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Category Archives: Interviews

Tears in the Fence 64

Tears in the Fence 64

Tears in the Fence 64 edited by David Caddy is now available from https://tearsinthefence.com/pay-it-forward and features poetry, fiction, prose poetry and translations from Jeremy Reed, Jim Burns, John Welch, John Freeman, Sally Dutton, Chris Hall, Michael Henry, Beth Davyson, Kinga Tóth, Paul Kareem Tayyar, D. I., Lydia Unsworth, David Pollard, Mike Duggan, Jeff Hilson, Sheila Mannix, I.S. Rowley, Richard Foreman, Jay Ramsay, Alison Winch, Andrew Taylor, Alan Baker, Sophie Herxheimer, L. Kiew, Ric Hool, S.J. Litherland, Rachael Clyne, Andrew Shelley, Tom Cowin, Morag Kiziewicz, Matt Bryden, Jessica Mookherjee, John Phillips, Ian Brinton & Michael Grant trans. Mallarmé, Terence J. Dooley trans. Mario Martin Giljó, Greg Bachar, Jennifer K. Dick, Matthew Carbery, Mark Goodwin, Aidan Semmens, Peter Dent, Sarah Cave, Julie Irigaray and Maria Isokova Bennett.
The critical section features John Freeman on Jim Burns: Poet as Witness, Andrew Henon on Timeless Man: Sven Berlin, Mary Woodward on Rosemary Tonks & Veronica Forrest-Thomson, Jeremy Reed on John Wieners, Norman Jope on Chris McCabe, Marsha de la O in conversation with John Brantingham, Neil Leadbeater on Jeremy Hilton, Nancy Gaffield on Geraldine Monk, Lesley Saunders on Alice Miller, Belinda Cooke on Carole Satyamurti, Steve Spence on Dear World and Everyone in it David Caddy on Andrew Lees’ Mentored by a Madman, Nigel Wood & Alan Halsey, Duncan Mackay on E.E. Cummings
, Notes on Contributors, and Ian Brinton’s Afterword.
The front cover is a black & white detail of a Sven Berlin watercolour (1982, private collection) and the magazine is designed by Westrow Cooper.

Beat Scene 76, edited by Kevin Ring

Beat Scene 76, edited by Kevin Ring

This issue features an extensive profile and interview with James Koller by Peter Garland, Ken Kesey’s second novel, Sometimes a Great Notion (1964), Kurt Hemmer’s interview with Herbert Huncke, an essay on Kenneth Patchen as read by Kenneth Rexroth, Mark Howell’s recollections of meeting Ferlinghetti and Ginsberg, and Jim Burns on ‘Underground London – Bebop and Beyond.’ There are additional memories of Ken Kesey’s visit to Filthy McNastys pub in London, although it is unclear whether the article references a 1978 or the 1998 visit, the 1974 bootleg publication of Kerouac’s Old Angel Midnight and Bob Dylan’s 1975 Rolling Thunder tour visit to Kerouac’s birthplace at Lowell. The review section includes the selected letters of Wendell Berry, (a friend of Kesey) and Gary Snyder, and Nobody Home: writing, buddhism and living in places, Gary Snyder in conversation with Julia Martin.

The James Koller interview covers his biographical, personal and poetic influences, his novels, poetry and work on Coyote’s Journal and Coyote Books, which published Beats and ethnocentric poets. Born in northern Illinois in 1936, Koller became part of the Fifties North Beach, San Francisco scene, and was friends with Joanne Kyger, Gary Snyder, Lew Welch, Philip Whalen and Robert Creeley. He published Charles Olson’s famous 1965 Berkeley Lecture in Coyote’s Journal. He was inspired by Pound, cites Carl Sauer’s The Agency of Man On The Earth (1956) as a bigger influence than Olson’s work, anonymous folk songs, native American songs, which he translated for Jerome Rothenberg’s 1972 Shaking The Pumpkin anthology, the ethnocentric epics and Icelandic sagas. This comprehensive interview helped me to locate Koller as a poet somewhere between Ed Dorn and Jerome Rothenberg, as well as bring to light such figures as Jaime de Angulo, a poet friend of Pound, and author of Indian Tales. Pound called de Angulo the ‘American Ovid’ and was also highly regarded by William Carlos Williams. He tutored Jack Spicer and Robert Duncan, and was written about by Kerouac.

The Kesey article could have examined Sometimes a Great Notion and Paul Newman’s 1970 film of the book, more fully. It tends to follow a populist version rather than literary one of Kesey’s life and work. In fairness, there was a great crossover between the Merry Pranksters, Beats, Diggers and Deadheads. A truer understanding of the flowering of the Beats would require a grasp of many factors, historically from the eclipse of the old Left to the birth of the Internet. The Internet evolved as a direct means of communication within the Deadhead community, and a reading of that community with its numerous and continual allusions to and from the Merry Pranksters and wider San Francisco North Beach scene has yet to be written. A fuller picture would also relate the activism of Diggers to poets, such as Kenneth Rexroth, Ginsberg, and Pound, their connection to City Lights Bookshop, the Planet Drum Foundation, founded by Peter Berg in 1973, to ethnomusicologists, such as de Angulo, Frederic Lieberman, Mickey Hart, as well as poets, such as Koller, Kyger and Snyder, as well as the Whole Earth Catalog, which featured Kesey’s Further bus on its July 1969 cover, and other ecologically aware publications and groupings, and so on.

Jim Burns unearths an underground Soho scene from the late Forties and early Fifties, centred around Club Eleven, a bebop club opened in 1948 at 41 Windmill Street, not far from the Fitzroy Tavern, with its similar clientele of showbiz types, Soho characters, dealers, and military absconders. Here though the atmosphere was provided more by the smell of marijuana than beer. Burns notes that this particular ‘Underground’ predated there more popular Sixties notion, and provides useful literary references to support his findings.

There is, as ever, much to ponder in Beat Scene.
http://www.beatscene.net/

David Caddy 11th June 2015

Rebels, Beats And Poets by Jim Burns (Penniless Press Publications, 2015)

Rebels, Beats And Poets by Jim Burns (Penniless Press Publications, 2015)

This sixth collection of informative essays and reviews showcasing Jim Burns’ encyclopedic knowledge of twentieth century bohemianism contains thoughtful insights into the current scene and is by no means set in the past.

His first substantial point is that literary criticism by highlighting a few writers and poets from the Fifties and early Sixties overlook the wider social and cultural circumstances and sheer excitement of the period through an excess of analysis. Burns opens out the artificial boundaries and distinct categories of official criticism to reveal a more confused, floating world of writers and poets, little magazines, small presses and the ephemera of bohemia. Here we glimpse through essays on political rebels, beats, jazz musicians, poets, writers, filmmakers, artists and photographers a somewhat looser field of connection and relationship as well as a deep enthusiasm to move forward to a better place. Underlining this is the contention that minor figures may well yield as much social, cultural and literary insight as some of the major figures. Burns is quite clear in understanding that, for example William Burroughs, whilst linked with Allen Ginsberg through friendship, is clearly drawing upon very different sources and techniques. His essay on Cities Of The Red Night portrays Burroughs as a moralist with the power to shock, provoke and disturb, employing humour, visual effects and shifting action from within the American tradition of outlaws and pirates.

His second provocation concerns the role of the little magazine. He echoes Samuel Beckett’s publisher, John Calder’s point that the Fifties sowed the seeds that sprouted in the much vaunted Sixties, and examines the world of Merlin, a short-lived little magazine in the Parisian bohemian world of the Fifties, which drew attention to Beckett’s writing. Merlin subsequently spawned a publishing house, which published editions of Watt and Molloy. In the essay, ‘What Will You Read Tomorrow?’ he laments the passing of the ‘alternative’ bookshops, which grew out of Sixties unrest and offered reading matter far removed from the big publishers and distributors. Given the decline of the independent and second hand bookshops, the narrowing range of Waterstones and Borders, and the fact that the Internet cannot always supply writing that is beyond the ordinary and fashionable, Burns sees a vital role for the little magazine as an outlet and resource. He writes:

And it seems to me that little magazines, for all their problems,
are a way of providing us with a system of exchanging ideas and information about the overlooked and the unusual. Isaac Rosenfeld once said of little magazines that they were outlets for ‘a small but vigorous and very vital, active and conscious group which knew fairly well the sort of thing it stood for even if it had no specific programme and whether or not it had any political allegiance.’ He also
said that one of the characteristics of a conservative age is ‘the shrinkage of extremes’ and he added: ‘I am used to thinking, because of my upbringing, of the writer standing at one extreme from society; I mean, of course, the serious writer, the conscious writer, then, as a man who stands at a certain extreme, at a certain remove from society.’
He asserts that the little magazine could provide the variety missing elsewhere, and the reassurance that there are other dissidents who don’t believe the big publishers and mass markets can supply everything that the imagination needs to keep it alive and alert to the world.

His essay on David Gascoyne’s life reminds the reader of the importance of the Parton Street Bookshop in Bloomsbury as a gathering place for young poets and their readers. It was there that Gascoyne met George Barker, Norman Cameron, Geoffrey Grigson, Roger Roughton and others, as well as where he bought imported surrealist publications. From there he would walk to Zwemmers Bookshop in Charing Cross Road to chat with Ruthven Todd and compare their imported stock. The key is that Gascoyne had a range of places to increase his reading and knowledge.

There are other fascinating essays on a range of subjects from the Paris-Amsterdam underground, Surrealistic Prague, to Henry Miller, B. Traven, and the Edward Dorn / LeRoi Jones correspondence, as well as the extensive Beat Scene interview with Burns by Kevin Ring from Spring 2014. This compelling volume of essays is a joy to read and contains much information and material that is hard to find.

David Caddy 13th April 2015

Marius Kociejowski’s God’s Zoo: Artists, Exiles, Londoners

Marius Kociejowski’s God’s Zoo: Artists, Exiles, Londoners

Carcanet Press 2014

This beautifully structured and illustrated book consists of a series of encounters with creative artists living in London who have become exiles from their cultural and geographical roots. It bears witness to the myriad of life stories and historical-geographical connections, which form multicultural London and fuel its underbelly of creativity.

Kociejowski distills their lives of through interviews, conversation and stories, and produces some compelling portraits of character struggling through adversity and a desire to give voice to those that have none. The Turkish novelist, Moris Farhi, for example, speaks eloquently of the survival of Turkey’s eroticism despite the pressures from Islam, the impact of the Holocaust, his work on the plight of gypsies, thinking on ‘otherness’ in Europe and his campaigning for writers imprisoned for their writing. It is a compelling story.

There are stories of poets, such as John Rety, who left war-torn Budapest for London in 1947, Fawzi Karim, who fled Saddam Hussein’s Iraq, and Chinese poet, Liu Hongbin, who moved to London in 1989 following his involvement in the Tiananmen Square protests.

Rety left Budapest, occupied by Germany in 1944, liberated by the Russian army in 1945, with the Russian women soldiers who ran the city etched on his memory as the personification of the Russian Revolution. Rety, born Réti János, has some fine stories from this period involving chess and a whore. He became immersed in Soho’s bohemian literary scene in the Fifties, editing Intimate Review and publishing a novel, Supersozzled Nights (1953). His mother fled the new regime and moved to London but found her now bearded and anarchist son unacceptable. I found Rety’s story captivating. His life touched on Sylvia Plath and Ted Hughes, Arthur Miller and Marilyn Monroe in the early sixties when he sold furniture in Camden High Street. Later he returned to poetry organizing events at the Torriano Meeting House, Kentish Town, presiding over an atmosphere that according to the late Julia Casterton, was

‘somewhere between that Aldermaston March and Brendan
Behan’s aunt’s tea party, because everyone’s very nice, in
a pugilistic, revolutionary way.’

The book also features the lives of Brazilian artist, Ana Maria Paceco, Polish actor, Andrzej Borkowski, Zimbabwean novelist, Brian Chikwava, Indian filmmaker, Rajan Khosa, Iranian poet, Mimi Khalvati, irish poet and novelist, Martine Cotter, Russian pianist, Nelly Akopian-Tamarina, jazz bassist, Coleridge Goode, from Jamaica, and Razia Sultanova from Uzbekistan.

This wonderful collection of essays amply illustrates the value of art and creativity in voicing what matters most in our lives.

David Caddy 24th July

Edward Dorn – Two Interviews

Edward Dorn – Two Interviews

Edward Dorn’s Two Interviews (Shearsman Books) edited by Gavin Selerie and Justin Katko is a useful companion to the Collected Poems (Carcanet Press 2013), reviewed by Peter Hughes in Tears in the Fence 58. Dorn’s poetic achievements are towering and well worth exploring. If you have never read anything by Dorn, I recommend starting with Recollections of Gran Apacheria (1974), which works by revealing a history of effects through suggestion and has a deep emotional pull, and proceed to the satirical epic, Gunslinger (1968-1975).

 

Two Interviews features The Peak Interview from July 1971 in Vancouver with Robin Blaser’s students, Tom McGauley, Brian Fawcett and John Scoggan, with Jeremy Prynne, Stan Persky and Ralph Maud present and contributing, and The Riverside Interview from 1981 between Dorn and Gavin Selerie. Both are terrific conversations, with Dorn speaking informally in the first and more extensively in the second. Justin Katko’s Preface surveys recent and forthcoming Dorn related materials and gives a context to this decade of adjustment for Dorn. There are obviously differences of tone and occasion, in Dorn the speaker in 1971 and 1981 that provide the book’s vitality. Dorn, as these interviews and Iain Sinclair’s memoir American Smoke (2013) suggest, was a man who knew the lie of the land and what happened in the wide spaces of the badlands and beyond. His methodology, derived from Charles Olson at Black Mountain College, was to locate himself in a place through a close reading of its cultural landscape, history, geography and geology. The great joy in this book comes from a greater understanding of his practical working methods as well as the way he adapted to new locations and developed his use of wit and aphorism. He was to some extent a nomadic exile by choice looking across and beyond the American West. There are questions devoted to his time in England, teaching at Essex University, and his fruitful friendships with Jeremy Prynne, Tom Clark, his first biographer, and Donald Davie.

 

Two Interviews includes a short selection from Dorn’s unpublished daybook, The Day & Night Report, from 1971, a selection of two chapters from Dorn’s unpublished prose work, Juneau in June (1980-1981) and three uncollected poems, originally published in Spectacular Diseases No. 6 in 1981, and rare photographs, including the human totem pole of Jeremy Prynne, Ed Dorn, Jennifer Dunbar Dorn, Kidd Dorn and Maya Dorn. Gavin Selerie provides a highly informative and detailed introduction to the Riverside Interview and there is also a bibliography of Dorn Interviews. The whole book as Justin Katko indicates is a worthy addition to Ed Dorn Live: Lectures, Interviews and Outtakes (University of Michigan Press, 2007).

 

David Caddy  December 22nd 2013

The Happy Hypocrite

The Happy Hypocrite

The Happy Hypocrite 6, an experimental art writing journal, guest edited by Lynne Tillman (Book Works 2013), dedicated to Nelson Mandela, on the theme of Freedom, has contributions by artists, poets and writers of fiction, theory and essays, mostly, but not exclusively, American. The journal is beautifully designed and has a good amount of stimulating material.

 

One highlight is Lynne Tilman’s interview with Thomas Keenan on the construction of human rights language. They discuss the assertion by protestors during Libya’s Arab Spring that they were human beings and not sheep suggesting that that the rights and liberties of citizenship were not self-evident and needed to be claimed. I liked this recognition of human rights as something that is fragile and needs to be approached as a movement towards becoming that involves struggle. Paul Chan’s sequence of visual poems ‘Really New Testament’ stimulated with their philosophical asides on artistic expression framed within beguiling language art.  I also enjoyed Lynne Tilman’s Parnoids Anonymous Newsletter from 1976, Chloé Cooper Jones article on the connection between morality and art through Socrates’ ‘The Apology’, Robin Coste Lewis’ long poem, ‘Felicité’ and Sarah Resnick’s story, ‘Time Spent’. The latter piece dealing with issues of domestic work and independence.

 

The lack of a working definition of Freedom and the editor’s insistence that stories are ways of thinking is a hindrance to a more considered exploration of the theme in global or historical terms. Some contributions are rather woolly and divorced from the real world of differing definitions of the word. Competing concepts and notions of freedom are clearly economic as well as moral and religious. It is here that loss of rights and division has rent more global unrest and difficulty.

 

Following Milton, Blake and Hazlitt we might argue that freedom stems from the ability to dissent and hold contrary, heretical views and not be detained or imprisoned for doing so. Freedom is thus not about market choice but rather the right to think and act differently to the State and religious orthodoxies. Blake’s assertion that he belonged to the Devil’s Party deepened Milton’s assertion, in Areopagitica (1644), that freedom stemmed from the rights to know, utter, think, argue and choose, into full recognition of heresy as the main bulwark against State and religious orthodoxy. The United States Supreme Court in its defence of the First Amendment refers to Milton’s justification of the rights to freedom of expression and speech. Human trafficking and slavery, the enormous gap between urban affluence and rural deprivation remain chilling facts of life.  It is also possible to argue that we are still in the pre-feminist world where only a few of the Women’s Movement Manifesto demands from 1970 have been realised and several parts of the world deny basic rights of independence, education and morality to women.

 

Yasmin El Rashidi’s ‘An Imaginary Letter to a Bureaucrat: on permission to publish’ about the right to State funding for a not-for-profit literary quarterly to offer ‘a space for free expression’ in Egypt rather than the permission to publish was disappointing. I do not think that this is either a right or something that is useful. This bourgeois mentality could be offset by independent samizdat publication and the radical tradition of pamphleteering, which historically have won rights. Similarly Craig Owen’s Imaginary Interview ‘The Indignity of Speaking For Others’ from 1982 could more usefully have been used as the start of an essay on the politics of representation now.  Notwithstanding my comments there is much to savour and argue with. Congratulations to the editor and Book Works for producing such a provocative journal.

 

David Caddy

 

 

 

‘an intuition of the particular’ Peter Hughes

‘an intuition of the particular’ Peter Hughes

‘An intuition of the particular’: some essays on the poetry of Peter Hughes (Shearsman Books 2013), the companion volume to his Selected Poems, (Shearsman 2013), illuminates and excites the reader through close textual readings. Hughes is a poet, painter, musician and publisher of the award-winning Oystercatcher Press. He is undoubtedly one of the most prolific and accomplished poets currently working in England. His recent work translating Petrarch’s sonnets into the landscape of the Norfolk coast being both impressive and popular. This volume is a perceptive and useful accompaniment to his poetry.

Behoven 16

he would stalk

the winter quarters

of the circus

glaring at bears

The essays, edited by Ian Brinton, feature in an informative interview with John Welch, who also writes about publishing Hughes early collections. There are essays by Peter Riley on The Metro Poems, Derek Slade on three poems from Blueroads, John Hall on Behoven, Andrew Bailey on The Summer of Agios Dimitrios and Simon Howard on the Petrarch sonnets that significantly mark the range of Hughes’ output. David Kennedy and Simon Marsh offer insights into the ways that artists and musicians, such as Paul Klee, Joan Miro, Art Pepper, Keith Tippett, Beethoven and others have fuelled and shaped poetic sequences and collaborations. Nigel Wheale offers a reader’s response to the experience of reading Hughes over time. Gene Tanta writes on why poetic collaboration matters, Riccardo Duranti contextualises Hughes’ Italian poetic connections, and Ian MacMillan writes about Oystercatcher Press. Ian Brinton’s introductory essay highlights Hughes ability ‘to condense the universal into the field of local habitation and name.’ This wonderfully stimulating volume deserves to be read by anyone interested contemporary poetry.

David Caddy

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