By Daniel Kane
The voices and works of John Ashbery, Amiri Baraka, Charles Bernstein, invoice Berkson, Ted Berrigan, Kenneth Koch, Bernadette Mayer, Ron Padgett, Denise Levertov, Paul Blackburn, Frank O'Hara, and so forth liven up those pages, and the thirty five-track CD comprises recordings of a number of of the poets analyzing from their paintings within the sixties and seventies. The decrease East Side's cafes, coffeehouses, and salons introduced jointly poets of assorted aesthetic sensibilities, together with writers linked to the so-called ny college, Beats, Black Mountain, Deep photograph, San Francisco Renaissance, Umbra, and others. Kane exhibits that the importance for literary heritage of this loosely outlined group of poets and artists lies partly in its reclaiming an orally headquartered poetic culture, tailored in particular to open up the chances for an aesthetically bold, playful poetics and a politics of pleasure and resistance.
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Extra info for All Poets Welcome: The Lower East Side Poetry Scene in the 1960s
The conscious conﬂation of experimental aesthetics with leftist politics was continued on the Lower East Side. ” 44 Amiri Baraka connected aesthetics with the contemporary political condition of the mid-1960s: “I was always interested in Surrealism and Expressionism, and I think the reason was to really try to get below the surface of things. . ” 45 Such dissident stances held by poets on the Lower East Side stemmed in part from San Francisco poets’ earlier connection of avant-garde poetry and progressive politics in opposition to New Critical hegemony.
Near the end of the reading (during the poem “Acts of Youth”) Wieners began to accompany himself in a vaguely rhythmic way by what sounded like banging on a pot. 16 The preponderance of extraliterary speech evident in the Wieners reading and generally associated with the poetry scene had an effect on the writing itself. Poetic language in the writing of downtown poets became increasingly informal in tandem with the increasingly unofﬁcial environment surrounding the production and reception of poetry.
Later on in his talk, Berrigan explained, Frank O’Hara met Charles when Frank went to Buffalo to give a reading. I guess everybody always thinks that there are big feuds in the poetry world and COMMUNITY THROUGH POETRY 23 that the Black Mountain Poets don’t like the New York School and vice-versa. Well, it’s all true, but it’s true in a special way. Frank went to read—Frank the epitome of the New York School. Frank told me that Charles came up to him after the reading. Frank had a very cocky way of reading, especially when he didn’t know the audience.
All Poets Welcome: The Lower East Side Poetry Scene in the 1960s by Daniel Kane