Allen, in his sleeve-notes to Holy Soul, Jelly Roll, offers the genesis:“I‘d had meditation teacher training in the late ’70s, when (Chogyam) Trungpa Rinpoche OK’d me to show basic meditation in his tradition to classrooms or groups at poetry readings. I tried to codify meditation instructions in pop form, inspired by the annual New Year’s Day … Read More
Allen Ginsberg’s Meditation and Poetics class from August (August 4, 1978, in this particular segment) continues
AG: Does anybody have any trouble with this preliminary sitting? – when I come here and start (and for the first ten minutes) sit?….Does anybody have any trouble with the sitting in terms of it as an annoyance? – or a relief? – For me, when I get in here and I don’t have to immediately plunge into whatever is going on , it’s a relief to be able to do nothing. But I’m wondering if there’s anybody here for whom it’s an irritation … Read More
“To say concisely/That the man in the picture. Really made it out through the roof/ Or clear through the floor, the ground itself/ Into free space beyond direction – / Impossible gibberish no one/ Can understand, let alone believe/”
“Still, I try, I insist I can/Say it and persuade you/That the knowledge … Read More
AG: So the question is, has twentieth-century poetry, in its attempt to define itself in space and time and locate itself and become down-to-earth and renew the language and renew the mind and occupy the place where it is, become too materialistic and single-leveled, monotonous, pictorial? Well, what I would say is (that) this Hinayana–Mahayana–Vajrayanapoetry that we’re supposed to go into (the recombination of details of reality, or the weird arrangement of them) might come, in Surrealistic or Vajrayanaor something other – wilder – poetry, but, without some sensory … Read More
AG: Has anyone seen Penfield’s Homunculus? – the homunculoid picture drawn on the surface of the brain according to the areas of the brain that relate to the different senses? I think (the) mouth is enormous, actually. The mouth area is enormous. (The) forehead (is) very low, because there’s not much sensation up there. The visual? – I’ve forgotten how much area the visual takes up..
Student: It’s only for touch that he did that.
AG: For touch? – Ah..
Student: There’s also motor homunculus.
AG: That’s right. The thumbs were enormous.
Student: Yeah. Thumbs and the face. As … Read More
[‘To live outside the law you must be honest” (Bob Dylan)]
AG: Now most people’s intelligence in poetry when they’re amateurs comes from just imitating other poems and recycling used poems, basically. There’s a possibility (like in T.S.Eliot and others) of referring back and having a pun, but most people just repeat other people’s poetry and other people’s ideas and it’s like a tape-machine of everything that was learned in grammar school, with a Romantic idea of “I want to be a big egotist, so I’ll be a poet, and I’ll repeat what I heard in grammar … Read More
[“Then nightly sings the staring owl/Tu-whoo!/Tu-whit! tu whoo!” (William Shakespeare)]
AG: Okay. I don’t know if we’ve gone through this, but Ezra Pound had three characteristics, or three marks of poetry. He said one was – what I’ve been talking about here – the phanopoeia– P-H-A-N-O-P…how do you spell “poeia” – P-O-E-A? dipthong? – P-O-E-I-A. Thank you. phanopoeia– “the casting of images on the mind’s eye”, the casting of clear, precise images on the mind’s eye. I think his example is a line of Catullusabout a crimson curtain blown in the window (to indicate the breeze), or a crimson
Detail? – How much detail? I was quoting Shakespeareearlier today to Francine (sic) when we were talking about the problem of what is detail, or what is accuracy, and one ideal is the Shakespeare song, “When icicles..” – on winter – “When icicles hang by the wall,/And Dick the shepherd blows his nail..”,”And Marian’s nose is red and raw” [Editorial note – … Read More