Monthly Archives: October 2010

And the Beat goes On

I am fascinated by the threads of connection that run between all the kinds of poetry, song, and story-telling in which I delight and am always pleased when they are living connections in the form of real people you can meet, friends you can make. For example as my father-in-law and I got to know each other we found we had the same tastes in literature, loved the same poets and even the dame pasgaes in some of those poets, and we both seemed to have learned to appreciate the same qualities. I remember saying to him that it was CS Lewis, as a literary critic who had guided me into the fields of literature and given me some keys to understanding it all, and he replied, “well he did the same for me, only in person as he was my tutor at Oxford!” Suddenly we both knew who the connecting thread was and I felt a particular pleasure that my father-in-law was a living link for me back to an author whom I knew intimately but had never met in the flesh.

The same goes  for my passion for American song and poetry, especially the work of Bob Dylan. From the day I bought Highway 61 Revisited Dylan has been the voice and channel for me for a whole stream of American poetry which I soon came to realise stretched back behind him, not only nto blues and folk, but very specifically into the Beats,  especially the great figures of Ginsberg, and Kerouac, who were in their own radical way carrying on a tradition of flamboyant, inspired anarchic, energetic writing that goes back to Walt Whitman. In Dylan’s film Renaldo and Clara there is a moving episode where he and Ginsberg visit Kerouac’s grave and play music and recite poetry together, honouring someone who served the same muse.

I have been involved for a while in a jazz poetry project, the Riprap Collective, which takes its inspiration from the Beat Generation and tries to do in a new way and in new jazz and poetic genres, what the beats did in their day, but until now we had no living link

with the beats who insired us. but all that changes this week! This Friday, 22nd October I will be playing host to Gerald Nicosia, the  internationally acclaimed author of Memoy Babe, the great Kerouac biography, and a recognised authority on the whole beat generation. but he is himself also a performance poet and has performed alongside Ginsberg at blues and poetry festivals and indeed Ginsberg has commended his woek on Kerouac. Gerald is coming to Cambridge to give a public lecture on the Friday in the English Faculty, 9 West Rd, to which all readers of this blog who are in, or can make it to Cambridge are welcome. But then on Saturday he is going to join with me, Riprap and  another Cambridge poet Keith Dursley and we are going to do our own version of the kind of Jazz-poetry happenings at which Kerouac and Ginsberg used to read. This should be an amazing, and in its own way historic event, and again all my readers here are very welcome. I am giving all details below and hope to see some of you there.

Two Jack Kerouac Events









The Writer Kerouac, the Mythological Kerouac, 
the Popular Kerouac, and the Real Kerouac 

A Lecture by Gerald Nicosia
5pm Friday 22nd October, GR-05, 
Faculty of English,
 9 West Road Cambridge.

All welcome, free admission.

Poetry and Performance

A poetry reading and performance by Gerald Nicosia with members of
The Riprap Quartet.

With support from KM Dersley and Malcolm Guite. 

8pm, Saturday 23rd October, 
Memorial Church (Unitarian), 
Emmanuel Road
CB1 1JW. 

Tickets £5 on the door.
see also:
http://www.ampublishing.org/kevinflanagan/quartet.htm

www.geraldnicosia.com

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Filed under imagination, literature, Music, Poems, Songs

A longed-for day has come at last

It’s been a long time coming. My book Faith Hope and Poetry has been a labour of love over the last decade, written slowly in the midst of the many demands of pastoral, priestly, academic and family life, but it is here at last. I am immensley grateful to the many people who have helped me on this road, not least the sudents whose ideas and questions have always reminded this teacher that he cannot teach unless he is a student too. 

At the heart of my book is a celebration and defense of the imagination as a truth-bearing faculty, as an essential means of grasping reality, not a subjective fantasy compensation for the grimness of things ‘out there’.  Each chapter explores a poet or group of poets who are bearing witness, through imagination, to essential truths that I feel are pertinant to our own age but the whole book is about how the language of poetry initiates us into mysteries we could enter in no other way. By way of a taster I am posting here the dedicatory poem and the concluding paragraphs:

De Magistro

I thank my God I have emerged at last,
blinking from Hell, to see these quiet stars
bewildered by the shadows that I cast.

You set me on this stair, in those rich hours
pacing your study, chanting poetry.
The Word in you revealed His quickening powers,

removed the daily veil, and let me see,
as sunlight played along your book-lined walls,
that words are windows onto mystery.

From Eden, whence the living fountain falls
in music, from the tower of ivory,
and from the hidden heart, He calls

in the language of Adam, creating memory
of unfallen speech. He sets creation
free from the carapace of history.

His image in us is Imagination,
His Spirit is a sacrifice of breath
upon the letters of His revelation.

In mid-most of the word-wood is a path
that leads back to the springs of truth in speech.
You showed it to me, kneeling on your hearth,

you showed me how my halting words might reach
to the mind’s Maker, to the source of Love,
and so you taught me what it means to teach.

Teaching, I have my ardours now to prove
climbing with joy the steps of Purgatory.
Teacher and pupil, both are on the move,

as fellow pilgrims on a needful journey.

Conclusion

           ” This book has been written as both a vindication and a celebration of the poetic imagination; a defence of its status as a truth-bearer and an exploration of the kinds of truth it is capable of bearing. In particular I have been concerned to demonstrate the essential power of imagination to bridge the gap between immanence and transcendence, to mediate meaning between unembodied ‘apprehension’ and embodied ‘comprehension’. I have also been concerned to show that a study of poetic imagination turns out to be a form of theology; that in seeking understand how multiple meanings come to be’ bodied forth’ in finite poems which ‘grow to something of great constancy’ we discover a new understanding of the prime embodiment of all meaning which is the Incarnation. And this new understanding of incarnation in its turn gives us a new confidence in the ultimate significance of our own acts of poetic embodiment. But if poetry as a manifestation of particular embodiment speaks of the immanence of God, then poetry as a means of cleansing and transfiguring vision speaks of God’s transcendence. Throughout this book I have sought to celebrate moments of transfigured vision in poetry, and also to help discern the source of that truth which transfigured vision sees, of that unexpected music which the imagination hears.  In an age of faith it was possible for poets, from the anonymous poet of The Dream of the Rood, who saw the Cross transfigured in light, to Milton invoking ‘holy light’, to find the Source of transfigured vision and to name that source as Christ, the logos and the light of the world. From the mid-17th century onward, things could not be so simple again as poets and philosophers alike faced the challenge of a reductive science that pulled down shutters over the windows of vision, bearing the bleak inscription, ‘nothing else’. We have seen how the poets, to whom the clarification of our vision had been entrusted, fought a rear-guard action, and especially how Coleridge did this both by writing poetry full of clarified, imaginative vision, and also by undertaking the hard, philosophical work necessary to reinstate the imagination as an instrument with which we grasp reality rather than evade it.  We have seen that in order to make sense of the actual experience of writing and reading poetry, he was compelled to rediscover the mystery of God as Holy Trinity.  For Coleridge poetry is not a fanciful compensation for the irreducible bleakness of things; it is part of the evidence that all things are at least potentially luminous with the light of God.  Coleridge was a prophet sent more for our own age than for his; he foresaw the inadequacy of the whole Cartesian/Newtonian model with its foreclosed rigidities and its too-easy submission to what he called the ‘despotism of the eye’.  Now, we live in an age when that rigid system, against which Coleridge was protesting, is being overthrown.  Those blinding shutters inscribed ‘nothing else’ are being drawn up; and now it is not only the major poets in our midst, like Heaney, but also the scientists themselves and the philosophers of science, rediscovering the vital role imagination has to play in their endeavours, who are helping to remove these ‘blinds’.”

This cleansing and training of vision through a revitalised imagination, is a common task for Science, Poetry and Theology. My purpose has been to highlight the essential role, in fulfilling this common task, played by the poetic imagination.

I hope you have enjoyed these extracts and that those of you who have a chance to read it enjoy the book. The publishers page is here

and the English Amazon page is here.

the American Amazon page is here

I’m sorry that, as a modern hardback it is so expensive, I hope, if this edition sells well enough, that they will bring it out in an accessible paperback. Meanwhile you can always encourage your local library to buy it.

M

 

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Filed under christianity, imagination, Inklings, literature, Poems, Theology and Arts