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?
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.
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.
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.
As a younger person you can come in through many, many gateways. It's like some huge Mandela. You can enter into this and get refreshed.
Allen's [Gisberg] loyalty to his friends was extraordinary. And as he was dying he was calling people: "What can I do for you before I die? Do you need money? What can I do?".
I did go to Vietnam in 2000 as a kind of pilgrimage and to feel my generation was very much a part of this. I felt responsible but also connected and empathetic. It was a very complicated relationship we had, whichever side you were on. The shock of being there was very few people my own age - I was primarily in the North in the streets of Hanoi. A whole generation was essentially decimated.
My teachers were often very eccentric.
It was really hard coming to terms with the Nazi history. Then in my twenties I was traveling to Germany. There was a lot of poetry activity and some of my first readings abroad and trying to relate with people my own age there and what they were discovering and learning had to examine in terms of their backgrounds. Then so many of my friends had family who had either perished in the holocaust or survived in the holocaust. It was very palpable.
When I look at my life there are these streams, these things that have continuity from the fifties to now.
I think the idea of the lone tormented artist - which we can apply to others - I think that it needs to be revisited. Jack Kerouac needs to be seen in the context of a lot of other artistic activity.
Connection to Buddhism is strand in my life.
I think Visions of Cody is the most radical book in terms of poetic stretch and the way Jack Kerouac is able to incorporate documentation and incorporate the live tape recording of Neal and so on.
The sense of traveling this continent, also other continents. The friendship.I would say a non-competitive friendship. That is so amazing to me.
[Jack] Kerouac looking at the fellaheen worlds. Looking at other cultures. Welcoming it, curious. Really stepping outside his own limited, whatever that narrow world was. It's amazing to think we can do it. We can have that same kind of trajectory of mind.
The text for me is the musical score. I'm the instrument. My voice is the instrument. My voice is articulating the sounds which are coming through the imaginings and visitations in my head, and I'm making these sounds but I've selected them from an ocean of sound.
America's the great conundrum and the great dream and the great fascination: the new land, the new world, the new temple, the new city, and the great mess. The most handguns, bombs, weaponry, violence, the cop of the world etcetera. All the contradictions. Mediocrity versus something like indigenous jazz, one of the most evolved sophisticated musical forms on the planet.
To conjure a particular knowledge you visualize an architectural structure and then you walk around and see the details that then bring back the words or the poetry or the lines of thought. Memory's going extinct because we rely on machines and copies and so on. The idea of working with structures that conjure dreams, personages, history, time, that can be contained in this way as you walk through your mind, is a challenge.
What I'm after is that wakeful state through language that stays alive.
It's so rich as a trope - the whole idea of the road and it being in terms of language, being an active experience.
There's a numbness in our culture to the continuing horrors of genocide.
The puzzle and conundrums of Emily Dickinson's poetry or The Cantos, by Ezra Pound, is infinitely pleasurable. Or Ronald Johnson's Ark. And the experience extends a whole lifetime. But the intensity of certain vocalized language affects our bodies in a particular way, and that further actualization propels me. The Greeks explored this; there were very particular meters used in making war, different ones for a love chant.
For me the road became a zone, in places like Saint Marks poetry Project where I worked for 12 years.
The music is notated first, the text follows. I might have to wait until the right kind of text or form arises. I often see the poems as “scores.”
"I am a self-appointed ambassador for poetry."
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