Not Really a Beatnik

Poet and Publisher Lawrence Ferlinghetti

Poet and Publisher Lawrence Ferlinghetti in the Late 1950s

I met Lawrence Ferlinghetti in person over fifty years ago when he came to Dartmouth College for reading of poems from his book A Coney Island of the Mind. The picture above was taken in the late 1950s, and I saw him somewhere between 1962 and 1966 when he still looked that way.

My fellow students asked the usual bozo questions—based primarily on his association with the beat generation writers—and he fielded them so effectively that I kept my mouth shut. After all, I had never heard of the man before he showed up, though I bought a copy of A Coney Island of the Mind the next day.

Ferlinghetti still lives in San Francisco, though he no longer actively runs the City Lights Bookstore. It is his misfortune to be conflated with the Beatnik poets, though his primary interaction with them was as publisher of many of their works. According to an interview with Robert Scheer of Truthdig.Com:

I was a straight man keeping the store back home,” he says cheerfully. “I was leading a respectful married life on Portrero Hill. These guys were much too far out for me. I didn’t go out on the road with them. And I came from a former generation. When I arrived in San Francisco I was still wearing my beret from Paris, and we were known as bohemians … people who led an unconventional creative life before the Beats came along.

We must not forget that Ferlinghetti is also a major U.S. poet in his own right, as is evident in his poem “The World Is a Beautiful Place”:

The world is a beautiful place
to be born into
if you don’t mind happiness
not always being
so very much fun
if you don’t mind a touch of hell
now and then
just when everything is fine
because even in heaven
they don’t sing
all the time

The world is a beautiful place
to be born into
if you don’t mind some people dying
all the time
or maybe only starving
some of the time
which isn’t half bad
if it isn’t you

Oh the world is a beautiful place
to be born into
if you don’t much mind
a few dead minds
in the higher places
or a bomb or two
now and then
in your upturned faces
or such other improprieties
as our Name Brand society
is prey to
with its men of distinction
and its men of extinction
and its priests
and other patrolmen

and its various segregations
and congressional investigations
and other constipations
that our fool flesh
is heir to

Yes the world is the best place of all
for a lot of such things as
making the fun scene
and making the love scene
and making the sad scene
and singing low songs and having inspirations
and walking around
looking at everything
and smelling flowers
and goosing statues
and even thinking
and kissing people and
making babies and wearing pants
and waving hats and
dancing
and going swimming in rivers
on picnics
in the middle of the summer
and just generally
‘living it up’
Yes
but then right in the middle of it
comes the smiling

mortician

“Starting With Black”

... But Not Necessarily Ending With Black

… But Not Necessarily Ending With Black

The following is a poem by Jim Haba, which appeared in today’s Salon.Com. Let me start with the text of the poem:

Starting With Black

In a dark place
In a dark time

Start with black.
Stop. Soak up its energy.

Remember the circle
However bent and broken.

Prize balance. Seek pleasure.
Allow surprise. Let music

Guide your every impulse.
Support those who falter.

Steer by our fixed star:
No Justice. No Peace.

I like what the Haba said about his feelings writing this poem:

The profound and expansive confusion that consumes us today requires much more than a momentary stay (even though any respite can help) and I cannot overestimate the danger of immediately grasping for the solace of normalization or simple denial. When the gravity of our current confusion somehow reminded me of Matisse’s remark that ‘black is also a color’ I began to see the necessity of squarely facing the darkness of our predicament. It seemed that only when we stop and give ourselves over to fully taking in this darkness can we begin to gauge its scope and scale. And then, paradoxically, we may discover within that very blackness the energy that will sustain our resistance, our struggle for clarity. Deeply inhabiting a work of art (letting ‘music/guide our every impulse’) strikes me as an important way to tune ourselves and to provide a life-preserving rhythm for the long struggle that lies ahead.

So, Happy New Year to all of you. My fingers are crossed.

“Time Is Another River”

The Vermilion River

The Vermilion River

Here is a poem by Jorge Luis Borges called “The Art of Poetry”:

To gaze at a river made of time and water
And remember Time is another river
To know we stray like a river
And our faces vanish like water

To feel that waking is another dream
That dreams of not dreaming and that the death
We fear in our bones is the death
That every night we call a dream

To see in every day and year a symbol
Of all the days of man and his years
And convert the outrage of the years
Into a music, a sound, and a symbol

To see in death a dream, in the sunset
A golden sadness, such is poetry
Humble and immortal, poetry
Returning, like dawn and the sunset

Sometimes at evening there’s a face
That sees us from the deeps of a mirror
Art must be that sort of mirror
Disclosing to each of us his face

They say Ulysses, wearied of wonders
Wept with love on seeing Ithaca
Humble and green. Art is that Ithaca
A green eternity, not wonders

Art is endless like a river flowing
Passing, yet remaining, a mirror to the same
Inconstant Heraclitus, who is the same
And yet another, like the river flowing

The Unrhymeables

Everyone Knows You Can’t Rhyme Anything with Orange ...

Everyone Knows You Can’t Rhyme Anything with Orange …

… but did you know that there are three major colors for which you can’t find rhymes? They are:

  1. orange
  2. purple
  3. silver

According to the Futility Closet website, there are four other common words which have no rhymes.  They are: chimney, depth, pint, and month.

There are probably at least a dozen other words which are less common which also are not part of the traditional poet’s lexicon.

 

“Epitaph for a Lover”

Another Great Argentinean Writer for Your Consideration

Silvina Ocampo

As I wrote in yesterday’s post, Silvina Ocampo (1903-1993) was a renowned Argentine poet and short story writer. She was married to Adolfo Bioy Casares and was the sister of publisher Victoria Ocampo. Here, for your consideration, is one of her poems, entitled “Epitaph for a Lover”:

I will pursue that world promised
by your ecstatic glance. In successive
lives, in countrysides or cities,
when the styles are different,
when entire breeds of animals and flowers
are being exterminated,
my constancy will find you: juniper
bushes likewise live waiting for the sun.

The translation is by Jason Weiss in his New York Review Books edition of Ocampo’s poetry.

“Ernesto Cardenal and I”

Poet, Priest, and Sandinista Politician: Ernesto Cardenal

Poet, Catholic Priest, and Sandinista Politician: Ernesto Cardenal

It suddenly struck me that i haven’t done a poetry posting on this blog for some time. Keeping it all in a Latin American vein, here is Roberto Bolaño’s “Ernesto Cardenal and I.” Ernesto Cardenal was the Sandinista minister of culture from 1979 to 1987 under Daniel Ortega’s government.

Ernesto Cardenal and I

I was out walking, sweaty and with hair plastered
to my face
when I saw Ernesto Cardenal approaching
from the opposite direction
and by way of greeting I said:
Father, in the Kingdom of Heaven
that is communism,
is there a place for homosexuals?
Yes, he said.
And for impenitent masturbators?
For sex slaves?
For sex fools?
For sadomasochists, for whores, for those obsessed
with enemas,
for those who can’t take it anymore, those who really truly
can’t take it anymore?
And Cardenal said yes.
And I raised my eyes
and the clouds looked like
the pale pink smiles of cats
and the trees cross-stitched on the hill
(the hill we’ve got to climb)
shook their branches.
Savage trees, as if saying
some day, sooner rather than later, you’ll have to come
into my rubbery arms, into my scraggly arms,
into my cold arms. A botanical frigidity
that’ll stand your hair on end.

Borges, Milton, and the Rose

“A Rose and Milton”

“A Rose and Milton”

What do these writers have in common: Homer, John Fante, Benito Pérez Galdós, John Milton, and Jose Luis Borges? For at least part of their lives, all were blind. So when Argentinian poet Jorge Luis Borges honors Milton, it is by way of acknowledging a common fate. The name of this poem is “A Rose and Milton”:

A Rose and Milton

From the generations of roses
That are lost in the depths of time
I want one saved from oblivion,
One spotless rose, of all things
That ever were. Fate permits me
The gift of choosing for once
That silent flower, the last rose
That Milton held before him,
Unseen. O vermilion, or yellow
Or white rose of a ruined garden,
Your past still magically remains
Forever shines in these verses,
Gold, blood, ivory or shadow
As if in his hands, invisible rose.

Of course, Milton could not see the color of that last rose he beheld. He could not see whether that last rose was spotless and perfect. Whatever that rose was, it was unperceived by the great poet who held it in his hands; it might as well have been invisible, or, just as well, resplendent in its glory.

The poet talks about being allowed by Fate to handle that last rose that Milton held. I could just see the ironic smile playing on Borges’s face. Very Zen, in effect.

Dark Light Verse

Another Discovery of Great Material from the Futility Closet

Another Discovery of Great Material from the Futility Closet

I am always amazed by what I find on the Futility Closet website. The following are light verses with a somber subject by Jocelyn Henry Clive “Harry” Graham (1874-1936)—journalist, military hero, lyricist for light operas, and humorous verses employing the darkest of humor. Here are a few selections  taken from Futility Closet’s posting of June 9, 2011:

Tender-Heartedness

Little Willie, in the best of sashes,
Fell in the fire and was burned to ashes.
By and by the room grew chilly,
But no one liked to poke up Willie.

Aunt Eliza

In the drinking-well
(Which the plumber built her)
Aunt Eliza fell–
We must buy a filter.

Waste

I had written to Aunt Maud,
Who was on a trip abroad,
When I heard she’d died of cramp
Just too late to save the stamp.

Compensation

Weep not for little Léonie,
Abducted by a French Marquis!
Though loss of honour was a wrench,
Just think how it’s improved her French.

Mr. Jones

“There’s been an accident,” they said,
“Your servant’s cut in half; he’s dead!”
“Indeed!” said Mr. Jones, “and please
Send me the half that’s got my keys.”

He wrote in one preface:

Fond parent, you whose children are
Of tender age (from two to eight),
Pray keep this little volume far
From reach of such, and relegate
My verses to an upper shelf,–
Where you may study them yourself.

“Beleaguered Cities”

A Poem from My Latest (Re-)Discovery

A Poem from My Latest (Re-)Discovery

On August 4, I wrote a Serendipity posting entitled In Praise of the Short Biography. It was around then that I began reading F. L. Lucas’s In Search of Good Sense: Four Eighteenth Century Characters—Johnson, Chesterfield, Boswell, and Goldsmith. I have now finished the book and fallen quite in love with it. Lucas is the ultimate classicist: There is not even the slightest whiff of the postmodern about him.

I actually find that quite refreshing. Lucas died in 1967. In the early 1960s, he was a name to be reckoned with. I read and loved his book Style while I was in High School, and it had (I hope) a beneficial influence on my own writing style.

Having rediscovered him by sheer chance (scanning the literature stacks of L.A.’s Central Library), I want to read some more of his work in he next year. Below is his most famous poem, entitled “Beleaguered Cities” (1929):

Build your houses, build your houses, build your towns,
Fell the woodland, to a gutter turn the brook,
Pave the meadows, pave the meadows, pave the downs,
Plant your bricks and mortar where the grasses shook,
The wind-swept grasses shook.

Build, build your Babels black against the sky—
But mark yon small green blade, your stones between,
The single spy
Of that uncounted host you have outcast;
For with their tiny pennons waving green
They shall storm your streets at last.

Build your houses, build your houses, build your slums,
Drive your drains where once the rabbits used to lurk,
Let there be no song there save the wind that hums
Through the idle wires while dumb men tramp to work,
Tramp to their idle work,
Silent the siege; none notes it; yet one day
Men from your walls shall watch the woods once more
Close round their prey.

Build, build the ramparts of your giant town;
Yet they shall crumble to the dust before
The battering thistle-down.

As one who has spent many years visiting Mayan and other ruins, I find Lucas’s poetic vision to be profound. He is, after all, a scholar of Classical Greece and Rome who is familiar with many of the ancient sites.

“Errata”

Where It Says Snow, Read Teeth-Marks of a Virgin

Where It Says Snow,
Read Teeth-Marks of a Virgin

The name of this poem is “Errata,” written by the Serbian-born poet Charles Simic, who in 2007 was appointed as Poet Laureate of his adopted country. As an Eastern European myself, I find myself drawn to poets like Simic, Czeslaw Milosz, Wislawa Szymborska, and Joseph Brodsky. Perhaps it is because, in their struggles with the vise-grip of Communism, they found a way out.

Errata by Charles Simic

Where it says snow
read teeth-marks of a virgin
Where it says knife read
you passed through my bones
like a police-whistle
Where it says table read horse
Where it says horse read my migrant’s bundle
Apples are to remain apples
Each time a hat appears
think of Isaac Newton
reading the Old Testament
Remove all periods
They are scars made by words
I couldn’t bring myself to say
Put a finger over each sunrise
it will blind you otherwise
That damn ant is still stirring
Will there be time left to list
all errors to replace
all hands guns owls plates
all cigars ponds woods and reach
that beer-bottle my greatest mistake
the word I allowed to be written
when I should have shouted
her name