Hemmer Kurt Encyclopedia Of Beat Literature

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.For Lamantia, soli-planets. It is a difficult situation that leads him tude is a spiritual place in which one is alone andto exclaim, in everyday street language, Tough! yet, paradoxically, connected to all creation.OutThe way out, the poem suggests, is through art of solitude comes art, and art makes the poet feeland expression. I m the trumpet of King David, exalted and in a state of grace.he says.An Old Testament poet and musician anda mighty warrior who defeated Goliath in combat Bibliographywith his slingshot, King David serves as a symbol of Frattali, Steven.Hypodermic Light: The Poetry of Philipthe heroic artist triumphing over adversity.Biblical Lamantia and the Question of Surrealism.New York:scholars have said that Jesus of Nazareth was a de- Peter Lang, 2005.scendant of King David, and so Lamantia links the Raskin, Jonah.American Scream: Allen Ginsberg s HowlOld Testament with the New Testament, Jews and and the Making of the Beat Generation.Berkeley: TheChristians.Amid collision and crash, the I in the University of California Press, 2004.poem makes himself into an instrument a trum-pet and expresses his anguish.The Beat poets Jonah Raskinadmired jazz musicians, and Lamantia s King Davidwith his trumpet is an Old Testament version of ahip horn player.Finally, the first stanza ends with a High Priest Timothy Leary (1968)violent image that has all the force of a terrifying TIMOTHY LEARY s legendary High Priest is an im-nightmare: The sinister elevator tore itself limb by portant chronicle as a guide to the psilocybin-and-limb. It is an image worthy of the surrealist mas- LSD guru s philosophical and scientific thinkingters Andr� Breton and Salvador Dali since it about the psychedelic experience.Reading alter-takes a machine an elevator and gives it the nately like a sacred text, a half-finished textbook,attributes limbs of a living organism.One can and a memoir of the early 1960s, the book is a clas-imagine Lamantia s elevator descending out of sic of counterculture and drug literature as well ascontrol, tearing itself apart, and perhaps killing its providing a bridge between the Beats and the laterpassengers.radicals of the psychedelic revolution.The last stanza provides a remarkable sense High Priest essentially documents 16 trips thatof closure.Relying on repetition and rhyme (head/ are complete with various guides, an I Chingbread and break/make) Lamantia pulls the poem reading to open each chapter, and numerous mar-together. You cannot close / You cannot open, ginalia to expand further on the experiences de-he writes, as though summing up the human con- scribed therein. Guides with whom Leary worksdition.We can never be complete, cut off, and at various points in the book include ALLEN GINS-shut down from others nor totally vulnerable and BERG, WILLIAM S.BURROUGHS, CHARLES OLSON,accessible.Human beings live on the edge, never and Aldous Huxley, and included alongside theentirely at rest or safe, Lamantia suggests.That narration are quotes from magazines articles, shortthought is enough to drive anyone crazy You thoughts by Leary, and excerpts from other relatedbreak your head, he writes.But from that kind of books.Leary s purpose for compiling the book washead splitting emerges something sacramental and essentially to capture the mystical, quasi-religious,redeeming.That is what the last four words You deeply subjective, experiential, and irrational worldmake bloody bread! indicate. Bloody bread of psychedelics, and perhaps more importantly, to128 Hoffman, Abbieexpand upon their beneficial use in social, psycho- Ultimately High Priest serves as an importantlogical, rehabilitative, and spiritual ways.link to the very earliest days of psychedelic cultureLeary, who coined the phrase tune in, turn and a philosophical guidebook to experimentationon, drop out and who was a hugely influential within it, as well as providing a fascinating chroni-voice in the counterculture move to question all cle of a hugely important moment in the history ofauthority, essentially saw psilocybin, LSD, and psy- the American counterculture.chedelic culture as directly opposed to the cultureof control that he saw in most power structures.In Chuck CarliseHigh Priest he writes, Everyone who isn t trippinghimself because he s too scared or tired is going toresent our doing it[;].the essence of ecstasy and Hoffman, Abbie (1936 1989)the essence of religion and the essence of orgasm Hoffman was not only a uniquely powerful activist(and they re all pretty much the same) is that you but also a literary link between the Beat Generationgive up power and swing with it.And the cats who and the baby-boom rock and rollers that came after.don t do that end up with the power and they use Abbott Hoffman was born on November 30, 1936,it to punish the innocent and happy.And they ll well before the baby boom got going in 1946.Hetry to make us look bad and feel bad. began life in Worcester, Massachusetts.He was theHigh Priest goes on to document Leary s theo- son of a well-to-do Jewish family, but he loved theries of a natural order to psychedelic discovery, like street-fighting ethos of the Worcester working classa rebirth experience where you come back as a and shared much of the worldview of JACK KER-man. The book s first two trips/stories set the tone OUAC, the seminal Beat writer from nearby Lowell [ Pobierz całość w formacie PDF ]

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