Joanne Kyger Papers

Total Page:16

File Type:pdf, Size:1020Kb

Joanne Kyger Papers http://oac.cdlib.org/findaid/ark:/13030/kt3v19s1g2 No online items Joanne Kyger Papers Finding aid prepared by Special Collections & Archives, UC San Diego Special Collections & Archives, UC San Diego 9500 Gilman Drive La Jolla, California, 92093-0175 858-534-2533 [email protected] Copyright 2011 Joanne Kyger Papers MSS 0730 1 Descriptive Summary Title: Joanne Kyger Papers Identifier/Call Number: MSS 0730 Contributing Institution: Special Collections & Archives, UC San Diego 9500 Gilman Drive La Jolla, California, 92093-0175 Languages: English Physical Description: 22.0 Linear feet (43 archives boxes, 1 records carton, 2 shoe boxes, 2 flat boxes and 9 map case folders) Date (inclusive): 1950 - 2009 Abstract: The papers of Joanne Kyger, an important member of the 'post-beat' West Coast poetry community. The papers document Kyger's life and writing as she traveled through San Francisco, Japan, New York, and Bolinas, California. The bulk of the collection covers the period from 1957 through 2007 and includes correspondence, poetry manuscripts and typescripts, ephemera, photographs, and audio recordings. Creator: Kyger, Joanne Biography Joanne Kyger is a West Coast poet who emerged as the Beat movement was beginning to wane in the 1960s. The daughter of Jacob and Anne Kyger, she was born November 19, 1934. Her father's career as a navy officer led to a peripatetic early life: by the time she was fourteen she had lived in Vallejo, Ca. (where she was born), China, Washington, Pennsylvania, Florida, and Illinois. Her father retired in 1949, and the family settled permanently in Santa Barbara, Ca. Kyger attended the University of California at Santa Barbara from 1952 to 1956, where she took classes with Hugh Kenner and Paul Wienphal both of whom were important to the development of her poetry. She left the University one unit short of her degree, and the following year moved to the San Francisco Bay Area. Kyger soon got a job working at Brentano's Bookstore in San Francisco's North Beach, and she usually spent her nights sharing poems with friends at poetry bars. In 1957 she met John Wieners at The Place, one of the poetry bars, and through him met Robert Duncan and Jack Spicer; it was also during this time that she first met Gary Snyder. Duncan and Spicer were the doyens of a group of poets who would gather on Sundays to read and discuss each other's work. Kyger said of those meetings: "They (Duncan and Spicer) would read what they had written, and everybody else would read what they had written. And you would be severely criticised. A lot of people would be so heavily criticised that they wouldn't come back." Later Kyger moved to the East West House, where such writers as Philip Whalen, Lew Welch, and Jack Kerouac were occasional residents. In 1960 she moved to Japan, where she and Snyder were married on February 23. There were two ceremonies: one by the American consul and another at the Daitoku ji monastery in Kyoto. Her life with Snyder in Kyoto and later in India is the subject of The Japan and India Journals, 1960-1964 (1981). Following her divorce from Snyder in 1964 Kyger returned to the Bay Area. She has said about this time, "I just took off on this big energy cruise. I had lots to say to everybody, and it wasn't like playing second fiddle anymore." The following year Donald Allen published her first book, The Tapestry and the Web (1965). In 1966 Kyger married the painter Jack Boyce, and together they travelled through Spain, France, Italy, and England. Upon their return Kyger and Boyce stayed briefly in New York, and then in 1967 returned to the San Francisco area where they spent the next year. In 1968 the two traveled to Bodega Bay, then to Bolinas in 1969, where Kyger has continued to live (she and Boyce separated in 1970). In the 1970s Bolinas was known for being a center for wandering poets, as well as a home for Philip Whalen, Robert Creeley, Donald Allen, Tom Clark, and others. Kyger married the artist Donald Guravich in 1978. Kyger has maintained an active presence in the community, and has been particularly concerned with environmental issues. She has also continued to travel extensively including several trips to Mexico while continuing to publish her poetry. Selected Bibliography: The Tapestry and the Web (1965), Joanne, Places to Go (1970), Desecheo Notebook (1971), Trip Out and Fall Back (1974), All This Every Day (1975), The Wonderful Focus of You (1980), Up My Coast, The Japan and India Journals 1960-64, Mexico Blonde (1981), Going On: Selected Poems 1958-80 (1983). Related Materials Joanne Kyger Correspondence, MSS 0008. Special Collections & Archives, UC San Diego. Preferred Citation Joanne Kyger Papers, MSS 0730. Special Collections & Archives, UC San Diego. Acquisition Information Acquired 2010. Joanne Kyger Papers MSS 0730 2 Scope and Contents of Collection The Joanne Kyger Papers document Kyger's career as a poet and important member of the West Coast poetry community. Materials include correspondence with prominent poets, artists, and editors; manuscript and typescript drafts of Kyger's poetry; and audio recordings of spoken word events. The papers range in date from 1950 through 2009 and are arranged in seven series: 1) BIOGRAPHICAL MATERIALS, 2) CORRESPONDENCE, 3) WRITINGS, 4) WRITINGS OF OTHERS, 5) OTHER PROJECTS, 6) SUBJECT FILES, and 7) IMAGES & RECORDINGS. SERIES 1: BIOGRAPHICAL MATERIALS The BIOGRAPHICAL MATERIALS series contains award and grant information; newspaper clippings about Kyger's life and work; personal papers including calendars, biographies, and notes; and interviews with Kyger for various publications and projects. Materials related to Kyger's marriage to Gary Snyder are also located in the series. Materials include photographs of their wedding and reception, a photocopy of the marriage certificate, and newspaper clippings about the event. SERIES 2: CORRESPONDENCE The CORRESPONDENCE series is comprised of letters, cards, email, and postcards from friends, family, colleagues, editors, and publishers, ranging in date from 1950 to 2008. Correspondence details Kyger's life in San Francisco, Japan, New York, and Bolinas, California, as well as her working relationships with various publishers and magazine editors. Notable correspondents include Donald Allen, Ebbe Borregaard, Joe Brainard, Robert Creeley, Nemi Frost, Gary Snyder, Anne Waldman, Lewis Warsh, and Philip Whalen. Also of interest are a small number of typescript carbons of letters written by Kyger to friends and family describing her time in Japan. The series is arranged alphabetically by correspondent. Unidentified correspondents are arranged chronologically at the end of the series. SERIES 3: WRITINGS The WRITINGS series includes handwritten and typescript poetry and writings - completed works as well as fragments of work in progress. The series is arranged in two subseries: A) Chronological Files and B) Collaborations. A) The Chronological Files subseries includes handwritten and typescript manuscripts and drafts; scrapbooks of Kyger's work on school newspapers; journals and manuscripts for published works, including books where Kyger was a contributor; and, in the case of published projects, correspondence, contracts, galley copies, and page proofs. Of particular interest are the original bound journals Kyger kept in while in Japan and used to create Japan and India Journals published in 1981. The files, ranging in date from 1951 to 2007, are arranged chronologically and in most cases retain Kyger's original folder titles. B) The Collaborations subseries, arranged chronologically, contains pieces written by Kyger with friends and fellow writers. One unusual piece is a typescript on toilet paper, which Kyger wrote with Stan Persky in 1959. The piece, titled "In the Tunnel," is extremely fragile and a copy has been made for patron use. SERIES 4: WRITINGS OF OTHERS The WRITINGS OF OTHERS series is arranged alphabetically by author and primarily contains poetry, reviews, essays, and articles, written about Joanne Kyger and her work. In most cases, files contain typescript drafts, annotated by Kyger, along with correspondence between Kyger and the author. The series includes a 1964 article published in Kado: Japanese Floral Art, that mentions Joanne Kyger's time learning flower arranging in Japan and includes an image of her work. SERIES 5: OTHER PROJECTS The OTHER PROJECTS series pulls together Kyger's activities outside of, but often still related to, writing. The series is arranged in three subseries: A) Readings, B) Teaching, and C) Miscellaneous Projects. A) Readings consists of correspondence, notes, posters, announcements, programs, and ephemera related to conferences and spoken word events Kyger participated in between 1965-2007. The folders are arranged chronologically with undated material filed at the end of the subseries. B) The Teaching subseries includes material related to classes and workshops taught by Kyger on writing, journaling, and poetry, from 1967-2003. Arranged chronologically, materials include class notes, correspondence, reference material, and ephemera. C) The Miscellaneous Projects subseries documents art, poetry, and editing projects in which Kyger participated. Editing projects include issues of the poetry journals Wild Dog and Turkey Buzzard Review, as well as local newspaper the Bolinas Hearsay News. The subseries also contains materials related to the National Center for Experiments in Television (NCET). Kyger created the video piece Descartes (1968) while working at the NCET as an artist in residence. SERIES 6: SUBJECT FILES Joanne Kyger Papers MSS 0730 3 The SUBJECT FILES series is arranged alphabetically by topic and primarily contains newspaper clippings and ephemera. Subjects include poets Ted Berrigan, Allen Ginsberg, Gary Snyder, and Philip Whalen, as well as the Beat Generation and Bolinas, California. Miscellaneous ephemera is filed chronologically at the end of the series. The ephemera illustrates Kyger's life and interests over the years, from peace marches in the 1960s to poetry readings by friends.
Recommended publications
  • 227-Newsletter.Pdf
    THE POETRY PROJECT NEWSLETTER www.poetryproject.org APR/MAY 2011 #227 LETTERS POEM NATHANIEL MACKEY INTERVIEW CARLA HARRYMAN & LYN HEJINIAN TALK WITH CORINA COPP CALENDAR PATRICK JAMES DUNAGAN REVIEWS CHAPBOOKS BY ARIEL GOLDBERG, JESSICA FIORINI, JIM CARROLL, ALLI WARREN & NICHOLAS JAMES WHITTINGTON CATHERINE WAGNER REVIEWS ANDREA BRADY CACONRAD REVIEWS SUSIE TIMMONS FARRAH FIELD REVIEWS PAUL LEGAULT CARLEY MOORE REVIEWS EILEEN MYLES ERIK ANDERSON REVIEWS RENEE GLADMAN DAVID BRAZIL REVIEWS MINA PAM DICK STEPHANIE DICKINSON REVIEWS LEWIS WARSH MATT LONGABUCCO REVIEWS MIŁOSZ BIEDRZYCKI JAMIE TOWNSEND REVIEWS PAUL FOSTER JOHNSON ABRAHAM AVNISAN REVIEWS CAROLINE BERGVALL NICOLE TRIGG REVIEWS JULIANA LESLIE ERICA KAUFMAN REVIEWS KARINNE KEITHLEY $5? 02 APR/MAY 11 #227 THE POETRY PROJECT NEWSLETTER NEWSLETTER EDITOR: Corina Copp DISTRIBUTION: Small Press Distribution, 1341 Seventh St., Berkeley, CA 94710 The Poetry Project, Ltd. Staff ARTISTIC DIRECTOR: Stacy Szymaszek PROGRAM COORDINATOR: Arlo Quint PROGRAM ASSISTANT: Nicole Wallace MONDAY NIGHT COORDINATOR: Macgregor Card MONDAY NIGHT TALK SERIES COORDINATOR: Michael Scharf WEDNESDAY NIGHT COORDINATOR: Joanna Fuhrman FRIDAY NIGHT COORDINATORS: Brett Price SOUND TECHNICIAN: David Vogen VIDEOGRAPHER: Alex Abelson BOOKKEEPER: Stephen Rosenthal ARCHIVIST: Will Edmiston BOX OFFICE: Courtney Frederick, Kelly Ginger, Vanessa Garver INTERNS: Nina Freeman, Stephanie Jo Elstro, Rebecca Melnyk VOLUNTEERS: Jim Behrle, Rachel Chatham, Corinne Dekkers, Ivy Johnson, Erica Kaufman, Christine Kelly, Ace McNamara, Annie Paradis, Christa Quint, Judah Rubin, Lauren Russell, Thomas Seely, Erica Wessmann, Alice Whitwham, Dustin Williamson The Poetry Project Newsletter is published four times a year and mailed free of charge to members of and contributors to the Poetry Project. Subscriptions are available for $25/year domestic, $45/year international.
    [Show full text]
  • On Gary Snyder's This Present Moment
    ANQ: A Quarterly Journal of Short Articles, Notes and Reviews ISSN: 0895-769X (Print) 1940-3364 (Online) Journal homepage: http://www.tandfonline.com/loi/vanq20 Both Sides Now: On Gary Snyder’s This Present Moment Mark Gonnerman To cite this article: Mark Gonnerman (2017) Both Sides Now: On Gary Snyder’s This Present Moment, ANQ: A Quarterly Journal of Short Articles, Notes and Reviews, 30:2, 88-92, DOI: 10.1080/0895769X.2016.1277128 To link to this article: http://dx.doi.org/10.1080/0895769X.2016.1277128 Published online: 15 Mar 2017. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=vanq20 Download by: [Mark Gonnerman] Date: 20 March 2017, At: 09:02 ANQ: A QUARTERLY JOURNAL OF SHORT ARTICLES, NOTES, AND REVIEWS 2017, VOL. 30, NO. 2, 88–92 http://dx.doi.org/10.1080/0895769X.2016.1277128 Both Sides Now: On Gary Snyder’s This Present Moment Mark Gonnerman William James Center for Consciousness Studies, Palo Alto, California, USA To finish the moment, to find the journey’s end in every step of the road, to live the greatest number of good hours is wisdom. … Since our office is with moments, let us husband them. —Ralph Waldo Emerson, “Experience” (1844) In This Present Moment: New Poems (hereafter cited as TPM), Gary Snyder circles back to and corrals many of the basic themes that have defined his long life as an artivist (activist artist): the Wild, reinhabitation, work, play, myth, ritual, poetics, epistemology, ethics, impermanence, con- noisseurship, and the endless work of cultural transmission and translation.
    [Show full text]
  • Frank O'hara As a Visual Artist Daniella M
    Student Publications Student Scholarship Spring 2018 Fusing Both Arts to an Inseparable Unity: Frank O'Hara as a Visual Artist Daniella M. Snyder Gettysburg College Follow this and additional works at: https://cupola.gettysburg.edu/student_scholarship Part of the American Art and Architecture Commons, Art and Design Commons, and the Theory and Criticism Commons Share feedback about the accessibility of this item. Snyder, Daniella M., "Fusing Both Arts to an Inseparable Unity: Frank O'Hara as a Visual Artist" (2018). Student Publications. 615. https://cupola.gettysburg.edu/student_scholarship/615 This open access student research paper is brought to you by The uC pola: Scholarship at Gettysburg College. It has been accepted for inclusion by an authorized administrator of The uC pola. For more information, please contact [email protected]. Fusing Both Arts to an Inseparable Unity: Frank O'Hara as a Visual Artist Abstract Frank O’Hara, a curator at the Museum of Modern Art in New York and a published poet in the 1950s and 60s, was an exemplary yet enigmatic figure in both the literary and art worlds. While he published poetry, wrote art criticism, and curated exhibitions—on Franz Kline, Robert Motherwell, and Jackson Pollock—he also collaborated on numerous projects with visual artists, including Larry Rivers, Michael Goldberg, Grace Hartigan, Joe Brainard, Jane Freilicher, and Norman Bluhm. Scholars who study O’Hara fail to recognize his work with the aforementioned visual artists, only considering him a “Painterly Poet” or a “Poet Among Painters,” but never a poet and a visual artist. Through W.J.T. Mitchell’s “imagetext” model, I apply a hybridized literary and visual analysis to understand O’Hara’s artistic work in a new way.
    [Show full text]
  • Senses of Place in the Poetry of Gary Snyder and Derek Walcott
    RE-INHABITING THE ISLANDS: SENSES OF PLACE IN THE POETRY OF GARY SNYDER AND DEREK WALCOTT A thesis presented to the faculty of the Graduate School of Western Carolina University in partial fulfillment of the requirements for the degree of Master of Arts in English. By Jason T. Hertz Director: Dr. Laura Wright Associate Professor of English English Department Committee Members: Dr. Catherine Carter, English Prof. Deidre Elliott, English May 2011 ACKNOWLEDGEMENTS I would like to thank my committee members and director for their assistance and encouragement. I am especially grateful to Professor Laura Wright for being a wise and reliable adviser. I also extend sincere thanks to the following people, without whom this thesis would not have been possible: Mom and Dad, Tristan and Rikki, Michael, and Miranda. I offer my warmest regards and thanks to my extended family for their continued love and support. Above all, I thank my grandmother Lorraine. TABLE OF CONTENTS Abstract . 4 Introduction: Recasting the Castaway as an Island Re-Inhabitant . 6 Chapter One: Regarding Wave and Suwanose-Jima . 18 Chapter Two: O-Mer-Os, Singing the Sea‘s Quiet Culture . 37 Chapter Three: Snyder‘s and Walcott‘s Bioregional Muse . 56 Conclusion . 78 Works Cited . 83 ABSTRACT RE-INHABITING THE ISLANDS: SENSES OF PLACE IN THE POETRY OF GARY SNYDER AND DEREK WALCOTT Jason T. Hertz, M.A. Western Carolina University (May 2011) Director: Dr. Laura Wright Building on the castaway narratives in both Gary Snyder‘s and Derek Walcott‘s poetry, I use Yann Martel‘s novel Life of Pi as a contemporary analogue for reading Snyder‘s Pacific journeys, in Regarding Wave and Turtle Island, and the quests of Omeros’ fisherman protagonist, Achille.
    [Show full text]
  • Dale Smith on Hoa Nguyen
    IN PROGREss FOR HOA NGUYEN DALE Smith It’s not uncommon to gauge one’s self by way of others. Those “others,” of course, are possessed too of their own imagination. The heart and mind are populated by figures through which the imagination produces life (rather than reality, though the Real inter- jects itself as the black matter on which the imagination struggles into its own existence). I’m sure Levinas, or Lacan, or some other theory heavyweight could put this into terms more commonly known, though I understand the gauge of self through Robert Duncan and Charles Olson, most clearly. This is a very stupid way to begin trying to say something about someone I love. The first time I saw Hoa Nguyen she was wearing black motorcycle boots, I believe, and a short skirt. I was married. And that ended. I moved with Hoa to Texas only two years later. A little while ago I found a picture of us taken in San Francisco, at Anselm Berrigan’s apart- ment, on Page Street in the Lower Haight, ca. 1995. For more than a decade I’ve lived with her and her work. I remember reading her poems in a coffee shop on Valencia Street in the Mission. I remember editing a student magazine with her. I remember sitting with her in a garden overlooking the City. I remember looking across a room at her in Tom Clark’s seminar on Charles Olson. I remember moving into her place on Folsom Street and drinking coffee and reading the Sunday Times on a deck overlooking a bank of bright bougainvillea.
    [Show full text]
  • Anne Waldman Poet, Performer, Educator on Naropa, Buddhism, and Gender
    BOOKS Brenda Iijima, Eugene Marten MUSIC JOAN AS POLICE WOMAN SMALL PRESS Subpress Collective BOOG CITY POETRY Alan Semerdjian, Elizabeth Treadwell A COMMUNITY NEWSPAPER FROM A GROUP OF ARTISTS AND WRITERS BASED IN AND AROUND NEW YORK CITY’S EAST VILLAGE ISSUE 17 JUNE 2004 FREE BOOG CITY Interview: Anne Waldman Poet, Performer, Educator on Naropa, Buddhism, and Gender BY GREG FUCHS she works hard at her writing. to know Waldman. nne Waldman—an inspirational, nurturing, Although Waldman made the scene on the I have visited her and revolutionary force in American eve of the summer of love, she is pre-rock-n-roll. at her house in Apoetry for four decades—still inspires She conjures up the fire and brimstone spirit the West Village, audiences to curse, tremble, and weep. that influenced early rockers like Esquerita more photographed her, When he’s done, he declares, ‘That’s a Waldman has written many books, than her 1960s contemporaries. The earth and talked to her published more by other authors with Lewis quakes and walls shake when Waldman is on about poetry. She good song,’ and heads back to his seat. Nicolaus Czarnecki photo Warsh through their press Angel Hair, directed stage. She is witness to the love and hate that is beautiful and the Poetry Project at St. Mark’s Church through humans wield. She testifies like a holy-rolling busy but still has its inaugural years, collaborated with visual preacher channeling the primal energy of one time to engage with artists like George Schneeman, and, with who has returned from the other side yet lived colleagues and Allen Ginsberg, started The Jack Kerouac to tell of the horrors they have seen.
    [Show full text]
  • JK Bloomsday Interview
    A Bloomsday Interview With Joanne Kyger in New York Trevor Carolan “I don’t think it was until I moved to Bolinas in 1969 that I really entered into a close relationship with the land around me in my writing. About the birds who live here, to this day the quail are probably my closest neighbors.” * “Poetry has a lot to do with awakening,” Joanne Kyger has noted. I came to appreciate this while teaching a humanities seminar at Simon Fraser University in Vancouver. The readings included a constellation of writers associated with “San Francisco: the Athens of the American West”, a large number of whom were Buddhist-influenced. I noticed how young male students gravitated to work by Jack Kerouac, Allen Ginsberg, Gary Snyder, Lawrence Ferlinghetti, or Kenneth Rexroth; by contrast, women students responded strongly to the poetry and poetics of Joanne Kyger and Diane di Prima. Accordingly, I began paying closer attention to the transpacific inflections that percolate through the work of other women writers like Maxine Hong Kingston, Amy Tan, Alice Walker, Jane Hirschfield, and bell hooks. In June, 2008, Joanne Kyger was a featured speaker at The Beats In India, an Asia Centre symposium in New York. The event celebrated the journey made in 1962 by Kyger, her then-husband Snyder, and fellow American poets Ginsberg and Peter Orlovsky, and addressed ‘what drew the Beats to India and how they inspired successive generations of Americans to turn to the East for spiritual and creative wisdom’. There was a sense of historical importance about the gathering. Two days later on Bloomsday, I spoke with Kyger at the loft home office of Vincent Katz, publisher of Kyger’s poetry collection, Not Veracruz (Libellum Books).
    [Show full text]
  • 5.00 #214 February/MARCH 2008 the Jack Kerouac School of Disembodied Poetics Summer Writing Program 2008
    $5.00 #214 FEBRUARY/MARCH 2008 The Jack Kerouac School of Disembodied Poetics Summer Writing Program 2008 7EEKLY7ORKSHOPSs*UNEn*ULYs"OULDER #/ WEEK ONE: June 16–22 The Wall: Troubling of Race, Class, Economics, Gender and Imagination Samuel R. Delany, Marcella Durand, Laird Hunt, Brenda Iijima, Bhanu Kapil, Miranda Mellis, Akilah Oliver, Maureen Owen, Margaret Randall, Max Regan, Joe Richey, Roberto Tejada and Julia Seko (printshop) WEEK TWO: June 23–29 Elective Affinities: Against the Grain: Writerly Utopias Will Alexander, Sinan Antoon, Jack Collom, Linh Dinh, Anselm Hollo, Daniel Kane, Douglas Martin, Harryette Mullen, Laura Mullen, Alice Notley, Elizabeth Robinson, Eleni Sikelianos, Orlando White and Charles Alexander (printshop) WEEK THREE: June 30–July 6 Activism, Environmentalism: The Big Picture Amiri Baraka, Lee Ann Brown, Junior Burke, George Evans, Bobbie Louise Hawkins, Lewis MacAdams, Eileen Myles, Kristin Prevallet, Selah Saterstrom, Stacy Szymaszek, Anne Waldman, Daisy Zamora and Karen Randall (printshop) WEEK FOUR: July 7–13 Performance, Community: Policies of the USA in the Larger World Dodie Bellamy, Rikki Ducornet, Brian Evenson, Raymond Federman, Forrest Gander, Bob Holman,Pierre Joris, Ilya Kaminsky, Kevin Killian, Anna Moschovakis, Sawako Nakayasu, Anne Tardos, Steven Taylor, Peter & Donna Thomas (printshop) Credit and noncredit programs available Poetry s&ICTIONs4RANSLATION Letterpress Printing For more information on workshops, visit www.naropa.edu/swp. To request a catalog, call 303-245-4600 or email [email protected]. Keeping the world safe for poetry since 1974 THE POETRY PROJECT ST. MARK’S CHURCH in-the-BowerY 131 EAST 10TH STREET NEW YORK NY 10003 NEWSLETTER www.poetryproject.com #214 FEBRUARY/MARCH 2008 NEWSLETTER EDITOR John Coletti 4 ANNOUNCEMENTS DISTRIBUTION Small Press Distribution, 1341 Seventh St., Berkeley, CA 94710 6 READING REPORTS THE POETRY PROJECT LTD.
    [Show full text]
  • Late Modernist Poetics and George Schneeman's Collaborations with the New York School Poets
    Timothy Keane Studies in Visual Arts and Communication: an international journal Vol 1, No 2 (2014) on-line ISSN 2393 - 1221 No Real Assurances: Late Modernist Poetics and George Schneeman’s Collaborations with the New York School Poets Timothy Keane City University of New York Abstract: Painter George Schneeman’s collaborations with the New York School poets represent an under-examined, vast body of visual-textual hybrids that resolve challenges to mid-and-late century American art through an indirect alliance with late modernist literary practices. Schneeman worked with New York poets intermittently from 1966 into the early 2000s. This article examines these collagist works from a formalist perspective, uncovering how they incorporate gestural techniques of abstract art and the poetic use of juxtaposition, vortices, analogies, and pictorial and lexical imagism to generate non-representational, enigmatic assemblages. I argue that these late modernist works represent an authentically experimental form, violating boundaries between art and writing, disrupting the venerated concept of single authorship, and resisting the demands of the marketplace by affirming for their creators a unity between art-making and daily life—ambitions that have underpinned every twentieth century avant-garde movement. On first seeing George Schneeman’s painting in the 1960s, poet Alice Notley asked herself, “Is this [art] new? Or old fashioned?”1 Notley was probably reacting to Schneeman’s unassuming, intimate representations of Tuscan landscape and what she called their “privacy of relationship.” The potential newness Notley detected in Schneeman’s “old-fashioned” art might be explained by how his small-scale and quiet paintings share none of the self-conscious flamboyance in much American painting of the 1960s and 1970s.
    [Show full text]
  • Interview & Discussion with Bobbie Louise Hawkins
    INTERVIEW/DISCUSSION WITH BOBBIE LOUISE HAWKINS BY BARBARA HENNING When I was at Naropa for the Summer Program in June 2011, Bobbie came to my prose chat and we planned to get together later in the week. Meanwhile, in the poetics library, I picked up a copy of her novel, One Small Saga, and read it that same night. It is beautifully written prose with poetic disjunction and rhythm, the story of a young artist on a journey to Belize with her new husband. I wanted to interview Bobbie about the book; unfortunately she was ill and I wasn’t able to see her that week. So we conducted our interview over the telephone. One phone call can lead to another, one book to another. While interviewing Bobbie and transcribing, it sometimes seemed as if I were orchestrating a series of new narratives. Walter Benjamin writes, "Every morning brings us the news of the globe, and yet we are poor in noteworthy stories." Within this interview there are many new noteworthy Bobbie Louise Hawkins stories. Barbara Henning New York City, 2012 ** Barbara: In your book, One Small Saga, the narrator, Jessie, seems to be in a fix. She doesn't have enough money to continue art school and then Axel asks her to marry him. Bobbie: I didn't have the money to go to college, and not having the money was the truth of the time, but that wasn't why I went with him. I went with him because it was an adventure. There I am, living with my parents in a two bedroom little house in Albuquerque, and here is this Danish architect from Africa and England, saying that he'd like to marry me and take me out of the country.
    [Show full text]
  • Download Program Notes
    Friday November 17th, 2006 “As the Great Earth Rolls On” A Frank O’Hara 80th Birthday Celebration in words and moving pictures Presented by San Francisco Cinematheque & The Poetry Center, San Francisco State University Bill Berkson speaks and reads Frank O’Hara’s “In Memory of My Feelings.” Frank O’Hara: NET Outtake Series (1966), 16mm film on DVD, 34 min. courtesy American Poetry Archives, The Poetry Center, SFSU One in a series of edited outtakes from the National Educational Television program titled USA: Poetry, produced by KQED television from 1965-66 by Gordon Craig, Richard O. Moore and associates. Among the only film footage of Frank O’Hara (27 Mar. 1926-25 July 1966), who was killed in an accident later the same year at age 40, the program was shot March 5, 1966 at O’Hara’s apartment at 791 Broadway, on the street in Manhattan, and in painter Alfred Leslie’s studio at 92 Broadway. Together they collaborate on the dialogue for a film Leslie is making titled Philosophy in the Bedroom, the notes for which were later destroyed by a fire at Leslie’s studio. O’Hara reads several poems, including Liebeslied, An Airplane Whistle (After Heine), Ave Maria (beginning “Mothers of America, let your kids go to the movies”), Answer to Voznesensky and Yevtushenko, and For the Chinese New Year & For Bill Berkson. i n t e r m i s s i o n The Trouble with Paradise: a neo-benshi tribute by Mac McGinnes, read by Julian T. Brolaski and Dan Fisher. The dialog from one of O’Hara’s favorite films, Trouble in Paradise (1932), directed by Ernst Lubitsch, starring Miram Hopkins, Herbert Marshall, et al., is subverted using the poet’s own lines.
    [Show full text]
  • Diane Di Prima
    Utah State University DigitalCommons@USU ENGL 6350 – Beat Exhibit Student Exhibits 5-5-2016 Diane Di Prima McKenzie Livingston Follow this and additional works at: https://digitalcommons.usu.edu/beat_exhibit Recommended Citation Livingston, McKenzie, "Diane Di Prima" (2016). ENGL 6350 – Beat Exhibit. 2. https://digitalcommons.usu.edu/beat_exhibit/2 This Book is brought to you for free and open access by the Student Exhibits at DigitalCommons@USU. It has been accepted for inclusion in ENGL 6350 – Beat Exhibit by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. Livingston 1 Diane DiPrima’s Search for a Familiar Truth The image of Diane DiPrima∗ sitting on her bed in a New York flat, eyes cast down, is emblematic of the Beat movement. DiPrima sought to characterize her gender without any constraints or stereotypes, which was no simple task during the 1950s and 1960s. Many of the other Beats, who were predominately male, wrote and practiced varying degrees of misogyny, while DiPrima resisted with her characteristic biting wit. In the early days of her writing (beginning when she was only thirteen), she wrote about political, social, and environmental issues, aligning herself with Timothy Leary’s LSD Experiment in 1966 and later with the Black Panthers. But in the latter half of her life, she shifted focus and mostly wrote of her family and the politics contained therein. Her intention was to find stable ground within her familial community, for in her youth and during the height of the Beat movement, she found greater permanence in the many characters, men and women, who waltzed in and out of her many flats.
    [Show full text]