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st64 Apr 2014
At my side the Demon writhes forever,
Swimming around me like impalpable air;
As I breathe, he burns my lungs like fever
And fills me with an eternal guilty desire.


Knowing my love of Art, he snares my senses,
Appearing in woman's most seductive forms,
And, under the sneak's plausible pretenses,
Lips grow accustomed to his lewd love-charms.


He leads me thus, far from the sight of God,
Panting and broken with fatigue into
The wilderness of Ennui, deserted and broad,


And into my bewildered eyes he throws
Visions of festering wounds and filthy clothes,
And all Destruction's ****** retinue.
Charles Baudelaire
(1821–1867)


Charles Baudelaire is one of the most compelling poets of the nineteenth century. While Baudelaire's contemporary Victor Hugo is generally—and sometimes regretfully—acknowledged as the greatest of nineteenth-century French poets, Baudelaire excels in his unprecedented expression of a complex sensibility and of modern themes within structures of classical rigor and technical artistry.
st64 Apr 2014
If I were doing my Laundry I'd wash my ***** Iran
I'd throw in my United States, and pour on the Ivory Soap, scrub up Africa, put all the birds and elephants back in the jungle,
I'd wash the Amazon river and clean the oily Carib & Gulf of Mexico,  
Rub that smog off the North Pole, wipe up all the pipelines in Alaska,  
Rub a dub dub for Rocky Flats and Los Alamos,
Flush that sparkly Cesium out of Love Canal

Rinse down the Acid Rain over the Parthenon & Sphinx, Drain Sludge out of the Mediterranean basin & make it azure again,
Put some blueing back into the sky over the Rhine, bleach the little Clouds so snow return white as snow,
Cleanse the Hudson Thames & Neckar, Drain the Suds out of Lake Erie  

Then I'd throw big Asia in one giant Load & wash out the blood & Agent Orange,
Dump the whole mess of Russia and China in the wringer, squeeze out the tattletail Gray of U.S. Central American police state,
& put the planet in the drier & let it sit 20 minutes or an Aeon
till it came out clean.




                                                     Allen Ginsberg
                                                    Bou­lder, 26 April, 1980








.
Allen Ginsberg (1926–1997)


One of the most respected Beat writers and acclaimed American poets of his generation, Allen Ginsberg enjoys a prominent place in post-World War II American culture.
He was born in 1926 in Newark, New Jersey, and raised in nearby Paterson. The son of an English teacher and Russian expatriate, Ginsberg’s early life was marked by his mother’s psychological troubles, including a series of nervous breakdowns.
In 1943, while studying at Columbia University, Ginsberg befriended William Burroughs and Jack Kerouac, and the trio later established themselves as pivotal figures in the Beat Movement. Known for their unconventional views, and frequently rambunctious behavior, Ginsberg and his friends also experimented with drugs.

On one occasion, Ginsberg used his college dorm room to store stolen goods acquired by an acquaintance. Faced with prosecution, Ginsberg decided to plead insanity and subsequently spent several months in a mental institution. After graduating from Columbia, Ginsberg remained in New York City and worked various jobs.

Ginsberg first came to public attention in 1956 with the publication of Howl and Other Poems.
“Howl,” a long-lined poem in the tradition of Walt Whitman, is an outcry of rage and despair against a destructive, abusive society.
Kevin O'Sullivan, writing in Newsmakers, deemed “Howl” “an angry, sexually explicit poem”, considered by many to be a revolutionary event in American poetry.
The poem's raw, honest language and its “Hebraic-Melvillian bardic breath,” as Ginsberg called it, stunned many traditional critics.

Richard Eberhart, for example, called “Howl” “a powerful work, cutting through to dynamic meaning…It is a howl against everything in our mechanistic civilization which kills the spirit…Its positive force and energy come from a redemptive quality of love.”
Appraising the impact of “Howl,” Paul Zweig noted that it “almost singlehandedly dislocated the traditionalist poetry of the 1950s.”
In addition to stunning critics, Howl stunned the San Francisco Police Department. Because of the graphic ****** language of the poem, they declared the book obscene and arrested the publisher, poet Lawrence Ferlinghetti.

Ginsberg's political activities were called strongly libertarian in nature, echoing his poetic preference for individual expression over traditional structure.
In the mid-1960s he was closely associated with the counterculture and antiwar movements. He created and advocated “flower power,” a strategy in which antiwar demonstrators would promote positive values like peace and love to dramatize their opposition to the death and destruction caused by the Vietnam War. The use of flowers, bells, smiles, and mantras (sacred chants) became common among demonstrators.

Sometimes Ginsberg's politics prompted reaction from law-enforcement authorities. He was arrested at an antiwar demonstration in New York City in 1967 and tear-gassed at the Democratic National Convention in Chicago in 1968.
In 1972 he was jailed for demonstrating against then-President Richard Nixon at the Republican National Convention in Miami.
In 1978 he and long-time companion Peter Orlovsky were arrested for sitting on train tracks in order to stop a trainload of radioactive waste coming from the Rocky Flats Nuclear Weapons Plant in Colorado.
Ginsberg's political activities caused him problems in other countries as well.

Another continuing concern reflected in Ginsberg's poetry was a focus on the spiritual and visionary. His interest in these matters was inspired by a series of visions he had while reading William Blake's poetry, and he recalled hearing “a very deep earthen grave voice in the room, which I immediately assumed, I didn't think twice, was Blake's voice.”
He added that “the peculiar quality of the voice was something unforgettable because it was like God had a human voice, with all the infinite tenderness and anciency and mortal gravity of a living Creator speaking to his son.”
Such visions prompted an interest in mysticism that led Ginsberg to experiment, for a time, with various drugs.
After a journey to India in 1962, however, during which he was introduced to meditation and yoga, Ginsberg changed his attitude towards drugs. He became convinced that meditation and yoga were far superior in raising one's consciousness, while still maintaining that psychedelics could prove helpful in writing poetry.

Ginsberg's study of Eastern religions was spurred on by his discovery of mantras, rhythmic chants used for spiritual effects.
During poetry readings he often began by chanting a mantra in order to set the proper mood.
In 1972 Ginsberg took the Refuge and Boddhisattva vows, formally committing himself to the Buddhist faith.

In 1974 Ginsberg and fellow-poet Anne Waldman co-founded the Jack Kerouac School of Disembodied Poetics as a branch of Trungpa's Naropa Institute.
“The ultimate idea is to found a permanent arts college,” Ginsberg said of the school, “sort of like they have in Tibetan tradition where you have teachers and students living together in a permanent building which would go on for hundreds of years.”

Ginsberg lived a kind of literary “rags to riches”—from his early days as the feared, criticized, and “*****” poet to his later position within what Richard Kostelanetz called “the pantheon of American literature.”
He was one of the most influential poets of his generation and, in the words of James F. Mersmann, “a great figure in the history of poetry.”
Because of his rise to influence and his staying power as a figure in American art and culture, Ginsberg's work was the object of much scholarly attention throughout his lifetime.

In the spring of 1997, while already plagued with diabetes and chronic hepatitis, Ginsberg was diagnosed with liver cancer.
After learning of this illness, Ginsberg promptly produced twelve brief poems. The next day he suffered a stroke and lapsed into a coma. Two days later, he died.

How would Ginsberg have liked to be remembered?
“As someone in the tradition of the oldtime American transcendentalist individualism,” he said, “from that old gnostic tradition…Thoreau, Emerson, Whitman…just carrying it on into the 20th century.”
Ginsberg once explained that among human faults he was most tolerant of anger; in his friends he most appreciated tranquility and ****** tenderness; his ideal occupation would be “articulating feelings in company.”
“Like it or not, no voice better echoes his times than Mr. Ginsberg's,” concluded a reviewer in the Economist.
“He was a bridge between the literary avant-garde and pop culture.”
st64 Apr 2014
dive.. dive..
dive*


1.
I am eating fog on this pre-dawn bridge
an overcoat of no particular mood
     keeping intact considered-sincerity of warmth
     inhaling air tight with thin droplets
the c-cold of someone's click-clack in the distance
only an echo of studious-oblivion
glancing over the rail as the water swirls, dense

the silent hum of a slow-passing vehicle
windows darkly stare
I wonder who'd possibly be passing by here
and would they be connecting with that swirl, too


2.
there must be a walrus under there
         (shrinking-violet, that it is)
its projections long and probably needing plumbs
the departing fingers of night gnaw
attempt to steal what little shelters here
consent delayed by vertical-curses in bloom
and I'm thinking of a cat I used to have
who certainly didn't favour water

protests become latent-airborne, take off
as screeching squawks swoop by
hungry heartbeats gurgle, drip valiant
station within view.. phew, made it!



an accordion starts to play..
an elegy fit
for a dive.







st64, 3 April 2014
lovely weather these days.



sub-entry: goad-change

nothing like lifting the lid
insects swarm
sun exposing
giving rays

(thanks forever.. for all the help)

change is so good
change is healthy
what a goad-change!
st64 Mar 2014
plea of oddities: bring the tinkling back
its bell lies silent


1.
Existing (not entirely) alone
entertaining itself with nightmares witnessed from long ago
It waited and waited
until the neighbour-orb grew to a level sophisticated enough
to house that lovely assortment of fine specimens.. of females
       that flock of dusted-crystals so long dreamt of
       that mould of sensibility, that plug of warmth
       that banner of softness
which all mirrored the opposite of their ways


2.
they fled in quiet-rebellion from inhospitable hands of the boor-males
altogether, in a ship.. down into the bowels of their breaking planet
subtleties long abandoned by the barbed-wire handling of  rough hands
these gentles could take no more and *uncoupled
themselves for good
burning, like the bridges behind them
               they disconnected and slid into a nether-sphere

When the males woke in stupor to find them gone
                 they flipped and fed in anger
and with access to goodness gone and unplaced voracious appetites
It decided to encase them.. in a giant glass-jar, preserving them in ire
until the time was right.. like a tea awaiting perfect steeping
In stasis, they remained for what seemed aeons
the glass-jar which held this army of men, was reduced
became small, like a coin.. which Foog summarily swallowed
and waited . . .  


3.
The sun turned its face in blank-horror of severe sights
                                                               splayed across the surface
forests shrank to toothpicks and died
         blue seas curled and dried
                                 meadows melted to greyish slush
every flying creature lost gravity and got ****** away, too high..
                                                        into harsh deafening-holes
when the tall sentries of oxygen.. twisted and became wiry-distorted
the sky sank and folding itself up.. hid in a black corner
                               behind the crumbling mountains

Foog hid beneath a crater made of ice, on the dark side of said planet
and once every millennium
        it felt the colliding-smack of a passing planetessimal
and it swore that somewhere, somehow..
        that punishment awaited new life

So, it shut its senses to the bay of life
       while hankering viciously for the scream of warm blood
The bell-jar inside, silent and
                        also somehow.. obscenely waiting in its oblivion



4.
Then, came Earth spinning round in flourish.. oh, the day on hand
Yet, veryyyyy far away.. an eye slowly opened
                      / /  roused by the smell of fressshhh life . . . / /



5.
A popping sound and the bell-jar was birthed from a slit on its forehead
It looked nearly quizzically at this odd creation beneath the silent-glass
this assortment of creatures trapped in the folly of Foog:
                                                                ­     oh, shall I, or not?
A cosmic joke, almost.. with so few revisions
The lid lifted and with proportion righted once more..
                                they came, oozing out in droves
Roaring from their milleniac-slumber,
                               crazed in half-remembered wounds
But alive with burning-purpose - - to find the equivalent
of
those soft-crystals

To melt the iron.. inside.



(unsolicited but self-warranted visitations:
camouflaged abductions.. secret prodding..
subtlety re-learnt.. poverty rehashed..
Fugue in a glass bell-jar.. unleashed)  



But alas, when sweet-sounds are closed again
see at whose smart-hands calamity befalls Life
Yet.. who are ultimately the ones
picking up the pieces after devastation wrought?





st, 27 march 2014
woke from nightmare.. to find this on my waking-plate.


sub-entry: day to dawn

It came in a dream.. and told me so
a day to dawn
for reckoning.
st64 Mar 2014
I learnt to tie my shoes
I learnt to ride my bike
I learnt to smoke
I learnt the vulnerability of fully exposing an idea
I learnt to tie my shoes
I learnt to adapt my behavior in the light of others' actions.
I learnt the difficulty of sustaining the hopes of youth.

I remember a French girl with an English name.
'Leave me now, return tonight,' she told me every morning, and I did.

I remember an English girl with an French name.
We were the circle that no one could break, or so I thought.


Yesterday I was there.
Today I am here.
The two are light years apart.

I dance with a friend,
holding her hand realize,
how disconnected I have become,
from the simple beauty of touch.


I return and sense,
that things are not the same as before,
but feel had I stayed,
everything would likely seem the same.


Your words touch me.
Your thoughts excite me.
I want to try all that.
Explore everything with you.



Alone.
All one.


If and but and maybe and whatever.
I hate those words.


Everything doesn't have to be perfect.
To idealize is also a form of suffering.

                          
                                             ------ by Julian Hibbard



st...26 march 2014
Julian Hibbard is an English-born fine art photographer.

His enigmatic, award winning images have been exhibited in London, New York, Los Angeles, Scotland, Santiago de Chile and at the prestigious Fundación RAC Gallery in Spain.

Editorial assignments and profiles include: Afterimage, Fascineshion.com, Surface Magazine, Elle, Label, Dpict, Victor by Hasselblad, Wallpaper, The Huffington Post, Observor Life, Popular Mechanics, Honey, Blink, Pictured, Spin, Antenna, The New York Times Style Magazine, Sony Music and Bliss Lau.

His first book, "The Noir A-Z", a visual alphabet to accompany dominant terms from the noir universe, was published in 2009.

A second title - "Schematics: A Love Story" - a diagrammatical mapping of love, loss, time and memory, was released in December 2011.
st64 Mar 2014
When the night wind makes the pine trees creak
And the pale clouds glide across the dark sky,
Go out my child, go out and seek
Your soul: The Eternal I.


For all the grasses rustling at your feet
And every flaming star that glitters high
Above you, close up and meet
In you: The Eternal I.



Yes, my child, go out into the world; walk slow
And silent, comprehending all, and by and by
Your soul, the Universe, will know
Itself: the Eternal I.
Dame Jane Morris Goodall, DBE (born Valerie Jane Morris-Goodall on 3 April 1934) is a British primatologist, ethologist, anthropologist, and UN Messenger of Peace.
Considered to be the world's foremost expert on chimpanzees, Goodall is best known for her 45-year study of social and family interactions of wild chimpanzees in Gombe Stream National Park, Tanzania.
She is the founder of the Jane Goodall Institute and the Roots & Shoots program, and she has worked extensively on conservation and animal welfare issues. She has served on the board of the Nonhuman Rights Project since its founding in 1996.

Goodall is the former president of Advocates for Animals, an organization based in Edinburgh, Scotland, that campaigns against the use of animals in medical research, zoos, farming and sport.

Goodall is a devoted vegetarian and advocates the diet for ethical, environmental, and health reasons. In The Inner World of Farm Animals, Goodall writes that farm animals are "far more aware and intelligent than we ever imagined and, despite having been bred as domestic slaves, they are individual beings in their own right. As such, they deserve our respect. And our help. Who will plead for them if we are silent?”
Goodall has also said, “Thousands of people who say they 'love' animals sit down once or twice a day to enjoy the flesh of creatures who have been treated so with little respect and kindness just to make more meat."

In April 2008, Goodall gave a lecture entitled "Reason for Hope" at the University of San Diego's Joan B. Kroc Institute for Peace & Justice Distinguished Lecture Series.
st64 Mar 2014
“The *** or ethereal soul is associated with the Liver System, and is the aspect of consciousness that continues to exist—in more subtle realms—even after the death of the body.”*

When *** walks, I walk. When he wanders, untethered, I go with him. With her. My eyes close, and ***’s will be wide. He leads the way.
She leads me, away from my bed to stand at window, which I open.

*** will lift the sash so I can lean out over the street where someone is screaming.
Always screaming.
Known to walk after the body dies, *** is roused by this call.
But the chill, the smell of the distant river, wakes me. And *** retreats.

I’ve been told to put bells on my window so I will wake when it’s opened. When I open it.
The bells of the Cathedral ring in the dark hours of all this animation: wandering spirit of my organs, custodial ghost of my art.
He wants me grounded. She wants me flown.

I am here, I tell him—her: not lost. Aloft.
A-sleep or awake, I am led, leashed, walking in the wake of our odd arrangement.

                                               -- by Nathaniel Bellows





st.. 25 march 2014
American author of "On this Day" a well-received first novel, published in February 2003.

The son of a physician, he chose instead the artistic path. He began his career as a visual artist and had his poems published in prestigious literary magazines before his work of fiction was published.
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