually captures the son, nearly 70, meeting his mother really for the first time. She is as amazed as he is, and other than insisting that he needs a haircut seems not <span class=GramE>phased</span> in the slightest to have a Beat poet for a child.  <o:p></o:p></span></p>
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<h2 class='date-header'><span>Wednesday, December 19, 2007</span></h2>

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<p class=MsoNormal style='margin-bottom:12.0pt'><img height="363" id="_x0000_i1025" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh4.googleusercontent.com/proxy/GAo0ppdfCWbV9RneS9b85bsSwLvw9Q6qO0-wvuKL9zpdix39a9TCpMfUOhGHdmDrrjHZ_Wv97UpMu_rThQ1wjtgLLksSdZ6Jq50%3Ds0-d" width="251"></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>If there is one single book I&#8217;d recommend this year as a present for just about anybody who is at all open to the idea of poetry, that book is <i style='mso-bidi-font-style:normal'><a href="http://www.upne.com/0-8195-6859-7.html"><span style='color:black'>The Collected Poems of Philip Whalen</span></a>, </i>edited by Michael Rothenberg,<i style='mso-bidi-font-style:normal'> </i>just out in a lush hardback edition from Wesleyan University Press. It&#8217;s the book that Philip Whalen has deserved for decades. Indeed, although Whalen only <span class=GramE>died<span style='mso-spacerun:yes'>  </span>in</span> 2002, this book <i style='mso-bidi-font-style:normal'>could </i>have been published in 1989 with the loss of exactly one three-line poem. The only thing about this book that isn&#8217;t just about perfect is that publication date &#8211; it would have been great to have had it when Whalen was still alive and able to see it. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>If Whalen is a poet who for all purposes stopped writing 14 years before he died, it turns out &#8211; something I don&#8217;t think I&#8217;d quite realized before &#8211; he was something of a late starter as well. Outside of a group of early poems collected into a manuscript at Reed College in Oregon, where his close friends included both Gary Snyder (contributing a brief but loving foreword here) &amp; the late Lew Welch, plus a couple of poems in the three years thereafter, Whalen really gets underway in 1955 when he pens a number of poems that would find their way into Donald Allen&#8217;s <i style='mso-bidi-font-style:normal'>The New American Poetry (NAP). </i>In 1955, he&#8217;s already 32 years old. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Allen divided his anthology into groups or clusters, the Projectivists, the SF Renaissance, the Beats, <span class=GramE>the</span> NY School &amp; Everybody Else. Whalen was his choice to lead off this last group &amp;, with 15 pages in the <span class=GramE>anthology,</span> he&#8217;s given more space than John Ashbery, Robert Creeley, Jack Spicer &amp; a lot of other people. In<span style='mso-spacerun:yes'>  </span>fact, in this most turf-conscious of all literary anthologies, it&#8217;s easier to note who got more space than Whalen &#8211; Olson, Duncan, Ginsberg, O&#8217;Hara, Snyder &amp; McClure. Like Snyder, Whalen has often been characterized since then as a member of the Beats. Indeed, his publisher&#8217;s web site tries it both ways, calling him &#8220;<span style='mso-bidi-font-style:italic'>a legendary San Francisco Renaissance and Beat poet.&#8221; Neither appellation is really quite accurate &#8211; he was never an intimate of the Ginsberg-Kerouac-Corso-Burroughs circle, who really <span class=GramE>were</span> East Coast tourists when they came to </span></span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black;mso-bidi-font-style:italic'>San Francisco</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black;mso-bidi-font-style:italic'> &amp;, as the Duncan-less &#8220;renaissance&#8221; grouping in the <i>NAP </i>makes all too evident, that group was a fiction mostly of </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black;mso-bidi-font-style:italic'>Duncan</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black;mso-bidi-font-style:italic'>&#8217;s imagination. <o:p></o:p></span></p> 

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black;mso-bidi-font-style:italic'>But it does make sense to read Whalen as one of the key figures of another group &#8211; one that Allen really missed (tho enough of it is in his pages that I sometimes wonder why) &#8211; that I&#8217;ve called variously New Western or Zen Cowboy. These are poets mostly interested in themes local to, specific to, the Western United States, preferring the rural to the urban &amp; with a significant interest in Buddhism &#8211; Whalen, Snyder, Joanne Kyger, the poets who appeared in Jim <span class=SpellE>Koller&#8217;s</span> <i>Coyote&#8217;s Journal, </i>including the likes of Drum Hadley, Bill Deemer &amp; Clifford Burke &#8211; all largely fit this orientation, one that to this date half a century later never has been gathered into a single collection. I&#8217;ve often wondered why this group never gelled as a unit, even in terms of critical history, while the hoaxed up &#8220;San Francisco Renaissance&#8221; will get you 50,000 hits on Google.&#185; <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black;mso-bidi-font-style:italic'>Part of it no doubt has to do with the fact that none of these writers ever sought to make a group, movement or literary tendency of it. The closest might have been Koller, whose magazine was its clearest articulation. But his focus was the magazine (which still functionally exists, tho Koller himself has been in </span><st1:place><span  style='font-size:10.0pt;font-family:Arial;color:black;mso-bidi-font-style:italic'>New England</span></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black;mso-bidi-font-style:italic'> for many years now). Contrast that with Olson&#8217;s ideas regarding <i>Origin </i>and <i>Black Mountain Review, </i>both of which he saw as useful instruments of his vision, while his vision clearly was a restatement of the possibilities of American poetry. But Whalen, like Snyder &amp; Kyger, was perfectly content to be away from, apart from, any scene whatsoever. His interest in Zen led him into a central role in the </span><st1:place><st1:PlaceName><span style='font-size:10.0pt;font-family:Arial;color:black;mso-bidi-font-style:italic'>San Francisco</span></st1:PlaceName><span  style='font-size:10.0pt;font-family:Arial;color:black;mso-bidi-font-style:italic'> </span><st1:PlaceName><span style='font-size:10.0pt;font-family:Arial;color:black;mso-bidi-font-style:italic'>Zen</span></st1:PlaceName><span  style='font-size:10.0pt;font-family:Arial;color:black;mso-bidi-font-style:italic'> </span><st1:PlaceType><span style='font-size:10.0pt;font-family:Arial;color:black;mso-bidi-font-style:italic'>Center</span></st1:PlaceType></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black;mso-bidi-font-style:italic'> during the days of Richard Baker-<span class=SpellE>roshi</span>. After a scandal caused Baker to resign, Whalen practiced elsewhere, culminating in his work running an AIDS hospice in </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black;mso-bidi-font-style:italic'>San Francisco</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black;mso-bidi-font-style:italic'>. All the while, he kept writing and publishing until his eyesight began to fail.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black;mso-bidi-font-style:italic'>In  all my years in the Bay Area, I only saw Whalen give two readings, one at the UC Art Museum during the early 1970s with a number of other poets and a solo reading he gave in a crowded bookstore in San Francisco to celebrate the publication of <i>On Bear&#8217;s Head, </i>largest collection of his lifetime, brought out by New York trade publisher Harcourt Brace in conjunction with <i>Coyote&#8217;s Journal. </i>In both cases, he was so unassuming and humble that you sensed that he really didn&#8217;t know just how many people were deeply passionate about his poetry. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black;mso-bidi-font-style:italic'>I&#8217;ve always thought of <i>On Bear&#8217;s Head </i>as the definitive book of Whalen&#8217;s work &#8211; until this Collected, it&#8217;s certainly been my favorite. In part, it&#8217;s just the size of the volume, but it also has a sprawling nature that feels very accurate to his poetry. I was surprised, therefore, to read this at the end of Michael Rothenberg&#8217;s editor&#8217;s note:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.5in'><span  style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black;mso-bidi-font-style:italic'>sometimes Philip Whalen&#8217;s &#8220;creative process&#8221; was simply to allow a publisher or editor to make their organizational choices. For example, when I asked PW why the poems in <i>On Bear&#8217;s Head</i></span><i style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Verdana'> </span></i><span style='font-size:10.0pt;font-family:Verdana'>were not organized chronologically, he told me he had no idea, &#8220;It just came from the publisher that way.&#8221;<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>So this volume, it turns out, is the first one, really, that gets it completely right &#8211; the sprawl, but also an order that one can argue back from or to the poetry itself.&#178; <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>The sprawl is important because it touches on one of the two aspects of Whalen&#8217;s poetry that are unique, and which really account for his importance, not just to his peers in the 1950s, etc., but to poets &amp; readers anywhere. The first is that Whalen has less of a distinction between poem X and poem Y than most any other writer around &#8211; it&#8217;s something that only Olson in the final volume of <i style='mso-bidi-font-style:normal'>Maximus, </i></span><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>Blackburn</span></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'> in his <i style='mso-bidi-font-style:normal'>Journals, </i>of Eigner in his infinite variations of the same few nouns over &amp; over really approach. Phil Whalen is a master of poetry, but not particularly interested in any mastery of poems. If anything, he is the first relatively pure practitioner of the idea that the definition of the poem is a sitting. Thus in June 1961, he&#8217;s already capable of a two-line work:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in'><b style='mso-bidi-font-weight:normal'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Caption for a Poem<br>
<br>
</span></b><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>A home of many-colored gas<span class=GramE>,</span><br>
A way from<span style='mso-spacerun:yes'> &nbsp;  &nbsp;  </span>A S I A, monster. Soul trap. </span><st1:country-region><st1:place><span class=SpellE><span   style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Bactria</span></span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>!<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>The first line is an allusion not to Ronald Johnson, whose book <i style='mso-bidi-font-style:normal'>The Valley of the Many-Colored Grasses </i>won&#8217;t appear for another eight years, but to Johnson&#8217;s own source, Edgar Allan Poe&#8217;s &#8220;<span class=SpellE>Eleonora</span>&#8221; where it is the Edenic scene in which the blissful but incestuous relationship between the narrator and his doomed cousin takes place. <o:p></o:p></span></p> 

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>The second line is exceptionally complex. Whalen may have gotten his strategies for fragmentation &amp; layering from Pound &amp; his followers &#8211; the spacing between letters of <i style='mso-bidi-font-style:normal'>A S I A </i>is taken directly from Paul Blackburn. But what does he mean by <i style='mso-bidi-font-style:normal'>monster. Soul trap. </i>In Poe&#8217;s story, the narrator has promised his dying cousin that he will not abandon her nor their valley, but it ceases to blossom in his eyes and he departs, in turn marrying <span class=SpellE>Ermengarde</span>, only to be told by the voice of his dead cousin that he not worry about breaking the vow, <o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.5in'><span  style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>&#8220;</span><span style='font-size:10.0pt;font-family:Verdana'>thou art absolved, for reasons which shall be made known to thee in Heaven, of thy vows unto <span class=SpellE>Eleonora</span>.&#8221;</span><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'><o:p></o:p></span></p>
 
<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>In spite of the assurance, that&#8217;s an ominous &amp; indeterminate climax for this tale. Whalen has posed Asia as his &#8220;home away from&#8221; home, that term all the more powerfully invoked by its absence. Is he likewise trapped by a vow. If so, which way? </span><st1:country-region><st1:place><span class=SpellE><span style='font-size:10.0pt;font-family:Arial;color:black'>Bactria</span></span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial;color:black'> is not a misspelling of bacteria (tho I think there are few English speakers who won&#8217;t hear that echo) but the northwestern </span><st1:place><st1:PlaceType><span style='font-size:10.0pt;font-family:Arial;color:black'>province</span></st1:PlaceType><span  style='font-size:10.0pt;font-family:Arial;color:black'> of </span><st1:PlaceName><span style='font-size:10.0pt;font-family:Arial;color:black'>Afghanistan</span></st1:PlaceName></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>, once the border of the Greek empire &amp; home of the young <span class=SpellE>Zarathustra</span>. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>The short poems of Phil Whalen often have this concentrated energy, but it&#8217;s their positioning amidst the longer pieces, the sprawl, that make you realize just how casually Whalen might insert something like this into a longer sequence not at all about his love/hate relationship with Asia. It was Whalen&#8217;s use of linked verse forms that, more than anyone, brought this tradition to </span><st1:country-region><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>America</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial;color:black'> (the person who picked up on this first was Ted Berrigan, but you can see it in Creeley&#8217;s <i style='mso-bidi-font-style:normal'>Pieces </i>as well). <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>My favorite of these &#8211; for my  money, Whalen&#8217;s best poem ever, bafflingly left out of <i style='mso-bidi-font-style:normal'>Overtime </i>&#8211; is &#8220;My Songs Induce Prophetic Dreams,&#8221; a 20-page linked series that took 15 months to write between late 1963 &amp; winter &#8217;65. It conveniently falls just about at the absolute center of this 860-page tome. It begins by quoting a letter from <span class=SpellE>Artaud</span> to René Gully some 15 years earlier&#8221;<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>&#8220;&#8230;Books, texts, magazines, are tombs &#8230; tombs that eventually will be opened. <i style='mso-bidi-font-style:normal'>The duty </i>I say again THE DUTY of the writer, of the poet, is not to go shut himself up as a coward in a text, a book, a magazine from which he will never emerge again but on the contrary to go out to shake up to attack the public spirit &#8230; if not of what use is he? And why was he born? &#8230; the quest for a speech that any road mender or dolt would have understood &#8230;.&#8221; (ellipses in the original)<o:p></o:p></span></p> 

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>This is, in fact, a radical program, even by the standards of the New Americans. What follows it is an inspired notebook that ranges between Whalen&#8217;s obsessive worries &#8211; he is the great worrier of his generation &#8211; where will he get money? where will he get food? who will love him? he&#8217;s growing old? (at the poem&#8217;s start, he&#8217;s five days short of his fortieth birthday, tho in the first section he displaces this anxiety by focusing instead on the fact that &#8220;I shall be 41 years old on 20:x:64.&#8221; <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Other moments are more optimistic &#8211; &#8220;awake, I&#8217;m not sad any more / I have the chance to steal some food.&#8221; He imagines fortunes dropping out of the sky. One section reads simply &#8220;Genius&#8221;. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Yet just two pages later we find<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>I have <br>
Three<br>
Friends who<br>
No longer want<br>
To know me<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Whalen incorporates his reading, lists of who attended which party, natural phenomena (he&#8217;s good on plant life), overheard phrases plucked out for what they reveal about speech. Some lines comically imagine the reader:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>This is not what I paid lots of money to hear<o:p></o:p></span></p>

<p class=MsoNormal align=center style='margin-bottom:12.0pt;text-align:center'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'><span style='mso-spacerun:yes'>  &nbsp;  </span></span><span style='font-size:10.0pt;font-family:Wingdings;mso-ascii-font-family:Verdana;mso-hansi-font-family:Verdana;mso-bidi-font-family:Arial;color:black; 
mso-char-type:symbol;mso-symbol-font-family:Wingdings'><span style='mso-char-type:symbol;mso-symbol-font-family:Wingdings'>*</span></span><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'><o:p></o:p></span></p> 

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:1.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black;mso-bidi-font-style:italic'> &nbsp; &nbsp; &nbsp; &nbsp; Rare &amp; fleeting Magic!<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black;mso-bidi-font-style:italic'>One result is that you&#8217;re never completely sure just how seriously to take any given complaint, situated as they are betwixt the completely serious and the studiously comic:<o:p></o:p></span></p> 

<p class=MsoNormal style='margin-top:0in;margin-right:.8in;margin-bottom:12.0pt;margin-left:.8in'><span style='font-size:10.0pt;font-family:Arial;color:black;mso-bidi-font-style:italic'>I have no food, no money; therefore, my friends say, I am foolish and wicked. Are they right? (Who cares?)<o:p></o:p></span></p>

<p class=MsoNormal align=center style='margin-top:0in;margin-right:.8in;margin-bottom:12.0pt;margin-left:.8in;text-align:center'><span style='font-size:10.0pt;font-family:Wingdings;mso-ascii-font-family:Verdana;mso-hansi-font-family:Verdana;mso-bidi-font-family:Arial;color:black; so-char-type:symbol;mso-symbol-font-family:Wingdings'><span style='mso-char-type:symbol;mso-symbol-font-family:Wingdings'>*</span></span><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'><o:p></o:p></span></p> 

<p class=MsoNormal align=center style='margin-top:0in;margin-right:.8in;margin-bottom:12.0pt;margin-left:.8in;text-align:center'><span style='font-size:10.0pt;font-family:Arial;color:black;mso-bidi-font-style:italic'>&#8220;Who cares what banks fail in </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black;mso-bidi-font-style:italic'>Yonkers</span></st1:place></st1:City><span class=GramE><span style='font-size:10.0pt;font-family:Arial;color:black;mso-bidi-font-style:italic'>,</span></span><span style='font-size:10.0pt;font-family:Arial;color:black;mso-bidi-font-style:italic'><br> Long as you got a kiss that conquers?&#8221;<br>
so Ira Gershwin says.<o:p></o:p></span></p>

<p class=MsoNormal align=center style='margin-top:0in;margin-right:.8in;margin-bottom:12.0pt;margin-left:.8in;text-align:center'><span style='font-size:10.0pt;font-family:Wingdings;mso-ascii-font-family:Verdana;mso-hansi-font-family:Verdana;mso-bidi-font-family:Arial;color:black; mso-char-type:symbol;mso-symbol-font-family:Wingdings'><span style='mso-char-type:symbol;mso-symbol-font-family:Wingdings'>*</span></span><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'><o:p></o:p></span></p> 

<p class=MsoNormal style='margin-top:0in;margin-right:.8in;margin-bottom:12.0pt;margin-left:.8in'><span class=GramE><span style='font-size:10.0pt;font-family:Arial;color:black;mso-bidi-font-style:italic'>Wisdom.</span></span><span style='font-size:10.0pt;font-family:Arial;color:black;mso-bidi-font-style:italic'> I must change my character. The flavor, shape smell taste color must be different. <span class=SpellE><span class=GramE>Whizbang</span></span><span class=GramE>.</span><o:p></o:p></span></p>

<p class=MsoNormal align=center style='margin-top:0in;margin-right:.8in;margin-bottom:12.0pt;margin-left:.8in;text-align:center'><span style='font-size:10.0pt;font-family:Wingdings;mso-ascii-font-family:Verdana;mso-hansi-font-family:Verdana;mso-bidi-font-family:Arial;color:black; mso-char-type:symbol;mso-symbol-font-family:Wingdings'><span style='mso-char-type:symbol;mso-symbol-font-family:Wingdings'>*</span></span><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'><o:p></o:p></span></p> 

<p class=MsoNormal style='margin-top:0in;margin-right:.8in;margin-bottom:12.0pt;margin-left:.8in'><span style='font-size:10.0pt;font-family:Arial;color:black;mso-bidi-font-style:italic'>Ezra Pound says, &#8220;More writers fail from lack of character than from lack of intelligence.&#8221;<o:p></o:p></span></p>

<p class=MsoNormal align=center style='margin-top:0in;margin-right:.8in;margin-bottom:12.0pt;margin-left:.8in;text-align:center'><span style='font-size:10.0pt;font-family:Wingdings;mso-ascii-font-family:Verdana;mso-hansi-font-family:Verdana;mso-bidi-font-family:Arial;color:black; mso-char-type:symbol;mso-symbol-font-family:Wingdings'><span style='mso-char-type:symbol;mso-symbol-font-family:Wingdings'>*</span></span><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.8in;margin-bottom:0in;margin-left:.8in;margin-bottom:.0001pt'><span style='font-size:10.0pt;font-family:Arial;color:black;mso-bidi-font-style:italic'>You always do what you have to do<br>
I&#8217;m the one who has to like it &#8211; &#8220;irregardless,&#8221;<o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:.8in;margin-bottom:12.0pt;margin-left:.8in'><span  style='font-size:10.0pt;font-family:Arial;color:black;mso-bidi-font-style:italic'><span style='mso-tab-count:2'>  &nbsp;    &nbsp;  &nbsp;  &nbsp; &nbsp;   &nbsp;    </span><span style='mso-spacerun:yes'>  &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; </span>as people say<o:p></o:p></span></p>

<p class=MsoNormal align=center style='margin-top:0in;margin-right:.8in;margin-bottom:12.0pt;margin-left:.8in;text-align:center'><span style='font-size:10.0pt;font-family:Wingdings;mso-ascii-font-family:Verdana;mso-hansi-font-family:Verdana;mso-bidi-font-family:Arial;color:black; mso-char-type:symbol;mso-symbol-font-family:Wingdings'><span style='mso-char-type:symbol;mso-symbol-font-family:Wingdings'>*</span></span><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'><o:p></o:p></span></p> 

<p class=MsoNormal style='margin-top:0in;margin-right:.8in;margin-bottom:12.0pt;margin-left:.8in'><span style='font-size:10.0pt;font-family:Arial;color:black;mso-bidi-font-style:italic'>Now I am 40, I wish that I had died of my vices, excesses or violence at the age of 29<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black;mso-bidi-font-style:italic'>Elsewhere, he calculates the value of this poem at the 50&#162; per line <i>Poetry </i>then paid for verse &#8220;if Mr. Rago were to find the poem / &#8220;convincing&#8221;.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black;mso-bidi-font-style:italic'>Whalen closes what he calls his &#8220;food opera&#8221; by noting that<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:1.0in'><span  style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black;mso-bidi-font-style:italic'><span  tyle='mso-tab-count:1'>  &nbsp;    &nbsp; &nbsp;    </span>When I&#8217;m hungry, I&#8217;m free, and I have chosen freedom at this<br>
 price, a very small one to pay. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black;mso-bidi-font-style:italic'>It&#8217;s worth noting that more than a few of the New American poets &amp; their immediate friends were living very close to the edge &#8211; Ron Loewinsohn &amp; Richard Brautigan lived for a time in a parked car, Bob Kaufman really was a street person much of his adult life, Neal Cassidy died of exposure next to a railroad track. At the moment when Whalen is writing this, he&#8217;s already quite famous, at least by poet standards. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black;mso-bidi-font-style:italic'>Part of what makes this volume work so well, the chronology laid over the scrawl, is that  you can see here exactly how very little formal distance there is between &#8220;My Songs Induce Prophetic Dreams&#8221; and the next poem, &#8220;April Showers Bring Rain?&#8221; written just two days later followed by a meditation on fish, I swear, entitled &#8220;Love <span class=SpellE>Love</span> <span class=SpellE>Love</span> Again,&#8221; penned that same day. Whalen&#8217;s <span class=SpellE>loosey</span>-goosey linked meditations, <span class=SpellE>diaristic</span> as they are, are as much an instance of &#8220;the words are my life&#8221; as the formal sweep of Zukofsky&#8217;s <i>&#8220;A.&#8221; </i>The <span class=GramE>number</span> of poets you can directly track back to Whalen&#8217;s influence are sometimes startling &#8211; Snyder &amp; Welch &amp; Kyger, obviously, really all of the Zen Cowboy poets&#179;, Anselm Hollo, Ted Berrigan, Aram Saroyan, Clark Coolidge &amp; you could certainly throw my name in there for good measure. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black;mso-bidi-font-style:italic'>With the publication over the past two years or so of the collected poems by Joanne Kyger, Ted Berrigan &amp; the second volume of Creeley&#8217;s collected, we&#8217;re living in a moment of extraordinary access to what may yet prove to be the definitive generation of American poets, not just of the 20<sup>th</sup> century. They were, after all, <i>the </i>American poets right at the moment when this empire peaked. Wesleyan is soon to bring out a seriously expanded collected Jack Spicer &amp; UC Press finally has the pieces in place to go forward with a collected Robert Duncan. It&#8217;s not a perfect view, by any means. But books likes these demonstrate just what is at the core  of the New American Poetries in ways that &#8220;greatest hits&#8221; volumes never could. Nowhere is this more true than in the work of Phil Whalen, <i>still </i>the most underrated poet of his generation. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black;mso-bidi-font-style:italic'><o:p>&nbsp;</o:p></span></p> 

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:8.0pt;font-family:Arial;color:black;mso-bidi-font-style:italic'>&#185; The New Westerns weren&#8217;t the only group that largely disappeared. The Spicer Circle &#8211; the real SF grouping of the 1950s &#8211; met a similar fate, tho there it is clear that Spicer himself willed it by refusing to have any sort of cordial relations with poets east of the Caldecott Tunnel. </span><span style='font-size:8.0pt;font-family:Arial;color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:8.0pt;font-family:Arial;color:black'>&#178; Given the &#8220;in conjunction with <i style='mso-bidi-font-style:normal'>Coyote&#8217;s Journal,</i>&#8221; designation of <i style='mso-bidi-font-style:normal'>On Bear&#8217;s Head, </i>I wouldn&#8217;t be shocked to discover that Koller or another of the editors associated with that mag may have done the major editing work for <i style='mso-bidi-font-style:normal'>OBH. </i>The order may not be chronological, but it certainly isn&#8217;t bad. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:8.0pt;font-family:Arial;color:black'>&#179; You could diagram an integral, not unlike the one Zukofsky did for poetry, for the Zen Cowboy scene with Whalen at one end, Ed Dorn at the other, one all Zen &amp; no cowboy, the other just the reverse. But it&#8217;s remarkable what a sweep passes between these two writers. <o:p></o:p></span></p>
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<br /><img alt="" src="file%3A///Users/Lynn/Desktop/silliman2a.jpg" / /><img alt="" src="file%3A///Users/Lynn/Library/Caches/TemporaryItems/moz-screenshot.png" / /><span style="color: #990000; font-weight: bold;">RON SILLIMAN</span> has written and edited 40 books, and had his poetry and criticism translated into 16 languages. Silliman was a 2012 Kelly Writers House Fellow, the 2010 recipient of the Levinson Prize from the Poetry Foundation, a 2003 Literary Fellow of the National Endowment for the Arts, a 2002 Fellow of the Pennsylvania Arts Council, and a 1998 Pew Fellow in the Arts. Silliman has a plaque in the walk dedicated to poetry in his home town of Berkeley and a sculpture in the Transit Center of Bury, Lancaster, a part of the Irwell Sculpture Trail. He lives in Chester County, Pennsylvania and teaches at the University of Pennsylvania.<br /><br /><br /><br /><br /><br /><br />(c) 2002-2019 by Ron Silliman.
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