Alan Ansen Centennial

Alan Ansen (1922-2006) – photo by Allen Ginsberg – (c) The Estate of Allen Ginsberg –  Ginsberg caption:  “Wise-eyed Alan Ansen, Polymath expatriate & eccentric, at San Sammuelle motorscaffe station, half-street from his apartment, 3219 della Carrozza where Peter Orlovsky & I spent happy summer 1957 – Ansen also hosted Wm. Burroughs and Gregory Corso. Harvard Classics summa cum laude 1942, Poet, critic, he was secretary & Prosodic Conscience to W.H.Auden during early 40’s Age of Anxiety, thereafter lifelong intimate of Auden & companion Chester Kallman – as with William Burroughs whose Naked Lunch & later ravings he helped type & edit in Tangier 1957 & 1961. A familiar at San Remo village bar & Kerouac’s companions’ revels in late 1940’s, he’s sketched as “Rollo Grab”  in On The Road, “Ronald Swenson” in Visions of Cody and Book of Dreams, “Austin Bromberg” in The Subterraneans & “Amadeus Baroque”, Doctor Sax. His own formally complex versification is displayed in Contact Highs – Selected Poems 1957-1987 (Elmwood Park, Dalkey Archive Press, 1989). He lives in Athens now, 1995 – this was Venice, July, 1957″)”

Today (Sunday January 23rd) marks a quiet but nonetheless notable Centennial – Alan Ansen, a secondary figure but an important companion and assistant to the Beats, was born one hundred years ago, on this day.

For our previous posting on Ansen on The Allen Ginsberg Project – see here

His Selected Poems, published in 1989, pointedly titled Contact High:

His first book, from Tibor de Nagy Gallery Editions, The Old Religion (1959):

His “first commercial book”, Disorderly Houses – A Book of Poems, from Wesleyan University Press, 1961 (from the back-jacket – “It would not be accurate to call Mr Ansen a “beat” poet, although he has something of the disenchanted attitude and the freedom of language of that school”):

Two titles from Water Row Press:

William Burroughs – An Essay, 1986. (combines three previously-published essays on his friend, Burroughs – Ansen famously typed-up the early drafts of Naked LunchTed Joans: “Without Alan Ansen there would be no William Burroughs” )

“William Burroughs hanging Alan Ansen, take-off on Naked Lunch “Blue Movie” Orgasm scenario. Ansen’d typed up where Kerouac left off. Old friend expatriate Polymath Ansen had typed W.H.Auden’s long mss. in 1940’s, here joins us from Venice. Upper balcony, Villa Muneria overlooking Tangier Bay.” – Photo – by Allen Ginsberg  (c) the Estate of Allen Ginsberg

and from 1987,  The Vigilantes – A Fragment   (three chapters from an abandoned 1952 novel/memoir/ book project):

and, typically peripheral, (but understandably the most widely-available these days),
The Table Talk of W.H. Auden (excerpts from conversation diaries, first printed, 1989):


There is an eleven-page interview with Ansen by Beat scholar, Regina Weinreich in the Fall 1989 issue of The Review of Contemporary Fiction that is well worth tracking down.

The “most delicate hippopotamus of poets”, as Allen lovingly described him.


His friend A.E.Stallings, writing for The Poetry Foundation, back in 2007:

“When I met Alan, he was in his late 70s, and had been housebound in Athens for 15 odd years – visiting him, which involved his passing a key through the difficult-to-reach ground-floor window, was rather like visiting the Once-ler. I didn’t know him in his youth, when he was a friend of the Beats, and the model for Rollo Greb in Kerouac’s famous novel (On the Road).”

Here’s Kerouac on “Rollo Greb”:

‘We found the wild, ecsatic Rollo Greb and spent a night at his house on Long Island. Rollo lives in a nice house with his aunt; when she dies the house is all his. Meanwhile she refuses to comply with any of his wishes and hates his friends. He brought this ragged gang of Dean, Marylou, Ed, and me, and began a roaring party. The woman prowled upstairs; she threatened to call the police. “Oh, shut up, you old bag!” yelled Greb. I wondered how he could live with her like this. He had more books than I’ve ever seen in all my life – two libraries, two rooms loaded from floor to ceiling around all four walls, and such books as the Apocryphal Something-or-Other in ten volumes. He played Verdi operas and pantomimed them in his pajamas with a great rip down the back. He didn’t give a damn about anything. He is a great scholar who goes reeling down the New York waterfront with original seventeenth-century musical manuscripts under his arm, shouting. He crawls like a big spider through the streets. His excitement blew out of his eyes in stabls of fiendish light. He rolled his neck in spastic ecstasy. He could hardly get a word out, he was so excited with life. Dean stood before him with head bowed, repeating over and over again, “Yes. . . Yes . . . Yes.” He took me into a corner. “That Rollo Greb is the greatest, most wonderful of all.”‘

Stallings continues:

“I just read this aloud to my husband, who was also a friend of Alan’s in his last years, and we laughed with surprise that this was in fact totally recognizeable. True, the man we knew was physically frail, but the walls of books (a true polymath, he had mastered a dizzying array of languages), the enthusiasms, and the blithe cantankerousness were all things we had experienced. He still pantomimed operas in his ripped pajamas. There are stories of his spryer days in Athens when, during a dinner disagreement, Alan got under the table and continued the argument loudly from that vantage.”

“I had actually resisted meeting Alan on first moving to Athens. He lived only blocks from us, and I had a letter of introduction to him from Rachel Hadas. But for some reason I avoided making contact until we had been living in Greece over a year, and there was a freak snow fall. I knew he was housebound, and worried he might need groceries or assistance. I timidly phoned him up, and he delightedly accepted our offer, giving us a detailed if odd grocery list (heavy in cookies). So out I trudged in the snow to meet this legendary character. He was still able to walk then, though it took what seemed hours for him to shuffle to the door in his outlandishly filthy slippers and bathrobe.
What I quickly learned about Alan was that he was absolutely at ease in an awkward silence, and it was incumbent on the visitor to initiate and sometimes to prosecute a conversation. But once he got going he was a wealth of wit and anecdote (he had known positively everyone – he had been a secretary to W.H.Auden – beloved Wystan – his notes were vital to the recent-ish volume of Auden’s Shakespeare lectures – friend of the Beats, James Merrill, Peggy Guggenheim, etc.), though he was apt to sprinkle conversations with quotations from German, which I never got, or bursts of song (usually Wagner), or poems in Ancient Greek. His laughter was sudden and raucous. If he were startled, he uttered various creative oaths, among the most memorable was probably, Shit on God!
I started to feel our visits were actually tutorials. I would look up poems or poets he had mentioned in one visit to be better prepared for the next. A look was enough to shame me into reading books I casually mentioned not having read. I tried to come in with a conversation starter – an article on Wystan, for instance, or a book review, or a piece of poetry gossip. His knowledge and enthusiasm for poetry was encyclopaedic and catholic. He admired Longfellow and Ashbery. He was an expert on Alcman and Pindar. You might think that being a housebound ex-pat poet in Athens would have been depressing for him. But he truly lived through his books, and could not have been happier than being among so many centuries of excellent company, speaking to him in French and Greek and German and Farsi.
Only towards the end, when he had been moved to an old-folks home (with an excellent view of the Parthenon) did melancholy really seem to get the upper hand. In physical discomfort and only able to read his beloved Agatha Christies, he would sometimes answer our question if he wanted anything with the Eliotically Sibylline “I want to die.” But he would say this wryly, and with a twinkle of mischief, and we were able to ask teasingly if there were anything else we could do for him. His longtime friend John Zervos, who wrote an obituary of him for the Athens News, remarked that towards the end when he would close his eyes he claimed he was “practicing.”
Besides Alan’s humbling breadth of knowledge, curiousity and reading, I always found his attitude towards poetry itself inspiring. He was ambitious for poetry, but utterly without vanity for his own career.

Rachel Hadas, in her critical assessment of Ansen’s poetry that rounds off Contact Highs, quotes the poet on his work:

“By instinct and biographical compulsion, I want the naked scream. By training and remembered satisfaction, I utter in patterns”

The combination of constraint and play, of joyful freedom and hard work. We salute Alan Ansen on his Centennial.

Leave a Reply

Your email address will not be published. Required fields are marked *