Get the Money! , livre ebook
Description
- Galleys are available upon request
- Co-op is available
- Pursuing reviews/interviews with the editors: American Poetry Review, American Poet, Bookforum, Booklist, Boston Review, Brooklyn Rail, Colorlines, on Democracy Now, Guardian, KQED, LA Review of Books, LA Times, Library Journal, n+1, The Nation, NPR, NY Review of Books, NY Times, Poetry Magazine, Poetry Project Newsletter, Publisher's Weekly, Rain Taxi, The Rumpus, Shelf Awareness, SF Chronicle, Slate, and The Washington Post, among other spots.
- Pursuing excerpts in major publications including The New Yorker, Harper's, the New York Times Magazine, Lit Hub, Paris Review, and elsewhere. A very important text in this book, about Berrigan's own press and mimeo magazine, C, is unpublished and we will pursue placing an excerpt in a prominent place.
- Promotion via City Lights’s popular social media accounts.
- Editors are residents of New York and Paris, so events anchored in those places will be pursued, especially New York and the Poetry Project.
- Publicity and promotion in conjunction with the author's speaking engagements. Will pitch to regional media, including newspapers and radio stations.
- Blurbs already from Peter Gizzi, Anne Waldman, Andrei Codrescu, and Cedar Sigo.
- First comprehensive collection of Berrigan’s significant prose works.
- Features reviews/encounters with Andy Warhol, Allen Ginsberg, John Ashbery, Frank O'Hara, Jack Kerouac, Alice Notley, Edwin Denby, Joe Brainard, Wynn Chamberlain, James Laughlin, Barbara Guest, Bill Berkson, Ron Padgett, Aram Saroyan, Alice Neel, John Cage, Anne Waldman, Anselm Hollo, Joanne Kyger, Tom Clark, George Schneeman, Jane Freilicher, Franco Beltrametti, and Lita Hornick, among others.
- Includes a major unpublished gem: an account of Ted’s "C" magazine from 1964, which serves as a sort of memoir of the 60s, the early days of the second-generation NY School.
- Also previously unpublished: Berrigan's obituary to Frank O'Hara, "Frank O'Hara Dead at 40," which first appeared in an East Village underground newspaper in 1966.
- The edition highlights Ted Berrigan's connections to City Lights, including pieces about Frank O'Hara and Lunch Poems.
- Brings together many key texts revealing Berrigan's poetics and process, topics popular with writers today.
- Since his death in 1983, Ted Berrigan has retained his reputation as one of the most significant poets of his generation.
- First book by Ted Berrigan since 2011 (Selected Poems).
- Berrigan's Collected Poems and Sonnets are key texts in 20th century American poetry, found in most bookstores. This book will find a home next to those volumes.
INTRODUCTION
Ted Berrigan’s prose, written concurrently with his poetry throughout his writing life, makes for a highly idiosyncratic body of work. The writing constantly changes shape while always devoting itself to the situation of a given or self-selected assignment, amusement, or invitation. Berrigan shaped that devotion into an ethos of affable excitability grounded in attention, and not without its own edges and capacity for sentiment. He had a specific notion of what a literary figure, as part of an ongoing self-education never meant to end, should be doing alongside their primary work, including looking out for new forms to inhabit, reinvent, and share. This multifaceted approach to writing-mind and adventure-in-form, combined with constant social activity and conversation, resulted in a considerable array of forms: private journals, journals written for eventual publication, book and magazine reviews, short and longer reviews of art exhibitions, translations, procedural/collage pieces chased by a version of definition that can’t catch up, fabricated interviews, reports ranging from satirical letters to birth announcements, and book reviews written in lines from the books reviewed. In all his endeavors Berrigan worked to bypass formality, while making an explicit distinction between formality and form, the latter something to study and inhabit out of pleasure and exploration.
“Get the Money!” is a phrase coined by the early twentieth century journalist and literary writer Damon Runyon, a particular hero to Berrigan, who used the phrase as a tonally flexible and oddly practical descriptor as needed in conversation and writing. Sprinkled here and there in this selection, “Get the Money!” is also the title of a particularly bonkers-yet-incisive roundup of art reviews and opinions that kicks off the second half of this book. Built into the phrase in Berrigan’s usage is the knowing and amused, if arghifying, implication that “Get” will never become “Got” in any permanent sense, but could happen temporarily on the fly, and might be anyone’s reason for a particular decision. Art writing, for instance, was a way to Get the Money! That said, Berrigan’s interest in art writing was fueled by the fact that some of his most important living poetry models—Frank O’Hara, James Schuyler, John Ashbery—worked as art writers. Edwin Denby and Fairfield Porter were also important influences, the former a poet and sonnet master working as an acclaimed dance critic, and the latter a painter as well as a prolific and influential art critic. Berrigan entered this milieu in the early 1960s after spending the 1950s dropping out from a first go-round with college, enlisting in the U.S. Army, being sent to Korea at the tail end of the Korean War, and eventually landing in Tulsa on the G.I. Bill to further his formal education. In Tulsa, a number of crucial friendships began, in particular with the high school aged poets Ron Padgett and Dick Gallup and their artist schoolmate Joe Brainard, as Berrigan plunged himself fully into a life centered on poetry. All four were living in New York City by the early 1960s.
Berrigan immersed himself in collaboration with Brainard, Gallup, and Padgett, and invented his own small magazine and press “C,” an editorial space in which he could bring together the works by his heroes and friends. Editing “C” as a younger, working-class outsider poet also helped Berrigan to socially enter and subtly change the downtown New York City literary and artistic circles he was inspired by but never felt fully comfortable in. His own particular poetic breakthroughs—his much-celebrated book The Sonnets, the long open-field poem “Tambourine Life,” and the steady development of musical speech infused by collage and common language—were accompanied by a consistent attention to crafting sentences. In New York, Berrigan completed his master’s thesis on George Bernard Shaw and took up a kind of shadow job of writing papers for students at Columbia University, where Padgett had enrolled as a student. These “works” are naturally not included here. That said, Berrigan took every writing task seriously, and cultivated for himself a work ethic based on a sense of professionalism, as in always being ready for the task at hand. Outward appearances and manner may have belied this readiness to uptight passers-by, but commitment to the work could not manifest as costume. Berrigan’s journals from the early 1960s are markedly different at their outset than his later journal-writing. They give off a gradually developed sense of excitement at all the possibilities at hand—making art among friends, marrying Sandra Alper in 1962, beginning to compose The Sonnets—but are also wrought with anxiety born from financial and personal desperation. In the very early 1960s, Berrigan lived with Brainard, and the two spent a lot of time visiting museums and galleries, looking at art and figuring out through endless conversation how to articulate what they were discovering. Their influence on each other in that period was profound. Berrigan’s initial published prose writings were mostly freewheeling reviews of books and magazines for Kulchur, the magazine and press published by the inimitable Lita Hornick, with indefinable editorial assistance from Amiri Baraka (then LeRoi Jones). These reviews are subversive, funny, and at times opinionated in ways probably unimaginable to anyone today. It also feels unlikely that Kulchur demanded its reviewers adhere to a house style. To wit, the final sentence of Berrigan’s five-sentence review of a booklet by Jonathan Williams: “The price is absurd but the book is small and thin and slips easily under one’s coat.”
By the time Berrigan started writing for ARTNews in 1965, he’d absorbed the many lessons accrued from his conversations with Brainard and other artist friends, as well as his own readings of writings by artists—The Dada Painters and Poets: An Anthology (1951), edited by Robert Motherwell, being especially important among them. Berrigan wrote paragraph-length reviews for ARTNews at a rate of 4–8 per month for about a year. The shorter reviews are written in a house style, but Berrigan’s knack for crafting a sentence that can describe, amuse, and when necessary, assess, consistently break through that style. We have chosen to represent his short reviews as a list of selected sentences, akin and in homage to a similar list edited by painter Rackstraw Downes for Fairfield Porter’s book of art writings, Art in Its Own Terms (1979). Berrigan’s longer art pieces focus on three painters: Alice Neel, Jane Freilicher, and Red Grooms—all lifelong points of interest—and it is notable that he was assigned by editor Tom Hess to write at greater length on painters whose work leaned harder towards representation than abstraction, though Berrigan loved many of the abstract painters of the time. The short reviews also coincide with the composition of “Tambourine Life” across 1965 and 1966, and could be read in imaginative conjunction with the expanse and jumping arrangement of detail and feeling that poem spreads out with. When you look at things with the intention of writing sentences out of that looking, then turn around to maintain your own practice of writing poetry, there’s going to be unaccountable overlap in both directions. By his own admission, Berrigan didn’t want to take up art writing as an ongoing job after his run at ARTNews. He’d gotten what he wanted out of the experience and didn’t want to devote his attention to artists longer-term, though he did write about his close friend and collaborator George Schneeman’s work some years later.
It’s also during this period, in 1966, that his “notorious” interview with John Cage was published in Peter Schjeldahl’s Mother magazine. Schjeldahl invited Berrigan to write something for a particular issue, and Berrigan told him he’d like to do an interview—an interview with John Cage that he would write himself. Schjeldahl gave him the go ahead, and Berrigan constructed the interview as a way to work through his opinions on art and reality at the time, while also paying homage to Cage’s experimental methods of musical composition. He collaged the interview together from interviews with a number of people, citing Bob Dylan, Fernando Arrabal, Andy Warhol, and Cage himself as particular sources. Amazingly, some endeavor at the time called The National Literary Anthology awarded the interview a $1,000 prize (Get the Money!). The panel handling the award had no sense the interview was made up without Cage’s direct participation, as it was published without a disclaimer, leading to some handwringing on their part. After calling John Ashbery to ask, “Is this guy for or against me?” and being told that, yes, Ted was a big fan of his works, Cage acknowledged he had nothing to do with the interview. Therefore, Berrigan should in fact get all the money (he did give $50 to Dick Gallup, who worked on a couple of pages at Berrigan’s request).
******
I have to be a little less formal now. My father’s life changed dramatically in the late 1960s and early 1970s. He left New York to become a kind of traveling teacher, and experienced a painful breakup with Sandy, which meant not regularly seeing their two children, David and Kate. He taught at Yale, Ann Arbor-Michigan, Iowa City, and the University of Essex in England, and began what he thought of as a second life, one that led to his marriage with poet (mom) Alice Notley, the eventual births of my brother Edmund and me, and a need to find poetic renewal, or reinvigoration, as his health slowly started to fail. Around these changes there was time spent in Southampton, Long Island, and Bolinas, California. Poets and artists were regularly moving around these places at the time, and so one could crash for a while. Dad’s journals written at these places operate at a different tempo than in the 1960s journals. The feeling space is more itinerant, more amused, and further inside the ongoing complexities of friendships and survival. Much work has already been made. Lines that show up later in poems appear in these journals; poems and situational prose are merging. A consciousness that anything written with care might be published, that the line between writing in private and writing for the public has been dissolved, and that such dissolution might be ordinary, is now in the cards. One still has to get the money. This is also the period in which he was writing the poems that would be part of the sequence “Easter Monday.” As he put it during a reading at Naropa Institute in 1976, “On Easter Sunday, you rise from the grave, which is great. But on Easter Monday, you have to go get a job and support yourself, which is not so great.”
The order of Get the Money! is roughly chronological, but for my father, who used collage and repetition in part to gently, if decisively, disrupt the hinges linear time-based minds attempt to enforce, chronology is a surface that can’t maintain purchase. An awareness of precedent, literary or otherwise, can create a sense of where to find the gaps in any history’s presentation of continuity. Dad read widely, found things to study and admire in work by minds drastically different than his, and enjoyed trying on the costumes of prosody (poetic music) all kinds of other poets’ works offered. Poetry was the primary vehicle for the movement and performance of his studies, but prose created a parallel space—one where opinion could be treated as a handle, i.e., the way a savvy point guard on a professional basketball team is often described as having a strong handle, meaning they control the ball on offense, and therefore direct the tempo of play, using court vision to anticipate movements by and between players just before they happen. I may be leaning on sports writing because, while I was ten when Dad died, I was reading baseball writing by Roger Angell and Red Smith on his recommendation, and beginning to get into basketball writing. I’d deliberately get out of bed late at night to ask him if such-and-such athlete was really great, and he’d always say, “You better believe it,” no matter how late it was, and commence telling me why. My father was, by many accounts, a galvanizing presence through talk—a person interested in getting people into conversation with each other, on the page and in the room, such as it may be. His prose reflects a commitment to the arts without putting a barrier between friendship and something like content. Dad encouraged younger writers throughout his life, and especially upon his return to New York City in 1976 with our family, after a number of years teaching in Chicago at Northeastern Illinois University.
In these later years of his, Dad was an elder, an encouraging reader and responder, and an occasional life-advisor and self-appointed nag for many poets working on making their way through lives steeped in poetry. The poet Greg Masters, who was Dad’s editor at The Poetry Project Newsletter in the early 1980s, puts the experience of getting to talk with him as a younger poet thusly in his long poem “My East Village”:
Talking with Ted was easier
than anything I'd ever done.
Camaraderie fueled his being
and set loose his talk show of the
streets and parlor, a fusillade
of pertinent data, gossip,
persuasive opinion flowing
in a way that cursed out no one
(except the occasional "jack-
off") and instead discerned what was
"terrific" in the process of
being alive at the present
moment or something peculiar
or laudable, intangible
or physical, that ensnared his
focus from another time, we
valued each word from the
mom-loving hippie Socrates.
Greg’s lines and perspective are important here not just because he describes Dad’s presence and hospitality, but because he also invited Dad to write pieces for The Poetry Project Newsletter on a variety of subjects. These pieces, which make up a good portion of the last stage of Get The Money!, show a side of my father’s prose style that had become more elegant and elaborate; the sentences are longer, they make wider circles, and by extension they make space to admit all the movement he can perceive in the works he’s reading and witnessing, as well as the dynamics of their present existence in a room or book. These pieces are in the section titled “Longer Works of the More Academic Type.” Dad made a folder of these works late in his life, understanding and letting us know they went together, but not leaving any particular instructions beyond their arrangement, and beyond writing “Longer Works of the More Academic Type” on the folder. These works are not especially long, and they are far from academic. As editors we added a few pieces, including the John Cage interview, to that section, since the title seemed exactly inclusive of anything non-academic. This section also includes a handful of introductions to books and readings, an assortment of occasional pieces written for friends that may appear at times to resemble blurbs, but resist conventional blurb logic by blurring the line between description of work and assessment of character. What “academic poetry” was for my father and his peers in the later twentieth century versus what anyone might think it could be today is an interesting conversation, possibly, to have elsewhere. Dad wasn’t interested in an allegiance to convention. He was, as far as I can tell, interested in the ways anyone’s work might be interesting, and in the ways each person might be interesting, and where those points of interest could merge. How to live, and how to convert the conventions we all socially and culturally absorb into strengths instead of weaknesses.
There’s a sentence in Get the Money! I especially love. It’s a sentence in an obituary Dad wrote after Frank O’Hara died in 1966. As many readers of Ted Berrigan’s work may know, he loved O’Hara’s work, studied it intensely his whole life, and admired O’Hara as an artist and person while not getting too close to him personally, as many of his peers did. Inside of the widespread grief I understand O’Hara’s early and shocking death to have created among his many friends, Dad wrote this: “In one brief poem, ‘The Day Lady Died,’ he seemed to create a whole new kind of awareness of feeling, and by this a whole new kind of poetry, in which everything could be itself and still be poetry. Simply for this we loved him before we even met him.”
Dad also noted somewhere in his early journals, when he was living with Joe Brainard and reading Joe’s journals secretly, that Joe had written, roughly: in a collage everything needs to be itself and part of the whole thing at the same time. I’m not sure if I’m imagining that, or if it’s actually in Dad’s journals, but I like either version. My hope is that Get the Money! (it never stops being funny to type that title) can be a gift to new and long-time readers of Ted Berrigan’s poetry and writings alike, and on behalf of my fellow editors, Edmund Berrigan, Alice Notley, and Nick Sturm, I welcome you into this quark-like ride where parts and wholes hopefully blur into a new shape.
- Anselm Berrigan, January 2022
Annotated Table of Contents for Get the Money! Collected Prose 1961–1983 by Ted Berrigan
TB = Ted Berrigan
’60s JOURNALS
The ’60s Journals stem from TB’s first stint living in NYC beginning in 1961; it’s a record of his early days, touching on his earliest breakthroughs as a poet, his relationship with his first wife, Sandy Berrigan, his friendships with the likes of poet Ron Padgett and artist Joe Brainard, who also moved from Tulsa, OK (where TB was going to school on the G.I. Bill after a stint in the army), and his meeting the first-generation poets of the NY School, like Frank O’Hara. A look at his early bohemian life.
SOME NOTES ABOUT “C”
This is a 1964 account of TB’s influential mimeo magazine “C” and the various lengths to which he went to get it made. Appearances by John Ashbery, Frank O’Hara, Kenneth Koch, Barbara Guest, James Schuyler, Andy Warhol, Joe Brainard, Alex Katz, Jasper Johns, Bill Berkson, Edwin Denby, Tony Towle, Gerard Malanga, Jim Brodey, Joe Ceravolo, etc.
REVIEWS
"Art and Literature: An International Review, edited by John Ashbery, Ann Dunn, Rodrigo Moynihan, and Sonia Orwell (#1, March 1964, $2.00)"
Cheeky review of the first issue of a well-heeled magazine John Ashbery co-edited in Paris; the two major early perfect-bound journals of the NY School are Art and Literature and Locus Solus.
"Lines About Hills Above Lakes, Jonathan Williams (Roman Books, $3.00)"
Review of a pamphlet by the Jargon Books publisher and New Directions poet that TB suggests you steal rather than buy, given the exorbitant price.
"Lunch Poems, Frank O’Hara (City Lights Books, $1.25)"
Excellent review of City Lights’ homegrown classic.
"Poems from Oklahoma (Hardware Poets) and The Bloodletting (Renegade Press), Allen Katzman"
Review of a now-obscure poet who founded the East Village Other, an alt-weekly.
"Poems: Aram Saroyan, Richard Kolmar, and Jenni Caldwell (Acadia Press)"
A review of a joint publication; Aram Saroyan is the only major figure here (a concrete/minimalist poet and the son of William Saroyan).
"In Advance of the Broken Arm, Ron Padgett, w/ cover and drawings by Joe Brainard (C Press)"
Review of a mimeo booklet TB himself published under the “C” Press imprint; basically Padgett’s debut volume.
"Nova Express, William Burroughs (Grove, $5.00)"
“Review” that is really a cut-up of Burroughs’ novel, which in itself probably was a cut-up of some variety.
"Art Chronicle"
Round-up of the art shows TB saw and often reviewed for ARTnews.
"The Anxious Object, Art Today and Its Audience, Harold Rosenberg (Horizon Press, $7.50)"
Attack on the critic who coined the phrase “Action Painting,” which is sometimes used instead of “Abstract Expressionism” (the terms refer to the same group of NY abstract painters).
"The Doors of Stone, Poems, 1938–1962, F.T. Prince (Rupert-Hart-Davis)"
Review of a British poet championed by John Ashbery, among other people.
"Pavilions, Kenward Elmslie (Tibor de Nagy, $2.00)"
Kenward Elmslie (a grandson of Joseph Pulitzer) was an important force in the NY School, lover of Joe Brainard and publisher of Z Press. He is still in print from Coffee House. Elmslie is still alive (93) but is no longer active.
"Saturday Night: Poems, Bill Berkson (Tibor de Nagy, $2.00)"
Review of Bill Berkson’s first book, published by the still-extant NYC art gallery (who also published first books by Ashbery, O’Hara, Guest, Frank Lima, etc.)
"New Directions 14, ed. James Laughlin ($1.65)"
“Review” of an old issue of New Directions, seemingly written just to talk about James Schuyler’s contribution to it.
"Peace Eye: Poems, Ed Sanders (Frontier Press, $1.50)"
Review of the Beat poet and Fugs founder Ed Sanders; “Peace Eye” was also the name of Sanders’ bookstore in NYC. Ferlinghetti published Sanders’ Poem from Jail as a City Lights pamphlet.
"Desolation Angels, Jack Kerouac (Coward-McCann)"
Review of a later Kerouac novel. Kerouac was a huge influence on TB, who considered himself a “late beat” rather than a NY School poet. TB interviewed Kerouac for the Paris Review.
"Painter to the New York Poets"
Review of a show by figurative painter friend of O’Hara and Ashbery Jane Freilicher; she is the “Jane” frequently referred to in O’Hara poems.
"Red Power"
Review of a figurative NY School painter.
"Sentences from the Short Reviews"
A collage made by Anselm Berrigan of some of the best sentences from TB’s stint as a reviewer for ARTnews.
"Joe Brainard"
"Red Grooms"
These are the two ARTnews reviews we did include, as they are significant painters associated with the NY School.
"Alice Neel’s Portraits of Joe Gould"
A review of a solo show published in Peter Schjeldahl’s Mother.
FRANK O’HARA DEAD AT 40
An obituary for O’Hara published in the East Village Other.
4 JOURNALS
"The Chicago Report"
A rollicking letter to Ron Padgett about a roadtrip TB goes on with his friend Harry Fainlight to go see Kenneth Koch read with. Anne Sexton in Chicago in the ’60s.
"From Journals (1970–1971)"
"Southampton"
"Bolinas"
"Selections from a Journal: 1 Nov 1977 to 17 May 1978"
More journal extracts, including TB and Alice Notley’s brief stint in Bolinas with the On the Mesa crowd.
"On the Road Again, an Old Man"
Loose “translation” of Basho poems (TB didn’t know Japanese, so he’s making versions based on previous translations).
THE ARRIVAL REPORT
An account of the birth of Edmund Berrigan, which took place in Colchester, UK, while TB was teaching there.
LONGER WORKS OF THE MORE ACADEMIC TYPE
"Get the Money"
A loosely jointed piece written for the East Village Other; poetic goofing around.
"An Interview with John Cage"
“Interview” with John Cage collaged together by TB from various sources, none of whom were John Cage. (TB also hired Dick Gallup to work on it.) Peter Schjeldahl published it in his magazine Mother.
"Introduction to In by Aram Saroyan"
Brief note on an Aram Saroyan volume.
"Ten Things About the Boston Trip: An Aside to Ron & Tom"
Note to Padgett and Tom Clark about a trip to Boston on some poetry business.
"An Interview with John Ashbery"
Also written according to the principles behind the John Cage interview.
"Brain Damage (Some Notes, and a Case History)"
Off-beat bit of creative prose (probably a cut-up of a medical text about the human brain).
"Note on Jim Brodey’s Poems & Him"
As it says; Brodey is out of print but a known and significant second- or third-generation NY School poet.
"Introduction for Tom Clark at the Folklore Center"
As it says; intro for a reading by Tom Clark.
"Jim Carroll"
Very early piece about the author of The Basketball Diaries.
"Anne Waldman: Character Analysis"
Piece about Anne Waldman (more about her than her poetry).
"Maya by Anselm Hollo"
Review of longtime Naropa professor and close friend of TB’s Anselm Hollo; Coffee House is prepping a collected Hollo (early stages yet).
"A Few Hard Words on Tom Raworth"
An introduction for a book by the experimental British poet.
"In Time: Poems 1962–68, Joel Oppenheimer (Bobbs-Merrill, $5.95)"
Review of poet Joel Oppenheimer (somewhat neglected these days and largely out of print but a familiar name for any serious student of the New American Poetry of the ’60s).
"Teaching with the School Teachers"
Fascinating piece written as a report to his employers about a workshop he gave for teachers who wanted to teach poetry.
"Note on Alice Notley, Not Used, for 165 Meeting House Lane, Published by “C” Press in 1971"
As it says.
"Sensation by Anselm Hollo"
Another review of Anselm Hollo (see above).
"From The Autobiography of God"
Another cut-up? Random piece of creative prose.
"The NY Jets: A Movie"
Written as though a filmscript, just goofing around about the NY Jets.
"The Life of Turner"
Another cut-up? Random piece of creative prose.
"Words for Joanne Kyger"
From a letter to and about Joanne Kyger.
"Scorpio Birthday"
A horoscope.
"Three Book Reviews"
"Air by Tom Clark (Harper & Row)"
"The Poetry Room by Lewis MacAdams (Harper & Row)"
"Great Balls of Fire by Ron Padgett"
Three “reviews” that TB made by collaging lines from the various poems in each book in order to make a new poem.
"Introduction to Fresh Paint: An Anthology of Younger Poets"
As it says; not an anthology that anyone remembers these days but a good example of his generosity to the younger generation.
"Larry Fagin"
Short notice concerning the longtime NY poet and editor.
"Litany"
A collage, largely concerning TB’s friend, the poet Bernadette Mayer (published by New Directions these days).
"The Fastest Tongue on the Lower East Side"
“Review” largely consisting of a poem collaged from the subject of the review, poet Simon Schuchat.
"Naropa Workshop Notes"
Some poetic notes from a workshop TB taught at Naropa.
"10 Favorite Books of 1980"
Exactly what the title says, just a list.
"Old Age and Decrepitude"
Another general roundup of things TB’s read recently, including Hollo, Padgett, and Schuyler, written for the Poetry Project Newsletter.
"George Schneeman at Holly Solomon"
Review of a gallery show by NY School painter George Schneeman, a close friend of TB’s and the painter of the cover of our book.
"On Franco Beltrametti"
Text for the catalog of one of TB’s artist friends.
"3 Reviews"
Three short paragraphs reviewing The Early Auden, an issue of the Paris Review, and the Am Here Books catalog.
"Business Personal"
A demand for the return of certain notebooks stolen from James Schuyler at the Chelsea Hotel.
"The Oral History Series Community Documentation Workshop"
Interesting piece about a series of pamphlets issued by St. Mark’s Community Documentation Workshop and devoted to the history of the neighborhood.
"Running Commentary"
A general round up of recent poetry publications TB found interesting.
"Millenium Dust, Joe Ceravolo"
Review of second-generation NY School poet Joseph Ceravolo, whose Collected Poems were published Wesleyan about 10 years ago. Died obscure but considered a significant poet today.
"Night Flight by Lita Hornick"
Lita Hornick was the publisher of Kulchur, a NY magazine in which several of the pieces from the “Reviews” section were published; TB is reviewing her book about contemporary art.
"The Beeks"
Text from a flyer promoting a punk rock band (poet Steve Carey’s brother Tom Carey was a member).
"Public Proclamation & Advertisement of Sale"
A funny oddball piece blasting his friend Bernadette Mayer for censoring a poem TB and Alice Notley wrote for the Poetry Project Newsletter.
"The White Snake by Ed Friedman"
Review of a play by the future longtime director of St. Mark’s Poetry Project.
"Harry Fainlight: In Memoriam (d. 1982, London)"
An obituary for his best friend Harry Fainlight, an oddball minor poet TB would publish his poems in “C” magazine.
Sujets
Informations
| Publié par | City Lights Publishers |
| Date de parution | 13 septembre 2022 |
| Nombre de lectures | 0 |
| EAN13 | 9780872868960 |
| Langue | English |
| Poids de l'ouvrage | 4 Mo |
Informations légales : prix de location à la page 0,1248€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.
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