GET RID OF MEANING. YOUR MIND IS A NIGHTMARE THAT HAS BEEN EATING YOU: NOW EAT YOUR MIND.
I saw Kathy Acker's name fly by in a tweet yesterday. Her name carries power for those who remember it. Alternative and transgressive literature blossoms in today's Internet-powered cultural scene, but there was a time (back when Ronald Reagan was President and a lot of things were lamer than they are today) when Kathy Acker was the only young punk writer in the world with any amount of fame. That was a lonely era for a serious indie voice of the streets, but Kathy Acker played her role with style and class.
She died of cancer in 1997, when she was only 50 years old and had a lot more writing to do. Looking back at her body of work today, it seems clear that empowerment was always her mission. Her literary role models were men -- William S. Burroughs, Charles Olsen, Jerome Rothenberg -- but her influence seems to be most strongly felt among woman writers who heard her call for empowerment via unapologetic self-expression. Her influence can be traced through many voices that have dared to be brash over the years, from Patti Smith, Mary Gaitskill, Tama Janowitz and Maggie Estep to JT Leroy, Elizabeth Wurtzel, Porochista Khakpour, Paula Bomer. Every one of these controversial writers must have had to dig deep within to find the confidence to write without fear. They may not have followed Kathy Acker's direction, but they did walk in her trail.
Daevid Allen, a brilliant songwriter and archetypal hippie prog-rocker who co-founded Soft Machine in 1966 before reaching his peak as the mad visionary genius of Gong, has announced that he is dying of cancer and has six months to live.
I am not interested in endless surgical operations and in fact it has come as a relief to know that the end is in sight.
I am a great believer in "The Will of the Way Things Are" and I also believe that the time has come to stop resisting and denying and to surrender to the way it is.
I can only hope that during this journey, I have somehow contributed to the happiness in the lives of a few other fellow humans.
A strange kind of anxiety can occur when attending a concert by an artist like Bob Dylan. I was struck by a sense of this anxiety as I stepped into Constitution Hall in Washington DC last night. I began to worry that it would impact my enjoyment of the show.
This can happen. A few years ago I attended an amazing Ralph Stanley show in a smoky nightclub in Virginia. All night long, I felt so overwhelmed by the fact that I was sitting there staring at one of the very inventors of modern bluegrass style, the small craggy old man calmly shredding his banjo strings in front of my eyes, that I forgot to tap my feet.
I think of this sensation as a form of anxiety because it's a self-disturbance, an unwanted reaction. When I have the privilege to hear a musical genius in person, I want to simply sit there and enjoy the music. I want my brain to be quiet while the sound waves soak in. Instead, I sit there pondering the significance to musical history. This happened to me in an especially bad way in 2006 where I luckily found myself at the famous Jay-Z concert in New Jersey where Nas came out to end his beef with Jay, and to share the mic with him on "Dead Presidents".
I was already very pumped at this point in the show, especially since Jadakiss, Sheek Louch, P Diddy, T.I., Freeway, Young Jeezy and Kanye had already been on stage -- so when Nas showed up, what did I do? I pulled out my phone and texted Caryn, and since this was 2006 and I wasn’t very handy with texting yet, this ended up taking a while, which distracted me from living in the moment itself. (Caryn later told me that she never saw the text anyway, as she had already gone to sleep).
If you're on the east coast of the USA these days, you might catch a painted bus called Furthur running up and down the seaboard. This colorful vehicle is named after the original Furthur that took novelist Ken Kesey, Neal Cassady, Ken Babbs and the rest of the Merry Pranksters across the country on a famous road trip 50 years ago. I caught up with Zane Kesey and the giant rolling metaphor he designed for his father when they finally rolled into Brooklyn, New York last month.
Don Carpenter was a writer’s writer. Born in Berkeley, California in 1931, he grew up there and in Portland, Oregon, served in the Air Force during the Korean War, and returned to earn a B.S. from Portland State and an M.A. in creative writing from San Francisco State. In 1966 his first novel Hard Rain Falling was published to critical acclaim, and for the rest of his life he was a professional writer. He lived in Mill Valley, California and was part of a group of writers—Evan Connell, Curt Gentry, Leonard Gardner, Gina Berriault and others—who met regularly at the Book Depot there, and at the no name bar in Sausalito.
Carpenter was never as successful or celebrated as his good friend Richard Brautigan. His novels and short story collections were praised by critics and fellow writers but did not sell well. He found work in Hollywood as a screenwriter, most notably for an unproduced screenplay of Charles Bukowski’s Post Office, and for Payday, starring Rip Torn as a country music singer. His novel about show business, A Couple of Comedians, was praised by Norman Mailer as “the best novel I’ve ever read about contemporary show biz.” Anne Lamott dedicated her 1994 book Bird by Bird to Carpenter, and praised his then work in progress Fridays at Enrico’s as a masterpiece in the making.
(Literary Kicks is twenty years old today. This fact has left me speechless, so I asked Jamelah Earle to send some retrospective thoughts. -- Levi)
When I was 16, I was on my high school forensics team. This was not in any way related to anything you might see on an episode of CSI, but instead was competitive speech and dramatic performance. That year, I had chosen poetry as my event, and I was looking for a poem to perform. The trick with forensics events, I had learned in a previous season, when I did storytelling with Alexander and the Terrible, Horrible, No Good, Very Bad Day, was to come up with something that nobody else would be performing — Alexander was a popular piece, and more than one time I would be in a competition round with another person doing the same story. So, when I switched to poetry, I was determined to come up with something nobody else would do.
My coach gave me a copy of Allen Ginsberg's Howl and Other Poems to see if anything in it would work for me. I eventually ended up choosing the poem "America" and I had a great season. I think I would've made it to the state championships that year, had I not gotten laryngitis so severely that I was rendered essentially mute during regionals. Alas, I'll never know, so I can just imagine that I would've gone all the way. Maybe I could have even won the chance to tell my hometown newspaper how to spell "Allen Ginsberg".
Furthur, Further ... that literary device on wheels, that great American rolling metaphor.
Fifty years after novelist Ken Kesey gathered his friends into a painted bus and drove a jagged route from California to New York City, the novelist's son Zane Kesey is hitting the road again, in a new bus with a new gang of Merry Pranksters, funded by a Kickstarter that has already met its goal.
I recently heard about a British Library project to reassemble and digitize a 17th century illustrated edition of the Ramayana, a classical Hindu epic. This sounds pretty cool, and it reminded me of a different edition of the Ramayana that I once owned myself.
This was just a cheap pocket paperback, a novelization of the great poem, published alongside a similar edition of the other great Hindu epic, the Mahabharata. These two books, the life work of a young American translator named William Buck, were designed to be accessible and enjoyable versions of their extremely long and complex originals. Of course the great epic poems had to be condensed and simplified to fit into these forms, but the popular paperbacks provide a rich reading experience that must capture at least some of the significance of their gigantic counterparts.
William Buck's Mahabharata is the one I read all the way through and remember most vividly, because it's a colorful, wise and beautiful long tale that begins with the household altercation that resulted in an elephant head being placed on the body of a boy named Ganesha, the son of Shiva, who is noted (in the story that surrounds the story) as the scribe who is writing the text:
He was the oldest of the major Beat Generation writers. That's why William S. Burroughs is today the first Beat writer to celebrate a centennial.
Burroughs was born on February 5, 1914. He arrived on this planet the same year as the First World War.
Some people don't call Burroughs a Beat writer, because they prefer to think of him as a postmodern experimentalist, or a psychic investigator, or a political activist. He was those things too, but of course he was a Beat writer.
One of the first pages I ever created on this website was a biography of William S. Burroughs, and I also typed in a favorite piece of text from his signature novel Naked Lunch, titled Bradley The Buyer. Today is the hundredth birthday of William S. Burroughs, and as part of the celebration I'm running this excerpt again. The illustration was created for this piece for Literary Kicks by the awesome artist Goodloe Byron, proprietor of Stone Bird News.