Поиск

Полнотекстовый поиск:
Где искать:
везде
только в названии
только в тексте
Выводить:
описание
слова в тексте
только заголовок

Рекомендуем ознакомиться

Остальные работы->Реферат
Christina Rossetti?s poem “A Birthday” and Kate Chopin?s short story “The Story of an Hour” present conflicting attitudes toward love. In particular t...полностью>>
Остальные работы->Реферат
Everyone needs someone to care about them. Usually a person relies on their family to fill that role. Besides caring, a family member offers many othe...полностью>>
Остальные работы->Реферат
?Experience is what you receive when you don?t get what you want.” I remembered my father?s words as I tried to postpone the coming massacre. Like dur...полностью>>
Остальные работы->Реферат
convey theiThere were many similarities and differences between speech styles of the early 1700’s and the late 1700’s. Speakers were known to use pers...полностью>>

Главная > Реферат >Остальные работы

Сохрани ссылку в одной из сетей:

Online Interviews With Allen Ginsberg Essay, Research Paper

Peter Barry Chowka

Peter Barry Chowka: Allen, since we’re in this automobile setting, I want to ask

you: much of your poetry, especially in The Fall of America, was composed in cars

on your various travels. In so many of the poems which came out of automobiles in the

sixties you really captured the essence of the times, the Vietnam war reports on the

radio, the lyrics of the rock music happening then. I wonder if, lately, you’re writing

poetry while on the road in automobiles?

Allen Ginsberg: Not so much. Occasionally, I still write travel poems in

airplanes, but not as often. It might be that the times have changed. Also, we were doing

a lot of cross country traveling in cars in the early and mid-sixties. More than now.

PBC: A lot of your most recent poetry, especially some that you read last night

(Corcoran Gallery, Washington, D.C.) contains very spiritual, and specifically Buddhist,

imagery.

AG: Not so spiritual; it’s more practical observations during the course of

meditation or after.

PBC: "Down-to-earth" spiritual, then. You don’t like the word

"spiritual?"

AG: Yeah, I’m not even sure if the word is helpful because it gets people all

distracted with the idea of voices and ghosts and visions. I used to get distracted that

way.

PBC: How do you select which poems you’re going to present at a reading? Do you

consider what type of audience you feel will be there?

AG: Well, I read there years before with my father in a celebrated moment, for a

Washington society lady who invited us. I met Richard Helms, the head of the CIA, at the

last reading . . .

PBC: Helms was at the last reading?

AG: Yes. And so this time I was all hyped up, ’cause [William] Burroughs was

coming along, too: Burroughs, who’s the great destroyer of the CIA, with his prose.

PBC: Were you able to sense any reaction from the audience last night to the

kinds of things that were being read?

AG: I don’t think there were any CIA people there this time, (laughs) I was a

little disappointed: there were only secret agents — no big fish. I prepared poems that I

hadn’t read in Washington before, or poems that were extremely solid; I wanted a solid,

good reading of high-quality poems rather than just sort-of random poems, daily journal

poems. So I picked "pieces" that were complete in themselves. For me the high

point was a long, ranting, aggressive, wild poem ("Hadda be Playing on the Juke

Box") linking the CIA and the Mafia and the FBI and the NKVD and the KGB and the

multinational cash registers.

PBC: One line I especially liked was "Poetry useful if it leaves its own

skeleton hanging in the air like Buddha, Shakespeare and Rimbaud." Would it be

correct to say, from this line and from some of the other poetry you read, that your

sadhana now is the spreading of the dharma through poetry?

AG: Well, I’ve been working in that direction with Chogyam Trungpa, especially

influenced by staying all summer at Naropa Institute at the Jack Kerouac School of

Disembodied Poetics, which is ideationally modeled on Kerouac’s practice of spontaneous

utterance and Milarepa’s similar, or original, practice.

PBC: It was Kerouac who originally turned you on to Buddhism, wasn’t it?

AG: Yeah, he was the first one I heard chanting the "Three Refuges" in

Sanskrit, with a voice like Frank Sinatra.

PBC: And he wrote that as-yet unpublished volume Some of the Dharma,

which, I think, consisted of letters he wrote to you about Buddhism?

AG: Yeah, and he also, in the mid-fifties, wrote Mexico City Blues, which

is a great exposition of Mind — according to Trungpa. I read aloud to Trungpa halfway

through Mexico City Blues on a four-hour trip from Karme-Choling, Vermont, down to New

York, and he laughed all the way. And I said, "What do you think of it?" And he

answered, "It’s a perfect exposition of Mind."

PBC: Trungpa is a recognized poet in his own right. Do you think you’ve become

so close to Trungpa because you’re both poets?

AG: Oh, yeah, that’s a big influence. He encouraged me originally to abandon

dependence on a manuscript and to practice improvisational poetry. He said, "Why

don’t you do like the great poets do, like Milarepa; trust your own mind."

PBC: Compose it and then forget it; not necessarily write it down?

AG: It’s unforgettable in the sense that it gets on tape. The best thing I ever

did was a long "Dharma/Chakra Blues" in Chicago last year, but the tape is

completely incomprehensible and I can’t transcribe it. That is an old tradition, like Li

Po writing poems and leaving them on trees, or Milarepa singing to the wind with his right

hand at his ear to listen to the sound, shabd.

PBC: How long have you known Trungpa now? He seems to have become a great

influence in your life.

AG: An enormous influence. We first met on the street in 1971, in front of Town

Hall (New York City). I stole his taxicab; my father was ill and I wanted to get my father

off the street.

PBC: It was purely an accidental encounter?

AG: Yeah. I said "Om Ah Hum Vajra Guru Padma Siddhi Hum" and

gave him a "Namaste" when he was introduced. I asked him years later what

he thought of my pronouncing the Padma Sambhava mantra to salute him, and he said,

"Oh, I wondered if you knew what you were talking about." (laughs) He’s been

pushing me to improvise, to divest myself of ego eventually, kidding me about

"Ginsberg resentment" as a national hippie characteristic, and warning me to

prepare for death, as I registered in a poem called "What Would You Do If You Lost

It?" published by the Lama Foundation.

PBC: As far as the "resentment" aspect, has he influenced you in that

direction? For example, many of the poems you read last night seemed more contemplative,

meditative.

AG: He has provided a situation in which I do sit, like at the Naropa seminaries

or at the intensive sitting meditations where Peter [Orlovsky] and I have gone and sat for

a week at a time in retreat cabins in the Rocky Mountains, or where I’ve sat weeks alone,

and he’s suggested that I not write during those weeks when I’m in retreat — which has

resulted in a lot of post-sitting, meditative, haiku-like writings. He’s also made me more

aware of the elements of resentment, aggression, and dead-end anger in my earlier poetry

and behavior, which is useful to know and be mindful of. It doesn’t necessarily curb it,

but I’m able at least to handle it with more grace, maybe, as last night, where I read a

whole series of meditative poems and then this outrageous attack on the CIA-Mafia-FBI

connection. But it was put in a context where it was like the normal explosion of, maybe

even, vajra-resentment, so that it doesn’t become a dominant paranoia but is seen within

the greater space — the flow of Mind Consciousness while sitting — of continuing

mindfulness over the years. Trungpa’s basic attitude toward that kind of political outrage

is that things like gay liberation, women’s liberation, peace mobilization, have an

element — a seed — of value in them; but it depends on the attitude of mind of the

participant as to whether it’s a negative feedback and a karmic drug or a clear, healthy,

wholesome action.

PBC: Often those political movements can become so mutually exclusive that they

serve to isolate one from a lot of the potential . . .

AG: Or so filled with resentment that they become dead-ends. More and more, by

hindsight, I think all of our activity in the late sixties may have prolonged the Vietnam

war. As Jerry Rubin remarked after ‘68, he was so gleeful he had torpedoed the Democrats.

Yet it may have been the refusal of the Left to vote for Humphrey that gave us Nixon.

Humphrey and Johnson were trying to end the war to win the election, while Nixon was

sending emissaries (Mme. Claire Chennault) to Thieu saying, "Hang on until I get

elected and we’ll continue the war." Though I voted for Humphrey in ‘68 I think a lot

of people refused to vote, and Nixon squeaked in by just a couple of hundred thousand

votes.

PBC: And now, eight years later, we might get Humphrey again anyway.

AG: So that might be the karma of the Left, because of their anger, their

excessive hatred of their fathers and the liberals, their pride, their vanity

. . .ourvanity, our pride, our excessive hatred. It may be

that we have on our karma the continuation of the Vietnam war in its worst form with more

killing than before. We may have to endure Humphrey so that we can take the ennui or

boredom of examining what we’ve wrought when we got "exciting" Nixon. In a way

it all balanced out; maybe it was better that Nixon got in because then we had Watergate

and the destruction of the mythology of authority of a hypocrite government.

PBC: Since this is 1976, a year of inevitable increase in political discussion,

I’d like to ask the following question. Your Buddhist practice seems not to have

interfered with the acute politic concern, for the CIA and other issues, which you

continue to display in recent poems like "Hadda Be Playing on the Jukebox." How,

if at all, has your work with Trungpa — your extensive meditation practice — changed

your outlook on North American or world politics?

AG: It has changed it somewhat from a negative fix on the "fall of

America" as a dead-end issue — the creation of my resentment — into an appreciation

of the fatal karmic flaws in myself and the nation. Also with an attempt to make use of

those flaws or work with them — be aware of them — without animosity or guilt: and find

some basis for reconstruction of a humanly useful society, based mainly on a less

attached, less apocalyptic view. In other words, I have to retract or swallow my

apocalypse. (laughs)

PBC: That’s a lot to swallow. Do you have any specific thoughts on the American

political scene in this Presidential election year?

AG: Governor Jerry Brown.

PBC: Is the condition of the Left refusing to support Humphrey in ‘68 the main

thing that comes to mind in talking of the mistakes of the sixties, or are there other

things that you’ve realized, as well?

AG: Well, that’s sort of a basic mistake you can refer to that everybody can

remember in context, I think, so it’s a good, solid thing. What was the point of the Left?

It was saying, "End the war." What was the action of the Left? It refused to

support Humphrey because he wasn’t "pure" enough (laughs), so there was an

apocalyptic purity desire which maybe was impractical, or "unskillful means."

PBC: Which seems to go along with what I know about Trungpa and his teachings,

in general: that it should be a very down-to-earth, practical sadhana, which doesn’t

include requirements of stringent vegetarianism or giving up cigarette smoking.

AG: And which is mindful of that quality of resentment which he characterizes as

"Ginsberg resentment" or "America Ha-Ha." I was resentful, at first,

when he came on with that kind of line. Actually, I voted for Humphrey, so I wasn’t

dominated that much by resentment, but it seems to be a stereotype, maybe ’cause Trungpa

reads too much Time magazine. He’s entitled to his opinion, and I’m surely

profiting psychologically from him because there’s enough insight in that to make me halt

in my tracks and think twice, thrice.

PBC: Do you see his movement in contemporary Buddhism as the most vital one in

America at this point?

AG: Shakespeare has a very interesting line: "Comparisons are odious."

So to say "the most vital" — well, everybody’s doing a different kind of work

– some quiet, some more flashy. I seem to be able to relate to Trungpa best, although I

must say that it may be that the looseness and heartiness and charm of his approach is not

necessarily the deepest for my case. I notice I’m very slow in getting into my

prostration: of 100,000 prostrations, I’ve done only 10,000 and I’m way behind, maybe the

last in the class. But I guess he’s gotten a lot of people more deeply into foundation

practices, perhaps on more of a mass scale than any other Tibetan lama, if that’s any good

count. I suppose it’s the quality of the student that counts. Trungpa’s movement is a very

rational and classical approach to Buddhism, in his real serious attention to sitting:

"Go sit, weeks and weeks and weeks, ten hours a day."

PBC: It’s primarily silent meditation?

AG: His basic approach is to begin with shamatha, a Sanskrit word meaning

peaceful mindedness, creating tranquillity of mind. It consists of paying attention to the

breath coming out of the nostrils and dissolving in space, the outbreath only, and is a

variety of vipassana practice, which begins with concentration on the breath passing in

and out just at the tip of the nose, or Zen practice which involves following the breath

to the bottom of the belly.

PBC: What is it about the Tibetan style of Buddhism that first attracted you?

AG: Originally it was the iconography: the mandalas, the Wheel of Life,

and the Evans-Wentz books, some of which were recommended by Raymond Weaver, who was a

professor of English at Columbia University in the ’40s. Weaver gave Kerouac a list of

books to read after he read an unpublished early novel of Kerouac’s titled The Sea Is

My Brother — a list which included the early gnostic writers, The Egyptian Book of

the Dead and The Tibetan Book of the Dead. The Herukas — the

many-armed, fierce guardian deities — reminded me of visions I’d had in 1948 relating to

William Blake’s poem, "The Sick Rose"; visions of terror — of the universe

devouring me, being conquered and eaten by the universe. I used The Tibetan Book of the

Dead while ingesting ayahuasca in New York City in 1960-61. Later on, some

contact with Dudjom Rinpoche in India reinforced this interest in Tibetan Buddhism.

PBC: How has your study of Tibetan Buddhism, and your work with Trungpa



Загрузить файл

Похожие страницы:

  1. Online Interviews With Robert Pinsky Essay Research

    Реферат >> Остальные работы
    ... might be "Imitating Yeats, Allen Ginsberg, Frost, Eliot." Another ... sure you’re familiar withwhat do you think of ... The Cortland Review. Online Source Interview with Maura Kelly for FEED ... . ? FEED Inc. Online Source Interview with Ted Genoways for Meridian ...
  2. William Carlos Williams Essay Research Paper William

    Реферат >> Остальные работы
    ... a young virtuous nurse; a Paterson poet, Allen Ginsburg, who has promised to ... , 1968.  Wagner, Linda Welshimer, editor, Interviews With William Carlos Williams: “Speaking Straight ... ; June, 1970. Source: Contemporary Authors Online. The Gale Group, 2000. Gale ...
  3. Workers Compensation Fraud Essay Research Paper Worker

    Реферат >> Остальные работы
    ... provider fraud. In a phone interview with Allen Beck, a private investigator specializing in ... ; (5) listen and document; (6) conduct exit interviews; (7) be aware of unhappy employees ... Fraud Claims Climbing.” Capitol-Journal Online Business News 26 Jan. 1999 ...
  4. From Rags To Riches Essay Research Paper

    Реферат >> Остальные работы
    ... on to America Online to surf the World Wide Web to find ... for him. After my interview with Alan Marcum, I felt like a beginner even ... or simply want income, when I interviewed Alan Mracum of Fidelity he said ...
  5. A Study Of The Swimwear Industry In

    Реферат >> Остальные работы
    ... primary research, such as interviews with Yves Lepine, and an ... com and other online stores. The online channel serves Speedo ... Stores ? Outlet Stores ? Direct; Online Stores and Catalogues Although swimwear ... the Speedo SpeedMask. The alien-like Mask smoothes out ...

Хочу больше похожих работ...

Generated in 0.0017421245574951