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Poetry as Insurgent Art, by Lawrence Ferlinghetti
Get Free Ebook Poetry as Insurgent Art, by Lawrence Ferlinghetti
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From Publishers Weekly
Short and inspiring, but rarely surprising, this collection of remarks, aphorisms and exhortations about the nature and purpose of poetry began in the late 1950s, when Ferlinghetti was just coming into his own as a Beat poet and publisher of City Lights Books. After 50 years of revisions and additions, his claims may not strike experienced readers as fresh—and some may even seem clichéd: The state of the world, his first page declares, calls out for poetry to save it. On the other hand, Ferlinghetti's very large body of fans (he is one of the bestselling 20th-century American poets) should find reason and justice in these eternal verities, couched in up-to-date lingo: Poems are e-mails from the unknown beyond cyberspace, for example. Beginning teachers of creative writing should also find Ferlinghetti's instructions of use: Read between the lines of human discourse. Two groups of aphorisms make up most of the volume, to which Ferlinghetti adds a short essay and two 1970s poems. Modern Poetry Is Prose encourages young writers to discover the dark spirit of earth and blood; Populist Manifesto #1 hopes Whitman's wild children, however pressed down by modernity, will soon Awake and sing in the open air. (Sept.) Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
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About the Author
In 1953 Lawrence Ferlinghetti cofounded City Lights, the first paperback bookstore in the United States, a Mecca for millions. His Coney Island of the Mind is one of the best-selling volumes of poetry by any living American poet. Born in Yonkers, New York, in 1919, Ferlinghetti has received the Robert Frost Memorial Medal and the first Literarian Award of the National Book Foundation.
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Product details
Hardcover: 90 pages
Publisher: New Directions; First Edition edition (September 1, 2007)
Language: English
ISBN-10: 0811217191
ISBN-13: 978-0811217194
Product Dimensions:
4.3 x 0.6 x 6.3 inches
Shipping Weight: 4 ounces (View shipping rates and policies)
Average Customer Review:
4.5 out of 5 stars
25 customer reviews
Amazon Best Sellers Rank:
#116,213 in Books (See Top 100 in Books)
One of our generation's great poets (actually a few of our generations, as the man is 95 now), that is, one who lifts his voice to all humankind with words of vision--if not true spiritual vision (for who but Christ gives that?), then vision of the use of the art in such times as are upon us presently. I put it like this, "The burden of Art, especially Poetry, is the establishment - and defense - of Human reality." But I like Ferlinghetti's many pithy sayings and profound insights into the art, in *Poetry As Insurgent Art* - at least as much as my own; here are just a few of his:If you would be a poet, create works capable of answering the challenge of apocalyptic times, even if this means sounding apocalyptic.If you call yourself a poet, sing it, don't state it.Bring together again the telling of a tale and the living voice.Be a teller of great tales, even the darkest.Don't pander, especially not to audiences, readers, editors, or publishers.Why listen to critics who have not themselves written great masterpieces?Don't put down the scholastics who say a poem should have wholeness, harmony, radiance, truth, beauty, goodness.Don't ever believe poetry is irrelevant in dark times.What are poets for, in such an age? What is the use of poetry?Nemesis is knocking at the door.Your life is your poetry. If you have no heart, you'll write lifeless poetry.Poetry is the last lighthouse in rising seas.[End Ferlinghetti]_________Needless to say, his little gem of a book is HIGHLY recommended.
Starting from San Francisco is one of Ferlinghetti's more read books behind Coney Island and probably his worst-received by critics and fans alike. His cut-up style is almost entirely gone, making room for more general free-verse (intended to flow better when spoken to accompanied jazz--although his all his poems are pretty much intended for jazz-readings, Uncle Lawrence seems to stress it with these)...and I admit, some of the poems contain a few bumps, especially early on: "chorus" lines get a little too repetitive in poems like "New York--Albany" and especially "Big Fat Hairy Vision of Evil" (which ends quite well once past the "evil evil evil evil evil evil evil" [exaggeration]), and two of the more political pieces haven't aged so well but aren't bad ("Tentative Description of a Dinner to Promote the Impeachment of President Eisenhower" and "One Thousand Fearful Words for Fidel Castro"), but hey! IT CONTAINS "THE GREAT CHINESE DRAGON"!!!!!!111!!11!!!11111111The entire book is worth a purchase for containing that one poem. All alone. It's that good. And long. On the surface, similar to Ginsberg's "Howl," but golly gee willickers, these "breaths" are just too dang long!Otherwise I'd post it.The book contains 16 poems over 64 pages. It's pretty short, but the poems somewhat long for Uncle Lawrence. Some notable classics include but are not limited to: "The Situation in the West, Followed by a Holy Proposal," "Berlin," "Special Clearance Sale of Famous Masterpieces," "Overpopulation," the title poem, and "He," his little ditty for Ginsberg, which, shockingly enough, contains the word "---hole."70%[Written June 2008 for LibraryThing.]
The masters of power (masters of nothing else) have seized the word "Insurgent" to use in Iraq because they wouldn't want us ordinary folk to see the native fighters as freedom fighters or as revolutionaries. Ferlinghetti's slim hardback is a call for peaceful, nonviolent change through poetry, which acts as restorer of the free and original imagination that can lead to new ways of seeing the world and living. He calls for a poetry of world wide vision that shines like the sun everywhere, but lives through the concrete. He calls for a poetry that has a spiritual dimension, that stands before the great mystery, but questions all ideologies and creeds. He wants not spoken word but singing word, he wants poetry out of Starbucks and beyond worrying about bucks, poetry on the streets and in the pool halls and kitchens with the pots and pans. He wants poetry that speaks to the people, and thus he includes in the volume his two populist manifestos that first appeared in newspapers. We live in a time of crisis, and poets better speak up and not listen to the doom and gloomers who seek to dismiss poetry by reducing it to your singular ego and its problems. He says it all beautifully, in lines of poetic prose often full of allusions, lines that just about anybody can understand. I may be wrong, but to me he seems to seek what Kerouac sought in his book length poem, Mexico City Choruses, a re-imagined world that lives in the moment between the reader and the poem. How that re-imagining is then carried into the world is not explained, and left to the individual. There are surrealist overtones to this work. Ferlinghetti lived in France and got a PhD there. The surrealists were great at opening up the world to the deep song that transcended rationality, but when they took their imaginings into the actual world, the world we live in, they just became fellow travelers of the grey Marxists who have no imaginations at all. Can poets walk through walls and show others how to walk through walls? In the imagination, yes; in the shared public world of desks and tress that we live in, no, not so far anyway. As in At the Heart poets can point directions but do not, and perhaps should not, provide an exact map.
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