This is, in a way, what John Tytell concluded about the influence of Williams on Ginsberg. The influence of Williams is once again paradoxical when it comes to his use of triads. Indeed, Allen Ginsberg stated that the use of triads came without his influence:. In a way, he chose both. Ideally each line of Howl is a single breath unit. It probably bugs Williams now […] .
This difference of opinion between them concerning the long lines is also revealed in a letter to Richard Eberhart. This is implicitly written in a short essay entitled What Way I Write :. Short lines in William Carlos Williams are balanced mainly by a relative weight of phrasing — speech-size, special emphasis, weight as mental imagery, silence indicated, etc.
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Another important point between Ginsberg and Williams is that both have influenced each other. Indeed, impressed by the work of William Carlos Williams as we saw, Allen Ginsberg started an epistolary relationship with Williams, before finally meeting him. And this epistolary correspondence had an influence on Williams too. In fact, Williams informed Ginsberg that he put one of his letters in his long and famous poem Paterson.
He also wrote about finding his own poetic voice:. I envision for myself some kind of new speech […] I am not following in your traces to be poetic: though I know you will be pleased to realize that at least one actual citizen of your community has inherited your experience[…]. But harking back to a few sentences previous, I may need a new measure myself […] . Later, Williams would also, unsuccessfully, attempt to help Ginsberg to earn a Guggenheim grant.
This is the case for his play Many Loves as Barry Miles wrote:. As the title indicates, this play explores some of the different aspects of love.
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But what is more is that there are similarities between the play and the poem. In fact, it depicts the relationship between Allen Ginsberg and Neal Cassady quite well.
The latter was known for being sexually active with both men and women. About dreaming, and not as anecdotal as it may sound, Allen Ginsberg dreamed a lot about Williams. Actually, they became so close that Ginsberg sent postcards to him  and at one point Williams even confided to Ginsberg his fear of death. But the most important notion of this poem is that Williams is not dead though the first longer version of the poem is more sensitive . Therefore, we can estimate that Ginsberg is talking about himself in this passage, involving himself in the quest of a poet struck by a mystical inspiration.
The Long Line I use came after 7yrs. You have to pick out that aspect of the tree […]. For example, in the first draft of the poem influenced by the triadic verses of Williams , we can read:. Williams has refined the reproduction of images to a science — that is stripped bare for utility. This cannot be understood without the influence of Williams. The comparison between the opening lines of both poems offers a concrete parallelism. I saw the best minds of my generation destroyed by madness, starving, hysterical, naked, […] . If we add to this intention of form the content of the poem, the lexical field of madness, and of a whole generation being oppressed by an era, the similarities are uncanny.
Indeed, it acted like a revelation.
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Many years later he composed a poem in which he confessed it is one of the reasons he wrote poetry:. In this letter, he enumerated some of his achievements:. At that point, it is necessary to study why Allen Ginsberg felt closer to William Carlos Williams than to Ezra Pound, for both of them were working on new forms.
In his journals, Williams and Pound are studied side by side by Ginsberg about the use of the ellipsis. However the Cantos are too literary and [much of] the experience is aesthetic experience of aesthetic experience.
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He is concerned with generalizations, ethical, esthetic, etc. I am concerned with personal generalizations, or rather concretions of personal experience. What is underlined in this passage is what Ginsberg liked in Williams: an experience, not an over-poetization of an experience.
This is maybe because of the bridge Allen Ginsberg built between Williams and his Buddhist beliefs. Indeed, as a Buddhist enthusiastic, Ginsberg found in the poetry of Williams an echo to the poetic wisdom and eastern assertions he encountered in his life. Atta boy! In this poem, the truth of language is preserved, and there are no filters holding back the reality of a situation, nor any separation between what is perceived and what is written.
The poet disappeared behind the language and life took its place back.
The process is shaped like a circle, non-deformed like it can be when a particular event is transcribed. But it is not a simple act, for the poet offers a new poetic mediation between the individual and the external world, like rediscovering a poetic world, already there but hidden from accustomed eyes. The genius of Williams according to Ginsberg is then the unveiling of the poetry in everyday life.
In Buddhism, one of the aims of meditating is to find the pure reality of the world, annihilating this way the differences between the one who meditates and the object of meditation. He declared:. Or obstacle trying to impose another world on it. What is interesting is that this is the year they met Williams, along with Ginsberg.
Furthermore, Ginsberg often used the lexical field of Buddhism when speaking about Williams. Indeed, one of the main concepts in Buddhism is to take refuge in the three jewels which means the Dharma the teaching , the Sangha the spiritual community and the Buddha enlightenment. That was always a basic principle, to write a poem by not writing a poem. This poem is indeed about being present in a state of absolute consciousness and about wakening to the real world:.
This is a central Buddhist idea: in order to find equanimity, one has to cut attachment to feelings and objects. This situation is clearly a reminder of the practice of meditation. Indeed, one of the first meditation methods is to breathe while being focused on the flowing of the air. Traditionally, this method offers to the practitioner a meditative state. But this meditation process was a writing process for Williams, as he himself explained his writing method:. Forget all rules, forget all restrictions as to taste, as to what ought to be said, write for the pleasure of it […] every form of resistance to a complete release should be abandoned.
This shows how influential this poem was to Ginsberg, especially regarding his work toward mindful poetry. I let my muscles and nerves completely relax, and I bring full attention to my in-breath and out-breath. I smile and simply be. Nothing else. Just three conscious breaths can restore me to a cool and clear state of being.
Whatever or whoever is front of me is more real. My work is pleasurable. My relaxation is more fulfilling. My mindfulness blooms. There are many apps that can play meditation bells for us at designated intervals. Our prompt could be the sound of a bird, a truck, or the wind through the trees. Mindfulness-bell practice can hold delicious surprises.
I heard a bicycle bell. I was responsible to a class closely following my moves. But I stopped whatever concepts I had about teaching, or qi gong , and fully melted into the moment with my movement. I recall how fresh the ocean breeze felt in that instant. I was flexible for a possible change of plans. EPub by Mezz Mezzrow. EPub by Chrissie Hynde. EPub by Geroges B.
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