Yearly Archives 2021

We were talking of the body and its sanctity last week, through the lens of the poet William Everson, he of the manifestly heterosexual ardor, steeped in the unity of opposites, the phallos becoming one with the womb. Everson had been deeply influenced by his immersion in the work of Swiss archetypal psychologist Carl Jung, which, like Everson’s poetry, concerned itself almost wholly with heterosexual life.

But what of homosexual relationships and their own religious, worshipful, archetypal underpinnings? I found myself wondering about that matter and almost incorporating discussion of it into the post on Everson before deciding to leave it for a later time.

That time came quite a bit sooner than I anticipated and quite by accident, as I was simply browsing poetry resources last week and came across the website of Faith Shearin, a contemporary poet I had never read.

An interview there posed the question of...

“Everson has been accused of self-dramatization. Justly. All of his poetry…is concerned with the drama of his own self..Everything is larger than life with a terrible beauty and pain. Life isn’t like that to some people and to them these poems will seem too strong a wine. But of course life is like that.”

I love those lines, which come from the introduction to poet William Everson’s 1948 volume, “The Residual Years.” They were written by his friend and fellow poet Kenneth Rexroth, who came up for discussion here a few posts ago, and who served as a kind of mentor to Everson and other younger poets who had gathered around him in the San Francisco Bay Area in the 1950s.

Rexroth’s droll insistence that “of course life is like that” points to the fact that even when we try to numb ourselves with various inebriates (including electronics and overwork) or present ourselves externally as even-tempered and...

A well-dressed and carefully coiffed man is poised on a plank in the middle of a bridge, surrounded by Union officers, all of them silent and stoic, mostly staring straight ahead. We hear birds chirping and water flowing in the river below, along with the clomp of soldiers’ boots and the rustling of ropes and ties as they move into position to bind the man hand and foot and neck in preparation for his hanging.

The atmosphere is solemn and silent, with but four words spoken (“First squad, stand fast!”).

The man casts his eyes about, fidgety, looking around himself and down to the water. He notes a piece of driftwood floating by and lingers with it for a moment. He tugs at the rope binding his hands behind him, gauging its give. Tears form in the corners of his eyes.

Nearly six minutes pass with this careful, excruciating preparation for an execution...

After last year’s annual edition of this summatime summatime summatime ritual, it was brought to my attention by astute readers that the previous eight years’ worth of selections had yet to include a single song by either Jimmy Buffett or the Beach Boys, who, if they didn’t first propagate the idea of summer and its languid pleasures, at least had a major hand in refining them for the modern age.

Shocked, I vowed to set things aright in 2021, both to give honor where honor is due, and pleasure where pleasure is desired.

So on this first day of summer, the summer after the summer that kind of wasn’t because nothing quite was during Pandemipalooza 2020, we are going to hear from both Mr. Buffett and Messrs. Wilson, Love, et al, along with the first repeat appearance in this series. That honor goes to Martha Reeves and her Vandellas, who will unfortunately not be “Dancin’ in the Streets” as they did in the...

One of the things I love about Greg Brown’s “Rexroth’s Daughter” is Brown’s refusal to offer any kind of explanation or backdrop to the somewhat mysterious title, which is encompassed in the only line he repeats in the song’s 72 lines: “I’m lookin’ for Rexroth’s daughter.”

This is consonant with a certain strain of creative artist who simply wants to have his or her work stand on its own, meaning what it means to anyone who comes across it, without shaping a viewer’s/reader’s/listener’s response via either explanation or the creator’s biography.

That said, we can surmise easily enough that the reference is to the great poet Kenneth Rexroth, often called the “father” of the so-called “Beat Generation” literary movement that grew up around him in 1950s San Francisco, and which included the poets Gary Snyder, Allen Ginsberg, and Lawrence Ferlinghetti, among many others.

Rexroth was a self-taught intellectual ...