Tuesday, June 30, 2015

William Blake - Auguries of Innocence 2 (Bells Theorem)

[“Each outcry of the hunted hare/A fibre from the Brain does tear"  (William Blake) ]

Student: (...In the electronic universe, every living thing is connected to every other,       everything is connected, by a law or theorem..) 

AG: Yeah, ok , well, but not..  because they’re connected.. Okay, but, so..  a sharp cry would precipitate a shock(ed) brainwave..

Student: (..every atom (would)…)

AG: Well, first of all, you said it – every atom..  Well, at least, every atom bumps into every other atom, sooner or later …  

Student: Instantaneously.

AG: Instantaneously. 

AG: Does it really happen that way?

Student: ( (Within)  a fair amount of (time and space))

AG: That’s pretty vast! – You’re sure.. you’re sure you mean, actually - not by telepathy, or something?

Student: Bell’s Theorem.

AG: Bell’s Theorem.

Student: Bell’s Theorem.

AG; Bell’s Theorem. What is that? What is it?

Student: Well, I don’t know exactly but ..

AG: Does anybody know that? Bell’s Theorem..It’s interesting..

Student: They did an experiment with yoghurt (sic) on Times Square. Some guy.. (experimenting with) a lie-detector..

Student 2 : Cleve Backster

                                 [Cleve Backster (1924-2013)  seen here experimenting with the consciousness of plants]

Student (to Student 2):  You know about it!

Student:  (Yes)

AG: Well, (but) I would like to stick to some sort of literal (model), rather than telepathy or something.

Student: It’s not about telepathy...

AG: Okay (then). Go on.

Student; (Well, it's like she said), the yoghurt that stood in the metal containers knows (knew) when it was getting fed – How about that ? 

AG: (William) Blake is simpler –“A dog starv’d at his Masters Gate/Predicts the ruin of the state” - that the cruelty that would literally starve the dog, the cruel.. the quality of emotion that would starve the dog, would be a quality, if prevalent in the state, (that) would ruin the state, (obviously). I mean, it’s something that doesn’t need that kind of mysticum, so to speak. It’s more simple . The nice thing about these are these are more simple.

"A Skylark wounded in the wing /A Cherubim does cease to sing"

"The Game-Cock, clipd & armd for fight/Does the Rising Sun affright"

[Audio for the above can be heard here, beginnning at approximately fourteen and a half minutes in and concluding at approximately fifteen-and-three-quarter minutes in]

Monday, June 29, 2015

William Blake's Auguries of Innocence - 1

So (William) Blake has a series, like those two-line poems that we were doing, that verge on Vajrayana, that is to say, turning things inside out, taking accident and mishap and learning from it, alchemizing poison to nectar, or learning from experience, like, same thing, learning from experience, open to experience and learning from it (rather than resisting and solidifying and saying, "that’s bad-bad-bad", and "that’s good-good-good", experience) . So any broken leg is an opening to sunyata, i.e. there’s no place to stand on
Does anybody know "Auguries of Innocence"? How many here have read that? William Blake’s "Auguries of Innocence"? – and how many have not? – just raise your (hand).. good..great - so it’s a good field, imagine!

Gregory Corso (sitting in attendance in class): Equable!

AG: “To see a World in a Grain of Sand/And a Heaven in a Wild Flower/Hold Infinity in the palm of your hand/And Eternity in an hour” - That’s like that little two-line thing we had  “When a cow eats in Kaishu, a horse’s belly bloats in Boston" ["When a cow in Kaishu eats mulberry leaves,/ the belly of a horse in Ekishu is distended"] 

Gregory Corso : (Can I read) the next one?
AG: Pardon me?
Gregory Corso: See if I can read the next one…
AG: Yes
GC: “The Lamb misus’d breeds Public Strife./And yet forgives the Butcher’s knife”.
AG: It’s not the next one, it’s about eight down, but it’s right there.
GC: I’m so embarrassed!

AG: “A Dove-house fill’d with Doves & Pigeons/Shudders Hell thr’ all its regions”

“A dog starved at his Masters Gate/Predicts the ruin of the State”

Student: That’s also a Chinese proverb?
AG: It is? - Literally?.. how?…what? do you know the..
Student: Literally.  I have no idea (about…)
AG: I’m wondering is that (just) archetypal thought, or is that Blake’s esoteric Gnostic osmosis?
Student: Yes

AG; “A horse misus’d upon. the Road/Calls to Heaven for Human blood” 

“Each outcry of the hunted hare/A fibre from the Brain does tear” -  (the hare, the rabbit) – “Each outcry of the hunted hare/A fibre from the Brain does tear” - Now what does that mean? Anybody got any idea? - "Each outcry of the hunted hare/ A fibre from the Brain does tear" - Can anybody explain the literal meaning of that?
Gregory Corso: I can, Al, a little bit
AG: Yeah
GC: Want your students to do it first?
AG: No…anybody. Well, let’s let them try first.
GC: (You'll) let them try first.

Student;  You said (that that statement has the power)
AG: Yeah, but how does a fibre get torn from the brain by the outcry of the hunted hare? 
( is what I’m asking).
Student: (But asking is intelligence). The brain, the mind, is what distinguishes humans from other animals..
AG: But how does the outcry, literally…
Student: The brain is repeating the outcry..
AG: Right.
Student:  (...having to deliver it, through it), maybe a slither of it, a part of (it), the people's brain, will die with the death of a hare..
AG: Yes, it might put a strain on one single cell or fibre of the brain, actually because...
”The hare’s "outcry”? – What is a hare’s "outcry” like? – Is (CC)  here? [Allen's student, Chuck Carroll]
Student: (mimicking) : (Eeek!)
AG: Does anybody know?
Student (2): A human sound.
Gregory Corso: A human sound, they say.

AG: Well, that would actually...
Student: A cry of speech, a cry of outrage.
AG: Yes., and, coming unexpected, it might actually give you that shudder-shock, which was, like a little electrical short-circuit in your brain, It’s absolutely literal (particularly, if coming unexpected). The odd thing is that all of these are absolutely literal. In one way or another, there’s a literality to these that’s really uncanny. It looks like they’re opposites. It looks like they’re impossibilities. It looks like they are poles apart. The amazing thing is that (William) Blake’s intelligence has filled it in, or has found, has seen, the relations - or guessed the relations, or intuited the relations - without thinking even. So that the relations are there perceived instantly. That’s why, for some people, if you read some of these (like “The cut worm forgives the plow” [from Blake's "Proverbs of Hell" in "The Marriage of Heaven and Hell"]), it’ll stick in your brain for years until you understand it. Like a Zen koan, actually - “The cut worm forgives the plow”   - We’ll get to that.

[Audio for the above can be heard here, beginnning at approximately eight-and-a-quarter minutes in and continuing until approximately thirteen-and-a-half minutes in]  

Saturday, June 27, 2015

Gay Pride Weekend

Celebrating sexuality, coming out, and of course Marriage Equality on an extraordinarily euphoric Gay Pride Weekend!

"Some situations are exuberant, like "Howl" or "Plutonian Ode". Some situations are "Gee, I feel so good, I think I'll write down what I see at this moment". Some situations, I'm trying to locate what is my erotic imagination and write it down as a sample, like "Please Master". You know, to locate my fantasy and put it down exactly, to see how far out I can go into my own mind, into the real fantasy inside, deep inside my mind and then make an external object of it. Because, you know, other people have the same fantasy but are ashamed of it, or think it isn't real, or think they're the only ones who ever have "Please Master" fantasies, when it turns out that everybody's had it one way or another, or some variances that would be equally hidden. You know, if not that one, another one but something that's their own, some secret erotic delight."  (Allen Ginsberg)

Please Master 

Please master can I touch your cheek
please master can I kneel at your feet
please master can I loosen your blue pants
please master can I gaze at your golden haired belly
please master can I have your thighs bare to my eyes
please master can I take off my clothes below your chair
please master can I kiss your ankles and soul
please master can I touch lips to your hard muscle hairless thigh
please master can I lay my ear pressed to your stomach
please master can I wrap my arms around your white ass
please master can I lick your groin curled with blond soft fur
please master can I touch my tongue to your rosy asshole
please master may I press my face to your balls,
please master order me down on the floor,
please master tell me to lick your thick shaft,
please master put your rough hands on my bald hairy skull
please master press my mouth to your prick-heart
please master press my face into your belly, pull me slowly strong thumbed
till your dumb hardness fills my throat to the base
till I swallow and taste your delicate flesh-hot prick barrel veined Please
Master push my shoulders away and stare in my eyes & make me bend over
the table
please master grab my thighs and lift my ass to your waist
please master your hand's rough stroke on my neck your palm down to my
please master push me, my feet on chairs, till my hole feels the breath of 
your spit and your thumb stroke
please master make me say Please Master Fuck me now Please
Master grease my balls and hairmouth with sweet baselines
please master stroke your shaft with white creams
please master touch your cock head to my wrinkled self-hole 
please master push it in gently, your elbows enwrapped round my breast
your arms pushing down to my belly, my penis you touch w/ your fingers
please master shove it in me a little, a little, a little,
please master sink your droor thing down my behind
& please master make me wiggle my rear end to eat up the pink trunk
till my asshalfs cuddle your thighs, my back bent over,
till I'm alone sticking out, your sword stuck throbbing in me
please master pull out and slowly roll onto the bottom
please master lunge it again, and withdraw the tip
please please master fuck me again with your self, please fuck me Please
Master drive down till it hurts me the softness the
Softness please master make love to my ass, give body to center & fuck me
for good like a girl,
tenderly clasp me please master I take me to thee
& drive in my belly your selfsame sweet heat-rood
you fingered in solitude Denver or Brooklyn or fucked in a maiden in Paris
please master drive methy vehicle, body of love drops, sweat fuck
body of tenderness. Give me your dough fuck faster
please master make me go moan on the table
Go moan O please master do fuck me like that
in your rhythm thrill-plunge & pull-back-bounce & push down
till I loosen my asshole a dog on the table yelping with terror delight to be
Please master call me a dog, an ass beast, a wet asshole,
& fuck me more violent, my eyes hid with your palms round my skull
& plunge down in a brutal hard lash thru soft drip-fish
& throb thru five seconds to spurt out your semen heat
over & over, bamming it in while I cry out your name I do love you
please Master. 

& in Italian   (translated by  Luca Fontana and Leopoldo Carra),

Ti Prego padrone posso toccarti la guancia

ti prego padrone posso inginocchiarmi ai tupi piedi
ti prego padrone posso aprirti i pantaloni blu
ti prego padrone posso dare un'occhiata alla tua pancia dorata di peli
ti prego padrone posso com delicatezza tirarti giù le mutande
ti prego padrone posso avere le tue cosce nude ai miei occhi
ti prego padrone posso togliermi vestiti sotto la tua sedia
ti prego padrone posso baciarti stinchi e anima
ti prego padrone posso sfiorarti di labbra la coscia dura musculosa senza peli
ti prego padrone posso premerti l'orrechio sullo stomaco
ti prego padrone posso stringerti tra le braccia il culo bianco
ti prego padrone posso leccarti l'inguine riccio di morbida pelliccia blonda
ti prego padrone posso toccar di lingua il tuo roseo buco del culo
ti prego padrone posso strofinarti la faccia sulle palle, 
ti prego padrone,  ti prego guardami negli occhi,
ti prego padrone ordinami di gettarmi a terre,
ti prego padrone dimmi di leccarti quella grossa stanga
ti prego padrone mettimi la mano ruvida sul cranio-calvo con peli
ti prego padrone premimi la bocca sul tuo cazzo-cuore
ti prego padrone premimi la facci fin sulla pancia, lento con pollici forti
finché la tua durezza muta mi riempie la gola fino alla base
e io ingoio e gusto il tuo cazzo-carne-calda delicata fusto venato Ti Prego
Padrone spingimi via per le spalle e fissami negli occhi, e piegami sul
ti prego padrone prendimi per le cosce e alzami il culo alla tua altezza
ti prego padrone la carezza ruvida della tua mano sul collo e la palma giù 
per la schiena
ti prego padrone rovesciami in su, coi piedi sulle sedie, finché il mio buco
sente l'alito del tup sputo la carezza del tuo pollice 
ti prego padrone fammi dire Ti Prego Padrone Chiavami subito Ti Prego
Padrone ungimi palle e boccapelosa de dolci vaseline
ti prego padrone carezatti la stanga con bianchi creme
ti prego padrone accosta la cappella al mio grinzoso buco-sé
ti prego padrone spingilo dentro con grazia, i tuoi gomiti mi serrano il petto 
e le braccia van giù verso la pancia, il pene toccamelo con le dita
ti prego padrone caccialo dentro di me un po', un po', un po',
ti prego padrone affondami quel tuo grosso robo nel didietro
ti prego padrone fammi scodinzolar col culo ingoiar poco il tronco
finché le mie due metà di culo ti carezzan le cosce, io piegato in due,
finché io solo ho un doso dritto fuori, la tua spada infilata mi palpita dentro
ti prego padrone tiralo furoi poi infilato lento fino in fondo
ti prego padrone fai un affondo ancor, e ritralo fino alla punta
ti prego ti prego padrone chiavami dài col tuo sé, ti prego chiavami Ti Prego
Padrone caccialo dentro finché mi fa male là dov'è morbido
Morbido ti prego padrone fai l'amore col mio culo, dai corpo al centro,
chiavami sul serio come una ragazza,
stringimi con tenerezza ti prego padrone mi ti cedo tutto,
e ficcami in pancia quella stessissima dolce croce-calore
te la toccavi in solitudine a Denver o Brooklyn o chiavavi in qualche ver-
gine a Paris nei parcheggi 
ti prego padrone guidami io tuo veicolo, corpo d'amor chinato, sudor
corpo di tenerezza, Dammelo alla pecorina più veloce
ti prego padrone fammi fare mmmmm sul tavolo
Fare mmmmmmmm Oh ti prego padrone si scopami cosi
col tuo ritmo fremito-affondo e poi indietro-e-calcone e spingo tutto
finché allento del tutto il buco un cane sul tavolo che guaisce di terror
goduria d'esser amato
Ti prego padrone chiamami cane, cul de bestia, buco di culo umido,
e scopami più violento, a occhi coperti dalle tue palme attorno al mio cranio
e tuffati dentro una staffilata dura brutale nel morbido cic ciac pescioso
e pulsa per cinque secondi schizzando fuori il tuo seme caldo
ancora e ancora, calcandolo dentro mentre io grido il tuo nome Si ti amo
ti prego Padrone.


from 1994:

Jimmy Berman!

[& see previous various Gay Pride postings -  hereherehere -   and here]

Friday, June 26, 2015

Friday's Weekly Round-Up - 224

Beatnik Shindig this upcoming weekend. We spotlighted it last week but are reminding you again. The place to be right now - Fort Mason Center, San Francisco

Hot hot news - Allen Ginsberg 's recently-(re)discovered pro-Bernie Sanders poem "Burlington Snow". 

Here's the hand-written poem courtesy the University of Vermont Library  (written in 1986, when Sanders, current Denocratic Party Presidential candidate, was that town's colorful and controversial mayor)

Burlington Snow

Socialist snow on the streets
Socialist talk in the Maverick Bookstore
Socialist kids sucking socialist lollipops
Socialist poetry in Socialist mouths
- aren't the birds frozen Socialists?
Aren't the snowclouds blocking the airfield?
           Social Democratic Appearances ?
Isn't the socialist sky owned by
           the Socialist Sun?
Earth itself  socialist, forests, rivers, lakes
furry mountains, socialist salt
            in oceans?
Isn't this poem Socialist? It doesn't 
belong to me anymore. 

Maverick Bookstore 5.30 PM February 21 1986  Allen Ginsberg

Stephanie Nikolopoulos's account of, and pictures from, the New York launch of Michael Schumacher's wonderful recently-published collection  The Essential Ginsberg 
can be accessed here 

[Michael Schumacher - Photograph by Stephanie Nikolopoulos]

Jonah Raskin's detailed account of  much-missed "Beat painter", Robert LaVigne - "Robert LaVigne - Naked Artist" may be seen here

                                                    [Allen Ginsberg - Portrait by Robert LaVigne]

John Wieners this month in Poetry magazine - a few choice excerpts from the forthcoming heroically-compiled Collected Letters, edited by Michael Seth Stewart.

Supplication-Selected Poems by John Wieners is due out later this year (in October) from Wave Books

                                              [John Wieners - Photograph by Wallace Berman]

& more book news - David Schneider's eagerly-awaited Philip Whalen biography appears next month. Here, from Shambhala Times is an early pre-publication review. The author reveals the source of the book's all-embracing title - "..the title was something that Philip said in a hardware store in the Castro district of San Francisco…Mostly blind and attended by writer Steve Silberman, (he) began to feel overwhelmed by the selection of merchandise. Turning to Silverman, he quipped, "Get me out of here, I'm feeling crowded by beauty."

Thursday, June 25, 2015

Haiku and Desolation Angels

                                         [Jack Kerouac - cover of Book of Haikus  (posthumously published in 2003]

..tape begins in media res with Allen writing on the blackboard - "building on the ground, the film in.. (the) film crackling in plastic bags..under plastic bags in a breathing class" -  
(He continues reading his own short haiku-like poems)
Nagasaki Day– “Blue sky cumulus clouded  over the white plutonium plant /Rocky Flats mountains ridge west, Denver below in morning sun/ walking off with police and photographers"
Golden Court - "Waiting for the Judge, breathing silent/Prisoners, witnesses, Police/the stenographer yawns into her palms" - That’s the most accurate.
(Haiku) -  It’s a good way of centering your mind in moments of what would otherwise be curious stress. One that I hadn’t gotten to..
(Gregory Corso suddenly enters the classroom  creating  some distraction
AG: Gregory.. sit down..
GC: (I’m just getting a chair)
AG….’cause  I just started something here.
GC  (I’ll (not) do anything)
AG: What I had forgotten to do was..  the main haiku
[to Students] (Will you get your mind(s) back, please!)

 -  the main haiku is considering space - the main haiku considering space:

                      [Stanton Macdonald-Wright (1890-1973) - woodcut -  "Wild Sea and the Milky Way.." ]

“A wild sea - / and stretching across to the isle of Sado/ the  Milky Way.” 
Let’s see how they have it here – Ah, “A wild sea - / and stretching across to the island of Sardo/ the Galaxy” - that’s about as vast a space-shot as I’ve seen (that’s Basho that I’ve seen in haiku. There are a couple others that I wanted to fill out .

"Coming out of the box…"
([to Gregory Corso] -  “You’ll have to be quieter because I can’t concentrate – ok?)
“Coming out of the box/This pair of dolls/How can I forget their faces?” [Buson]
This, for listening while sitting – “The banana plant in the autumn storm/Rain dripping in the tub/Listening that night.”
(It says three elements – (but there’s just two elements (here)) – “Behind a pot of azaleas/ a woman tearing up/ dried codfish”  -  [Tsutsuji ikete sono kage ni hidara saku onna] - that’s like “wiping my snot on the blossoms..” –
“A bowel-freezing night /Rain dripping in the tub…” No, “A bowel-freezing night / The sound of the oar striking the wave/Tears” – So that has three elements,  like  a long story.
One very famous one – “On a withered branch/A crow is perched/Autumn evening” (But that’s usually accompanied by.. that was accompanied by a drawing originally).

Kara eda ni karasu mo tomari keri aki no kure

(Jack) Kerouac was good at that also. [composing haiku]  In the beginning of Desolation Angels there’s a whole series of haiku. Has anybody read through Desolation Angels here? – Has anybody cracked open the book? – okay, well, if you crack open the book, check out the haiku. It’s done in classical style. I think it was self-invented in the sense that he knew the tradition, but he adapted it to the novel, the tradition being, say, a travel journey, prose, economical, paragraphs giving setting and suddenly the flash thought.

[Allen begins reading from Desolation Angels]

“The wind, the wind, and there’s my poor endeavoring human desk at which I sit so often during the day facing south. The paper and pencils and the coffee cup were ….the waiting’s long  – then in three lines, ending the paragraph – “On Starvation Ridge/little sticks/are trying to grow”
Then, on page 18 – “Then come the long daydreams of what I’ll do when I get  out of there, that mountain-top trap just to drift and roam down that road on 99 fast…" this first off this Haiku– “Hitch-hiked a thousand/ miles and brought you wine"
“Hiss hiss says the wind bringing dust and lightning near, tick…thunder in the mountains, the iron of my mother’s love.. - (Now where does he gets his mother’s love? It just came up out of his head, unborn)

“The days go/They can’t stay/I don’t realize.”  That’s like the haiku that Chuck Carroll [sic - Allen's student] read the other night

"Is Boston crazy?/or am I?/or am I in Detroit?"

"The fog in Japan/ Is the same as the fog in North West Washington”. -  (the sensing-being is the same) -  “and Buddha is just as old and true anywhere you go"

"The sun sets dully on Bombay and Hong Kong like it sets dully on Chelmsford, Mass"
"I called Han Shan in the fog. There was no answer"
"The sound of silence is all the instruction you’ll get"
"Whatever happens to me down that trail to the world is all right  with me because I’m God and I’m doing it all myself, who else?" – (While meditating/  I am Buddha/ Who else?)

Those are, the.. I think, the best of what I saw in Desolation Angels  (there are a couple of others
– “Neons, Chinese restaurants, coming on -/Girls come by/ Shades
"Eat your eggs/ and shut up" - "Sit in fool/ And  be fool/ – that’s all"
- (So those are more abstracted).

So they come naturally actually. They’re just thoughts that come naturally, I guess. Gregory (Corso) had one – that “(I)n the Mexico zoo/ they have ordinary/ American cows”  [from Mexican Impressions”] that was the American traveler’s flash.

[Audio for the above is available here beginning at the beginning of the tape and concluding approximately eight-and-a-quarter minutes in] 

Wednesday, June 24, 2015

Keats, Shakespeare and Kerouac (A Query)

                                                                             [Jack Kerouac]

                                                                         [John Keats]

                                                                   [William Shakespeare]

Student: Allen, wouldn’t you say that a lot of the British poems written in (the) English language (are, formally, tight)?

AG: Until this century, yes. ‘Tis is a craft, sir. To be able to…  (and) (let’s see you do this!). This (too) [Kerouac’s Mexico City Blues] is a craft – the craft of observation of mind. The discipline here is the discipline of observation of mind accurately – accurate, precise, observation of mind.

Student: But it sounds (initially, without a) sense of craft and, (clearly), it took a long time to get to a point where you can write like that, (to) be able to zip (it) off like that - but it sounds like he’s maybe denying, like (what was that? the "negative capability" of) (John) Keats, and… I know he could probably write (conventionally as well, but..)

AG: He’s not denying Keats. He’s quoting Shakespeare constantly. He’s not denying anybody. he’s just going further down the road.

Student: He’s saying craft is craft, you know, (he speaks of)  "crafty", but it’s (a put-down)

AG: Oh, but in this century, by “craft”, he’s using “craft” meaning miserly craft, egoistic craft, (which was characteristic of the poetry of his time that was “crafted” in the style of Keats and Shakespeare). It was a plague at that time, because the conception of craft that people had was actually the imitation of the inventions of their predecessors, rather than the new invention, as Keats did. As you remember, Keats, in his craft, invented the run-on line with rhymes – the “..thing of beauty is a joy for ever:/Its loveliness increases; it will never/Pass into nothingness..”

Now before Keats, there was another series of couplets styled by (Alexander) Pope, where you had to end the sentence or end the phrasing at the end of each line and Keats broke that. It was called uncraftsman-like because he changed the terms of the craft. Kerouac changed the terms of the craft. He didn’t deny previous craft, he just said, for this generation, century, when investigation of mind itself, after Einstein and others, is the focal subject of the entire century, the focal situation of this very situation we’re in now, Meditation and Poetics”, where investigation of the mind itself was the big subject, (then) new means had to be crafted to graph the movements of the mind. So this is just as crafty, but it’s a different kind of craft. 

And when he was putting down "the Craft Gleam" [in the 28th Chorus], the miserous (sic) "Craft Gleam", he was probably talking about Anthony Hecht, Richard Wilbur, people he knew, John Hollander, Mark Van Doren, his teacher at Columbia, and all sorts of people who were trying to write poetry in the same form as the previous centuries without accommodating to the new relativistic mind that we’ve been pushed into by Einstein and everything that follows Einstein. The discipline, let us say (to get off the word “craft”), the discipline, or, to use the Buddhist word here (Naropa) used for meditation, the practice – the practice of observation of mind. If mind is clearly observed, mind will be observed to be shapely, And so, the art notated from that observation will also show the same shape as the mind indicates and the art will also be shapely.

Tuesday, June 23, 2015

Jack Kerouac and Kenneth Patchen

Student: Would you put down Kenneth Patchen’s  The Journal of Albion Midnight in that kind of [internalized subjective exploration] category?

AG:  I haven’t read it in so long, but I think that The Journal of Albion Moonlight does not quite have as much central focus point. See, this whole book (Kerouac's Mexico City Blues) is about the mind and the language of the mind, the language that you hear in the mind. I don’t remember what the subject of.. Journal of Albion Moonlight was, but I have a feeling it was just quixotic thoughts, and quixotic, somewhat sterile, and Romantic literary stereotypes - or, more, like in William Saroyan, a certain amount of Romanticism that isn’t painted after the nature of the mind, so, a sort of idealistic Romanticism. But here, Kerouac (with elements of Saroyan too) has gone back to use the mind as source for
his babble, use the actual mind as source for his babble, rather than more conscious composition, I think.  I’m not sure how you’d make the distinction. I have a feeling of Kerouac’s stuff that it’s real actual real-mind thoughts. I have a feeling about ..Journal of Albion Moonlight, that it’s more artificially literary – the original subject was not his actual consciousness. It wasn’t a graph of his consciousness, was it? (I may be wrong, because I haven’t read it in so long)

Student: Just journey and myth

AG:  Journey and myth?

Student: Yeah

AG:  Yeah, well, see, Kerouac wasn’t so much dealing with myth, except as it entered his mind at the moment of composition.  Like  Sravasti midnight dancing girls in the moonlight with bare shoulders” - [(from 65th Chorus) – “Sravasti late at night, tinkle/Goes the Indian Dancinggirl”] – His subject wasn’t myth, the subject was the emptiness of the mind.

And this is a perfect exemplar of that:

[84th Chorus]
“SINGING:-/By the light/Of the silvery moon/I like to spoon/To my honey/I’ll/Croon/ Love’s Dream/ By the light/Of the silvery moon/ We’ll O that’s the/part I don’t remember/ ho ney moon -/Croon-/ Love-/ June-/  O I don’t know/You can get it out of a book/ If the right words are/important”

[85th Chorus]

“Do you really need/the right word/Do you really need/Of course it’s all asinine/Forms of asininity/Once & for all/ Mr William Carlos/Williams/  Anyway,/An asinine form/which will end/all asininity/from now on/ There’s a poem/The poem/Will end/Asininity” – That is, the over-serious, over-heavy, over-intense trying to find meaning rather than the empty mind loose – or the empty mind let loose. (that’s a phrase that Robert Duncan quotes from the letters of John Adams, I believe - “In America, the mind must be loose” ["Let the human mind loose, it must be loose. It will be loose. Superstition and dogmatism cannot confine it." (John Adams, in a letter to his son, and 6th US President, John Quincy Adams, November 13, 1816)]