Here is Herbert Mitgang's summary of Allen Ginsberg's FBI file:
Ginsberg engaged the attention of the FBI recordkeepers. "I have a stack of documents three feet high," the . . . poet said, and showed me a sampling of them. He has devoted much of his time to challenging the government on issues of privacy and personal freedom - including sexual preference - and arousing his fellow writers to campaign for freedom of expression.
Ginsberg recently told me that Pacifica Radio, the group of radio stations that airs public events, contemporary verse, drama and other literature, may no longer broadcast much of his poetry, including the well known Howl and Kaddish. Under the Reagan administration's policy of destroying the power to regulate of the regulatory agencies, the weakened Federal Communications Commission has carried out Attorney General Meese's diktat against "obscenity" and "indecency." The final report of the Meese Commission on Pornography is a legacy for book censors and book burners that could affect authors, editors and elements of the publishing community for a long time to come.
Ginsberg said that some of the papers in his file come from related customs and Treasury Department investigative bureaus. His file crisscrosses those of other writers. "They include Leroi Jones, who was the victim of much more attack than people understand and, in that context, his anger is understandable," Ginsberg said. "Most people don't realize what he and other black literati have been through, assuming that all past injustices have been redressed or somehow disappeared out of mind. The waste remains, the waste remains and kills. The section on Tom Hayden in Newark intersects with Jones, since Jones was influenced by an FBI misinformation campaign to denounce Hayden as an [FBI] agent and drive him out of Newark. The section on Black United Front and Ann Arbor intersects with John Sinclair, poet director of Detroit Artists Workshop, a multiracial press that is one of my publishers."
We don't have any recordings of Denise Levertov yet in PennSound, but Levertov appears, one way or another, here and there throughout our archive. Robert Creeley talks about her (with me at the Writers House). Ken Irby reads one of her poems. John Weiners in 1965 at Berkeley reads a poem dedicated to her. Albert Gelpi talks with Leonard Schwartz about the letters of Duncan and Levertov. And a letter Duncan wrote Levertov as he was finishing the poem "Often I Am Permitted to Return to a Meadow" is discussed in passing in our Duncan PoemTalk episode.
Years ago I made available to my students--and then through the web to the world (this page is one of the most frequently visited pages in any of my web sites)--Freud's comments on political theory and political life in Civilization and Its Discontents. Here is a link to the excerpt, and here is his paragraph on communism:
The Communists believe they have found a way of delivering us from this evil. Man is wholeheartedly good and friendly to his neighbour, they say, but the system of private property has corrupted his nature. The possession of private property gives power to the individual and thence the temptation arises to ill-treat his neighbour; the man who is excluded from the possession of property is obliged to rebel in hostility against the oppressor. If private property were abolished, all valuables held in common and all allowed to share in the enjoyment of them, ill-will and enmity would disappear from among men. Since all needs would be satisfied, none would have any reason to regard another as an enemy; all would willingly undertake the work which is necessary. I have no concern with any economic criticisms of the communistic system; I cannot enquire into whether the abolition of private property is advantageous and expedient. But I am able to recognize that psychologically it is rounded on an untenable illusion. By abolishing private property one deprives the human love of aggression of one of its instruments, a strong one undoubtedly, but assuredly not the strongest. It in no way alters the individual differences in power and influence which are turned by aggressiveness to its own use, nor does it change the nature of the instinct in any way. This instinct did not arise as the result of property; it reigned almost supreme in primitive times when possessions were still extremely scanty; it shows itself already in the nursery when possessions have hardly grown out of their original anal shape; it is at the bottom of all the relations of affection and love between human beings--possibly with the single exception of that of a mother to her male child. Suppose that personal rights to material goods are done away with, there still remain prerogatives in sexual relationships, which must arouse the strongest rancour and most violent enmity among men and women who are otherwise equal. Let us suppose this were also to be removed by instituting complete liberty in sexual life, so that the family, the germ-cell of culture, ceased to exist; one could not, it is true, foresee the new paths on which cultural development might then proceed, but one thing one would be bound to expect, and that is that the ineffaceable feature of human nature would follow wherever it led.
This time PoemTalk took on Canto III of Ezra Pound’s epic, The Cantos. For such a daunting task we gathered Kaplan Harris (who came from far-western New York State for the occasion), Richard Sieburth (the brilliant NYU Poundian, who interrupted a sabbatical to lend a hand), and Philadelphia’s own (and, originally, Brooklyn’s own) Rachel Blau DuPlessis.
We began by considering what Al – for lack (at the moment) of a better word – calls the four or five “blocks” of topical segments that Pound typically brings together in a collage of historical materials and genres. We work through these, explore the associations, and find our way back to Pound himself (presented in the first “I” of The Cantos), remembering himself young, penniless, ambitious, shut out of rightful civic entry – like The Cid, a hero of this poem; and perhaps, too, like (but also unlike) Robert Browning (who makes a slant appearance).
The third canto was drafted around 1917 and published between hard covers in 1924-25. Although Pound recorded several performances of other cantos through the years, he did not record this poem until the summer of 1967, when he was 81. The voice you hear in the PennSound recording is frail, although Kaplan and Richard both remind us that Pound is, even here, putting on the performance of weak retrospection (a specialty, as a matter of tone and also content, of the final cantos which he had been writing not long before this). What is remarkable is that the poem contains a memory already (when it was written) of a very early moment for the poet (1908), and now, nearly sixty years later, we hear the old poet remembering the memory. There are moments – words re-uttered – when he certainly comes alive through emphasis and what one might call “deep memory.”
We urge you to listen hard for Rachel's terrific riff on the importance of Pound's deployment of the "genre circus," and of Pound's late "my notes do not cohere" problem. "Notes," in themselves, are one of the many genres deployed, says Rachel.
And listen all the way to the end here, folks. In his “final word,” Richard treats us to a marvelous description of the role played in Pound’s complex conception of the poem by the hyper-desired figure of Inez de Castro, lover and posthumously exhumed and declared wife of King Pedro I of Portugal (in the 1350s). At left: Inez de Castro.
Richard Sieburth is also the author of “The Sound of Pound: A Listener’s Guide,” which is the most authoritative account of the recorded voice of the important modernist. The essay was written for PennSound and is linked from PennSound’s Pound page. Just to be clear: PennSound’s Pound page includes every recording of Pound reading his poetry that we know exists. As you will see from the credit lines and acknowledgments on that page, we depended on the kindness of many people to produce such a collection.