Posts Tagged ‘Lawrence Ferlinghetti’
June 27, 2016 | by Dan Piepenbring
- At ninety-seven, Lawrence Ferlinghetti is still telling stories, hanging out with Sterling Lord, and drinking Merlot, as one does: “The partnership between Mr. Ferlinghetti and Mr. Lord, two towering legends in the publishing world, traces back to the heady, early days of the Beat movement, when a literary and cultural revolution was ignited by a band of iconoclastic writers … Both men attribute the longevity of their lives and careers partly to the fact that they weren’t as wild as the Beat writers they championed. Mr. Lord, who cycled through four marriages, hung around with many of the rebellious, semi-feral writers he represented, but he was always the straight man. He never even smoked cigarettes, at least not in the last half-century. ‘I did smoke a little, in my thirties,’ he said. ‘But I didn’t inhale.’ ”
- The biographer Michael Shelden would like to say that Herman Melville had a mistress, and William Giraldi would like to say that it doesn’t really matter: “Biographers have long known about Sarah Morewood, the Melvilles’ bewitching neighbor in Pittsfield, Massachusetts—an indefatigable thrower of parties and the Berkshires’ top literary hanger-on—but Shelden wants you to know her in the Biblical sense. ‘Sexy beyond measure,’ Morewood is ‘one of the great unsung figures in literary history,’ a woman who ‘didn’t like to take no for an answer.’ Shelden describes her as Melville’s ‘goddess in his Berkshire paradise,’ the ‘powerful key to unlocking his secrets,’ an ‘untamed spirit’ whose ‘seductive powers worked their wonders on more than a few men.’ Her supposed years-long affair with Melville was ‘so intimate and revealing that it colored every aspect of his life.’ Shelden’s panting, cliché-choked style soon has you reaching for the light switch and candle, then the cigarette and bonbons.”
- Eliot, Auden, and Yeats all praised David Jones’s 1937 In Parenthesis as a masterpiece, the best long poem to come out of World War I—so how come no one reads it anymore? “Fuelled by direct experience, but highly composed, with a frame of reference that reaches across centuries, In Parenthesis works at the level of poetry, yet isn’t verse, nor, I’d argue, a poem. Multiple narrative possibilities are deployed throughout, fragmented lyricism giving way to sections of prose, dialogue, stream of consciousness, slang and song. The flow between these modes and registers never feels anything less than organic, and yet the work is built upon a parenthetical structure of mathematical precision; a subterranean architecture of image, pace and movement that provides a governing background rhythm to the multiple transitions of voice, perspective and cadence … In the seventy years since its publication it has been too rarely read, or even known, though it has maintained an influence on writers and poets working in its wake.”
- Isn’t it time you took a good, hard look at the typefaces and art design in Blade Runner? The movie is set in 2019, and that’s right around the corner—best to be prepared. Don’t worry. A lot of it will be familiar, including “a neon advertisement for popular American food processor manufacturer Cuisinart … Cuisinart are far from the only 1980s company advertised in 2019’s Los Angeles cityscape, however. We once again meet American flag-carrier Pan Am … popular carbonated sugar-water Coca-Cola … perennial halitosis-mitigator Dentyne … extraterrestrial game manufacturer Atari … regularly product-placed watch manufacturer Bulova … alcoholic beverage brand Budweiser … and genius, irreverent, sexy mythical perfume brand Jōvan.”
- Spending time in Berlin this summer? I know this cool artists’ collective curating this cool Biennale you might want to che—oh … wait … “the Berlin Biennale has, under DIS’s curation, transformed from one of Europe’s most critical pinnacles of contemporary art into a vast obsolescent pageant of irrelevance, a disposable cobranding opportunity made to measure for privileged shareholders with little (if any) connection to the numerous issues facing Germany, Europe, or the international community today. Instead, what DIS have come up with is an exhibition so vacuous, ideologically apathetic, ahistorical, sarcastic, and dehumanizing, it’s a wonder it hasn’t been blacklisted solely on account of its conformity to commodity fetishism.”
September 18, 2015 | by The Paris Review
I’ve been reading Lewis Warsh’s collection Alien Abduction this week, and it’s pretty great. Many are prose poems, and even those that aren’t read like they are: conversational, plain-dealing, unpretentious. Among my favorites is “Once,” a paragraph of a poem about taking mescaline and going for a drive and the miraculous feeling that comes from arriving back home in one piece and to a domestic scene that is oblivious to the adventure. There’s a loneliness to these poems, even when the poet isn’t alone, but he doesn’t seem heedful of this, or bothered by it: it may be more of a gentle, yawning solitude than loneliness. “There’s a difference between being with someone and being alone,” Warsh writes, “but I can’t tell you what it is.” —Nicole Rudick
The Paris Review was forced to move its offices in 2013; like every other building on our Tribeca block, ours—built in 1869, with a beautiful cast-iron facade, and chock-full of various arts organizations—was sold to a developer who planned to convert its units to high-end condos. For the staffers who were relatively new to the city, it felt like the end of an era—though, of course, the era that established Tribeca as an art haven has been over for a very long time. New York’s abandonment of its identity as a gritty, crime-ridden, artistically productive city is the subject of Edmund White’s essay “Why Can’t We Stop Talking About New York in the Late 1970s?,” published last week in T Magazine and accompanied by the hauntingly beautiful photographs of Peter Hujar. White is too exacting (and too honest; New York of forty years ago, despite its appeal, was a thoroughly unpleasant place to live) to be wistful: he gives the city’s vices more coverage than its virtues. But the piece is undeniably a lament, at least in part, for the New York of the seventies—“the city that, while at its worst, was also more democratic: a place and a time in which, rich or poor, you were stuck together in the misery (and the freedom) of the place, where not even money could insulate you.” —Stephen Hiltner
Some things I learned from Ted Conover’s “Cattle Calls,” a look into the lives of Iowa livestock veterinarians from the new issue of Harper’s: that more than 10 percent of the nation’s pigs died in a year from porcine epidemic diarrhea; that you can castrate a bull simply by tying a rubber band around its scrotum, and that dogs love to eat raw bull testicles; that agribusiness has made it all but impossible to survive as a vet with a private practice in a rural area; that bald eagles have taken to eating a slurry of dead hog parts sometimes used as fertilizer. Conover’s piece opens with a doctor inserting his arm into a cow’s rectum and ends with an assisted cattle birth; and lest you feel misled by the lurid details I’ve cherry-picked, it’s a generous, evocative portrait of an increasingly rare kind of working life. The photography, by Lance Rosenfield, is strong and lived-in—here in New York, where Fashion Week has just ended, it feels like an authentic rebuke to the parade of editorials glamorizing blue-collar work wear. —Dan Piepenbring
Read More »
September 18, 2015 | by Lawrence Ferlinghetti
Soda fountains, rest stops, barber shops, motels: Lawrence Ferlinghetti’s California travel journals, 1961.
TIRED OF THE FOG AND COLD? COME TO CALIFORNIA’S RIVIERA—
Sailing, Water Skiing, Swimming, Seaside Dining—
A DESERT PARADISE AT THE GREAT SALTON SEA
October 28, 1961
Henry Miller was right. “Some other breed of man has won out.” Some strange breed has taken over America. I sit in a soda-fountain on the main street of El Centro, California—inexplicably I have ordered & have eaten a Mexican Combination Plate—tacos, enchiladas, and all that. Outside, at the curb, sits the junk of American civilization—cars, cars, cars. On the jukebox inside, a Mexican crooner with a tear in his voice … An hour north of here lies the Salton Sea. I have not figured out what “El Centro” could be the center of. Not the universe. The Salton Sea may offer a clue. The Salton Sea is in America. In California, in fact. Very strange. I still have to get there.
I have two hours before the bus to that Sea. I go to the public library. It’s Saturday afternoon, and it’s closed. Naturally. People that work during the week naturally have no time to go to the library on their day off. I must think of something else. I go to a barber’s, that should take at least half an hour, maybe more if I divert the barber with witticisms or dirty jokes. No luck. He whips me thru in a little over ten minutes, including a swipe at my eyebrows and sideburns, which I duck. He drops the comb on the greasy floor several times and wipes it off on his pants and continues. In the meantime I listen to him haranguing the other barber (who looks like a local football player) about how to skin a buck & how to remove its horns & how much you can count a full-grown buck coming to in net weight after it’s skinned. The other barber keeps saying “Yeah—yeah” like a little halfhearted football cheer. I have a feeling that if I had got this young football barber instead of the old geezer and had a hunting license to show him, he would have cut my hair for free. As it is, I have to pay for my scalping. (The old geezer keeps nicking me every time he gets to a good part of the description of how to skin a buck.) When I am down to “net weight” he steps back with a sour grin, as if to say it’s a pretty sad carcass. Read More »
July 10, 2015 | by The Paris Review
Just yesterday, I snuck an advance-reader’s copy of Lorenzo Chiera’s Shards: Fragments of Verses, translated from the Italian by Lawrence Ferlinghetti, off a colleague’s bookshelf and devoured it on my subway ride home. The pocket-size book comprises delicious morsels of twelfth-century verse by an otherwise unknown fellow from Testaccio. Though the fragments—plucked from scratches on parchment paper or fiber sacks—are no more than a few lines each, they brim with raunch and grime and love. Chiera breathes sex into most verses, which are bound to make one blush with either delight or despair. Some read as playful winks, others as moans, and still others as desperate, carnal prayers. “Hearing Chiera for the first time,” Ferlinghetti writes in his introduction, “we soon realize we are in the presence of a savage erotic consciousness, as if the lust-driven senses were suddenly awakened out of a hoary sleep of a thousand years … He’s vulgar. He’s mad. He’s uncouth. Yet he is innocent.” Here’s a little taste of Chiera himself: “Sexy Nonny / in her silk nun’s habit / behind the arras / of the cult of the Virgin / stuck her tongue in my mouth / when I was fourteen / Made me cream.” —Caitlin Youngquist
I’ve never read any fan fiction, and I never made it all the way through Pretty Woman, so devotees of either may take this recommendation with a grain of salt, but I loved Michael Friedman’s novel Martian Dawn, all about a couple of movie stars (viz Richard and Julia) whose off-screen romance is strained by a visit to the Red Planet. No doubt half the jokes went over my head. It didn't matter. Friedman’s urbane silliness and élan hark back to the glittering twilight of high camp—without seeming to hark back. Hats off to Little A for reissuing Martian Dawn and Other Novels. I didn’t know anyone could still make it look so easy to have so much fun on the page. —Lorin Stein
June 11, 2014 | by Nicole Rudick
Toward the end of college and for several years after, I kept two postcard photographs taped above my desk: one of Anaïs Nin, the other of Frank O’Hara—the mother and father of my literary interests at the time. Nin was a gateway for me into feminist writing and into thinking about creativity and the self. My love for O’Hara, on the other hand, was ecstatic. I was infatuated—and still am—with the conversational tone of his poetry, the ease with which he moves from Russian novels to bad movies, Robert Frost to Busby Berkeley, Bayreuth to Hackensack; his poems are like letters to a friend, and when I read them, I am that friend.
As collections go, none brings this quality to the fore more than the thirty-seven Lunch Poems, published in 1964 by City Lights. It is number nineteen in their Pocket Poets Series, an apt category for poems that O’Hara wrote during hour-long lunch breaks from the Museum of Modern Art in New York, where he was a curator. He roved through midtown, recording the “noisy splintered glare of a Manhattan noon” as well as his “misunderstandings of the eternal questions of life, co-existence and depth,” as O’Hara himself described the volume—“while never forgetting to eat Lunch his favorite meal.” Read More »
November 5, 2013 | by John Freeman
Seven years ago I was walking up Fifth Avenue with David Foster Wallace. He wanted to know what I thought of The Names. That one’s the key, he said, speaking of Don DeLillo’s work like it was a safe which contained its own code. It was hat-and-glove weather. Wallace wore a purple sweatshirt. Where did I get my coat? he asked. That’s a great coat, he said. It was like something James Bond would wear. Had I been to this restaurant before?
We had just walked into Japonica, a sushi restaurant on University Place. Our interview was underway, and Wallace was already several questions ahead of nearly every writer I had ever profiled. Most writers, even the most curious one, don’t ask questions of a journalist. Nor should they, necessarily. They are the ones being interviewed, after all.
Wallace, however, seemed to think in the interrogative mode. He was tall and slightly sweaty, looking like he had just come from a run. But he seemed determined not to intimidate. He was like a big cat pulling out his claws, one question at a time. See, look, I’m not going to be difficult.
Once we got going, though—and there was a propulsive, caffeinated momentum to the way he talked—he returned, constantly, to questions. Had I ever written about my life? It’s hard, right? Are celebrities even the same species as us? Is it possible to show what someone was really like in a profile?
“These nonfiction pieces feel to me like the very hardest thing that I do,” he said, talking about Consider the Lobster, the book he had just published, “because reality is infinite.” And then. “God only knows what you are jotting.”
I’ve been thinking a lot about this encounter lately. For the past fifteen years, I have interviewed a lot of writers. A few hundred—perhaps too many, but why not say yes? Shortly out of college a friend gave me a vintage set of The Paris Review Book of Interviews. They exhaled the flinty musk of a cigar smoker’s home, and were as snappy as the lining of a 1940s dinner jacket. Read More »