Compositional Practice (Sustained Attention – 2)

Allen Ginsberg on compositional practice continues from here

Student: Ted (Berrigan) says you write poems when you’re on a retreat.

AG:  Sometimes. If I’m somewhere where I don’t have to do anything, then I tend to write. Like, I wrote a lot up in.. when I went up that week for the seminary I wrote a whole… about fourteen little poems. But that was because they had a poetry reading there, and so I wrote something to read. And I didn’t like the way.. their attitude there, so  I was trying to reflect on, straightforward, you know, fresh, perception, I’ll … Read More

WCW on WNET continued

USA Poetry – William Carlos Williams –  transcript continues  (see here)

[note –  on occasion some

from the Letters of William Carlos Williams

To Kay Boyle (1932)

“Dear Kay Boyle….. There is no workable poetic form extant among us today..Joyce and Stein have..gone out of their way to draw down the attention on words so that the line has become pulverous instead of metallic – or at least ductile…For myself I have written very little poetry recently. Form, the form has been lacking. Instead I have been watching speech in my own environment from which I continually expect … Read More

Expansive Poetics 42 – (Edward Carpenter 4)

File:Day, Fred Holland (1864-1933) - Edward Carpenter.jpg

[Edward Carpenter (1844-1929) – Photograph by Fred Holland Day]

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