TOAD SUCK REVIEW CRITICAL INTEL 91

NOTES TOWARD AN APPRECIATION OF AN AMERICAN ORIGINAL By klipschutz

The Poetry Deal Diane di Prima City Lights Books citylights.com 107 pages, paperback

Also discussed:

Dinners & Nightmares Revolutionary Letters Memoirs of a Beatnik Recollections of My Life as a Woman: The New York Years Pieces of a Song: Selected Poems

“Can you feel what I feel / Can we make it so that’s part of the deal?” Robbie Robertson sings on one of his solo releases. In the title poem of her new collection, Diane di Prima lays out the terms of the deal she made, directly addressing the art form she has practiced almost daily over a long, full life. She expresses gratitude:

I don’t want anything you don’t already give me: trips to other worlds, dimensions of light

Di Prima also intermixes obeisance with draw-the-line resolve:

You can not make sense for years & I’ll still believe you drop husbands, tribes & jobs as you wish

* * *

“Choose between me & it”—“it” has always gone Except when “it” was my kids

Husbands, beware!

Di Prima took her vows in the mid-1940s at age fourteen, the -born daughter of second-generation Italian- new to the middle class, with Keats as an early lodestar, perhaps for his direct pipeline to inspiration, his wholesale dedication to achieving immortality through “our heart’s cry and our heart’s ease” (di Prima, in another context). By now, she has had untold satisfactions and reversals—five children, many books and public performances, teaching, extensive studies into the occult, world travels, financial reversals in old age, Parkinson’s—that Keats never knew, his life cut short by tuberculosis. Di Prima was there at the beginning, before the Beat movement had a name, and she made the same epic journey in the early 1950s as Norman Podheretz did—from Long Island to —though she moved in circles far removed from the Commentary crowd. A hipster to the marrow when the word meant the polar opposite 92 CRITICAL INTEL TOAD SUCK REVIEW of what it does today, along with a few friends she changed the course of American poetry. Taking their cues from the Modernists, they educated themselves (Ezra Pound’s ABC of Reading was a vade mecum), writing out of their own spoken vocabularies and provisional lifestyles: engaging in sexual experimentation, illegal drugs, and a thirst for experience and conversation that often rendered sleep an annoyance to be put off like a creditor. For all intents and purposes, their religion was Art. With LeRoi Jones (later ), di Prima founded the Floating Bear magazine and taught herself offset printing. She typeset and proofread every issue. In Recollections of My Life as a Woman: The New York Years (2001), she relates how meticulously retyping Charles Olson’s field of composition poems taught her more than any formal instruction in poetry ever did. We also learn why she was left out of Donald Allen’s seminal New American Poetry: fallout from having had the audacity to bear the married LeRoi Jones’s child, against his wishes! As a side note, the memoir roughly parallels the chronology and locales covered in Dave Van Ronk’s The Mayor of MacDougal Street, back when poetry and folk music bled into each other, at times literally. Di Prima was one of the few with the curiosity and courage to seek out Pound, then institutionalized at St. Elizabeth’s in Washington, DC. In the memoir, she recounts her visits, over the course of a week in 1955. “November 2, 1972,” a short poem written the day after Pound’s death, about events that took place seventeen years earlier, first appears as part of The Poetry Deal in 2014. Score one for the long view, and patience! (An excerpt: “you handed me stolen food as I left / saying ‘line those stomachs.’”)