Catch Yourself Thinking: A 1997 Tribute to Allen Ginsberg

April 6, 1997

Allen, words go off through emails, phones, whis­pers on trol­leys, sad lost souls wan­der­ing beat neigh­bor­hoods telling the news: you’re dead.

I walk around, tears in eyes, look­ing look­ing for a changed world. See stu­dents in goa­tees, so beat, but they’re smil­ing, they don’t know, don’t care, you’ve been reduced to a fash­ion. But you’re here, in the air we breathe, that smell of lib­er­a­tion, of just stand up and laugh and prank and lis­ten to the soul sex spir­it burst­ing with­in. Smile through the soli­tary puri­tanism that keeps every­one apart.

But where are you remem­bered? Where’s the drum cir­cles? Need­ing some­thing now, I buy the lat­est Wald­man anthol­o­gy in book­store, thir­ti­eth street train sta­tion, full of time mag­a­zine, hus­tler, romance nov­els, lot­tery tick­ets. Cashier looks at book, says some­one else just bought it too. Oh joy, no drum cir­cles but at least oth­er lost souls not know­ing how to share the loss but to remem­ber the immor­tal words, the words now his­to­ry, set for­ev­er in twelve point times to be read as anoth­er Dead White Male poet.

I tell cashier, friend­ly mid­dle aged black woman that he — points to your out-of-focus head in pho­to of Cor­so, the Orlovskys, Ker­ouac — is dead. “Who is it?” “Allen Gins­burg.” “Oh, that’s him, hmm?” I say, I hope, that there’ll be a lot of peo­ple buy­ing these books now, but know yet anoth­er illus­trat­ed his­to­ry of Viet­nam will be their best seller.

Nigh­t­ime now. I can’t help it, I look to the sky to see if there’s a new star in the fir­ma­ment. But over­cast, smog­gy, orange-skied Ger­man­town does­n’t open to the cliché.

I miss you. You taught so much. How to com­bine poet­ry and lib­er­a­tion and pol­i­tics and the search for won­drous love­ly spir­it. Since I first saw you speak — 1988 Rut­gers, Rad­i­cal Stu­dent Con­fer­ence — I’ve become activist non­vi­o­lence pub­lish­er, Quak­er seek­er. You spoke to me, told me I could spin my own life of joy if only I could be open and hum­ble, ready to laugh, but also ready to take light­en­ing bolts upon my head for stand­ing up in row-after-row movie the­ater Amer­i­ca, watch us per­form, give us six bucks America.

In new book you say pre­scrip­tion for this Amer­i­ca is:

more art, med­i­ta­tion, lifestyles of rel­a­tive penury,
avoid­ance of con­spic­u­ous con­sump­tion that’s
burn­ing down the planet.

To that I say mere­ly, ‘a‑okay,” let’s get back to work. I love you Allen. Peace be with you.

 


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Burnished Polaroids

January 28, 1997

Look­ing south from the Wal­nut Street Bridge, Philadel­phia. This is a favorite site of mine to pho­to­graph because of the right­ward sweep of the riv­er, rail­road tracks and highway. Fire hydrant, Walt Whit­man Cen­ter, Cam­den. I was wait­ing to ush­er for a Allen Gins­berg read­ing and combed the block look­ing for appropriately-phallic cel­e­bra­tion of the day. East side of the Wis­sahick­on Creek, Philadel­phia. A favorite place to walk and con­tem­plate life.

This is a style of pho­tog­ra­phy I got into a few years ago. It’s appeal is sim­ple: it takes lit­tle tech­ni­cal exper­tise and the process itself is lim­it­ed in time. Every­thing boils down to basic form: a suc­cess­ful pho­to depends on set­ting up a good shot and then bring­ing it’s poten­tial out in the burnishing.

HOW IT’S DONE:

Any­one who used Polaroids as a kid will remem­ber the wait. When the film comes out of the cam­era, it’s still black. With­in a few min­utes a ghost of the pho­to begins to appear, a image which is fleshed out in about ten min­utes time. Dur­ing this time, the pho­to is devel­op­ing inside of it’s plas­tic cas­ing. If you press hard on the plas­tic before the pho­to comes out, all sorts of effects can be achieved. Depend­ing on the pres­sure and tem­per­a­ture, you can get col­ors to bend, scratch­es to streak across the pho­to, etc. If done well, the bur­nish­ing can take on the effect of brush strokes and cre­ate an impres­sion­is­tis­tic photograph.


This is not a bur­nished Polaroid of course. I took this with more tra­di­tion­al pho­to­graph­ic equip­ment in the sum­mer of 1991. I was on British Columbia’s Gabri­o­la Island for the annu­al meet­ing of my employ­er, New Soci­ety Pub­lish­ers, a meet­ing place which allowed for won­der­ful out­door dis­trac­tions. One was sea kyack­ing through the pass­es around the island.

What we didn’t know was that one par­tic­u­lar chan­nel served as the take-off strip for the island’s sea­planes. I was safe­ly onboard a boat at the end of the pass when I saw the plane start out of the docks you see in the dis­tance. Two work­mates were leisure­ly pad­dling their way toward us when they heard the sound behind them. As Bar­bara relates, she knew if that plane didn’t get air­borne in time she’d be goners. Luck­i­ly it made it and so did they…
 Last updat­ed Jan­u­ary 28, 1997

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