I'm psyched to be included in an impressive series of interviews about the Beat Generation conducted by Michael Limnios at Blues @ Greece, a Greek web publication devoted to underground music and culture.
While we're watching counterculture moments on television from the 1960s,here's something else I just stumbled across: the joyful jazz composer, performer and beatnik David Amram on the kid's show Wonderama. He demonstrates his favorite instruments, and naturally leads a jam session with the kids, who are way into it.
Amram turns 82 years old this weekend, which means the promising new film David Amram: The First 80 Years must be nearing its second birthday ... and I haven't seen it yet! I hope this documentary film will reach more theaters, and will get a much-deserved spot on public television or some other music channel. One thing's for sure: audiences will love it, because Amram never fails to win an audience over. Here's the trailer for the film:
I don't know much about the noir genre, but I checked out a new graphic novel called Dark Heat by Barry Graham and Vince Larue because I like Vince's beat-inspired writing and artwork, which often emphasizes themes from Michael McClure and Gary Snyder. Vince Larue also drew a very cool cover for my 2011 Kindle book about poker, The Cards I'm Playing: Poker and Postmodern Literature.
It's a strange leap that Larue makes from Snyder-inspired Zen Buddhism to macabre mystery comix, but Dark Heat shows many familiar influences, and also touches upon psychological and spiritual themes that remind me of The Sopranos, Psycho, Paul Auster, The Watchmen, Fletch, Taoism and a whole lot of good movies that have Steve Buscemi and/or Viggo Mortensen in them. This story begins in gritty realism, and ends with a postmodern exploration into what's real and what's not. For your noir pleasure: Dark Heat by Barry Graham and Vince Larue.
The new movie called On The Road begins in an outdoor Manhattan parking lot. Sweaty rushed Dean Moriarty is seen in close-up, screeching big blocky cars into tight spots as customers grimace in disapproval. Dean's new friend Sal Paradise stands by, watching with admiration. Like Dean Moriarty himself, Jack Kerouac's On The Road, which Kerouac always wished to see on the silver screen, has finally arrived in New York City.
I attended a preview screening of the long-awaited film (it won't open in general release until just before Christmas) at the Brooklyn Academy of Music this weekend, and sat there nearly wrenched with anticipation, because On The Road is one of my very favorite books in the world. I also had high hopes for the team behind the film: the monumental Francis Ford Coppola, who knows a bit about both epic cinema and transgressive literature, the screenwriter/director pair Jose Rivera and Walter Salles, who'd done solid work on a serious film about Che Guevara called Motorcycle Diaries. But I found it hard to imagine how any film based on Kerouac's wide, rambling, intentionally shapeless stream of consciousness novel could work.
In order to give my inevitably overflowing critical reaction to the film some structure, I decided in advance that I would review the film by posing and answering three questions. Do I love the film? Do I think people who haven't read On The Road will love the film? Finally, do I think Jack Kerouac would love the film? Here are my answers to these questions.
"I'm looking to see if there's a guy who looks like Lew Welch in this audience," says poet Gary Snyder at a San Francisco tribute to Welch, the complex Beat poet who was represented as the soulful, restless Dave Wain in Jack Kerouac's novel Big Sur.
It's a cutting thought, because Gary Snyder was among the last to see Lew Welch alive before the troubled poet wandered into the forest surrounding Gary Snyder's home to kill himself. Welch left a suicide note, but his body was never found.
City Lights has recently published Ring of Bone, the most comprehensive collection of Welch's life's work (we recently reviewed the book, and you can read more about it at HTMLGiant). Many notable old friends of Welch gathered last month to celebrate the book. Videos of short tributes by Gary Snyder, Joanne Kyger, Peter Coyote and others can be found at the City Lights blog.
Literary Kicks launches a new design and layout today. I'll write more about that shortly, but for now I'm just glad to be blogging again after a hiatus of nearly two months. My primary goal for the new design is to allow a more natural and spontaneous flow of content on the site, and in the spirit of natural and spontaneous content, here's a great piece of writing by Jack Kerouac: his Belief & Techniques For Modern Prose.
This thirty-point program was tossed off by Kerouac in 1958 in a private (and probably drunken) letter from Kerouac to a friend, but it has become one of his most popular texts. I think of the Beliefs & Techniques often. I didn't have a wireframe for this new site redesign ... but Jack Kerouac's words will serve as a symbolic wireframe for what I hope the new version of the site will be.
Belief and Techniques For Modern Prose
1. Scribbled secret notebooks, and wild typewritten pages, for yr own joy
2. Submissive to everything, open, listening
3. Try never get drunk outside yr own house
4. Be in love with yr life
5. Something that you feel will find its own form
6. Be crazy dumbsaint of the mind
7. Blow as deep as you want to blow
Standing by the boat one night I watched the lake go
absolutely flat. Smaller than raindrops, and only
Here and there, the feeding rings of fish were visible a hundred
yards away -- and the Blue Gill caught that afternoon
Lifted from its northern lake like a tropical! Jewel at its ear
Belly gold so bright you'd swear he had a
Light in there. His color faded with his life. A small
green fish ...
Lew Welch was one of the very best Beat Generation poets, though he never quite got famous for it. He caught the tail end of the Beat movement, reaching his creative peak in the 1960s along with Michael McClure, Diane Di Prima and Lenore Kandel. Lew Welch worked as an ad man in Chicago before leaving the commercial world to become a full-time poet/dharma bum, and in this capacity he was part of the creative team that came up with the slogan "Raid Kills Bugs Dead". Welch was highly regarded by other Beat poets, but despite his savvy in the advertising business he never found a secure foothold in the fast-changing 1960s hipster/poetry scene, and seems to have considered himself a lost cause. Welch killed himself in 1971.
A new collection of Lew Welch's poetry has just been published by City Lights. Ring of Bone: Collected Poems covers his entire career, from his early attempts to write jazz poetry inspired by William Carlos Williams and Gertrude Stein to his increasingly self-directed, sardonic later verses, which encircle his creative frustration. Some titles: "Sausalito Trash Prayer", "Song of the Turkey Buzzard", "A Round of English", "Not Yet 40 But My Beard is Already White". This book now stands as the authoritative edition of Lew Welch's work, and includes a foreword by his close friend Gary Snyder.
Two interesting facts about poet Lew Welch: first, his stepson was the San Francisco 1980's blues-pop singer Huey Lewis (who must have taken the last name "Lewis" in tribute to his stepfather, even though in the 1980s it was hip to be square).
I met Eliot Katz many years ago at St. Marks Poetry Project in New York City, back in a different era when several now legendary figures like Allen Ginsberg, Gregory Corso, Herbert Huncke, Tuli Kupferberg and Janine Pommy Vega were still alive and never missed a reading at St. Mark's Church.
I first encountered Eliot as part of the crowd that surrounded Allen Ginsberg -- his "entourage", basically -- but I also heard him read his own poems: moving, well-crafted verses with a humorous Ginsberg-ian self-questioning touch, often containing powerful messages about political activism, about life in New York City, about escapes into nature. Eliot was the co-editor with Allen Ginsberg and Andy Clausen of Poems for the Nation: A Collection of Contemporary Political Poems and also published two books of poetry, Love, War, Fire, Wind: Looking Out from North America's Skull and Unlocking the Exits.
When the Occupy Wall Street movement kicked off last September, I expected to see Eliot Katz around the scene, since I know he's an eager political activist who never turns down a good event. Unfortunately, I learned that Eliot has been slowed down by a bout with Lyme disease, and has been forced to participate in the Occupy movement more from the sidelines than he would have liked. However, the sidelines can offer a good perspective for observation. Eliot recently sent me some notes containing his thoughts about how the Occupy Wall Street movement can best position itself to succeed in the future, and I thought I'd give Eliot a chance to air his ideas out with an interview here. Eliot and I got a chance to talk about some more esoteric and poetic topics too. Thanks, Eliot, and I hope you'll be back in full health again soon.
Levi: In an article you recently wrote, you quoted Abbie Hoffman speaking in 1988 at Rutgers University (where you were a student) about one of the discouraging realities of protest movements:
Decision making has been a problem on the Left. In the sixties we always made decisions by consensus. By 1970, when you had 15 people show up and three were FBI agents and six were schizophrenics, universal agreement was getting to be a problem. I call it ‘The Curse of Consensus Decision Making,’ because in the end consensus decision making is rule of the minority: the easiest form to manipulate ... Trying to get everyone to agree takes forever. Usually the people are broke, without alternatives, with no new language, just competing to see who can burn the shit out of the other the most ... Most decisions are made by consensus, but there must also be a format whereby you can express your differences. The democratic parliamentary procedure—majority rule—is the toughest to stack, because in order to really get your point across you’ve got to get cooperation, and to go out and get more people to come in to have those votes the next time around.
Abbie was talking about the need for decision by majority vote within protest groups, and you quoted him to support your own suggestion that the Occupy Wall Street movement ought to create a leadership structure and begin making decisions by majority vote rather than consensus. But wouldn't that harm the essentially open character of the Occupy movement, and create a politicized infrastructure that would inevitably succumb to corruption, favoritism and personality politics? Wouldn't something great be lost if Occupy ceased to operate as a quasi-anarchist movement? Would it be worth trading this in for a more organized movement?
The film version of Jack Kerouac's On The Road has dropped! I never thought it would happen.
The movie is not yet in general release, but it has premiered at the Cannes Film Festival, and reactions to the long-awaited literary adaptation are starting to pour in. Manohla Dargis of the New York Times praises the movie's integrity and seriousness, but describes the cinematic experience as "respectable, muted". Reviewers from the Guardian and Film School Rejects also describe an honorable attempt to capture the scope of Kerouac's novel that doesn't quite come together on screen. The biggest rave so far is from Jerry Cimino of San Francisco's Beat Museum, who says that "purists will be elated". (Jerry was a consultant to the filmmakers, which may have colored his very positive reaction -- however, he knows his Kerouac, and the fact that he loves the film wholeheartedly means a lot.)
2. On to other things! Like, for instance, sonnets. Every once in a while, some ambitious writer decides to create an entire book in sonnet form. Chad Parmenter's iambic novel is called Bat and Man: A Sonnet Comic Book, and here are a few sample verses.
4. John Updike's boyhood home in Shillington, Pennsylvania will become a John Updike Museum. Couples get in free.
Yes, my friends, the longest wait in film history is about to end, though you'll only get to see the movie if you're on the French Riviera. The Walter Salles/Jose Rivera/Francis Ford Coppola interpretation of Jack Kerouac's On The Road will premiere at the Cannes Film Festival tomorrow, Wednesday, May 23, at 7:30 pm francois temps.
Kerouac obsessives like me still don't know what to expect from this film, though trailers and still shots have trickled out. Will I love the film? Will I hate it? Indications are highly ambivalent, nearly straight down the 50-50 mark. On the negative side, I'm worried that Kristen Stewart's star power will magnetize the plot, turning the famous story about two men and a car into a story about two men and a woman. And, let's face it, we already have Jules and Jim (not to mention Willie and Phil).