By Daniel Kane
The voices and works of John Ashbery, Amiri Baraka, Charles Bernstein, invoice Berkson, Ted Berrigan, Kenneth Koch, Bernadette Mayer, Ron Padgett, Denise Levertov, Paul Blackburn, Frank O'Hara, and so forth liven up those pages, and the thirty five-track CD comprises recordings of a number of of the poets analyzing from their paintings within the sixties and seventies. The decrease East Side's cafes, coffeehouses, and salons introduced jointly poets of varied aesthetic sensibilities, together with writers linked to the so-called big apple university, Beats, Black Mountain, Deep photograph, San Francisco Renaissance, Umbra, and others. Kane exhibits that the importance for literary heritage of this loosely outlined neighborhood of poets and artists lies partly in its reclaiming an orally established poetic culture, tailored particularly to open up the probabilities for an aesthetically bold, playful poetics and a politics of pleasure and resistance.
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Additional resources for All Poets Welcome: The Lower East Side Poetry Scene in the 1960s
As Blackburn and others walked around the streets in cowboy hats and boots, actors including John Wayne and James Stewart appeared throughout the late 1950s and early ’60s COMMUNITY THROUGH POETRY 21 in director John Ford’s or Anthony Mann’s wildly popular Western movies. The motif of the hard-acting, hard-drinking cowboy resonated in the literary scene of the Lower East Side and affected the way in which women’s writing was received. Sara Blackburn, Paul Blackburn’s wife at the time, insists: This was very much a boy’s community.
31 Writer Cecil Helmley’s early attack on the Allen anthology (found in the relatively conservative and expensive Hudson Review) was quickly rebutted by Baraka in his and Diane di Prima’s free mimeographed magazine The Floating Bear. ”32 In his response, Baraka argued against Helmley as he deﬁned a new, insurrectionary poetics: Recently someone handed me some pages which had been taken from the latest Hudson Review, which contained a review of Donald Allen’s anthology The New American Poetry: 1945–1960, written by Cecil Helmley.
A poetry that was tied to jazz and its attendant associations of active, collaborative crowd response (that is, cheering, clapping, booing, yelling epithets and praise) strengthened the Lower East Side scene’s alternative status. As Michael Magee has pointed out, jazz sets were social models for poets: Monk and Coltrane were among a handful of musician-composers regularly playing at The Five Spot in the late 1950’s. . ” Monk’s inﬂuence on the young jazz avant-garde which congregated at the Five Spot .
All Poets Welcome: The Lower East Side Poetry Scene in the 1960s by Daniel Kane