In an essay on modernism and postmodernism in American poetry, David Antin quoted a passage from Allen Ginsberg's "America" and then pondered the contemporary response among "'establishment' critics" of the 1950s. How did Ginsberg's antic style strike them? From the later vantage (Antin was writing in the late 1970s) it is hard for us to remember that Ginsberg's writing seemed unliterary. The fact is that when we read Ginsberg today we assume that, whatever else his language is, it is at least literary.
Here is a rare recording: the Hatikva sung by Jewish inmates of Bergen-Belsen concentration camp on April 20, 1945. The recording, originally made by the BBC, had been lost until around 2000. It was aired in 2007 by NPR.
Thanks to Charles Bernstein for sending me this link.
When Tom Devaney interviewed Carl Rakosi, he asked this question: "I wanted to ask about the effect Stevens had upon your writing. In your poem 'Homage to Wallace Stevens' (later renamed in the Collected as the 'Domination of Wallace Stevens'), there is both a music of the language and direct use of musical terms and language. You write:
These are privacies behind the mask but they are not the manners of a boy who blows his French horn, smiles at twelve o’clock
When I reviewed Gerald Graff's book on "teaching the conflicts," I had as much space as I needed (I was writing for Review and its editor Jay Hoge gave me no limit). In part because Graff's idea had already received a great deal of attention, I decided to set his argument in the context of the Cold War-era political correctness debates. It was an odd gesture, because nowhere in the book does Graff refer to anticommunism or to pedagogy in the 1950s.