What are the roots that clutch, what branches grow
Out of this stony rubbish? Son of man,
You cannot say, or guess, for you know only
A heap of broken images, where the sun beats,
And the dead tree gives no shelter, the cricket no relief,
And the dry stone no sound of water. Only
There is shadow under this red rock,
(Come in under the shadow of this red rock)
-- T. S. Eliot, The Waste Land
Sometimes I find it hard to believe that my blog is almost twenty years old. Well, sometimes I also find it hard to believe that my youngest daughter is almost twenty years old. (They were born the same year, and they both grew up so fast.)
Literary Kicks will turn twenty on July 23, 2014. I have no idea how I'm going to celebrate, but I might keep it low key. For the 5th birthday in 1999, I threw a big party at the Bitter End nightclub in Greenwich Village. For the 10th birthday in 2004, I hosted an all-night online poetry jam with Caryn and Jamelah during which I remember falling asleep at least once. For the 20th, I might just stay home and feed the cats.
A literary biography ought to possess a voice and attitude that reflects and complements the literary voice and attitude of its subject. Leon Edel's life of Henry James is prim and probing, with an energy that gradually accumulates into stately magnificence. Gerald Nicosia's biography of Jack Kerouac is passionate, melancholy and fitful. This is how it should be, but this implicit rule must have been daunting to Adam Begley when he began writing Updike, the first comprehensive biography of the great fiction writer and critic John Updike, who died in 2009.
John Updike was, after all, one of the most confident and erudite prose stylists of his era, and an immensely likable writer. Fortunately, Adam Begley rises to the challenge in this enjoyable and perceptive biography, and while Begley doesn't attempt sentences of Updikian beauty and complexity, he does follow the master's lead in conjuring buoyant revelations from ordinary situations. Like a good Updike novel, this book captures the richness of one person's well-lived life.
I've been trying to philosophize about the Ukranian crisis in real time. This is always hazardous. Last Saturday morning, February 22, I invited readers to look at six images representing the history of Ukraine and to suggest three more that help fill out the story we are trying to understand. The idea was to try to puzzle out new insights about the enigmatic and confusing geopolitics of this Eastern European country, which has endured terrible conflicts and sufferings for centuries.
I thought this would be a worthy Zen type of philosophical/political exercise -- but I felt the sand of the mandala falling out under me when, just as I hit "publish" on my blog post, news blared out all over social media that the embattled Russian-sponsored President had suddenly fled the city of Kiev. This meant that the violent Kiev uprisings of the past weeks had turned into a successful revolution. Huge news! But I regretted having published my blog post about Ukraine's history on this hopeful and joyous day in Kiev and around the world. My blog post had a gloomy and angry tone that did not match the jubilation I even felt myself as I watched reports of Ukranian citizens celebrating on the streets of Kiev.
Even so, my intrepid and erstwhile Litkicks commenters came through in the clutch and answered my challenge with several great sets of images (see the comments on last weekend's post to enjoy the selections). I was glad that Subject Sigma remembered the nuclear accident at Chernobyl, and also shared the image of a beautiful breadbasket Ukranian field that is at the top of this page.
Maggie Estep, the charismatic and accessible spoken word poet and author, has suddenly died of a heart attack. She was 50 years old.
Maggie Estep was a big part of the slam poetry scene that emerged from Chicago and New York City in the 1980s and briefly flared into pop culture via MTV in the early 1990s. Her early published works include records like Love Is A Dog From Hell. Later, she published novels including Alice Fantastic and the Ruby Murphy mystery series.
Amiri Baraka, a seminal Beat poet, angry playwright, revolutionary activist and scrappy indie publisher from Newark, New Jersey has died. The Allen Ginsberg Project blog has the scoop. Here's a Litkicks article about Amiri Baraka by Jamelah Earle from 2003.
1922 was a special year for modernist literature. On February 2, James Joyce was the shy guest of honor at a small publication party for Ulysses in Paris. Sylvia Beach showed Joyce the book for the first time that day, thus establishing 2/2/22 as its Joycily pleasing official publication date.
Ulysses is one of two pillars of 20th century modernist literature, and the other is The Waste Land by T. S. Eliot, a long and strange poem that arrived to the wastrel world eight months later on October 16, 1922, neatly printed within the debut edition of The Criterion.
Both Ulysses and Waste Land were mash-ups of ancient heroic literature, regurgitated through a pained awareness of the plight of Europe in the age of industrialized war, revolution, capitalism and fast society. The milieu of European urban high culture that produced Ulysses and The Waste-Land in 1922 -- a vast set of personalities that includes Evelyn Waugh, Ernest Hemingway, Dorothy Parker, Andre Breton, W. B. Yeats, Albert Einstein, Bertrand Russell, Benito Mussolini, Vladimir Lenin, Mohandas Gandhi, D. H. Lawrence, E. E. Cummings, Wassily Kandinsky, Virginia Woolf, George Gurdjieff, and of course Gertrude Stein -- is the subject of Kevin Jackson's ingeniously simple Constellation of Genius: 1922: Modernism Year One.
The book is ingeniously simple because it is written as an annotated calendar, moving forward in brisk anecdotes from January to December, constructing a found story along the way. Some entire days are skipped, while other days present enjoyable juxtapositions, like June 30, on which Franz Kafka retired from his job, T. S. Eliot wrote a letter and young Eric Arthur Blair applied to the India Office for a position that would take him to Burma, one of many eventual stops towards his future as George Orwell.
It must mean something that Marcel Proust died on November 18, 1922, one month after Waste Land came out (though it is not known whether or not Proust read Eliot's poem). This was the same month that Howard Carter discovered and plundered the tomb of King Tutankhamen in Egypt, the same month that Crown Prince Hirohito became the new emperor of Japan.
It's Sunday morning, exactly one week since Lou Reed died. I've been touched by many tributes since then, and as I publish the final part in my three-part reminiscence of my 32 years of Lou Reed concerts, it occurs to me that my first two installments have been soundly negative about Lou Reed's musical career from 1979 to 1989 (roughly, his Chuck Hammer period and his Robert Quine period). I suppose I'm wallowing in the disappointment of his mediocre 1980s as a literary device, to set up the happy surprise of his return to form in that decade's last year. His work improved suddenly, almost magically, in 1989, and stayed good (even occasionally great) from that point on.
Lou Reed's career began with a 12-year run of amazing, anarchic, uneven, impossibly brilliant and beautiful music -- from the first Velvet Underground album in 1967 to Take No Prisoners in 1978. This 12-year run forms the core of Lou Reed's classic body of work. In 1979 he radically changed his style, suddenly establishing a mood of sobriety and rigid control in concert and in the recording studio. He seemed intent on subverting the anarchy and spontaneity of his earlier works. Some people love his tightly controlled, emotionally searing 1980s albums, from The Blue Mask to Mistrial. I find them suffocating and depressing, but that doesn't mean I begrudge Lou Reed the right to have created the work he wanted to create at this time.
In fact, he was probably saving his own life, because his ten-year period of artistic sobriety corresponded to a more personal form of sobriety. Several of his songs from the 1980s tell a stark tale of recovery from alcoholism ("Underneath the Bottle", "The Power of Positive Drinking", "Bottoming Out"). Though I criticize most of the music Lou Reed produced during the 1980s, I would never criticize his personal sobriety, and I'm simply thankful that Lou Reed did what was necessary to get his act together during these years. His successful and apparently permanent recovery from various substance addictions must be inspiring to many others who suffer through the same bleak trials.
I'm trying real hard to find a way to love Traveling Sprinkler, the new Paul Chowder novel by Nicholson Baker, who is just about my favorite writer in the world, but whose books I increasingly can't stand.
I say "the new Paul Chowder novel" the way one might say "the new Hannibal Lecter novel" or "the new Rabbit Angstrom novel", but the sad truth is that few Nicholson Baker readers were clamoring for a sequel to the first Paul Chowder novel, The Anthologist (which I reviewed and played a song from in 2010). Both Anthologist and the new Sprinkler are narrated in an arch voice by Crowder, a middle-aged literary oddball with a wayward attention span, a childish sense of humor and a wistful yearning for a woman named Roz.
The secret to creating great and enduring websites, I'm pretty sure, is to have the nerve to launch stuff that's totally not ready. This is something I've always been good at.
If you've hung around Litkicks for any amount of time, you know I've been trying to launch a new version of our long-running Action Poetry space for over a year now. I've also solicited your ideas along the way. One idea arrived that seemed to make a lot of sense to me, and this idea finally spurred me to, well, action. After a furious month of development and testing, I'm ready to show a beta today.
The big idea that got me moving? Integration with other social networks, especially Facebook. When I originally launched Action Poetry on these sites now defunct Jive message boards in 2001, the poetry community that grew around the boards existed in Internet isolation, and this isolation always felt to me like a dead end. I designed rudimentary member profiles for contributing poets, but I never wanted Literary Kicks to be in the business of social networking. Litkicks is about the content, the words -- I want my site to hook into social networks, but I don't want my site to be a social network.