Reassembling Perception

[Pablo Picasso. Skull and Leeks 1945]

AG: So you assemble, you reassemble, all these objects and you get the sensation that you had at the time. So it’s almost like a precise science.. won’t you believe it?

Student: Well, it seems like you’re taking a real classical approach that these things that come in on you can be.. can all be put in an organized sentence, in an elegant way.

AG: Okay

Student: But after…   I mean, don’t you think a..  I mean, a McLuhan-esque term, “the mosaic thinking”,  that just sometimes just lists of images would  be more accurate … Read More

On The Composition of Haiku

[Heaven-Earth-Man Calligraphy]

continued from yesterday,   1980 Naropa classroom –  Student is refering to another student’s writing that Allen has just analyzed

Student:  For a while there, it seeemed like, like she was saying, it seemed like,  I don’t know how many syllables there were, but they seemed they were pared down, to the length of haiku,  almost

AG: The way she did it? – Yeah.  Yeah, but it didn’t work. It was sort of like awkward haiku(s) and no single one of them made a big deal except maybe, “the rhythmic twang of the steel cord slapping against the flagpole”,  … Read More

Composition and Condensation – 3 (Classroom Notation)

[“Rhythmic twang of steel cords slapping against the flagpole”]

continuing from yesterday

AG: Then, the other thing we came to, she [sic] had a poem that was a discrete series of code-word observations, one after another in a row, and it sounded, like, too choppy, or much like she was doing an exercise sketch of the ….”One lady lifts up her big leg over the…or big boot, and takes it off” – [ to Student] – What are the three images? – What’s the first one? there was…

Student: “Holding the attention”,,

AG: What?

Student: “Holding the attention..riding a bicycle, … Read More

Composition and Condensation – 2

AG: Then another thing formulated with Rachel today [sic] was, in terms of condensation, if you can find three or four different ways of saying, of arranging the same words, generally, the spoken arrangement that is the shortest has the best rhythm and is the most vivid. [To Rachel (sic)] – Do you happen to have that poem with you? that one poem where we really discovered it. You remember the line?

Student (R)…”There’s not enough time to..”

AG: What’s the next line? There’s not enough time

Student (R) …”There’s not enough time to write all the notes down”

AG: … Read More

Peter Orlovsky Arrives Late For Class

Allen Ginsberg and Peter Orlovsky. Photo: Herbert Rusche]

continuing from yesterday

AG: Aw! Come on!

Peter Orlovsky : I’m sweating. I had to go to Casey High – all over the place , I had a chair for you. I had to rush here because I thought you were..

AG: You went to Casey?

Peter Orlovsky: Yes, I went to Casey looking for you. I thought you were at Yeshe House!      I stopped off here before I thought of going to Yeshe House. You didn’t tell me the class was here. No one told me the class was here.   … Read More

Diane di Prima continues

[The Seven Joys of Mary (1480), Hans Memling (c.1433-1495) ]

Diane di  Prima – continuing from yesterday

DD: Okay, part five of this poem [ “Loba‘]  was going to be –  [(it) makes me nervous when people take notes] – part five was going to be kind of.. was going to be a study of the Mary legend, you know. based on… partly started of from a Hans Memling painting – The Seven Joys of The Virgin – But before Mary showed up all these other ladies showed up first and I did a whole lot of other … Read More

Buddhism and The Beats (Ginsberg 1993 – Q & A)

Following on from last week’s “Buddhists and The Beats” video -the Q & A, the final segment.

Do we have time for questions.?

AG: Yes, sure

Q: You said that your poetry is a practice as well, so..is it..do you meditate every day? do you use poetry as a practice?

AG: It’s a form of practice. I sit now about forty minutes to an hour every day. There have been long periods where I’ve sat for an hour, two hours, every day, and there have been long periods where I have been on retreats where I would sit all day, … Read More

Buddhism and The Beats (Ginsberg 1993 – 2 – Trungpa Rinpoche)

Continuing from yesterday.

[Buddha doodle. Allen Ginsberg. April 5, 1991]

[Mantra: Benefit for Kama Dzong Meditation Center, May 6, 1972. Macky Auditorium, Boulder, CO]

[Allen Ginsberg and Chögyam  Trungpa,  Rinpoche. Benefit for Kama Dzong Meditation Center, May 6, 1972. Macky Auditorium, Boulder, CO. Photo:  Bob Morehouse]

AG : Then, 1972 Trungpa Rinpoche invited me to Boulder to give a poetry reading to raise money for Rocky Mountain Dharma Center along with Robert Bly and Gary Snyder. So I was really pleased to go out and see him in his home territory and went out there and he invited … Read More

Jack Collom (1931-2017)

Following the death of Larry Fagin, news reaches us this morning of the death of another of the great Naropa poet-teachers, Jack Collom. When Allen and Anne Waldman set up the Jack Kerouac School of Disembodied Poetics in 1974 in Boulder, Colorado, Colorado already had one distinctive inventive joyful maverick poet at hand, Jack Collom. He was swiftly engaged in the experiment and soon (not soon enough, as we recall) became an integral part of the faculty. This page (from the Naropa University Archive) provides links to countless instances of Jack’s participation. We might, arbitrarily, single out … Read More

Composed on The Tongue

AG: (It’s a collection of) ..spontaneous writings, at different times. And some of the stuff is (from quite (recent), here,) at Naropa (The last piece from (19)74-(19)75, and some interviews done here around (19)75. And then a long conversation with Michael Aldrich, Edward Kissam & Nancy Blecker, (in Cherry Valley) ,”Improvised Poetics” { editorial note – subsequently reprinted in Spontaneous Mind] …..done in 1968.  And then, 1967, about twenty-five pages– twenty pages – of conversations, laconic conversations, with Ezra Pound about the Cantos and about what he thought about life – All this has been published in Loka or … Read More