Continuing from yesterday [at approximately sixteen minutes in], Charles Olson begins reading (from “Letter #41 [broken off]”) – “With a leap (she said it was an arabesque/ I made, off the porch the night of the/ St Valentine’s Day storm….”….”The war of Africa against Eurasia/has just begun again. Gondwana.”
RD: I want to take you through a… oh, there’s one more poem I’ll read from Bending the Bow, that was requested, and that’s the poem, “My Mother Would Be A Falconress” – People keep asking me why don’t I write good poems like that all the time? Well, this one landed on top of me, so I…. I’d never be able to do it myself is the only answer to it! I’ll read you the little Preface [“A Lammas Tiding”] that goes with it, which is sort of a description … Read More
Student: Can I ask you a little bit of an off-the-wall question?
AG: Yes.. Why don’t we leave this time open now for just general…
Student: In our (Ted) Berrigan class tonight, he said this comment that, “The time of the composition is the time of the composition”…. (I’ve been trying to understand that) and I’ve been trying all night. And he says “Well, you should know that with every poem that you read, (before you start out).
AG: The time of the composition is the time of the … Read More
[Robert Creeley, Allen Ginsberg, and John Ashbery – (Photographer Unknown)]
“….exquisite mind cartoons that could be heard with eyes closed, the voice perfectly ordinary with the slight edge of extravagant conversational camp, a mind artifice not unnatural to hypnagogic revery, deceptive, till you hear the chasm landscapes and awkward universes created and contradicted in vast gas-deposit shocking trivial universal mind.”
Robert Creeley would have been ninety-one tomorrow, May 21st (he died in 2005). In honor of the great man and his birthday, we present, this weekend, another transcription from the extraordinary Bay Area Writers series (from back in 1975-76) – (see also here and here) – Rudimentary recording equipment, so there are, understandably, a few technical problems (particularly at the beginning and the end of tape one (the main tape) but.. what a treasure! , what a remarkable record!
RC: I’m curious, like.. I gather some of you.. that this is a class for some of you and some … Read More
Beginning today, serialization of transcription of Jim Carroll’s June 30, 1986 Naropa Poetics and Music class. [see here for Jim Carroll reading]
Larry Fagin: Ladies and gents, welcome to the second week of Naropa
[July, 1986] poetry summer camp. I’m pleased tonight to have.. and honored and
thrilled to have,Jim Carroll with us, who first came to light at aged fifteen, with
a book called, (an) amazing book called,
AG: ..heroic style, loud-mouthed style, hot-air style, exaggeration style, post-Surrealist style, imaginative, hyperbole, rhetorical, ecstatic , inspired, open-mouthed, oratorical, oratory, dreamy, day-dreamy, fantastical, inspired – (meaning inspiration, meaning breath). Inspiration-exhalation-expiration. By “inspired”, I mean breath – the quality of breath, which is unobstructed breath, or that breath known when the body is a hollow reed and the mind is unobstructed and improvisation and images flow through the body without check and with abundance. Expansive imagination. It’s a state of body and a
AG: The other poem of (Edward) Carpenter‘s we might as well do, while we’re on Carpenter, is “The Secret of Time and Satan”. The reason I brought him up is he’s one of the children of (Walt) Whitman and one of the people who applied Whitman’s method of realistic all-inclusiveness, notation in present time, empathy in space, empathy and sympathy going out in space to make notions in present time. (It’s) a more philosophical poem based on theosophical ideas. It has Whitman’s basic impetus and … Read More