⒈ Allen Ginsburgs In The Baggage Room At The Greyhound

Saturday, December 04, 2021 2:22:05 AM

Allen Ginsburgs In The Baggage Room At The Greyhound

Gintberg Reder Why Shaming Is Bad - Live Public Records. See me. Black title, author etc on front cover. The first four Allen Ginsburgs In The Baggage Room At The Greyhound basically explain and show how much Allen Ginsburgs In The Baggage Room At The Greyhound enjoys her peaceful Allen Ginsburgs In The Baggage Room At The Greyhound. America by Allen Ginsberg was a strange poem, but I guess I have come to realize that everything Allen Ginsberg writes is going to be a bit odd. Of Allen Ginsburgs In The Baggage Room At The Greyhound of Ginsberg's musical efforts, what in the end sticks with me most indelibly is Speakeasies In The Great Gatsby first performance of "Father Death Blues" in Boulder.


Two of our party liked Lennon best, another who would years later kill himself the night before he was to report for a prison sentence favored Bobby Seale's speech, which he delivered at a podium while ostentatiously flanked by bodyguards. But for me, Ginsberg's performance carried the long, wearying night. The prayer is "musical" but not yet music, more a chant than a song, but the urge to sing was obviously there. Over the years, I kept up with Ginsberg via his books and magazine interviews, and was pleased when he became interested in the blues stanza form. In the summer of , a small ad in a magazine printed on cheap pulp paper led me to Naropa Institute in Boulder: a poetry class with Ginsberg.

But when I arrived, I found that Ginsberg had flown east to care for his dying father and the class was to be taught by Phil Whalen. The possibility that Ginsberg might return kept me there. He goes on to talk about his journey from Hare Krishna Mantra chanting to swinging monochordal tunes to an unvarying C chord on a harmonium, and was encouraged to sing more by Bob Dylan who bought Ginsberg a tape recorder to practice with. Using this newly acquired third chord, Ginsberg began to improvise lyrics in the blues form: Radiator cockroach Waving your horns at the wall What'll I feed you I don't eat meat at all Go tell the bedbug He better stay out in the hall.

He acquainted himself with the blues of Rabbit Brown, Bessie Smith, Ma Rainey and others, growing more confident, writing songs with such titles as "Hardon Blues" and "Put Down Your Cigarette Rag," which suggested giving up "obscene" nicotine in favor of sucking on some part of your lover's body I was later to see him sing this, banging away speedily with his Australian song sticks, his expression the ultimate in pleased hilarity. I read these clumsy, hilarious and baldly honest lyrics over and over for a couple weeks, then Ginsberg returned from burying his father, bringing with him some new songs.

In class, he was upbeat, assigning the class to write a blues lyric--again referring to Rabbit Brown as his model. I chose Charlie Patton as mine, and wrote " a. By the next-to-last verse Feel like chopping--chip's flying everywhere 2X But my favorite bush is curls of angel hair Ginsberg noted "me too. One day after a fund-raising auction--an original Kerouac typescript poem where Nixon is described as having "shit-stained drawers" went cheap--the school business administrators-cum-auctioneers asked us all to think of someone we could call for contributions to Naropa. As I sat on the bleachers in the room where the auction had been, Ginsberg came and sat next to me patting me on the right knee; his lover Peter Orlovsky sat on the other side and patted my left knee.

He asked what I was thinking. My job is to get Dylan to donate. Allen grinned. We were likely the first to hear this performed. The music and melody are a perfect capture of slow, sad breathing, the words, their awkward meter and twisted syntax, a struggle to maintain a Buddhist detachment in an hour of deep personal grief: Hey Father Death, I'm flying home Hey poor man, you're all alone Hey old Daddy, I know where I'm going [.

Also in and '76, Ginsberg and Waldman had been participants in Dylan's Rolling Thunder tour, and with this added exposure and more songs, Ginsberg approached legendary record producer John Hammond, and Hammond offered to record him. Hammond had recently retired from Columbia and set up his own enterprise. But it was not until that Ginsberg's double album of original material Allen Ginsberg: First Blues appeared. The music is, for the most part, loose-reined anarchy, a jam feel with no glaring star turns. On side one you'd like "Vomit Express" if you like "La Bamba.

Side three is the most Buddhist-influenced. There are bright moments, like the Basho-influenced "Old Pond," but this is the least interesting side. The John Sinclair single is missing, however. There one can find Ginsberg singing "Capitol Air" with the Clash as his backing band, tracks with strings, several previously unreleased performances with Dylan, a truly chilling clarinet and plucked-banjo-driven recitation of "Written in my Dreams by W.

Williams," Ginsberg singing "I fought the dharma and the dharma won" in "Do the Meditation Rock," and much more. There are other stray recordings that stand up well against this gathering. There are three mixes of the title song here, but the lyrics are somewhat monotonous: Said the Presidential skeleton, "I won't sign the bill. Ginsberg chose to write about the homeless: I dreamed I dwelled in a homeless place Where I was lost alone Folk looked right through me into space And passed with eyes of stone [.

Indeed, there are real prosodic differences in the above examples. Certainly Ginsberg's strophes, made up of two or more lines, characterized by their emphatic, predominantly trochaic and dactylic rhythm, each strophe emphatically end-stopped, are a far cry from Levertov's minimal, lightly stressed two or three stresses per line , frequently enjambed lines, arranged in open tercets. For Ginsberg, repetition, whether clausal or phrasal, is the central sonic and syntactic device; for Levertov, whose poem charts minute differences of perception, repetition is studiously avoided. Again, Levertov's "A Day Begins" differs from Snyder's "Mid-August," whose two five-line stanzas are notable for their monosyllabic base seven of the poem's fifty-seven words are monosyllables , which ensures strong stress on almost every word in a loosely trochaic sequence.

Consider the following features: 1 The free verse, in its variability both of stress and of syllable count and its avoidance of obtrusive patterns of recurrence, tracks the speaking voice in conjunction with the moving eye of a perceptive, feeling subject, trying to come to terms with what seems to be an alien, or at least incomprehensible, world. The same temporal tracking characterizes Merwin's "Dusk in Winter": in line 1, the sun is seen setting, in lines , the poet responds to the resulting "cold"; in lines , the sense of loss gives way to renewal as the stream is metaphorically perceived as "running after" the sun, its sound like flute song.

In Ginsberg's "In the Baggage Room," the first line sets the scene "in the depths of the Greyhound Terminal," and each subsequent strophe adds an element of perception or cognition. In Snyder's "Mid-August at Sourdough Mountain Lookout," the patient description of the valley in the first stanza triggers the step-by-step withdrawal into the self in the second.

And Lowell's eleven-line conclusion to "The Mouth of the Hudson" focuses on the bleakest and ugliest items in sight as representation of the interior "unforgivable landscape" that is the poet's own. Surely it is not coincidental that the origins of free verse coincide with French symbolisme and Anglo-American Imagism. Perception, discovery, reaction: free-verse is the form par excellence that strives toward mimesis of individual feeling , as that feeling is generated by sights, sounds, smells, and memories. Levertov's open tercets, Snyder's five-line stanzas, Ginsberg's strophes, Merwin's minimal linear units, and Lowell's loose verse paragraphs--none of these does much to exploit the white space of the page or to utilize the material aspects of typography.

Except for Ginsberg's Whitmanesque long lines, all the examples above have columns of verse centered on the page, with justified left margins, and only minimally jagged right margins, line lengths being variable only within limits. The look of the poem is thus neither more nor less prominent than in metrical verse. Interestingly, the six features I have discussed here, all of them, of course, closely related, turn up in the poets' own statements of poetics included in Naked Poetry. And Merwin seems to speak for all the poets in the anthology when he says: In an age when time and technique encroach hourly, or appear to, on the source itself of poetry, it seems as though what is needed for any particular nebulous unwritten hope that may become a poem is not a manipulable, more or less predictably recurring pattern, but an unduplicatable resonance , something that would be like an echo except that it is repeating no sound.

Something that always belonged to it: its sense and its information before it entered words. NAK , my emphasis An unduplicatable resonance: from its inception, this is what most free verse has striven to be. A scary chaos fills the heart as 'spir'itual breath--in'spir'ation; and is breathed out into the thing-world as a poem" NAK But there is one and I think only one exception to this poetics in the Mezey-Berg anthology, and it marks a useful transition to the poetry in Out of Everywhere. That exception is the poetry of Robert Creeley.

Although Creeley's own "Notes apropos 'Free Verse'" make much of Olson's field composition and the use of breath, it also contains the following statement: I am myself hopeful that linguistic studies will bring to contemporary criticism a vocabulary and method more sensitive to the basic activity of poetry. Too, I would like to see a more viable attention paid to syntactic environment, to what I can call crudely "grammartology. The "foursquare" jazz-based pattern Creeley talks of here may turn up as a four-line stanza e. See me. NAK To call such poetry "free verse" is not quite accurate, for something is certainly being counted in these little block-like stanzas, even if it is neither stress nor syllable but word.

The pattern is , , , , , , , , the final stanza reversing the word count of the first. Indeed, although Creeley's tercets superficially resemble Levertov's, the features of free verse I listed above hardly apply. This poem does not present us with a mimesis of speech, tracking the process of perception. Again, monosyllabic lines like "is what I" refer neither to sun and stream, as in Merwin's poem or to rocks and meadows, as in Snyder's. There is no image complex to control the flow of speech; indeed the shift from line to line is by no means linear: "See me," does not follow from "Face me.

And when we come to line 4, "It is the cry," the normal flow of free verse is impeded because the unspecified pronoun "It" returns us to the previous tercet as we try to make out what "it" might refer to. Each word, to cite Gertrude Stein, is as important as every other word. Sound becomes obtrusive "me I reach out" as does the creation of paragrams, formed by cutting up complete sentences or clauses. Thus, although at first glance, the look of Creeley's poem on the page is not all that different from, say, the Snyder counterpart, the consistent detachment of words from their larger phrasal or clausal environment--a practice that goes way beyond what is known as enjambment-- creates a very different physical image.

Post-Linears and "Multi-Mentionals" If the unit of free verse is, as all theorists agree, the line, then the unit of Creeley's poem might more properly be described as what the Russian Futurists called "the word as such. Lines linear outline, clear boundaries' effect, notice the package from its perimeter, consistency, evenness, seemingly internal contours which end up packaging the insides so that they can react or point or be subordinated to a homogenized unit, to what's outside. Territorial markers and confinements, ghost towns, congested metropolis on a grid. LIP Who would have thought that less than forty years after Olson celebrated the "LINE" as the embodiment of the breath, the signifier of the heart, the line would be perceived as a boundary, a confining border, a form of packaging?

Similarly, Johanna Drucker talks of "Refusing to stay 'in line,' creating instead, a visual field in which all lines are tangential to the whole" LIP Peter Inman refers to Olson's sense of the line as unit of poet's breath "too anthropomorphized. And Susan Howe remarks that in The Liberties , she wanted to "abstract" the "ghosts" of Stella and Cordelia from 'masculine' linguistic configuration. Each has an aura" LIP Howe's own long verbal-visual sequence Eikon Basilike see figure 6.

Word," the "multi- and non-linear" writing of younger women poets in the U. According to conventional criteria, the material forms used by the thirty poets in Out of Everywhere can be classified as "verse" e. But such classifications obscure what is also a common impulse. In Rational Geomancy , Steve McCaffery and bpNichol remind us that in standard prose as well as in the "visually continuous poem Milton's Paradise Lost for instance the page has no optical significance. Being to a large extent a working out of information through duration, prose structures tend to be temporal rather than visual.

In extended prose or poetry the page becomes an obstacle to be overcome. RGEO It is this "inner necessity" that may be noted in the four examples above. Whether ostensibly "prose" Rosmarie Waldrop or "verse" Karen Mac Cormack , these poems are first and foremost page-based: they are designed for the eye rather than merely reproduced and reproducable, as I found when I tried to type them up leaving the original spacing and layout intact. In these visual constructs, the flow of the line as the individual's breath as well as of the simulation of the eye's movement from image to image, observation to observation, is inhibited by any number of "Stop" signs.

This is the case even in Waldrop's prose passage, which opens with the sentence: "Although you are thin you always seemed to be in front of my eyes, putting back in the body the roads my thoughts might have taken. What does being "thin" have to do with inhibiting one's partner's "thoughts," except that the two words alliterate? And does one really "put" those "thoughts" back into the body, as if one is stuffing an envelope?

Robert Frost's famous "The Road Not Taken," which is alluded to in Waldrop's sentence, moralizes its landscape, turning the two divergent, but quite similar, roads into emblems of the futility of the choice-making process. On this new "stage," "only space would age" notice the rhyme and "exaggeration. Denotatively, the words are unrelated, although both refer to states of negativity. But visually and aurally, the second is almost an anagram of the first, the only unshared letters being r , u , and m. The dancer's "leap toward inside turning out" of the last line thus enacts the verbal play we have been witnessing--a play in which "you" and "I," "juggl[ing] the details of our feelings," find momentary rest as the voiced stop t culminates in the silence of the blank space.

If Waldrop's "sentences" are thus more properly "non-sentences," the lines in Karen Mac Cormack's "Multi-Mentional" open like an accordion and close down again, putting pressure on isolated centered words like "preen," "renew," and "telepathy. On the one hand, we have the "line's running-board basics," those reliable "straight-line" ledges beneath the car door that help the passengers to "get out. But the "line's running-board basics" are countered by a motion that is "sidereal on all fours. And why are the statistics we should rely on "mongrel"? No use, in any case "preen[ing" in this situation, a situation in which tantrums are ominously "temperature tantrums" is something going to explode?

How, Mac Cormack asks, delimit word meanings? If the ring fits if you recognize the ring as being that of your phone , answer it. Or has the caller already been recognized by "telepathy"? In Mac Cormack's "multi-mentional" world, "patience" is "soft" which implies there's a hard patience as well , landslides "float," and the location of birds in flight can never be "pinpoint[ed]," any more than "similes" a is like b can measure the "multi-mentional. Secondary stressing, so central to the poetry of Ginsberg or Snyder e. Sounds cannot coalesce into rhythmic units, as they do in Snyder's "Sourdough Mountain," for then their "Multi-Mentional" quality would be lost.

Which is to say that in the ear as on the page, the language act becomes central. Maggie O'Sullivan's medievalizing moral tale "A Lesson from a Cockerel" performs similar operations on the catalogue poem. Yes, if we mean by free verse the absence of meter, stress, syllable count, or quantity. As in Mac Cormack's poem, secondary sound features rhyme, assonance, consonance, alliteration take precedence over the recurrence of stresses. And this too is a time-honored tradition in poetry, however far free-verse poetry, the poetry of the voice and the Image, has gotten away from it.

Not images, but "afterrimages," as Joan Retallack's sequence by that title makes clear. In fact all images are after. That is the terror they hold for us. The last six lines recall Creeley's strategy of counting words rather than feet, stresses, or syllables. The pattern is 4 at center , left and lowered right , and then a tercet. And now, come the "afterrimages," chosen, Retallack tells us, by chance operation: thirteen characters or spaces from line 8, six from line 10, two from line These tiny morphemic particles are living proof of what a difference a single letter can make.

The ellipsis preceding " all this I see " becomes the mere stutter of all th ; "point" loses its p, only to regain it from the capital P of "Paul" that follows; the loss opens up the text so that we think of "joint" or "anoint," the latter certainly being appropriate for St. And the afterimage of "sunbeams," the meaningless vocalization nb , is a witty comment on the activities of Swift's Laputa. Retallack's is thus an artifactual, wholly composed meditation on what can and cannot be "extracted from" language. Susan Howe, I noted above, has referred to her typographical experiments as "abstractions" from "masculine linguistic formations," and many of the poets in Out of Everywhere would concur that such deconstruction has been central to their work.

We have, in any case, a poetics of non-linearity or post-linearity that marks, not a return to the "old forms," because there is never a complete return, no matter how strongly one period style looks back to another, but a kind of "afterrimage" of earlier soundings, whether Anglo-Saxon keenings , formally balanced eighteenth-century prose, or Wittgensteinian aphoristic fragment. The new poems are, in most cases, as visual as they are verbal; they must be seen as well as heard, which means that at poetry readings, their scores must be performed, activated. Poetry, in this scheme of things, becomes what McCaffery has called "an experience in language rather than a representation by it.

What can be said, however, is that the "free verse" aesthetic, which has dominated our century, is no longer operative Take a seemingly minor feature of free verse like enjambment. To run over a line means that the line is a limit, even as the caesura can only exist within line-limits. To do away with that limit is to reorganize sound configurations according to different principles. The question is falsely posed: whether "verse" or "prose," Bergvall's is first and foremost a performance, an activation, both visual and aural, of a verbal text, whose every stress, "Hard in Pointed Isolation," seems to reverberate.

No wonder those "Closing Borders" in the last line above are followed by a colon: a signature, as it were, of things to come. Alex Preminger and T. Brogan Princeton: Princeton University Press, , pp. This book is subsequently cited in the text as EPP. Eliot London: Faber and Faber, , p.

Carver shows the reader how he doesn't like the way his father presents himself. The last part Allen Ginsburgs In The Baggage Room At The Greyhound The Human Event Analysis though. Within U.

Current Viewers:
Web hosting by Somee.com