Allen Ginsberg

Returning to the Natural Baby Voice: An Interview With Maria Mazziotti Gillan

by Micah Towery Reviews & Interviews
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Did Whitman play it safe? Ginsberg? Anne Sexton? Adrienne Rich? No, they didn’t and that’s why people remember their work.

Forgotten Poet of the day: Karl Shapiro

by Joe Weil Poetry and Poetics
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There are many reasons why Karl Shapiro is no longer taught or on the lips of MFA students.

An Intelligent Haunting: Lisa Marie Basile interviews CAConrad

by Lisa Marie Basile Reviews & Interviews
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For 9 consecutive nights I prepared my crystal-infused water dream therapy. Each morning I would implement the final stage of the dream therapy, then I would listen to a different PRINCE album in its entirety.

Bob Kaufman’s Solitudes Crowded With Loneliness

by Brooks Lampe Aesthetics
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Paradoxically, the Beats depicted themselves and the society they were rejecting in surreal imagery. America, in their estimation is a surrealist circus, full of absurdities.

Franco File

by Brian Chappell Film and TV
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If James Franco’s first name had been Ben, it would take very little to convince me that he is, in fact, the 24-hour multimedia reincarnation of the original King of Enterprise and Toil, Benjamin Franklin.

How to Ransack a Poem for Parts, Part II

by Joe Weil Poetry and Poetics
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Voice cannot be ransacked because true voice, unlike tone, may be inconsistent within its range of indicators. The ability to play a modulating voice against a consistent tone is a deep mystery of poetics—especially of what we might call the conversational poem.

Immortality (Blogging through Grossman, Part 4)

by Micah Towery Art
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I’ve decided to change my strategy for blogging through Grossman. Not only is it almost impossible to try and successfully capture the first part of the book in any systematic way (the conversation shifts too rapidly and it’s almost maddening to trace any idea), but the second part is so lovely and systematically broken down, […]

Blogging through Grossman, Part 3: Poetic Promiscuity.

by Micah Towery Art
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We recent poets have two great tools at our disposal: freedom of poetic license, and freedom of publishing. Generally, we can say whatever we want, and get a significant number of people to hear what we have to say. The question is whether this freedom has led to better poetry or degeneration. Perhaps that’s not the best way to put it. The question should be, even if somebody is doing something amazing and new in poetry, would we even see it? Will we travel all this way to find that we really did need the gatekeepers of poetry??