It was in 1989, before I knew what was going on and I couldn’t stop him,
he kissed me on the mouth. [laughs]
I like Howl. Howl’s great. It’s like the beatnik manifesto
of the ’50s, y’ know, it really says it all. It’s got that beatnik attitude of
that time in America. It’s quite eloquent. But after that, he didn’t really do
anything that struck me as
[Allen Ginsberg’s Desk – Drawing by Allen Ginsberg]
second-part of an in-depth interview with Michael Horowitz, Timothy Leary’s
longtime archivist, recently appeared. The first (posted back in November 2015)
can be seen here.
The second, brings Allen in to the picture (Lisa Rein, the Archives digital librarian, is the interviewer):
LR: What was the dynamic between Ginsberg and Leary?
MH: The synergy between them was powerful. There’s a … Read More
Minor matters today. More one-on-one post-class discussion. Allen makes arrangements.
AG: [to Student] – What have you got? some poems?
Student: Some homework, from last week – Lyke Wake Dirge.
AG: Oh great – good – Shall I take it home?
Student: There’s a journal and a transcription.
AG: Oh yes, shall we make a date?
Student: Sure….. Mondays and Fridays are (the) best (days)…
AG: Mondays and Fridays?
Student: Mondays are good..
AG: Well, tomorrow I’ve got a reading. (But) At weekends, I’m free, certainly…
Student: Weekends are fine.
Allen Ginsberg’s January 1980 Naropa class on Basic Poetics continues with transcription of one-on-one conversation that appears to take place after the formal end of the class
AG: Pat (sic), did you ever read that – (Thomas) Campion‘s treatises on the music and poetry?
Student (Pat (sic)) : I’ve read the Observations in The Art of English Poesie
AG: Is that the one that takes up quantitative.?
Student (Pat): Yeah
AG: Do you have a copy of Campion ? Could you prepare a little summary of his ideas on quantity…You know what he says about that?
[Allen is temporarily distracted … Read More
Allen Ginsberg’s January 1980 Basic Poetics class continues (in preparation for future notes on John Dowland) AG; Apparently, I have.. the “Fine Knacks For Ladies“ that you gave me the recording? – I have some (John) Dowland around and I had that so I’ll try and bring in a… I was going to try and get Charlie (Ross – sic) to bring in a phonograph today. Were there any others on that beside the “Fine Knacks For Ladies” ?
Transcription of Allen’s “Basic Poetics” class, from 1980 at Naropa, continues. The previous tape (tape 9 of 35) is missing and this tape comes in (towards the end of a class) with an in-class performance]
“The Last Word on First Blues is as essential to an understanding of Ginsberg as his Collected Poems, and just as much fun. The set also shows that those who only know Ginsberg as a poet of the printed word ans not also as a performer of the spoken … Read More
Allen Ginsberg’s remarks on Basil Bunting’s lectures continues – see here, here and here
AG: So Louis Zukofsky, in modern times, was the most subtle person working with different measures and with a pure relation between musical forms and quantitative count and he was saying that the madrigal distorts words (because you’ve got several lines at once) and so words are not allowed to take whatever stress is appropriate to them in
AG: So then, the next thing would be the comparing of the time of the steps, the time it takes for steps, or the ratio of times of the steps, to count the syllables. In.. an orderly measure in dance would be the steps, in music, it would be the notes, in poetry, the syllables. A pattern of spatial rhythms,
Student: Is the “one-eyed Ford” something you just made up now?
AG: No , the “one-eyed Ford” is a famous American-Indian twentieth-century.. It’s a great line! – It’s one of the great lines in America .. of the, as-yet, unacademicized poetry. The many many versions of the “one-eyed Ford” song (South-West – Oklahoma, actually – I heard it last year… last heard it (with Harry Smith) in Anadarko, Oklahoma) – “My one-eyed Ford”! – It’s a great … Read More