Book: Ginsberg A. «The Essential Ginsberg»

The Essential Ginsberg

Серия: "Penguin Modern Classics"

Featuring the legendary and groundbreaking poem“Howl,” this remarkable volume showcases a selection of Allen Ginsberg’s poems, songs, essays, letters, journals, and interviews and contains sixteen pages of his personal photographs. One of the Beat Generation’s most renowned poets and writers, Allen Ginsberg became internationally famousnot only for his published works but for his actions as a human rights activist who championed the sexual revolution, human rights, gay liberation, Buddhism and eastern religion, and the confrontation of societal norms—all before it became fashionable to do so. He was also the dynamic leader of war protesters, artists, Flower Power hippies, musicians, punks, and political radicals. The Essential Ginsberg collects a mosaic of materials that displays the full range of Ginsberg’s mental landscape. His most important poems, songs, essays, letters, journals, and interviews are displayed in chronological order. His poetic masterpieces, “Howl” and “Kaddish,” are presented here along with lesser-known and difficult to find songs and prose. Personal correspondence with William Burroughs and Jack Kerouac is included as well as photographs—shot and captioned by Ginsberg himself—of his friends and fellow rogues William Burroughs, Neal Cassady, and more. Through his essays, journals, interviews, and letters, this definitive volume will inspire readers to delve deeper into a body of work that remains one of the most impressive literary canons in American history.

Издательство: "Penguin Group" (2015)

ISBN: 978-0-14-139899-0

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GINSBERG (A.)

GINSBERG (A.)

GINSBERG ALLEN (1926-1997)

«Ce qu’il faut à ce pays», disait Henry Miller, parlant des États-Unis, «c’est un fou inspiré.» Quand le volume Howl and Other Poems parut chez Lawrence Ferlinghetti, qui a édité presque tous les livres de Ginsberg, à San Francisco (City Lights Press), en 1956, Miller devait au moins lui tirer un coup de chapeau. Toujours est-il qu’avec la parution de ce livre, qui fit d’ailleurs l’objet d’un procès pour obscénité, Ginsberg se trouvait tout d’un coup, avec Kerouac, à la tête d’un nouveau mouvement, jusque-là souterrain et sans voix, dans la littérature et dans l’existence américaines. La vague beatnik déferlait, et avec beaucoup de bruit — trop pour Kerouac; mais Ginsberg se trouvait plutôt dans son élément: le rôle de prophète ne lui déplaisait pas.

On ne comprendrait pas Ginsberg sans tenir compte de ses origines juives et, du côté de sa mère, dont le personnage l’obsède, russes. S’il y a chez lui un prophète biblique, il y a aussi un être torturé, tout droit sorti d’un roman de Dostoïevski. Il avait tout ce qu’il fallait pour se sentir aliéné dans la société américaine de bon ton. L’histoire de sa poésie, c’est l’histoire de son aliénation et de ses tentatives pour trouver une voie de sortie. La première voie qui s’offrait était celle de la drogue (la seconde partie de Howl a été écrite sous l’influence du peyotl). Ginsberg utilise les drogues, comme Michaux, pour explorer certains modes de conscience. Pour lui, «la marihuana est un outil politique», un antidote contre «la merde officielle» (official dope ) et ce qu’Artaud appelait «les grands trusts psychiques». Mais, de plus en plus, c’est la voix de l’Inde que Ginsberg entend, et ce sont les voies de l’Inde qu’il suit. Il étudie les textes, il va en Inde à la recherche de gurus, qui lui disent «Ton propre cœur est le guru», et «La poésie aussi est un yoga». Confirmé et fortifié dans son activité par l’Inde, il lui emprunte certaines techniques, telles que le mantra , qu’il utilise dans ses lectures publiques à travers le monde entier. Il publiera en 1970 ses Journaux indiens .

Depuis les grandes litanies à inspiration hébraïque de Howl et Kaddish (1961), sa matière poétique consiste en tranches de vie notées entre deux trains, dans un avion, le long d’une autoroute (Planet News , 1968; Reality Sandwiches , 1963), extraits d’un carnet en perpétuelle gestation, où l’accent n’est pas sur la perfection de la forme, mais sur l’immédiateté et sur le «flash» éventuel. Mais, avec The Fall of America (1972), dédié à Whitman, il retrouve son grand souffle pour le déclin et la chute des États politiques actuels et le développement potentiel de nouveaux états de la conscience. On trouve l’aboutissement de tous ces thèmes dans Plutonium Ode and Other Selected Poems (1977-1980).

Источник: GINSBERG (A.)

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