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 on liven up those pages, and the thirty five-track CD contains recordings of numerous of the poets studying from their paintings within the sixties and seventies. The reduce East Side's cafes, coffeehouses, and salons introduced jointly poets of assorted aesthetic sensibilities, together with writers linked to the so-called ny institution, Beats, Black Mountain, Deep snapshot, San Francisco Renaissance, Umbra, and others. Kane indicates 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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Additional resources for All Poets Welcome: The Lower East Side Poetry Scene in the 1960s
Charles Olson and the “Cowboys” of the Lower East Side Donald Allen’s choice to begin The New American Poetry with poems by Charles Olson was a prescient and politically useful decision made by an editor eager to absorb a disparate group of poets into an oppositional, avantgarde sign. Olson wrote the immensely inﬂuential essay “Projective Verse” (included in the back of Allen’s anthology under the “Statements on Poetics” section). Much has been written about this essay already, but more should be said about how the tone and attitude of the essay was received, interpreted, and applied speciﬁcally by poets on the Lower East Side.
The beat of music is so much stronger than that of poetry that you could read the telephone book to music and it would sound good. I did that once. ’”5 The debt that poetry coming out of the Lower East Side owed to jazz is clear from recordings of the readings themselves. ” Linking poetry to jazz both emphasized performativity—the poets performing their work or “set” in front of an audience—and reminded listeners that writing was a peculiarly collaborative endeavor. After all, a set in jazz refers to a group playing together, not to an individual soloing on his or her instrument.
And it, the review, certainly is within that same “walking grove (of trees)”. 33 In Baraka’s response to the Helmley piece, we ﬁnd a distinction being made between a “liberal” naively inclusive poetics and a poetic revolutionary activity. The Allen anthology is reframed as manifesto, and as such it is incompatible with liberal notions of consensus. Baraka makes a metaphor out of Helmley’s reaction. Here Helmley is a “liberal” who, while feeling some sympathy for alternative/black poets, nevertheless prefers to see them absorbed into the dominant culture.