I think of my father born in this very small, limited situation and then coming out of that. Many people have this story.
My mother started taking us to church when I was in seventh or eight grade. That was always a question, Do you believe in God?
My last bedside conversation in the hospital just a few weeks before Allen Ginsberg died was 'please take care of so and so. And the legacy of the Kerouac school.
I think of my father growing up in South Jersey, the son of second-generation German immigrant glassblowers. The opportunities for him of feeling that aspiration, that yearning, get out of the small town, connect to a larger world, get yourself to New York, wanting to play the piano at every opportunity, bonding with people who were on a similar path, ending up in Provincetown, which was kind of nexus for nonconformity, and artistic dropout reality.
Idea that all the beats are wildly liberal and progressive is ridiculous. You have people thinking for themselves and having certain affinities because of their upbringing and who their family are, their own people who were close to them who fought in these wars and so on. It's complicated. But they had that ability to continue the conversation.
There's a kind of training, when you are sitting in a session in the Japanese tradition or any of the Buddhist traditions, taking your lotus posture or whatever it is. That's what you're doing.
The formal stuff feels old and windy. Not to say you shouldn't know prosody. But it's a wonderful time for exploratory poetics. Contemporary poets are inventing all kinds of wild, complex shapes for poetry, as we see. It's a wonderful time, less ego-centered.
Obviously, if I'm reading in Vienna or Venezuela or Italy, there's the issue of language, and I will make choices that are more sound oriented. Or I'll try to incorporate those languages and occasions somehow.
There are energies that reside in each phone and phoneme. And we can release them. And it can be grand and vast and you can create a realm where you can dwell for a while. Where things are perfect symbols of themselves, no manipulation. And that connects to me to the Buddhist view. From that perspective we can wake up on the spot, be conscious of our world, think of others.
I hope I'm not implying role of contemporary poet for myself, although there's a kind of resonant paradigm. It's traditionally a difficult role.
There are energies that reside in each phone and phoneme. And we can release them.
In a way, America's the shadow of everything I do, everywhere I go, everything I carry, no matter if I travel to the ends of the earth. And I live frequently on the spine of the continent, near the Great Divide. Then there's the side of it being the real energy center for a truly post-postmodernist poetry mind, which is also archaic, because we can still be close to the land.
We humans need to do better with our vast minds and alchemical powers. Future radial poetries might be more symbiotic with the rest of consciousness.
Various random experiments, cut-ups, fold-ins, juxtapositions, timed writings of other kinds, the "objects assignment" which involves dream, adventure, ancestry. Writing outside, writing on moving vehicles. Looking at paintings in the grand museums of the world in a proscribed way.Little strategies to keep the lalita - play or dance - going. Sometimes it's lonely you know, just you and your own imagination.
I like the idea of the object, the relic. And I see it as a time machine too or a device you plug into a socket that activates a sound and light show.
World War II synchronizes things for a lot of people. There's a kind of wakeup call.
Myths, by their definition, involve transformations, struggles through various worlds or layers of reality and of obscuration.
When I got back to NY had the opportunity to work with the beginning years of the poetry project which was founded with money from the OEO under Lyndon Johnson to work with alienated youth on the lower East side. This was extraordinary, to be able to help then to create a culture that would capture the energy that I felt at Berkley.
You really felt a radical shift in the advance of a poetics that had really been engendered by [Walt] Whitman. This was very exciting. I wanted to work in this environment.
The dichotomies, the brokenness of the culture around things like the Vietnam war, and then a lot of it has to do with war and where we put our energy and money and attention. And the military industrial complex, which dominates our whole economy. Even with the vision of democracy in other places we know the dark side.
The whole red state/blue state thing is very interesting. Watching that shift over the years.
I have students whose fathers are voting for Sarah Palin. It's wild.
The beat literary movement is strong because of those very challenging and individual relationships and styles and contention and so on. So I just feel blessed by this kind of opportunity that came from it. It was a kind of seed.
Think of the road as a kind of zone and a site of incredible diversity.
For me there is a poesis, a poetics, around the trope of the road that is embedded within many life experiences of the people I've been close to.
"I am a self-appointed ambassador for poetry."
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