Gratis Bücher Poet Be Like God: Jack Spicer and the San Francisco Renaissance, by Lewis Ellingham
Poet Be Like God: Jack Spicer and the San Francisco Renaissance, by Lewis Ellingham
Gratis Bücher Poet Be Like God: Jack Spicer and the San Francisco Renaissance, by Lewis Ellingham
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Amazon.de
From the time it first emerged as a renegade liberating voice in the early 1950s, beat writing changed the American social literary scene. Poets like Allen Ginsberg and Lawrence Ferlinghetti altered the sound of U.S. poetry while Jack Kerouac's bebop chant--particularly in his classic On the Road--literally changed how Americans spoke. The beats' fame became so great so quickly that their critics accused them of hypocrisy. Not so Jack Spicer; while Ginsberg and Kerouac were busy publishing and promoting their work, Spicer--whose original lyric voice and gay content still resonate today--spent most of his time disdaining the publishing world and making enemies. In Poet Be Like God, journalist Lewis Ellingham and experimental novelist Kevin Killian have produced not only a fully realized portrait of Spicer, but a complexly woven historical and literary tapestry. Spicer emerges here as a brilliant, difficult, and largely unlikable man whose talent for writing matched his inability to function in the world. Ellingham and Killian are equally concerned with explicating the San Francisco renaissance and charting the emergence of North Beach as a gay neighborhood; Poet Be Like God thus rediscovers Jack Spicer for a new generation of readers and presents us with a unique and startling look at gay and literary history. --Michael Bronski
Pressestimmen
"Any book this long and this thorough that is also this readable is a wonder to be praised. Poet, Be Like God makes the art and passion of Jack Spicer luminously legible. This is a grand biography; it is also a deeply searching delineation of an epoch, deploying living and vivid narratives of the San Francisco Renaissance. Here is the life every aspiring poet must know if she or he would risk self and soul in the mills of American art."-- Samuel R. Delany
Alle Produktbeschreibungen
Produktinformation
Gebundene Ausgabe: 461 Seiten
Verlag: WESLEYAN UNIV PR; Auflage: New (1. Mai 1998)
Sprache: Englisch
ISBN-10: 0819553085
ISBN-13: 978-0819553089
Größe und/oder Gewicht:
15,2 x 3 x 22,9 cm
Durchschnittliche Kundenbewertung:
5.0 von 5 Sternen
3 Kundenrezensionen
Amazon Bestseller-Rang:
Nr. 2.394.207 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
I have read Poet Be Like God, and I wish neither to rate it (but there's no option available that allows one to opt out of the rating game) nor review it, but to make a correction to the idiotic Kirkus review: Jack Spicer was NOT a "Beat" poet. There were a group of Beat poets in San Francisco in the late 1950s, early 1960s (e.g.,Bob Kaufman), but Spicer wasn't one of them. His intentions in poetry were different from theirs; naturally, so was his aesthetic. Spicer was part of a triumverate of poets that included Robert Duncan and Robin Blaser who met at the end of World War II in Berkeley, Ca., and were sometimes known as the Berkeley Renaissance group, or more simply, and more accurately, as part of the San Francisco poetry scene (which was part of the New American Poetry movement). That the Kirkus reviewer could make such an elementary and stupid mistake should be taken as a clear indicator of the idiocy of the rest of the Kirkus piece of schlock.
Poets in the 1950s and 1960s have been well served by some of their biographers, and in this thrilling critical treatment of Jack Spicer and the poets of the San Francisco Renaissance, Ellingham and Killian join the ranks of Peter Davison (The Fading Smile: Boston Poets from Lowell to Plath) and Bill Berkson and Joe LeSeur (Homage to Frank O'Hara) in magically capturing the soul of an important school in the poetic ferment of those years. The San Francisco circle around Spicer was intense, prolific and inspired, but they didn't get the publicity that the New York poets received or that the Beats had showered on them. Lack of media attention didn't stop them. They were dedicated to a pure vision of poetry as an almost religious vocation. On his hospital death bed in 1965 (he died at 40 from acute alcohlism), Spicer told friend Warren Tallman, "I was trapped inside my own vocabulary." His genius/mania to use that vocabulary in service of the Muse produced great work and reminded others of the seriousness of their purpose. Spicer, in all his contradictions and drives, leaps from these pages. The book as a whole bristles with the very energy it celebrates, both poetic and sexual (intrigue was in their blood), and is essential reading for all of us interested in the circles that nurture poetry in every creative center. As if that is not enough, the quotations from a vast number of interviews of the surviving participants make this a delicious oral history as well as a compendium of hair-raising gossip of the wild times in North Beach before tourists took it over fom artists.
I find that the Kirkus review available here does ill-service to this important biography of Jack Spicer. One would have no inkling, from reading this review, that Spicer's poetry is one of the most influential sources for postmodern poetry and poetics in the 1990s. It is not some recent academic fad to study Spicer; rather, Spicer has been a crucial poet for many younger writers for over three decades. This biography, published at the same time with his collected lectures, should provide the opportunity for even more serious study of his work.
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