From the mid-sixties on through, photographer Gordon Ball took thousands of photos of Allen Ginsberg and his many friends and colleagues: Robert Creeley, Lawrence Ferlinghetti, Gregory Corso, Peter Orlovsky, Herbert Huncke, Philip Whalen, William S. Burroughs, and many others.
“We often think of photography as an individualistic, solitary art — a single man or woman working the alchemy of a dark room, or one with a frequently small sometimes large mostly metal object that has a magical, transforming effect on others before that little ‘click’ is ever heard. We don’t usually speak of Annie Leibowitz and collaborators, of Alfred Eisenstadt and partners, of Robert Frank and co-workers in the writing of light. But much of whatever I may have managed to do in photography involves, in a variety of ways, a debt to others — and wouldn’t have been possible without them.”
Last night at St. Mark's Bookshop on 9th Street and Third Avenue in New York, Bill Morgan and Hettie Jones talked about Morgan's The Beat Atlas, about Ginsberg (a great deal), and about Kerouac and Ferlinghetti. My favorite literary photographer, Lawrence Schwartzwald, was there and took the photograph above.
Lawrence Felinghetti's "Baseball Canto" sits in the (I'm imagining April) sun, early-season baseball, schmoozing with the left-field bleacher-bound grungy populaLawrence Felinghetti's "Baseball Canto" sits in the (I'm imagining April) sun, early-season baseball, schmoozing with the left-field bleacher-bound grungy populace. And makes the presences of blacks and Chicanos on the S.F. Giants into a reason for associating the limitations of the Anglo-Saxon poetic tradition and Poundian modernism and American conformity (the latter imposed by Irish umpires).
Watching baseball, sitting in the sun, reading Ezra Pound. Lawrence Ferlinghetti wants an Hispanic or African American [not "Chicano" per se] member of the San Francisco Giants to hit a hole through the Anglo-Saxon epic. He sees Willie Mays flee around the bases as if being chased by the United Fruit Company. The entire panoply of political consequences of his love of the American Other are played out in front of him on the diamond, the nation's traditional (and Irish coplike ump-dominated) game.