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Tag Archives: Gregory Corso

Bohemians, Beats And Blues People

Bohemians, Beats And Blues People

Jim Burns’ fourth collection, Bohemians, Beats And Blues People (PPP 2013), illuminates neglected twentieth century bohemians through wide-ranging and highly informative essays.  Like his previous collections, Beats, Bohemians and Intellectuals, (2000), Radicals, Beats and Beboppers (2011) and Brits, Beats & Outsiders (2012), this book uncovers neglected sources and questions received perceptions of history and movements. Richly documented, the essays are not only informative but also clearly written. There are unexpected delights, such as an essay on the painter, John Craxton, close friend of Lucian Freud and Johnny Minton, as well as an essay In Praise of Booksellers and another on Harry Kemp, the Tramp Poet.

http://www.pennilesspress.co.uk/books/bohemians.htm

The book examines how the Beats were published in Britain; explores London’s Soho Bohemianism and Café Society and questions the depth and interests of the Sixties ‘underground.’ Burns sees more losses than gains and doubts how far there was any alternative in the underground press. There are essays on writers as diverse as Kurt Vonnegut, B.Traven, Gregory Corso and Gilbert Sorrentino.

Burns explores the philosophy behind Trevin, who had a long publishing career, using many different names, and whose politics made it prudent to conceal his true identity. John Huston adapted his novel, The Treasure of Sierra Madre, into a film, starring Humphrey Bogart. There are evaluations of several significant little magazines, including This Quarter, Kulchur and Evergreen Review. There are also two long essays rhythm ‘n’ blues and its transition into rock ‘n’ roll as well as one on Jack Kerouac’s jazz interests. This book is stuffed full with solidly researched detail and, as such, it is providing its readership with a deep understanding how writers and poets get published and what may happen as a result.

David Caddy

Poetry Penguin

Fifty years ago this year Penguin started their series of volumes each containing the work of three poets. Penguin Modern Poets was a startling and splendidly eclectic venture than ran to 27 volumes over the next thirteen years and it says something about the faith a publishing firm had in both its readership and the value of the poets published. In 1962 the first volume must have sounded a safe note with its choice of Lawrence Durrell, Elizabeth Jennings and R.S. Thomas but by the following year Christopher Middleton was there and the American West Coast scene was represented by generous selections from Gregory Corso, Lawrence Ferlinghetti and Allen Ginsberg. To suggest a measure of the importance of the Penguin venture here it might be worth recalling that Andrew Crozier’s American supplement to Granta and Charles Tomlinson’s Black Mountain supplement to Ian Hamilton’s the Review did not appear until 1964. The series continued its highlighting of the Americans in 1967 with Penguin Modern Poets 9: Denise Levertov, Kenneth Rexroth and William Carlos Williams. Number 12 presented the punchy world of former San Quentin inmate William Wantling and in 1969 Charles Bukowski appeared alongside Philip Lamantia and Harold Norse. The series gave some context for the use of the word ‘Modern’ by re-issuing work by David Gascoyne, W.S. Graham (17), Adrian Stokes (23) and offering space to the more recent voices of Tom Raworth and Lee Harwood (19). It was a remarkable achievement and Geoff Ward’s comment in The Salt Companion to Lee Harwood is worth bearing in mind in terms of what it tells us about the poetry world of 1971: ‘Tom Raworth, packaged alongside John Ashbery and Harwood in volume 19 of the Penguin Modern Poets series, offers work that is broadly comparable at this early stage in its insistence on present tense actualities, rather than their ironised recovery by experience at a metrical remove.’

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