AG: Well, it’s not that that you need to be able to understand it [Greek prosody] to write a poem. It’s not perverting your speech to get those rhythms. Rather, it is that speech does have those rhythms, and that you can follow the cadences with those rhythms, that when we were taught in drama-school and high-school primary rhythms, it was very rare that anything was taught beyond the four variants of iamb, trochee, anapest and dactyl. – that seemed to be the range of the English ear, or awareness of rhythm, or American high-school awareness of rhythm, … Read More
DR: “When it comes to the character I play, one of the reasons I took this particular part is that there are parts of Allen Ginsberg that I can relate to. The character we’re showing in this film is universal because we see him at a time in his life that we all can identify with. It’s somebody finding out who he is, and
1973 Salem State College’s Jack Kerouac Festival – here and here. (We’ve even previously featured an “out-take” here),. Here’s another one, (similarly focusing on the poignancy and tragedy of late Jack Kerouac (and on late Neal Cassady). An audience member asks about Cassady and his legendary cross-country drive, Allen responds.
[This particular tape begins in media res with Peter Orlovsky, having just finished his presentation, and a (more-than-usually) offensive/provocative/drunken Gregory Corso, meditating/theorizing.. on sudden death! – but then, thirty-five seconds in, is the question, and fifty-five seconds in, Allen’s answer]
AG: I can only talk, I would rather only … Read More