Expansive Poetics – 120 (Marsden Hartley – 4)

For previous Marsden Hartley posts – see here, here and here AG: So there’s also this little element of ecological perception, in what we know as an ecological  environmental view in (Marsden) Hartley (‘s poetry), in his noticing of the flowers around, and his awareness of the woods around, Lewiston, and his appreciation of them – “The Canadians came to the city – / giving it new/life, new fervors, new charms, new/vivacities, light/touches, pleasant shades of/cultivation, bring/ no harm to the city – [(bringing (Jack) Kerouac to the city, actually – the French-Canadians)] – “..bringing what it now has … Read More

Expansive Poetics – 113 (Marsden Hartley 2 & Flowers)

AG: The first poem that we have at the beginning of the American section of the anthology (except for (Walt) Whitman), the first one that we got to put in there is a direct straightforward description of Lewiston, Maine ((Marsden) Hartley’s home-town) and a poem about Lewiston, Maine. He just realized one day as a big painter in New York he could go back and write about Lewiston, Maine, and not have to be ashamed of it, because that was a fit subject-matter.

And that was exactly what Alfred Stieglitz would cream over, because it was … Read More

Expansive Poetics – 111 (Marsden Hartley)

AG: Marsden Hartley…it was recommended that I should look at his poetry also, because I was looking for examples of free-form poetry in English, and Marsden Hartley was one of the first, and one of the most loose relaxed and straightforward natural poets that ever wrote in this form. His form is a little bit..it’s one of the rare examples of real “free” verse, where the guy is writing very directly and straightforwardly with an eye on the object. Doing what (William Carlos) Williams and (Ezra) Pound and (Charles) Reznikoff always wanted to do, but he was a painter

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Spontaneous Poetics – 73 (Universal and Particular)

[William Blake – Albion Rose from “A Large Book of Designs” (1793-6)]

“..everyone has language moving within them, everybody has secret thoughts and direct, absolute, perceptions, big as any Buddha. It’s simply that the mind becomes limited to thinking that the proper mode of discourse, or the form that is socially appreciable, is “Jack and Jill went up the hill..”

AG: So, from this point of view, everyone is, as (William) Blake says), a vast world of thought-forms, everybody’s a poet, that is, everybody has a consciousness, a Buddha-mind, everyone has a Buddha-nature, everyone has all the insights of

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Friday Weekly Round-Up – 107

[Marsden Hartley (1878-1943) – Finnish-Yankee Sauna, (1938-9), Collection of the Frederick R Weisman Museum, Minneapolis]

Marsden Hartley‘s birthday today. Hartley was a figure Allen admired, not only as a painter, but (perhaps even more) as a strangely neglected poet. For more on Hartley the poet see here and here. For more (audio – Allen at Naropa on Hartley) – see here and here).

Beat Memories – the definitive exhibition of Allen’s photographs (that debuted at the National Gallery in Washington DC in 2010 (see here, here and here) makes its way to New York … Read More

Spiritual Poetics – 12

[Chenrezig (Avalokitesvara), Bodhisattva of Compassion, Thangka by Rinchen Gyalpo]

Allen Ginsberg continues and concludes his 1974 Naropa lectures on “Spiritual Poetics” 

AG: It’s interesting that there’s two streams of writing now among younger people that I see – one of which is.. above the ears – sort of psychotic, schizophrenic poetry, maybe modeled on rock lyric and on (Bob) Dylan, or sumpin’ – but it’s all “dancing dominoes behind the minstrel sky”, which Dylan did well that one time, somehow, it fits with him, but there’s a solely imaginary poetry that’s written, and then, there’s a whole bunch … Read More