29 Haziran 2019 Cumartesi

“The most beautiful things in the world cannot be seen or touched, they are felt with the heart.” ― Antoine de Saint-Exupéry

Dan-ah Kim, Bringing Galaxies Home To You | 2011


Happy birthday to Antoine de Saint-Exupéry who was born in Lyon, France, in 1900. Raised in an aristocratic family, he took his first airplane ride at the age of 12 and immediately fell in love. He received his pilot’s wings during his compulsory military service in 1922, around which time he also began to write. His adventures as a pilot would supply the inspiration for all of his literary endeavors, which culminated with the 1943 publication of the classic The Little Prince. Saint-Exupéry disappeared in July 1944 while flying a reconnaissance mission over occupied France during World War II, leading to speculation over the cause of his death that persists to the present day.

for more pls read: https://www.biography.com/writer/antoine-de-saint-exupery
here you can find the book: http://verse.aasemoon.com/images/f/f5/The_Little_Prince.pdf
source: https://freeditorial.com/en/books/the-little-prince

27 Haziran 2019 Perşembe

Everybody walks past a thousand story ideas every day. The good writers are the ones who see five or six of them. Most people don’t see any. - Orson Scott


Great Ways to Start the Writing Process

1. Start in the Middle
If you don’t know where to start, don’t bother deciding right now. The first line of a book is critical—but there’s no rule that says you have to start there. The first words you write might end up being the middle of Chapter Three. That’s perfectly fine. And as you work forward in the story, you’ll get an idea about how to work backward. Once your characters develop and the plot grows in directions you didn’t expect, you may see the perfect scene to start things off with.
 2. Start Small and Build Up
You don’t have to set a Chevrolet on fire or have someone murdered on the first page to get the reader’s attention. We’ve all watched a lifetime’s worth of TV and movies that put big and often violent events into the first five minutes as a hook. The assumption is that we have the attention spans of chimpanzees. But hooks are hard to live up to; you can’t stay at that level. Besides, screen culture does violence better than written culture, so leave the big violence to the movies. It’s better to start with a small mystery and build up to a bigger one. The truth about a situation is always big enough to sustain someone’s attention.
 3. Incentivize the Reader
I’m not much of a first sentence type of guy, but I am a first paragraph or two sort of guy, and I think those paragraphs are crucial. Early on, I made the mistake of trying to answer questions about a character’s motivation or critical elements of the plot, knowing those were essential, and thinking the earlier they were out, the more the reader would appreciate it. I learned I was answering the wrong question. In the first couple of paragraphs, the reader isn’t asking questions about the characters or plot. He or she’s asking one simple thing:
“Why should I keep reading?”
And that’s what I try to answer in the first two paragraphs.
 4. Commit to a Title Up Front
 The title you give a story—whether it ends up being your final title or just a placeholder— is your North Star. If you have a placeholder that doesn’t feel right, you have to ask yourself why it doesn’t feel right. And that too can guide you to where you need to be, because it shows you where you shouldn’t go. So trust your title. If you’re stuck, go back to it. Ask yourself why it’s important. By following what’s important to you, you may just end up with something that will be important to other people. They will see that title and make that subterranean connection. What draws you to the novel is inevitably what draws the reader in. Most of the time we don’t get to choose our own names, but we always choose the names of our stories for a reason.
 5. Create a Synopsis
When I first started writing, I always wrote a synopsis. It allowed me to work out story problems and emotional beats early, and served as a road map. And, from a practical standpoint, publishers required them. But the synopsis had the added benefit of helping to get those words on the page. There is something psychologically freeing about knowing that the problem you are tackling has already been at least somewhat addressed in an outline.
 6. Allow Yourself to Write Badly
The best piece of writing advice anyone ever gave me was “Allow yourself to write badly.” Nothing petrifies a writer more than the pursuit of perfection. You have this idea of a story in your head, glowing and golden and wonderful, and as soon as you try to set it down on the page, it turns into something plodding, gray, and feeble. Disappointment and despair come to sit at your side, shaking their heads at your woeful work. You waste valuable writing time beating yourself up about not producing anything special, so eventually you produce nothing at all.
So what I say is: Just write! Get something down. Later you can tweak and polish and fiddle about as much as you like, but before you can make changes, it’s vital that you at least have something to work with.
 7. Make Up the Story as You Go
Don’t feel like you have to have your plot completely worked out before you start. Some of us don’t work like that. In fact, many writers prefer to make up the story as they go along. Plotting is excellent if that’s how you roll, but it’s also perfectly acceptable to sit down and start writing with only a vague idea of what you’re going to write about. With my first novel, Beautiful Malice, I started with the first line, I didn’t go to Alice’s funeral, and took it from there. I didn’t know what was going to happen. I had no idea who Alice was or what she’d done to the narrator. I knew nothing. Writing the book was as much a journey of discovery for me as it was for the reader.
 8. Do the Opposite
We all know the piece of writerly advice that tells us we should write the kind of story we love to read. That’s terrific advice. Good luck with that. But if you have bad luck with that, then perhaps you should try this exercise, which I call, right now, for the first time, “Do the Opposite,” in which you write the kind of story that is the exact opposite of the kind of story you hate.
From Do the Opposite by Brock Clarke

26 Haziran 2019 Çarşamba

“It's a beautiful thing, the destruction of words.” ― George Orwell

Unknown Facts About George Orwell

George Orwell, pseudonym of Eric Arthur Blair, (born June 25, 1903, Motihari, Bengal, India—died January 21, 1950, London, England), a popular English novelist, essayist, and critic famous for his novels Animal Farm (1945) and Nineteen Eighty-four (1949), the latter a profound anti-utopian novel that examines the dangers of totalitarian rule. Here are some facts that might be interesting for you:

1. His Name is Eric, He Was Born in India and His Dad Was In the Opium Biz
2. His First Word Was “Beastly”
3. He Was a Policeman in Burma
4. He Willingly Lived a Life of Poverty in Paris, and One of a Tramp in London—But Help Wasn’t Far Away
5. He Was Superstitious
6. He Fought In the Spanish Civil War
7. He Worked For the BBC
8. He Finally Met Ernest Hemmingway
9. He Loved His Tea






22 Haziran 2019 Cumartesi

“There is nothing new under the sun, but there are new suns.” ― Octavia E. Butler

                                                     https://time.com/5225461/octavia-butler-janelle-monae/

Happy Birthday to Octavia Butler.She died in 2006—much too young, at only 58—already a certified genius who had a profound impact on many readers and writers across the world. Not surprisingly, this includes many of the best writers of SF, fantasy, speculative fiction, and horror working today, and so to celebrate Butler’s birthday, Emily Temple collected a few of their thoughts on her influence.
here you can find the whole article "The Grand Cultural Influence of Octavia Butler" and some writers who are influenced by Butler's work:
https://lithub.com/the-grand-cultural-influence-of-octavia-butler/




20 Haziran 2019 Perşembe

My mouth blooms like a cut. - Anne Sexton

                                                           Kiss Alphabet, Ewa Partum' s Active Poetry

 My mouth blooms like a cut.
I've been wronged all year, tedious
nights, nothing but rough elbows in them
and delicate boxes of Kleenex calling crybaby
crybaby, you fool! 

Before today my body was useless.
Now it's tearing at its square corners.
It's tearing old Mary's garments off, knot by knot
and see - Now it's shot full of these electric bolts.
Zing! A resurrection! 

Once it was a boat, quite wooden
and with no business, no salt water under it
and in need of some paint. It was no more
than a group of boards. But you hoisted her, rigged her.
She's been elected.

My nerves are turned on. I hear them like
musical instruments. Where there was silence
the drums, the strings are incurably playing. You did this.
Pure genius at work. Darling, the composer has stepped
into fire. 

The Kiss
Anne Sexton

How far back in time could you go and still understand English?


The last work that we are analyzing in our lectures "Intro to Poetry", "English Poetry I" or "Introduction to English Poetry" is Beowulf. Here are the opening Lines of Beowulf In Old English. You may want to try to read them aloud before listening to the original version. Try it yourself:

Beowulf (Old English version)
BY ANONYMOUS
Hwæt. We Gardena in geardagum, 
þeodcyninga, þrym gefrunon, 
hu ða æþelingas ellen fremedon. 
Oft Scyld Scefing sceaþena þreatum, 
monegum mægþum, meodosetla ofteah, 
egsode eorlas. Syððan ærest wearð 
feasceaft funden, he þæs frofre gebad, 
weox under wolcnum, weorðmyndum þah, 
oðþæt him æghwylc þara ymbsittendra 
ofer hronrade hyran scolde, 
gomban gyldan. þæt wæs god cyning. 
ðæm eafera wæs æfter cenned, 
geong in geardum, þone god sende 
folce to frofre; fyrenðearfe ongeat 
þe hie ær drugon aldorlease 
lange hwile. Him þæs liffrea, 
wuldres wealdend, woroldare forgeaf; 
Beowulf wæs breme blæd wide sprang, 
Scyldes eafera Scedelandum in. 
Swa sceal geong guma gode gewyrcean, 
fromum feohgiftum on fæder bearme, 
þæt hine on ylde eft gewunigen 
wilgesiþas, þonne wig cume, 
leode gelæsten; lofdædum sceal 
in mægþa gehwære man geþeon. 
Him ða Scyld gewat to gescæphwile 
felahror feran on frean wære. 
Hi hyne þa ætbæron to brimes faroðe, 
swæse gesiþas, swa he selfa bæd, 
þenden wordum weold wine Scyldinga; 
leof landfruma lange ahte. 
þær æt hyðe stod hringedstefna, 
isig ond utfus, æþelinges fær. 
Aledon þa leofne þeoden, 
beaga bryttan, on bearm scipes, 
mærne be mæste. þær wæs madma fela 
of feorwegum, frætwa, gelæded; 
ne hyrde ic cymlicor ceol gegyrwan 
hildewæpnum ond heaðowædum, 
billum ond byrnum; him on bearme læg 
madma mænigo, þa him mid scoldon 
on flodes æht feor gewitan. 



13 Haziran 2019 Perşembe

“All Stories are True.” ― John Edgar Wideman


Happy Birthday to John Edgar Wideman (born June 14, 1941, Washington, D.C., U.S.), American writer regarded for his intricate literary style in novels about the experiences of black men in contemporary urban America.
for more pls read: https://www.britannica.com/biography/John-Edgar-Wideman


“They killed everyone in the camps. The whole world was dying there. Not only Jews. Even a black woman. Not gypsy. Not African. American like you, Mrs. Clara.

They said she was a dancer and could play any instrument. Said she could line up shoes from many countries and hop from one pair to the next, performing the dances of the world. They said the Queen of Denmark honored her with a gold trumpet. But she was there, in hell with the rest of us.

A woman like you. Many years ago. A lifetime ago. Young then as you would have been. And beautiful. As I believe you must have been, Mrs. Clara. Yes. Before America entered the war. Already camps had begun devouring people. All kinds of people. Yet she was rare. Only woman like her I saw until I came here, to this country, this city. And she saved my life.

Poor thing.

I was just a boy. Thirteen years old. The guards were beating me. I did not know why. Why? They didn't need a why. They just beat. And sometimes the beating ended in death because there was no reason to stop, just as there was no reason to begin. A boy. But I'd seen it many times. In the camp long enough to forget why I was alive, why anyone would want to live for long. They were hurting me, beating the life out of me but I was not surprised, expected no explanation. I remember curling up as I had seen a dog once cowering from the blows of a rolled newspaper. In the old country lifetimes ago. A boy in my village staring at a dog curled and rolling on its back in the dust outside a baker's shop and our baker in his white apron and tall white hat striking this mutt again and again. I didn't know what mischief this dog had done. I didn't understand why the fat man with flour on his apron was whipping it unmercifully. I simply saw it and hated the man, felt sorry for the animal, but already the child in me understood it could be no other way so I rolled and curled myself against the blows as I'd remembered the spotted dog in the dusty village street because that's the way it had to be. 

Then a woman's voice in a language I did not comprehend reached me. A woman angry, screeching. I heard her before I saw her. She must have been screaming at them to stop. She must have decided it was better to risk dying than watch the guards pound a boy to death. First I heard her voice, then she rushed in, fell on me, wrapped herself around me. The guards shouted at her. One tried to snatch her away. She wouldn't let go of me and they began to beat her too. I heard the thud of clubs on her back, felt her shudder each time a blow was struck. 

She fought to her feet, dragging me with her. Shielding me as we stumbled and slammed into a wall.

My head was buried in her smock. In the smell of her, the smell of dust, of blood. I was surprised how tiny she was, barely my size, but strong, very strong. Her fingers dug into my shoulders, squeezing, gripping hard enough to hurt me if I hadn't been past the point of feeling pain. Her hands were strong, her legs alive and warm, churning, churning as she pressed me against herself, into her. Somehow she'd pulled me up and back to the barracks wall, propping herself, supporting me, sheltering me. Then she screamed at them in this language I use now but did not know one word of then, cursing them, I'm sure, in her mother tongue, a stream of spit and sputtering sounds as if she could build a wall of words they could not cross. 

The kapos hesitated, astounded by what she'd dared. Was this black one a madwoman, a witch? Then they tore me from her grasp, pushed me down and I crumpled there in the stinking mud of the compound. One more kick, a numbing, blinding smash that took my breath away. Blood flooded my eyes. I lost consciousness. Last I saw of her she was still fighting, slim, beautiful legs kicking at them as they dragged and punched her across the yard. 

You say she was colored?

Yes. Yes. A dark angel who fell from the sky and saved me.” 
― John Edgar Wideman, Fever

W.B YEATS DAY CHALLENGE JUNE 13th


“I have spread my dreams under your feet. Tread softly because you tread on my dreams.”  ― W.B. Yeats















In memory of William Butler Yeats born on this day in 1865. Yeats is widely considered to be one of the greatest poets of the 20th century. He belonged to the Protestant, Anglo-Irish minority that had controlled the economic, political, social, and cultural life of Ireland since at least the end of the 17th century. Most members of this minority considered themselves English people who  happened to have been born in Ireland, but Yeats was staunch in affirming his Irish nationality.


"The Second Coming" by William Butler Yeats


https://tinselcreation.com/2015/07/07/william-butler-yeats-song-of-wandering-aengus-trina-schart-hyman-for-cricket-magazine/

“Song of Wandering Aengus” 
by William Butler Yeats

I went out to the hazel wood,
Because a fire was in my head,
And cut and peeled a hazel wand,
And hooked a berry to a thread;
And when white moths were on the wing,
And moth-like stars were flickering out,
I dropped the berry in a stream
And caught a little silver trout.

When I had laid it on the floor
I went to blow the fire a-flame,
But something rustled on the floor,
And someone called me by my name:
It had become a glimmering girl
With apple blossom in her hair
Who called me by my name and ran
And faded through the brightening air.

Though I am old with wandering
Through hollow lands and hilly lands,
I will find out where she has gone,
And kiss her lips and take her hands;
And walk among long dappled grass,
And pluck till time and times are done,
The silver apples of the moon,
The golden apples of the sun.



Donovan - The Song Of Wandering Aengus


11 Haziran 2019 Salı

SINGLE COURSE EXAMS-GRADES ARE ANNOUNCED

Dear Students,
The single course exam will be held on 13.06.2019. Please contact the research assistant and the department for further details. Pls be aware that I do not use the uni-system. If you need guidiance you can send me an e-mail.
best
gh

A WORLDWIDE MOVEMENT FOR SOCIAL CHANGE



DON’T JUDGE A BOOK BY ITS COVER

                                                                                                       @diaspora_turk

The Human Library™ is designed to build a positive framework for conversations that can challenge stereotypes and prejudices through dialogue.
The Human Library is a place where real people are on loan to readers.
A place where difficult questions are expected, appreciated and answered.
You can find the books here:
http://humanlibrary.org/meet-our-human-books/

THE ORIGIN OF THE HUMAN LIBRARY
The Human Library or “Menneskebiblioteket” as it is called in Danish, was developed in Copenhagen in the spring of 2000 as a project for Roskilde Festival by Ronni Abergel and his brother Dany and colleagues Asma Mouna and Christoffer Erichsen.

The original event was open eight hours a day for four days straight and featured over fifty different titles. The broad selection of books provided readers with ample choice to challenge their stereotypes and so they did. More than a thousand readers took advantage leaving books, librarians, organisers and readers stunned at the impact of the Human Library.
for more pls read:
http://humanlibrary.org/

 @diaspora_turk

Here you can check a human library in Istanbul-Turkey:
https://cip.sabanciuniv.edu/tr/duyuru-humanlibrary


10 Haziran 2019 Pazartesi

Unexpected intrusions of beauty. This is what life is. -Saul Bellow


Saul Bellow's handwritten drafts of his novel "The Adventures of Augie March" part of his archives on display inside the University of Chicago's Regenstein Library exhibit. https://pilotonline.com/entertainment/books/article_951a7430-8649-11e9-85e6-cb71852b04ef.html?utm_source=dlvr.it&utm_medium=twitter

Happy Birthday to Saul Bellow (born 10 June 1915) was a Canadian-American writer. For his literary work, he was awarded the Pulitzer Prize, the Nobel Prize for Literature, and the National Medal of Arts.

for more pls read: Zachary Leader, Bellow’s biographer, selects five must-reads by the great American author: https://www.theguardian.com/books/2015/apr/17/the-five-essential-saul-bellow-novels
      
Saul Bellow (1915-2005) writer

7 Haziran 2019 Cuma

“Poetry is life distilled.” ― Gwendolyn Brooks


https://manualcinema.com/event/no-blue-memories-the-life-of-gwendolyn-brooks-chan-center-vancouver-canada/

Happy Birthday to Gwendolyn Brooks, who is one of the most highly regarded, influential, and widely read poets of 20th-century American poetry. She was a much-honored poet, even in her lifetime, with the distinction of being the first Black author to win the Pulitzer Prize. She also was poetry consultant to the Library of Congress—the first Black woman to hold that position—and poet laureate of the State of Illinois. Many of Brooks’s works display a political consciousness, especially those from the 1960s and later, with several of her poems reflecting the civil rights activism of that period. 

6 Haziran 2019 Perşembe

“In books we never find anything but ourselves. Strangely enough, that always gives us great pleasure, and we say the author is a genius.” ― Thomas Mann

rain, 2010, Nazar Bilyk, http://bilyknazar.com/


“And life? Life itself? Was it perhaps only an infection, a sickening of matter? Was that which one might call the original procreation of matter only a disease, a growth produced by morbid stimulation of the immaterial? The first step toward evil, toward desire and death, was taken precisely then, when there took place that first increase in the density of the spiritual, that pathologically luxuriant morbid growth, produced by the irritant of some unknown infiltration; this, in part pleasurable, in part a motion of self-defense, was the primeval stage of matter, the transition from the insubstantial to the substance. This was the Fall.” 
― Thomas Mann, The Magic Mountain


“Nothing is more curious and awkward than the relationship of two people who only know each other with their eyes — who meet and observe each other daily, even hourly and who keep up the impression of disinterest either because of morals or because of a mental abnormality. Between them there is listlessness and pent-up curiosity, the hysteria of an unsatisfied, unnaturally suppressed need for communion and also a kind of tense respect. Because man loves and honors man as long as he is not able to judge him, and desire is a product of lacking knowledge.”
― Thomas Mann, Death in Venice and Other Tales

In memory to Thomas Mann who was born today (born June 6, 1875— 1955). A German novelist and essayist whose early novels—Buddenbrooks (1900), Der Tod in Venedig (1912; Death in Venice), and Der Zauberberg (1924; The Magic Mountain)—earned him the Nobel Prize for Literature in 1929.

Mann was the greatest German novelist of the 20th century, and by the end of his life his works had acquired the status of classics both within and without Germany. His subtly structured novels and shorter stories constitute a persistent and imaginative enquiry into the nature of Western bourgeois culture, in which a haunting awareness of its precariousness and threatened disintegration is balanced by an appreciation of and tender concern for its spiritual achievements. Round this central theme cluster a group of related problems that recur in different forms—the relation of thought to reality and of the artist to society, the complexity of reality and of time, the seductions of spirituality, eros, and death. Mann’s imaginative and practical involvement in the social and political catastrophes of his time provided him with fresh insights that make his work rich and varied. His finely wrought essays, notably those on Tolstoy, Goethe, Freud, and Nietzsche, record the intellectual struggles through which he reached the ethical commitment that shapes the major imaginative works.

for more pls read:
https://www.britannica.com/biography/Thomas-Mann
http://www.tma.ethz.ch/en/
https://www.nobelprize.org/prizes/literature/1929/mann/biographical/

4 Haziran 2019 Salı

"It is June. I am tired of being brave" -Anne Sexton

                                                                                                                             @kulturtava
For June 2019 playlist, the Poetry Foundation asked contributor Wayne Holloway-Smith, whose poem “‘I want you to leave your body now’ he tells me” appears in the issue, to curate a selection of music. 

"As always, June’s issue of Poetry has been emotionally exciting, surprising, a privilege to read. Something I personally felt most powerfully, this month, was the sense of memory and of resistance, and perhaps a sense of how a type of resistance can take place through memory. Instead of attempting to create a playlist to reflect this on my own, I wanted to try for a collaborative experience. I therefore asked some poets I admire for a song that they felt in some way made sense in relation to the above. It’s been fun to see what each has chosen. Below is a list of the tracks and the poets who suggested them. I hope everyone finds something they enjoy here." (Holloway-Smith)
Click here to open the playlist in your Spotify app:

“Vitamin C” by CAN—Wayne Holloway-Smith
“Wash It Down” by K’NAAN—Inua Ellams
“Fantasy” by Mariah Carey, featuring Ol’ Dirty Bastard—Sophie Collins
“Mississippi Goddam” by Nina Simone—Daljit Nagra
“You or Your Memory” by the Mountain Goats—Joe Dunthorne
“Timelessness” by Wynton Marsalis—Raymond Antrobus
“Something’s Got a Hold on Me” by Etta James—Jack Underwood
“History of Touches” by Björk—Helen Charman
“Wicked Game” by Chris Isaak—Emily Berry
“In My Secret Life” by Leonard Cohen—Caroline Bird
“Winter” by Tori Amos—Sandeep Parmar
“The Trapeze Swinger” by Iron & Wine—Fiona Benson
“Abide with Me” by Thelonious Monk Septet—Will Harris
“The Words That Maketh Murder” by PJ Harvey—Rebecca Tamás
“Cedar Lane” by First Aid Kit—Andrew McMillan
“Knee-Deep in the North Sea” by Portico Quartet—Anthony Anaxagorou
“These Days” by Nico—Katharine Kilalea
“Why Did You Separate Me from the Earth” by ANOHNI—Rebecca Perry
“Remember” by Seinabo Sey ft. Jacob Banks—Ruth Sutoyé
“Shanzhai (for Shanzhai Biennial)” by Fatima Al Qadiri—Crispin Best
“Attica” by Frederic Rzewski—Alex MacDonald
“Juicy” by the Notorious B.I.G.—Rachel Long
“Hot Topic” by Le Tigre—Liz Berry
“Addictions” by Lucy Dacus—Luke Kennard
“Django Jane” by Janelle Monáe—Mary Jean Chan
“Character” by Van Hunt—Theresa Lola
“Solid Air” by John Martyn—Martha Sprackland
“Skeletons” by Yeah Yeah Yeahs—Amy Key

3 Haziran 2019 Pazartesi

“We're all golden sunflowers inside.” ― Allen Ginsberg

                                               First recording of "Howl" read by Allen Ginsberg, 1956

Happy Birthday to Allen Ginsberg who is a leading figure of both the 1950s Beat Generation of poets and writers and of the 1960s counterculture that followed, along with other famous writers Jack Kerouac and William S. Burroughs.
He is best known for his epic poem "Howl", in which he denounced what he saw as the destructive forces of capitalism and conformity in the United States Ginsberg was also a Pulitzer Prize finalist in 1995 for his book "Cosmopolitan Greetings: Poems 1986–1992".


Howl

For Carl Solomon
I

I saw the best minds of my generation destroyed by madness, starving hysterical naked,
dragging themselves through the negro streets at dawn looking for an angry fix,
angelheaded hipsters burning for the ancient heavenly connection to the starry dynamo in the machinery of night,
who poverty and tatters and hollow-eyed and high sat up smoking in the supernatural darkness of cold-water flats floating across the tops of cities contemplating jazz,
who bared their brains to Heaven under the El and saw Mohammedan angels staggering on tenement roofs illuminated,
who passed through universities with radiant cool eyes hallucinating Arkansas and Blake-light tragedy among the scholars of war,
who were expelled from the academies for crazy & publishing obscene odes on the windows of the skull,
who cowered in unshaven rooms in underwear, burning their money in wastebaskets and listening to the Terror through the wall,
who got busted in their pubic beards returning through Laredo with a belt of marijuana for New York,
who ate fire in paint hotels or drank turpentine in Paradise Alley, death, or purgatoried their torsos night after night
with dreams, with drugs, with waking nightmares, alcohol and cock and endless balls,
incomparable blind streets of shuddering cloud and lightning in the mind leaping toward poles of Canada & Paterson, illuminating all the motionless world of Time between,
Peyote solidities of halls, backyard green tree cemetery dawns, wine drunkenness over the rooftops, storefront boroughs of teahead joyride neon blinking traffic light, sun and moon and tree vibrations in the roaring winter dusks of Brooklyn, ashcan rantings and kind king light of mind,
who chained themselves to subways for the endless ride from Battery to holy Bronx on benzedrine until the noise of wheels and children brought them down shuddering mouth-wracked and battered bleak of brain all drained of brilliance in the drear light of Zoo,
who sank all night in submarine light of Bickford’s floated out and sat through the stale beer afternoon in desolate Fugazzi’s, listening to the crack of doom on the hydrogen jukebox,
who talked continuously seventy hours from park to pad to bar to Bellevue to museum to the Brooklyn Bridge,
a lost battalion of platonic conversationalists jumping down the stoops off fire escapes off windowsills off Empire State out of the moon,
yacketayakking screaming vomiting whispering facts and memories and anecdotes and eyeball kicks and shocks of hospitals and jails and wars,
whole intellects disgorged in total recall for seven days and nights with brilliant eyes, meat for the Synagogue cast on the pavement,
who vanished into nowhere Zen New Jersey leaving a trail of ambiguous picture postcards of Atlantic City Hall,
suffering Eastern sweats and Tangerian bone-grindings and migraines of China under junk-withdrawal in Newark’s bleak furnished room,   
who wandered around and around at midnight in the railroad yard wondering where to go, and went, leaving no broken hearts,
who lit cigarettes in boxcars boxcars boxcars racketing through snow toward lonesome farms in grandfather night,
who studied Plotinus Poe St. John of the Cross telepathy and bop kabbalah because the cosmos instinctively vibrated at their feet in Kansas,   
who loned it through the streets of Idaho seeking visionary indian angels who were visionary indian angels,
who thought they were only mad when Baltimore gleamed in supernatural ecstasy,
who jumped in limousines with the Chinaman of Oklahoma on the impulse of winter midnight streetlight smalltown rain,
who lounged hungry and lonesome through Houston seeking jazz or sex or soup, and followed the brilliant Spaniard to converse about America and Eternity, a hopeless task, and so took ship to Africa,
who disappeared into the volcanoes of Mexico leaving behind nothing but the shadow of dungarees and the lava and ash of poetry scattered in fireplace Chicago,
who reappeared on the West Coast investigating the FBI in beards and shorts with big pacifist eyes sexy in their dark skin passing out incomprehensible leaflets,
who burned cigarette holes in their arms protesting the narcotic tobacco haze of Capitalism,
who distributed Supercommunist pamphlets in Union Square weeping and undressing while the sirens of Los Alamos wailed them down, and wailed down Wall, and the Staten Island ferry also wailed,
who broke down crying in white gymnasiums naked and trembling before the machinery of other skeletons,
who bit detectives in the neck and shrieked with delight in policecars for committing no crime but their own wild cooking pederasty and intoxication,
who howled on their knees in the subway and were dragged off the roof waving genitals and manuscripts,
who let themselves be fucked in the ass by saintly motorcyclists, and screamed with joy,
who blew and were blown by those human seraphim, the sailors, caresses of Atlantic and Caribbean love,
who balled in the morning in the evenings in rosegardens and the grass of public parks and cemeteries scattering their semen freely to whomever come who may,
who hiccuped endlessly trying to giggle but wound up with a sob behind a partition in a Turkish Bath when the blond & naked angel came to pierce them with a sword,
who lost their loveboys to the three old shrews of fate the one eyed shrew of the heterosexual dollar the one eyed shrew that winks out of the womb and the one eyed shrew that does nothing but sit on her ass and snip the intellectual golden threads of the craftsman’s loom,
who copulated ecstatic and insatiate with a bottle of beer a sweetheart a package of cigarettes a candle and fell off the bed, and continued along the floor and down the hall and ended fainting on the wall with a vision of ultimate cunt and come eluding the last gyzym of consciousness,
who sweetened the snatches of a million girls trembling in the sunset, and were red eyed in the morning but prepared to sweeten the snatch of the sunrise, flashing buttocks under barns and naked in the lake,
who went out whoring through Colorado in myriad stolen night-cars, N.C., secret hero of these poems, cocksman and Adonis of Denver—joy to the memory of his innumerable lays of girls in empty lots & diner backyards, moviehouses’ rickety rows, on mountaintops in caves or with gaunt waitresses in familiar roadside lonely petticoat upliftings & especially secret gas-station solipsisms of johns, & hometown alleys too,
who faded out in vast sordid movies, were shifted in dreams, woke on a sudden Manhattan, and picked themselves up out of basements hung-over with heartless Tokay and horrors of Third Avenue iron dreams & stumbled to unemployment offices,
who walked all night with their shoes full of blood on the snowbank docks waiting for a door in the East River to open to a room full of steam-heat and opium,
who created great suicidal dramas on the apartment cliff-banks of the Hudson under the wartime blue floodlight of the moon & their heads shall be crowned with laurel in oblivion,
who ate the lamb stew of the imagination or digested the crab at the muddy bottom of the rivers of Bowery,
who wept at the romance of the streets with their pushcarts full of onions and bad music,
who sat in boxes breathing in the darkness under the bridge, and rose up to build harpsichords in their lofts,
who coughed on the sixth floor of Harlem crowned with flame under the tubercular sky surrounded by orange crates of theology,
who scribbled all night rocking and rolling over lofty incantations which in the yellow morning were stanzas of gibberish,
who cooked rotten animals lung heart feet tail borsht & tortillas dreaming of the pure vegetable kingdom,
who plunged themselves under meat trucks looking for an egg,
who threw their watches off the roof to cast their ballot for Eternity outside of Time, & alarm clocks fell on their heads every day for the next decade,
who cut their wrists three times successively unsuccessfully, gave up and were forced to open antique stores where they thought they were growing old and cried,
who were burned alive in their innocent flannel suits on Madison Avenue amid blasts of leaden verse & the tanked-up clatter of the iron regiments of fashion & the nitroglycerine shrieks of the fairies of advertising & the mustard gas of sinister intelligent editors, or were run down by the drunken taxicabs of Absolute Reality,
who jumped off the Brooklyn Bridge this actually happened and walked away unknown and forgotten into the ghostly daze of Chinatown soup alleyways & firetrucks, not even one free beer,
who sang out of their windows in despair, fell out of the subway window, jumped in the filthy Passaic, leaped on negroes, cried all over the street, danced on broken wineglasses barefoot smashed phonograph records of nostalgic European 1930s German jazz finished the whiskey and threw up groaning into the bloody toilet, moans in their ears and the blast of colossal steamwhistles,
who barreled down the highways of the past journeying to each other’s hotrod-Golgotha jail-solitude watch or Birmingham jazz incarnation,
who drove crosscountry seventytwo hours to find out if I had a vision or you had a vision or he had a vision to find out Eternity,
who journeyed to Denver, who died in Denver, who came back to Denver & waited in vain, who watched over Denver & brooded & loned in Denver and finally went away to find out the Time, & now Denver is lonesome for her heroes,
who fell on their knees in hopeless cathedrals praying for each other’s salvation and light and breasts, until the soul illuminated its hair for a second,
who crashed through their minds in jail waiting for impossible criminals with golden heads and the charm of reality in their hearts who sang sweet blues to Alcatraz,
who retired to Mexico to cultivate a habit, or Rocky Mount to tender Buddha or Tangiers to boys or Southern Pacific to the black locomotive or Harvard to Narcissus to Woodlawn to the daisychain or grave,
who demanded sanity trials accusing the radio of hypnotism & were left with their insanity & their hands & a hung jury,
who threw potato salad at CCNY lecturers on Dadaism and subsequently presented themselves on the granite steps of the madhouse with shaven heads and harlequin speech of suicide, demanding instantaneous lobotomy,
and who were given instead the concrete void of insulin Metrazol electricity hydrotherapy psychotherapy occupational therapy pingpong & amnesia,
who in humorless protest overturned only one symbolic pingpong table, resting briefly in catatonia,
returning years later truly bald except for a wig of blood, and tears and fingers, to the visible madman doom of the wards of the madtowns of the East,
Pilgrim State’s Rockland’s and Greystone’s foetid halls, bickering with the echoes of the soul, rocking and rolling in the midnight solitude-bench dolmen-realms of love, dream of life a nightmare, bodies turned to stone as heavy as the moon,
with mother finally ******, and the last fantastic book flung out of the tenement window, and the last door closed at 4 A.M. and the last telephone slammed at the wall in reply and the last furnished room emptied down to the last piece of mental furniture, a yellow paper rose twisted on a wire hanger in the closet, and even that imaginary, nothing but a hopeful little bit of hallucination—
ah, Carl, while you are not safe I am not safe, and now you’re really in the total animal soup of time—
and who therefore ran through the icy streets obsessed with a sudden flash of the alchemy of the use of the ellipsis catalogue a variable measure and the vibrating plane,
who dreamt and made incarnate gaps in Time & Space through images juxtaposed, and trapped the archangel of the soul between 2 visual images and joined the elemental verbs and set the noun and dash of consciousness together jumping with sensation of Pater Omnipotens Aeterna Deus
to recreate the syntax and measure of poor human prose and stand before you speechless and intelligent and shaking with shame, rejected yet confessing out the soul to conform to the rhythm of thought in his naked and endless head,
the madman bum and angel beat in Time, unknown, yet putting down here what might be left to say in time come after death,
and rose reincarnate in the ghostly clothes of jazz in the goldhorn shadow of the band and blew the suffering of America’s naked mind for love into an eli eli lamma lamma sabacthani saxophone cry that shivered the cities down to the last radio
with the absolute heart of the poem of life butchered out of their own bodies good to eat a thousand years.


II

What sphinx of cement and aluminum bashed open their skulls and ate up their brains and imagination?
Moloch! Solitude! Filth! Ugliness! Ashcans and unobtainable dollars! Children screaming under the stairways! Boys sobbing in armies! Old men weeping in the parks!
Moloch! Moloch! Nightmare of Moloch! Moloch the loveless! Mental Moloch! Moloch the heavy judger of men!
Moloch the incomprehensible prison! Moloch the crossbone soulless jailhouse and Congress of sorrows! Moloch whose buildings are judgment! Moloch the vast stone of war! Moloch the stunned governments!
Moloch whose mind is pure machinery! Moloch whose blood is running money! Moloch whose fingers are ten armies! Moloch whose breast is a cannibal dynamo! Moloch whose ear is a smoking tomb!
Moloch whose eyes are a thousand blind windows! Moloch whose skyscrapers stand in the long streets like endless Jehovahs! Moloch whose factories dream and croak in the fog! Moloch whose smoke-stacks and antennae crown the cities!
Moloch whose love is endless oil and stone! Moloch whose soul is electricity and banks! Moloch whose poverty is the specter of genius! Moloch whose fate is a cloud of sexless hydrogen! Moloch whose name is the Mind!
Moloch in whom I sit lonely! Moloch in whom I dream Angels! Crazy in Moloch! Cocksucker in Moloch! Lacklove and manless in Moloch!
Moloch who entered my soul early! Moloch in whom I am a consciousness without a body! Moloch who frightened me out of my natural ecstasy! Moloch whom I abandon! Wake up in Moloch! Light streaming out of the sky!
Moloch! Moloch! Robot apartments! invisible suburbs! skeleton treasuries! blind capitals! demonic industries! spectral nations! invincible madhouses! granite cocks! monstrous bombs!
They broke their backs lifting Moloch to Heaven! Pavements, trees, radios, tons! lifting the city to Heaven which exists and is everywhere about us!
Visions! omens! hallucinations! miracles! ecstasies! gone down the American river!
Dreams! adorations! illuminations! religions! the whole boatload of sensitive bullshit!
Breakthroughs! over the river! flips and crucifixions! gone down the flood! Highs! Epiphanies! Despairs! Ten years’ animal screams and suicides! Minds! New loves! Mad generation! down on the rocks of Time!
Real holy laughter in the river! They saw it all! the wild eyes! the holy yells! They bade farewell! They jumped off the roof! to solitude! waving! carrying flowers! Down to the river! into the street!


III

Carl Solomon! I’m with you in Rockland
   where you’re madder than I am
I’m with you in Rockland
   where you must feel very strange
I’m with you in Rockland
   where you imitate the shade of my mother
I’m with you in Rockland
   where you’ve murdered your twelve secretaries
I’m with you in Rockland
   where you laugh at this invisible humor
I’m with you in Rockland
   where we are great writers on the same dreadful typewriter
I’m with you in Rockland
   where your condition has become serious and is reported on the radio
I’m with you in Rockland
   where the faculties of the skull no longer admit the worms of the senses
I'm with you in Rockland
   where you drink the tea of the breasts of the spinsters of Utica
I’m with you in Rockland
   where you pun on the bodies of your nurses the harpies of the Bronx
I’m with you in Rockland
   where you scream in a straightjacket that you’re losing the game of the actual pingpong of the abyss
I’m with you in Rockland
   where you bang on the catatonic piano the soul is innocent and immortal it should never die ungodly in an armed madhouse
I’m with you in Rockland
   where fifty more shocks will never return your soul to its body again from its pilgrimage to a cross in the void
I’m with you in Rockland
   where you accuse your doctors of insanity and plot the Hebrew socialist revolution against the fascist national Golgotha
I’m with you in Rockland
   where you will split the heavens of Long Island and resurrect your living human Jesus from the superhuman tomb
I’m with you in Rockland
   where there are twentyfive thousand mad comrades all together singing the final stanzas of the Internationale
I’m with you in Rockland
   where we hug and kiss the United States under our bedsheets the United States that coughs all night and won’t let us sleep
I’m with you in Rockland
   where we wake up electrified out of the coma by our own souls’ airplanes roaring over the roof they’ve come to drop angelic bombs the hospital illuminates itself    imaginary walls collapse    O skinny legions run outside    O starry-spangled shock of mercy the eternal war is here    O victory forget your underwear we’re free
I’m with you in Rockland
   in my dreams you walk dripping from a sea-journey on the highway across America in tears to the door of my cottage in the Western night
Allen Ginsberg, “Howl” from Collected Poems, 1947-1980. Copyright © 1984 by Allen Ginsberg. Used with the permission of HarperCollins Publishers.
Source: Selected Poems 1947-1995 (HarperPerennial, 2001)

"La poesia appartiene a chi ne ha bisogno, non a chi la scrive." - Il Postino (1994) #worldpoetryday

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