[Allen Ginsberg at Capel-y-Ffin (“Wales Visitation”), 1967 – Photo: Tom Maschler]
“…rubber booted in soft grass, mind moveless, /breath trembles in white daisies by the roadside, Heaven breath and my own symmetric/ Airs wavering thru antlered green fern
drawn in my navel,/ same breath as breathes thru Capel-Y-Ffin..” (from “Wales Visitation”)
Eco-watch – They’re thinking of putting a telecommunications mast in one of the most beautiful parts of the Llanthony Valley. Read more about the resistance here
JS: Would the captions change much then, the more he was captioning? Especially some of the iconic ones which he must have captioned dozens of times.
BR: Sometimes the difference would be the change of an adjective, a tweaking, but sometimes something will come up and it gets longer and longer. They all build on each other. Writing about it is the memory of the sacred. This is what the prints represent. But those silver gelatin prints, they have an eternal etching to them, and the way the eyes look, the communication is … Read More
JS: I’m interested in Allen and his photographic “eye” – did he know what he was looking for when he was looking at a contact sheet and what he’d want printed?
BG: Robert had a lot of influence over Allen (when it came to deciding what photos to print). But Allen took the pictures, so he knew what he was after. And there are a lot of good ones.He had a quirky kind of sensibility. Like the picture of … Read More
JS: Robert Frank was obviously an important influence for Allen.
RF: For most people I knew, Allen was a real hero, but Allen had his own heroes, and Robert was certainly one of them. Allen worshipped Robert. So the photography was a way for him to bond with Robert, and to be his student. He had another friend who was a photographer, who lived above Strand Books (in New York), Hank O”Neal. He was the commercial agent for Berenice Abbott. He was another person whom Allen relied on for … Read More
The Beat Scene – Photographs by Burt Glenn – edited by Tony Nourmand and Michael Shulman (with an essay by Jack Kerouac), a dazzling portfolio of images shot between 1957 and 1960, both in New York and San Francisco – close up, contemporaneous, and at the heart of the Beat phenomenon – has just recently (just this month) been published by Reel Art Press.
From the publishers’ notice:
“This magnificent volume features a remarkable collection of largely unseen photographs of the Beat Generation by renowned Magnum photographer Burt Glinn. This amazing, untouched treasure trove of images was … Read More
AG: So, working last night reminded me of something that I hadn’t tried formulating, or vocalizing, which is that to write a work of genius, of any density and thickness and length (except for the little ditties and brilliant pieces that you can write right off, spontaneously, little short poignant things like that “On Neal’s Ashes”, which are, little poignant poems, which everybody has written of their own), the situation arising where you actually get involved in a work and sit continuously at it for twelve, … Read More
“I went to my room/, sat down,/ opened my pen-knife to open a letter./ Halfway I stopped, /put letter and penknife down, went to the window and opened it up -Six floors up – enough to kill a human shot. So, who goes first? – Faith – (you) can’t trust it. You take it, Faith is not Knowledge. It’s something you believe in because you don’t understand it. Out the window with it! Took Truth, and … Read More