Drawing by Djuna Barnes
Saturday, October 11, 2014
Monday, October 6, 2014
Selection of Spoken Word Poetry Videos
"I Do"
"Dear Straight People"
"Dear Straight People"
"God Is Gay"
"Small Towns"
"Unbuttoning My Boy Shirt"
Thursday, September 18, 2014
Frank O'Hara's "Personism"
Everything is in the poems, but at the risk of sounding like the poor wealthy man’s Allen Ginsberg I will write to you because I just heard that one of my fellow poets thinks that a poem of mine that can’t be got at one reading is because I was confused too. Now, come on. I don’t believe in god, so I don’t have to make elaborately sounded structures. I hate Vachel Lindsay, always have, I don’t even like rhythm, assonance, all that stuff. You just go on your nerve. If someone’s chasing you down the street with a knife you just run, you don’t turn around and shout, "Give it up! I was a track star for Mineola Prep."
That’s for the writing poems part. As for their reception, suppose you’re in love and someone’s mistreating (mal aimé) you, you don’t say, "Hey, you can’t hurt me this way, I care!" you just let all the different bodies fall where they may, and they always do ‘flay after a few months. But that’s not why you fell in love in the first place, just to hang onto life, so you have to take your chances and try to avoid being logical. Pain always produces logic, which is very bad for you.
I’m not saying that I don’t have practically the most lofty ideas of anyone writing today, but what difference does that make? they’re just ideas. The only good thing about it is that when I get lofty enough I’ve stopped thinking and that’s when refreshment arrives.
But how can you really care if anybody gets it, or gets what it means, or if it improves them. Improves them for what? for death? Why hurry them along? Too many poets act like a middle-aged mother trying to get her kids to eat too much cooked meat, and potatoes with drippings (tears). I don’t give a damn whether eat or not. Forced feeding leads to excessive thinness (effete). Nobody should experience anything they don’t need to, if they don’t need poetry bully for them, I like the movies too. And all, only Whitman and Crane and Williams, of the American are better than the movies. As for measure and other technical apparatus, that’s just common sense: if you’re going to buy a of pants you want them to be tight enough so everyone will want to go to bed with you. There’s nothing metaphysical about it. Unless of course, you flatter yourself into thinking that what You’re experiencing is "yearning."
Abstraction in poetry, which Allen recently commented on in It is, is intriguing. I think it appears mostly in the minute particu1ars where decision is necessary. Abstraction (in poetry, not in painting) involves personal removal by the poet. For instance, the decision involved in the choice between "the nostalgia of the infinite" and "the nostalgia for the infinite" defines an attitude toward degree of abstraction. The nostalgia of the infinite representing the greater degree of abstraction, removal, and negative capability (as in Keats and Mallarmé). Personism, a movement which I recently founded and which nobody yet knows about, interests me a great deal, being so totally opposed to this kind of abstract removal that it is verging on a true abstraction for the first time, really, in the history of poetry. Personism is to Wallace Stevens what la poésie pure was to Béranger. Personism has nothing to do with philosophy, it’s all art. It does not have to do with personality or intimacy, far from it! But to give you a vague idea, one of its minimal aspects is to address itself to one person (other than the poet himself), thus evoking overtones of love without destroying love’s life-giving vulgarity, and sustaining the poet’s feelings towards the poem while preventing love from distracting him into feeling about the person. That’s part of personism. It was founded by me after lunch with LeRoi Jones on August 27, 1959, a day in which I was in love with someone (not Roi, by the way, a blond). I went back to work and wrote a poem for this person. While I was writing it I was realizing that if I wanted to I could use the telephone instead of writing the poem, and so Personism was born. It’s a very exciting movement which will undoubtedly have lots of adherents. It puts the poem squarely between the poet and the person, Lucky Pierre style, and the poem is correspondingly gratified. The poem is at last between two persons instead of two pages.
That’s for the writing poems part. As for their reception, suppose you’re in love and someone’s mistreating (mal aimé) you, you don’t say, "Hey, you can’t hurt me this way, I care!" you just let all the different bodies fall where they may, and they always do ‘flay after a few months. But that’s not why you fell in love in the first place, just to hang onto life, so you have to take your chances and try to avoid being logical. Pain always produces logic, which is very bad for you.
I’m not saying that I don’t have practically the most lofty ideas of anyone writing today, but what difference does that make? they’re just ideas. The only good thing about it is that when I get lofty enough I’ve stopped thinking and that’s when refreshment arrives.
But how can you really care if anybody gets it, or gets what it means, or if it improves them. Improves them for what? for death? Why hurry them along? Too many poets act like a middle-aged mother trying to get her kids to eat too much cooked meat, and potatoes with drippings (tears). I don’t give a damn whether eat or not. Forced feeding leads to excessive thinness (effete). Nobody should experience anything they don’t need to, if they don’t need poetry bully for them, I like the movies too. And all, only Whitman and Crane and Williams, of the American are better than the movies. As for measure and other technical apparatus, that’s just common sense: if you’re going to buy a of pants you want them to be tight enough so everyone will want to go to bed with you. There’s nothing metaphysical about it. Unless of course, you flatter yourself into thinking that what You’re experiencing is "yearning."
Abstraction in poetry, which Allen recently commented on in It is, is intriguing. I think it appears mostly in the minute particu1ars where decision is necessary. Abstraction (in poetry, not in painting) involves personal removal by the poet. For instance, the decision involved in the choice between "the nostalgia of the infinite" and "the nostalgia for the infinite" defines an attitude toward degree of abstraction. The nostalgia of the infinite representing the greater degree of abstraction, removal, and negative capability (as in Keats and Mallarmé). Personism, a movement which I recently founded and which nobody yet knows about, interests me a great deal, being so totally opposed to this kind of abstract removal that it is verging on a true abstraction for the first time, really, in the history of poetry. Personism is to Wallace Stevens what la poésie pure was to Béranger. Personism has nothing to do with philosophy, it’s all art. It does not have to do with personality or intimacy, far from it! But to give you a vague idea, one of its minimal aspects is to address itself to one person (other than the poet himself), thus evoking overtones of love without destroying love’s life-giving vulgarity, and sustaining the poet’s feelings towards the poem while preventing love from distracting him into feeling about the person. That’s part of personism. It was founded by me after lunch with LeRoi Jones on August 27, 1959, a day in which I was in love with someone (not Roi, by the way, a blond). I went back to work and wrote a poem for this person. While I was writing it I was realizing that if I wanted to I could use the telephone instead of writing the poem, and so Personism was born. It’s a very exciting movement which will undoubtedly have lots of adherents. It puts the poem squarely between the poet and the person, Lucky Pierre style, and the poem is correspondingly gratified. The poem is at last between two persons instead of two pages.
[9/3/59]
Monday, September 5, 2011
Plato's "Symposium"
"Speech of Aristophanes"
Yes, said Aristophanes, who followed, the hiccough is gone; not, however, until I applied the sneezing; and I wonder whether the harmony of the body has a love of such noises and ticklings, for I no sooner applied the sneezing than I was cured.
Eryximachus said: Beware, friend Aristophanes, although you are going to speak, you are making fun of me; and I shall have to watch and see whether I cannot have a laugh at your expense, when you might speak in peace.
You are right, said Aristophanes, laughing. I will unsay my words; but do you please not to watch me, as I fear that in the speech which I am about to make, instead of others laughing with me, which is to the manner born of our muse and would be all the better, I shall only be laughed at by them.
Do you expect to shoot your bolt and escape, Aristophanes? Well, perhaps if you are very careful and bear in mind that you will be called to account, I may be induced to let you off.
Aristophanes professed to open another vein of discourse; he had a mind to praise Love in another way, unlike that either of Pausanias or Eryximachus. Mankind, he said, judging by their neglect of him, have never, as I think, at all understood the power of Love. For if they had understood him they would surely have built noble temples and altars, and offered solemn sacrifices in his honour; but this is not done, and most certainly ought to be done: since of all the gods he is the best friend of men, the helper and the healer of the ills which are the great impediment to the happiness of the race. I will try to describe his power to you, and you shall teach the rest of the world what I am teaching you. In the first place, let me treat of the nature of man and what has happened to it; for the original human nature was not like the present, but different. The sexes were not two as they are now, but originally three in number; there was man, woman, and the union of the two, having a name corresponding to this double nature, which had once a real existence, but is now lost, and the word 'Androgynous' is only preserved as a term of reproach. In the second place, the primeval man was round, his back and sides forming a circle; and he had four hands and four feet, one head with two faces, looking opposite ways, set on a round neck and precisely alike; also four ears, two privy members, and the remainder to correspond. He could walk upright as men now do, backwards or forwards as he pleased, and he could also roll over and over at a great pace, turning on his four hands and four feet, eight in all, like tumblers going over and over with their legs in the air; this was when he wanted to run fast. Now the sexes were three, and such as I have described them; because the sun, moon, and earth are three; and the man was originally the child of the sun, the woman of the earth, and the man-woman of the moon, which is made up of sun and earth, and they were all round and moved round and round like their parents. Terrible was their might and strength, and the thoughts of their hearts were great, and they made an attack upon the gods; of them is told the tale of Otys and Ephialtes who, as Homer says, dared to scale heaven, and would have laid hands upon the gods.
Doubt reigned in the celestial councils. Should they kill them and annihilate the race with thunderbolts, as they had done the giants, then there would be an end of the sacrifices and worship which men offered to them; but, on the other hand, the gods could not suffer their insolence to be unrestrained. At last, after a good deal of reflection, Zeus discovered a way. He said: 'Methinks I have a plan which will humble their pride and improve their manners; men shall continue to exist, but I will cut them in two and then they will be diminished in strength and increased in numbers; this will have the advantage of making them more profitable to us. They shall walk upright on two legs, and if they continue insolent and will not be quiet, I will split them again and they shall hop about on a single leg.' He spoke and cut men in two, like a sorb-apple which is halved for pickling, or as you might divide an egg with a hair; and as he cut them one after another, he bade Apollo give the face and the half of the neck a turn in order that the man might contemplate the section of himself: he would thus learn a lesson of humility. Apollo was also bidden to heal their wounds and compose their forms. So he gave a turn to the face and pulled the skin from the sides all over that which in our language is called the belly, like the purses which draw in, and he made one mouth at the centre, which he fastened in a knot (the same which is called the navel); he also moulded the breast and took out most of the wrinkles, much as a shoemaker might smooth leather upon a last; he left a few, however, in the region of the belly and navel, as a memorial of the primeval state.
After the division the two parts of man, each desiring his other half, came together, and throwing their arms about one another, entwined in mutual embraces, longing to grow into one, they were on the point of dying from hunger and self-neglect, because they did not like to do anything apart; and when one of the halves died and the other survived, the survivor sought another mate, man or woman as we call them,—being the sections of entire men or women,—and clung to that. They were being destroyed, when Zeus in pity of them invented a new plan: he turned the parts of generation round to the front, for this had not been always their position, and they sowed the seed no longer as hitherto like grasshoppers in the ground, but in one another; and after the transposition the male generated in the female in order that by the mutual embraces of man and woman they might breed, and the race might continue; or if man came to man they might be satisfied, and rest, and go their ways to the business of life: so ancient is the desire of one another which is implanted in us, reuniting our original nature, making one of two, and healing the state of man. Each of us when separated, having one side only, like a flat fish, is but the indenture of a man, and he is always looking for his other half. Men who are a section of that double nature which was once called Androgynous are lovers of women; adulterers are generally of this breed, and also adulterous women who lust after men: the women who are a section of the woman do not care for men, but have female attachments; the female companions are of this sort. But they who are a section of the male follow the male, and while they are young, being slices of the original man, they hang about men and embrace them, and they are themselves the best of boys and youths, because they have the most manly nature. Some indeed assert that they are shameless, but this is not true; for they do not act thus from any want of shame, but because they are valiant and manly, and have a manly countenance, and they embrace that which is like them. And these when they grow up become our statesmen, and these only, which is a great proof of the truth of what I am saving. When they reach manhood they are lovers of youth, and are not naturally inclined to marry or beget children,—if at all, they do so only in obedience to the law; but they are satisfied if they may be allowed to live with one another unwedded; and such a nature is prone to love and ready to return love, always embracing that which is akin to him. And when one of them meets with his other half, the actual half of himself, whether he be a lover of youth or a lover of another sort, the pair are lost in an amazement of love and friendship and intimacy, and one will not be out of the other's sight, as I may say, even for a moment: these are the people who pass their whole lives together; yet they could not explain what they desire of one another. For the intense yearning which each of them has towards the other does not appear to be the desire of lover's intercourse, but of something else which the soul of either evidently desires and cannot tell, and of which she has only a dark and doubtful presentiment.
Suppose Hephaestus, with his instruments, to come to the pair who are lying side by side and to say to them, 'What do you people want of one another?' they would be unable to explain. And suppose further, that when he saw their perplexity he said: 'Do you desire to be wholly one; always day and night to be in one another's company? for if this is what you desire, I am ready to melt you into one and let you grow together, so that being two you shall become one, and while you live live a common life as if you were a single man, and after your death in the world below still be one departed soul instead of two—I ask whether this is what you lovingly desire, and whether you are satisfied to attain this?'—there is not a man of them who when he heard the proposal would deny or would not acknowledge that this meeting and melting into one another, this becoming one instead of two, was the very expression of his ancient need (compare Arist. Pol.). And the reason is that human nature was originally one and we were a whole, and the desire and pursuit of the whole is called love. There was a time, I say, when we were one, but now because of the wickedness of mankind God has dispersed us, as the Arcadians were dispersed into villages by the Lacedaemonians (compare Arist. Pol.). And if we are not obedient to the gods, there is a danger that we shall be split up again and go about in basso-relievo, like the profile figures having only half a nose which are sculptured on monuments, and that we shall be like tallies. Wherefore let us exhort all men to piety, that we may avoid evil, and obtain the good, of which Love is to us the lord and minister; and let no one oppose him—he is the enemy of the gods who opposes him. For if we are friends of the God and at peace with him we shall find our own true loves, which rarely happens in this world at present.
I am serious, and therefore I must beg Eryximachus not to make fun or to find any allusion in what I am saying to Pausanias and Agathon, who, as I suspect, are both of the manly nature, and belong to the class which I have been describing. But my words have a wider application—they include men and women everywhere; and I believe that if our loves were perfectly accomplished, and each one returning to his primeval nature had his original true love, then our race would be happy. And if this would be best of all, the best in the next degree and under present circumstances must be the nearest approach to such an union; and that will be the attainment of a congenial love. Wherefore, if we would praise him who has given to us the benefit, we must praise the god Love, who is our greatest benefactor, both leading us in this life back to our own nature, and giving us high hopes for the future, for he promises that if we are pious, he will restore us to our original state, and heal us and make us happy and blessed. This, Eryximachus, is my discourse of love, which, although different to yours, I must beg you to leave unassailed by the shafts of your ridicule, in order that each may have his turn; each, or rather either, for Agathon and Socrates are the only ones left.
Saturday, September 3, 2011
It Gets Better Project
About the It Gets Better Project
Growing up isn’t easy. Many young people face daily tormenting and bullying, leading them to feel like they have nowhere to turn. This is especially true for LGBT kids and teens, who often hide their sexuality for fear of bullying. Without other openly gay adults and mentors in their lives, they can't imagine what their future may hold. In many instances, gay and lesbian adolescents are taunted — even tortured — simply for being themselves.
Justin Aaberg. Billy Lucas. Cody Barker. Asher Brown. Seth Walsh. Raymond Chase. Tyler Clementi. They were tragic examples of youth who could not believe that it does actually get better.
While many of these teens couldn’t see a positive future for themselves, we can. The It Gets Better Project was created to show young LGBT people the levels of happiness, potential, and positivity their lives will reach – if they can just get through their teen years. The It Gets Better Project wants to remind teenagers in the LGBT community that they are not alone — and it WILL get better.
What is the It Gets Better Project?
In September 2010, syndicated columnist and author Dan Savage created a YouTube video with his partner Terry to inspire hope for young people facing harassment. In response to a number of students taking their own lives after being bullied in school, they wanted to create a personal way for supporters everywhere to tell LGBT youth that, yes, it does indeed get better.
Eleven months later, the It Gets Better Project (TM) has turned into a worldwide movement, inspiring more than 25,0000 user-created videos viewed more than 40 million times. To date, the project has received submissions from celebrities, organizations, activists, politicians and media personalities, including President Barack Obama, Secretary of State Hillary Clinton, Rep. Nancy Pelosi, Adam Lambert, Anne Hathaway, Colin Farrell, Matthew Morrison of "Glee", Joe Jonas, Joel Madden, Ke$ha, Sarah Silverman, Tim Gunn, Ellen DeGeneres, Suze Orman, the staffs of The Gap, Google, Facebook, Pixar, the Broadway community, and many more. For us, every video changes a life. It doesn’t matter who makes it.
The website www.itgetsbetter.org is a place where young people who are lesbian, gay, bi, or trans can see how love and happiness can be a reality in their future. It’s a place where our straight allies can visit and support their friends and family members. It’s a place where people can share their stories, take the It Gets Better Project pledge, watch videos of love and support, and seek help through the Trevor Project and GLSEN.
Who is Dan Savage?
Dan Savage is author of the internationally syndicated relationship and sex column Savage Love and the weekly podcast Savage Lovecast. He is editorial director of the Seattle weekly The Stranger, where he was formerly Editor-in-Chief. He is a regular contributor to PRI's "This American Life" and has been featured as a Real Time Reporter on HBO's "Real Time with Bill Maher."
Dan heard about the suicides of Justin Aaberg and Billy Lucas and had a reaction so many LGBT adults had. “I wish I could’ve talked to that kid for five minutes before he killed himself,” Dan recently said. “I’d tell him that however bad it was in high school or middle school...it gets better.” The It Gets Better Project was born.
What is The Trevor Project?
The Trevor Project, a benefactor of the It Gets Better Project, is determined to end suicide among LGBT youth by providing life-saving and life-affirming resources including a nationwide, 24/7 crisis intervention lifeline, digital community and advocacy/educational programs that create a safe, supportive and positive environment for everyone. Please visit their site atWWW.TREVORPROJECT.ORG.
If you are considering suicide or need help, call the Trevor Project now: 866-4-U-TREVOR (866-488-7386).
What is GLSEN?
GLSEN (The Gay, Lesbian and Straight Education Network), a benefactor of the It Gets Better Project, is a national education organization working to ensure safe schools for ALL students, regardless of sexual orientation and gender identity. GLSEN works to convince education leaders and policymakers of the urgent need to address anti-LGBT behavior and bias in our schools; protect students by advancing comprehensive and effective safe schools law and policies; empower principals to make their schools safe places to learn; and build the skills of educators to teach respect for all people.
For more information on GLSEN, visit WWW.GLSEN.ORG.
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