Guide Deja Vu To The Nth (The Stuart Johnson Cronicles Book 3)

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I look forward to what each poem will make of itself even as I write it. This species of authority is rather like W. Isnt it always the case : 'knowing' more than one's yet experienced, that is thinking one knows! With ginormous benefit of hindsight, Spicer's nine part Love Poems , in The New Writing in the USA volume, does resemble a certain type of serial music's recombinatory technique, as he recalls a line or phrase from another part for example, "for you I would build a whole new universe" without compromising the integrity of its various renditions.

And there is a dictation of form as well as a dictation of the individual form of the individual poem. And you have to go into a serial poem not knowing what the hell you're doing. What I'm saying is you have a unit, one unit the poem, which is taken by dictation, and another unit, the book, which is a more structured thing.

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But it should be structured by dictation and not by the poet. I was particularly pleased to publish there a letter from John Thorpe to Ken Irby tho unsure now whether Thorpe or Irby sent it to me, or perhaps even Riley or Andrew Crozier , for it included part of a J H Prynne missive to Olson containing the epochal line, "Singleness is emphatically not to line up as showing the individual at the helm Even now, forty years on, reading Peter Riley's latest collection, The Glacial Stairway Carcanet, , encountering the line almost a quip?

Around that time, Nick Kimberley related to me John James' comment refering, I think, to a poem I'd published in Nick's little mag, high on Ed Dorn as it happens and not at all a send-up , that "he knows not the ground whereon he stands. However, I never thought I required excuse or permission for my own interaction with the New American Poetry, which was surely the basis for all of our expeditions.

The new poetry as, for example, demonstrated in the pages of The English Intelligencer a great bundle of which John Hall had presented me , was more readily approachable than that very particular Cambridge poetry, and in its diversity not unlike the new poetry movement Down Under I quote the last : Jack Spicer. An Essay. No, not a voice in the night. Which leads to the supposition, there is nothing to be done.

Which leads to masochism and chauvinistic moans. Indians, Esquimos and the dead East in general, help keep alive the Aristotelian flame in various outposts, San Francisco, e. Fortunately, such men do not often rationalize. Only in teaching situations. Some of which got called "poems". Well, it's a difficult place to live in, Vertigo. Reading Spicer's Textbook of Poetry in that issue of Caterpillar , I'm tempted by the resemblance of Riley's 'essays' to Spicer's enigmatic sections despite the poets' different intentions.

It's that final line of Riley's essay which pings the keenest right now, especially as W.

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Graham reenters my thinking. Says Paul Celan in his Buchner Prize speech, "Who walks on his head, ladies and gentlemen, who walks on his head, has the sky as precipice beneath him. Words are things which just happen to be in your head instead of someone else's head, just like memories are Now, language is a more complicated thing, but at the same time it's a structure Graham , Walter Billeter. So, the poem, the fifth of a proposed sequence of ten, is done! Let me explain. There was no through-line at all, no momentum.

What I had was the dream I'd woken on and its affect on me, thus the initial scribbles. It's not giving too much away to offer that the first words of each poem are : "More Midsummer Night's Dream than Dante". Literally, bit by bit, from 31st January, ' to just the other day, 16th February, the poem was constructed. Big deal!

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But as I consider it now, making the poem making it more than writing it, where, for me, writing holds natural fluency I experienced certain truths of composition which in my more-or-less spontaneous approach had slipped from consciousness. For example, that one doesnt know where the poem is going or how to get it going ought not disqualify the process. And so I did --a word here or there, a phrase, rejigging the order, but not knowing how it would or if it should coalesce.

I was amazed! I plainly do.

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Obviously, my experience of prose is free of this stop-go construction : no narrative, no prose. But maybe that's similar to the type of poetry I write --always referring to the theme or working it out. I read that poem on your site about the Albion. There are so many or so few depending on how you look at Facebook where I can call a person friend. Very much so! Book, friendship, the lot! I'd been reading it from the beginning then today began from the end! You're very much the 'silent witness', kind of imperturbable. Loretta just told me she was at the Rainbow wake you write about [ Nights at the Rainbow , p1].

Small world! We'll talk again soon! I was a regular at the Rainbow for some years. And the Grand Whazoo, and on a Sunday afternoon. Chic was a very personable fellow who had the ability to treat everyone as a friend. By accident I hadn't heard that he died. A mate who ran the Rob Roy told me that Chic had this amazing funeral so I just imagined it. While pubs can be destructive they can also be great community gatherings like a family. I met a guy who told me to go to that pub on a Monday night because they have an Irish jam session in North Beach.

He sent an email to the owner Myles that I would be coming down and that I was a poet. Anyway Myles happens to love Australians. That night I met Myles and for the whole night I didn't buy a beer. People came up to me and said, you're that Australian. It was if I was being honoured. How about it?!!! And those connections are astonishing Better get back to the Shop! Do you mean explore more avenues of the pilgrim experience or in relation to my America trip?

Because pilgrim travelling can open up a whole new world to everyone, artists, poets, anyone who is open to the journey. Personally, Joe Campbell's books on myth had a great influence. One has to cast off or shed your old skin and believe in the path. Even if a thousand people say you're crazy you have stick at it and believe in yourself.

I am no angel and I sort of liked what St. Augustine said, 'Lord make me perfect but not just now', or something like that haha! It was like going to the monastery and meeting the gardener Joseph Bottone who turned out to be a mate of Creeley. He had a hermitage on the grounds overlooking the Pacific Ocean.

One time he invited me over for a joint and a couple of shots of rum. Certainly we played up but it was great! And the whole thing becomes infectious, the pilgrimage. Suddenly not only poetry but also the monastic along the Big Sur coast became a powerful adventure for me. That below the bridge somewhere is Ferlinghetti's cabin.

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  4. You become sort of tuned into the poetry of the land. A fellow by the name of Paddy told me that when hurricane Katrina rolled through, the only bar open in the whole town was this one. A tiny bar where twenty would be a crowd and I'm having a drink while watching Germany kick our arse in the World Cup! And the whole idea of watching takes you into another world. You know he went to Columbia University just a few years before Kerouac and others. Merton was a few years earlier than the 'Beats' but he was interested in the jazz scene, drank and smoked and had his way with women. Yet Merton was called to be a monastic and lived that way for twenty odd years.

    I am attracted to him because he struggled nearly every day he was in the order. Yet he stayed true. The irony is he went in the monastery to deny his writing talent but the church had other ideas. They wanted him to utilise his talents so he could be of use in getting converts etc. Another irony and I didn't know it at the time, Merton wanted to leave the order of the Trappists and become a Camaldolse.

    That is the order I am in. It is more hermit whereas the Trappists are more community. You know, when he went in the church was far more restrictive than it is today after Vatican 2.

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    The time he went in the church was convinced that it was their way or the highway as the saying goes. Meaning they had no time for other faiths and his order were very strict. Are the asteroids an accident or an attack on Earth? Was his Earth the real target or just collateral damage?

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    The feeling that he is being guided doesn't help. Who is guiding him and why? Enjoy the third of the Stuart Johnson Chronicles as Stuart struggles to find answers in an increasingly complex universe. Review This Product No reviews yet - be the first to create one!