JIMMY OLSON, CUB REPORTER

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On a rainy wet moist night (It was October 6, 2010. It was too many adjectives on purpose) WOW! My Black Mountain North adventure took a predictable turn, a run around the block on Irving Street in Albany New York (the dirty, the mean streets, urban decay, wet leaves waiting for street cleaners) Yes we waited. We waited for street cleaners as a few of us, braze souls, waited for MORE! Cleaning like the fire that swept through Clarksville, New York burning houses, rumbustious old photos, that have caught--yes predictable, inevitable has caught the eyes of Obeedude. "Bird, Bird ", he said. "There is a lot of history in Clarksville." Braze meant "hardened". With the end in the beginning, I see cosmic sorting out. Said to Jason Crane, "Surely you know from jazzchasing the sound certain times when the players, the sound is perfect & right and you look around and see who is there, how the heck you got there to that club at that time and the wonder of the sorting out not formula though you could probably do it mathematically but as I know there are wee people inside the numbers on the page as well. It was a daRK ANd storMy night when into the Parting Glass Tavern in Saratoga Springs walked Tim Cook who unsurprisingly greeted Albert and Pat Glover first. I had arrived earlier. Glover had his nose in Obeedude's IPAD. Now there was a meeting strong in ROOTDRINKER mythos, "Obeedude meet Glover" "Albert this is Obeedude" I was dejected like Creeley. No not like Creeley, "Creeley was Creeley" as Albert was kind enough to school me. I thought instead of lesson of silence when I wasn't shouting and strutting my stuff.

The scene moved. I am overcredited. On Phila Street next to Hattie's Chicken Shack above a comic book store lying in wait Cafe Lena.

No joke Albert Glover gave us a great poetry reading. Jason Crane recorded the event which means at some near point he and I will make it available to the World-O-Sphere. For Ken Warren, Michael Boughn, Hoa Nguyen, John Roche and other A Curriculum of the Soul (the book version) fans here is what happened. Carol Graser the open mic host asked me if I had any personal bits she could use in introducing Al. I went over to Glover's table and hijacked the copy he had in front of him brought it over to her, I took it out of the plastic bag it was in and then out of the box the book fit in and put it in front of her. She opened it and spent a minute or two looking at pages. During her introduction she referred to it. She wanted to say "Bible" but then changed it to "Dictionary". I guess other people there were paying more attention to this all then I thought. Glover read beautifully from RELAX YR FACE and OMEGA SEQUENCES. Then something happened that had never happened in Cafe Lena poetry history (to anyone there's memory). Carol asked Albert (after he had already sat back at his table) if he would do an encore and the crowd (not those of us with intimate knowledge of the CofS) started calling for Albert to read more poetry and started calling for A Curriculum of the Soul. "Read from the Curriculum" 'Read from the big book" The crowd actually called for the Curriculum to be read to them. WOW! again (more sincerely this time) so Albert read briefly from the Charles Olson Introduction, read the Table of Contents and then read a nice piece of THE MUSHROOM

If you have not yet seen here is a taste http://jasoncrane.org/2010/10/


Now Thursday morning a respite from many-armed Black Mountain slopes. Blue sky

CHARLES OLSON CENTENARY CONFERENCE

Back from the Olson Conference held June 4-6, 2010 at Simon Fraser University's Segel Graduate School of Business in Vancouver, British Columbia. I was surprised at how comfortable I felt with the people and the surroundings. I have to think they found a way to a great success for this conference where the participants did not seem to need to create conflict inorder to be noticed; but strived to communicate instead. There were great differences of opinion but also careful conduct expressed in willingness to entertain ideas for their own sake. Course that is just my opinion. Who knows what dark underpinning of antithetical representation appeared when I was not looking? None I hope.

My comment the first day to the first of two roundtables on The Future of Olson Studies followed me around a bit for the rest of the conference. There was talk about the complexity of Olson and the necessity to study and understand his systems and antecedents (which wouldn't hurt, you understand) before reading his poetry. I just said, "Well, you don't have to. You can go ahead and read, enter the text. Bring whatever you have with you. Look around and bring out what you find, what is useful to you." Oh yes, 'negative capability' someone in the audience said. Probably because they were thinking the same thing themselves, a bunch of people came up to me and said they were glad I made those comments. Whoever said 'negative capability' really had it right. Those who know me know I am not a champion of ignorance. The anti-intellectualism of American culture is one of my country's biggest failings. Studying Olson has its own reward. The collection and archives at the University of Connecticut is suppost to be filled with material from a poet who wrote on all available materials with great profusion. Those who have visited these archives recommended them to the assembled as an almost necessary stop. You have to have "certain" credentials to be admitted, however. I'll have to try some time to see if I can get in.

One of the most interesting presentations for me was by Jonathan Skinner. He showed a photograph of Charles Olson standing next to his research collection of notes, diagrams and map overlays of the Gloucestor, MA area, stuck on probably the biggest wall area available in Olson's Fort Square apartment. A continual work in progress for Olson. The partly disassembled map survives in the archive. This got me thinking about the levels of thinking interfacing the unknown and familiar. You have the map. You have the interior mental map and then you have walking the place mapped. Plus the rest like mythic, chronological and knowledge of prior events all brought to cognitive structure and perception

Having Ralph Maud present was invigorating. His life and sharp mind are what I want when I am 82 years-old as he is. Those of us still at the conference late Sunday got to hear his presentation of a dramatic reading of Olson's play Apollonius of Tyana. When I first met him on Friday afternoon, I wanted to ask him about one of the points of the larger dialog our panel members had been having in preparing for our presentation (one I have returned to more than once). The specific of it is that Tom Clark in his biography of Olson refers to the poem Cole's Island as an example of allegory. I do not find allegory as I place this poem's poetic work in the mythological present. I said to Ralph Maud in the poem Olson meets with the Death not some distant reference of. He said he met someone there. Which reminded me that the poem never identifies the stranger as Death absolutely, "it was not one thing more than that he was Death instantly that he came into sight." We talked some more about his biography of Charles Olson. How he felt he needed to write it as for all of his work showing inaccuracies in Tom Clark's biography of Charles Olson, Tom Clark went and published a second printing without making any changes.

Of use was Kim Minkus talking about ways of reading a page, new technology and "the high energy construct" of Olson's Projective Verse being available and generated by performance using internet tools. I should say Minkus's Presentation was on Rachel Zolf's work which no doubt limited her talk. She did trace the investigative form of poetry to Charles Olson and made a nice point about the poet's use of space being invaded by digital space.

Jeanne Heuving gets my award for HOW COULD YOU LEAVE THAT OUT? Her presentation "Whose Projective Poetics?" shared ground with Jacqueline Turner's, who went just before her. The published letters between Frances Boldereff and Charles Olson showed he had a deep debt to Boldereff in regards to the ideas that shaped Projective Verse and other works. It was when she talked of "other energy sources" and even "stealing projective away from Olson" looking at contemporaries that followed in the decade of the 1950s without mentioning a prime energy source Jack Kerouac. Kerouac even said he invented "projective verse". Look at Mexico City Blues, the pages themselves how he broke open form and used space

Continued on Saturday morning by attending presentations on Projective Geometry and Dance. The three panels found under this topic were diverse and all very well done. Lisa Siraganian "Administering the Poem" As a propagandist and "artist/bureaucrat" Charles Olson had a life of qualitative success before he choose the life of a poet. What Siraganian intuited was the Idealized Admininistrator where an administrator must be a method expert and methods triumph over specialized knowledge. Interesting Olson life history in World of Ideas. He did a publication "projection of America directive" and progressive pro-labor circulating multi-media. How much carry over and carry on are the questions to fulfill. I can see forward, onward, projective as thematically similar but find the whole question less interesting then one good Olson poem. People have heard me say this before, the work is in the poetry itself. If the poem is not any good then the rest of it doesn't really matter. There are lots of words that if you are not sure of your originality you would be afraid to touch. macro and micro social norms also come into play. It is already fading but can anyone remember the word you were not allowed to say at this Conference (prophetic)

Kate Markoski brought us the dancing of Merce Cunningham. Mindscape picture of large Charles taking Cunningham's class at Black Mountain College and dancing with great particularity. Cunningham brought vision of dance being always individual, dancers own center the focus with position not oriented towards center front of stage. In Letters for Origin (letter of May 8, 1951) there is a passage on dance. "an investigation of the body as instrument" and the movement Olson was seeing in the glyphs he was studying, "the graphic of drama." He states as dictum: any player is (has to be) 1st dancer. I can report on the weekend's big mystery. Unless there is another description somewhere? Martin Duberman quotes Merce Cunningham on Olson as a dancer. "I enjoyed him... he was something like a light walrus." Looks like "walrus" wins and "elephant" loses.

I wondered if David Herd's presentation was on Secrets. I don't think it actually was. This was a case (and not the only one) where the presenter needed either more time or a less intellectually stacked setting. Herd's presentation required concentration which I apologize for not having enough at the time. Herd's title was From him only will the old state-secret come. I would like to read the whole paper if the opportunity comes my way. He pointed out how Charles Olson searched for sources on whaling used by Melville, however conceptualized deeper and gathered additional data which revealed more of the underlying social-economic structure. I could be off on this, but perhaps Herd then brought his own perspective to the source material as well as both Melville's and Olson's use of it. I did think; "Hey there are other poetic uses of that material" when Herd equated Capitalism with image of:

eight skeletons in a cave
shipped wreaked
by a whale stoving in
their vessel

Answering my question, he cleared up that he was referring to the eight men themselves. How their own choices had put them in a death trap. The reference to Capitalism put me more immediately in mind of the distant owners.

I went to the Panel: Olson and/or Apocalypse. This was a last moment choice. I was aimed at first at the panel that was going to discuss "the Archive" since Rootdrinker Institute has an archive which is growing but not as yet organizing. But after earlier discussion of "the Archive" I was not sure I could even get past the gatekeepers there. Now the gatekeepers to the Apocalypse that is a different story. There I have a seat saved. Peter O'Leary was the only announced presenter in town. Stephen Collis contributed a poem impression which was a imperative pleasure for me. What if they went to an Olson Conference and poetry broke out! Peter O'Leary's talk was titled "Fire against Wisdom:Olson and Synchronicity" Peter's own energy was pouring out like the sun. I enjoyed his style and conviction completely until later when talking with Jonathan Skinner, we discussed that topic (indirectly). There can be a bit of the zealous in presentation speech but it is a tough line because of the easy dismissal of the overzealous. I don't think Peter was overzealous except for maybe just a tiny tone. No problem, really, but for myself it was a reminder to keep questioning. The content of Peter's talk was along pathways I have traveled. Jung writes in his Forward to the I Ching a certain moment, not of time as in hours and calendars, but as "an indicator of the essential situation prevailing in the moment of its origin." O'Leary spoke of acausal connective, not causal, meaning full of cross connective. Here are a couple of Casline bumper stickers: THERE IS ORDER IN RANDOMNESS (which is how I organically design my vegetable gardens) and CHANCE DOES NOT HAPPEN BY CHANCE.

The Panel I came to Vancouver to be a part of was the last panel on the last day of the Conference. called A Curriculum of the Soul: from Buffalo Out. It is like reviewing a friend's poetry book or even worst reviewing your own poetry book to comment on the panel you yourself are on. I think I'll take a clue from the proceedings and say a bit about the development and hoped for impact and let others give feedback and critiques on the panel itself. John Roche, who I met after seeing and then publishing his poem Joe the Poet in Rootdrinker, was able to swap information and stories about Charles Olson's Buffalo days and The Institute of Further Studies. I remember asking him if he thought Charles Olson would be remembered as a poet or if he would be assigned to "the dust bin of history" (cliche). Ken Warren and House Organ became known to me through multiple vectors. Michael Boughn and Shuffaloff, I believe I found on my own even though I first read his work in the CofS fascicle Mind. I unconnectedly found a website when on a search through the innersphere and remember showing a copy to Dennis Sullivan in Smitty's Tavern and saying this is a guy we should meet. Hoa Nguyen also became interesting after I read an interview in which she discussed her personal take on teaching Olson's work. I had heard of Skanky Possum through Albert Glover. Glover I first met on campus at St. Lawrence University. He was carrying his medicine pouch and had a carved staff decorated with feathers and was pointed out to me as the poetry teacher which looked about right. The lead up to the panel presentation in Vancouver involved some long e-mail streams; Hoa's Buffalo reading when I met her and Ken for the first time; compressed research into the letters between Jack Clarke and Albert Glover regarding CofS and other matters and distribution of From Buffalo Out poem packet. We had shared and individual goals for what we wanted to accomplish in Vancouver. Sharing the stage as a panel and helping to create space for Albert Glover to expound and share insights on the "great project" brought to culmination in the form of a book A Curriculum of the Soul was one of the ones our gang prized.

Whatever wave of the event I was riding put me next to Renee Rodin and other poets from local Vancouver at the concluding poetry bash at W2-Storyeum. A great cave of a place with about seventy people there to hear poets from out of town and from the Olson Conference read. Stephen Collis happy to introduce me as from the Normanskill Watershed and not Albany, New York. Nice to leave their city with such bright and affectionate support as I return to the local, something like water seeping from a hill. Each poet dependent on their own time situation. Our application of poetry depending on who we are (who I am) with the variation always fitted to the individual's moment, though the fundamental lines of direction are of course the same.

SPONTANEUS GLYPH POETRY AND READING IN CANTON, NEW YORK

elm trees at dawn November 7, 2009

When in Maine this October I picked up a nearly complete set of Science History of the Universe, published by The Current Literature Publishing Company, New York (1911). There is something especially interesting is reading one hundred year old scholarship and science. I do not have any of the "oh we are so much smarter now" attitude. I'm intensely interested in the words, phrases, metaphors, threads of thoughts, all the older ways of thinking. The section on Literature by is by the Managing Editor for the entire series Francis Rolt-Wheeler. He says in beginning that the essential difference between Speech and Writing is "the former appeals to the ear, the latter to the eye." He writes that the Chinese never conceived a smaller unit than a word and only when "an alien people" the Phenicians took to their own language the best "expedients at which Egypt arrived"did the alphabet come to be.
glyph of poetry at the yoga loft

For some time as a book-maker as well as a poet and writer, I've wondered at what the poem as an energy field consisted of when the page is "decorated" by an additional graphic image. Another book that is holding my interest is Daniel Belgrad's THE CULTURE OF SPONTANEITY published by The University of Chicago Press (1998). Both books have chapters on the beginning of writing, movement from picture to pictograph. Details of time and abstract conceptions are difficult to convey from the single picture. A record in pictograph form ( think a cartoon strip) can more completely tell a story. Belgard's Chapter 3 is titled Ideogram and his interest is how the avant-garde artists used native american pre-Columbian art to link ideas in paintings through "spontaneous picture-writing" Belgard also associates a number of poets ( such as Charles Olson's cultural-political project of reaching back and down) with a rejection of the abstract and impersonal qualities in modern culture's lack of attention to the local and specific life. The next stage of writing, referred to as the ideogram and as "hieroglyph" or simply "glyph" (think Chinese characters) is favored because it avoids the complete abstraction of phonetic alphabets and operates differently as "image" Ezra Pound wrote on his poetic method (1914), "the image is itself the speech. The image is the word beyond formulated language." The associations found with the field create complexities of meaning, expression and energy.

Poets from Top: Albert Glover, Dale Hobson, Paul Doty

Such is my introduction to my glyph of poetry at the yoga loft. After our four person reading set up in the yoga loft above The Blackbird Cafe in Canton, I left town and drove to my cabin. I knew I was staying there on what might be a cold November night and so I had set a fire in the woodstove the last time I was there, earlier in October. I had driven the four plus hours from Albany, N.Y. staring out at about 2 pm and found the mountains and highland from Newcomb to past Colton covered with snow. Thankfully as I came down off of Waterman Hill there was only a powdering of white. It turned out to be a cold night with temperatures in the twenties. Liquid in the evening, the marsh was frozen surface by the next morning. I was still buzzed from poetry by the time I got the lamps lit and the room warm. There was a good poetry crowd at the reading and my fellow poets, Paul Doty, Albert Glover and Dale Hobson delivered in good form as I would expect them to. My mind and heart were racing, filled with their words and of the social "intersubjectivity" of new and old voices, new and old friends. I took advantage by craving two new woodblocks and inscribing the ideogram in which I hope to communicate to them (and you). The greek is graphein to scratch, write and so I scratch and record an inspiring event.

HOLY RELIC OF OLSON CULT RETRIEVED FROM SUBTERRANEAN GROTTO

It started out innocently enough, I mentioned so many of the fascicles of A Curriculum of the Soul were printed by mimeo and they were so beautifully done. "Because of Guy Berard," Albert Glover said. Berard was the artist and designer involved. "Where is the machine, I'd like to take some photos of it?" I asked. "You did the printing yourself, right?" "Photos, yes, photos - that's a good idea, that's a very good idea.." he said looking me up and down as if measuring something in a distracted way. "Can't do it today. You'll have to come back tomorrow, today we have the..the piano tuner. Yes that's it the piano tuner. Come back tomorrow at three. The mimeo is not here. It is up on campus. We'll go tomorrow." The next day he drove. Said he'd be able to find parking. I noticed a small archaic symbol and mystical number combination struck to his window. "This will let us pass." he said. The road turned and twisted in the labyrinth of odd appearing building. They were typical two and three family wooden structures like those found in rundown slums through-out the Northeast. Yet these had no peeling paint and there were crowds of carpenters swarming the buildings, rebuilding porches, replacing weak boards and putting on new shutters. I was hopelessly lost and feeling more discontent looking over at my intently focused driver.

The unreal village went on forever. Suddenly he swerved, miraculously a place opened, where I saw none but a moment ago. "It has been thirty years since I have been this way." Glover said. "I must go first, to be sure the way is still open."
We entered a building and walked through the corridors with more strangeness. There were no people living here, just desks, offices with people sitting with piles of papers before them. They all seemed to know Albert. They said hello while ignoring me. I wondered how many others had been lured on the path I was on. We came to a door

Relics of Olson Cult revealed

which opened on to steep descending stairs. I took a deep breath and began my descent. They way was dark, time had no meaning on the endless stair. At last we came out in a subterranean grotto. Glover began speaking. "The mimeo machine is a Gestetner and there is a stencil maker also. They were left over here, in this corner." Quietly, carefully he began removing centuries (or maybe thirty years) worth of debris. There they were. My breath caught. I took out my camera and began taking pictures. Glover kept removing accumulated coverings. He maneuvered the printer till it came loose.
"We are taking these," he said daring me with his eyes to say "no". "Yes, lets do it," I said.
He grapped one end and I the other. A different doorway suddenly came into view opening to the daylight and green grass. We carried first the printer and then the stencil maker to his car and he drove us back to his home. Taking the mimeo printer out of the trunk and downstairs to his study area he said "Pat is going to kill me!" It was the obligatory remark of any married man which could have been left unsaid as it was alreadly implied by the situation. Albert Glover digs out Gestetner

The Gestetner machines were set up in a sort of altar area in a side room. Instead of incense an open can of mimeo fluid would be used during ceremonious visits. (Special Warning: Do not breathe in the mimeo fumes in imitation of the Rites of the Delphi Oracle). "It will never run again," Glover says. I respond, "You know how I've spoken of ambrosia. A different way of measuring life, not the bio way but by the life that is in something. Something has more life in it, it has more ambrosia. You can see it like a bowl of fresh picked fruit or a special bright beautiful day. If you drink ambrosia, that is the life that is restored. Those Gestetner machines have more life in them now then they did before." "Ambrosia," Glover says, "that is a good name for a magazine."

CHARLES OLSON AT THE HARBOR by Ralph Maud

Had enough interest in Ralph Maud's biography CHARLES OLSON AT THE HARBOR to read it in three days. I knew most of the particulars of Olson's life and was aware that Maud's book was a counterview to another biography of Olson by Tom Clark CHARLES OLSON: THE ALLEGORY OF A POET"S LIFE. It wasn't till I got about two chapters in that I realized this was no telling but a critique and opposition based on Maud's scholarship and personal experience of Olson. He tries at points to give Clark his due but at a ratio of about 10 to 1 points out "mistake" after "mistake". Chapter, verse, particle, page number, letter, nuance, pharmaceutical, the words right after the words or the words right before the words. I know people really care about this detail, I'm not being snide. Maud's larger point that Tom Clark has a strong prejudice is adequately demonstrated. I wish that he had delivered a counter biography with little or no mention of the earlier work. Again, I understand there has been some taking sides and Maud is playing to his strength. He sees his literary forebearer as James Boswell with Charles Olson as Samuel Johnson with an important job to be, as he quotes Boswell, the hope to present a true and fair delineation. I couldn't even begin to enter this quandry. There are not enough biographies yet.

The Berkeley Reading that Charles Olson gave July 23, 1965 is a event of divided opinion. The audience and later interpreters find lots of room for different experiences. If we ever achieve the trick of time travel, I expect Olson's reading to be a favorite destination of poets and literary historians. I've read parts of the transcripts and don't find them any more difficult than other Olson transcripts. Context and environment of course effect the doors of perception. Call it crowd mentality, gestalt, collective group consciousness -- whatever the reason, Olson didn't connect with the people in his audience that night. Many luminaries, admirers, associates were numbered among the casual designates in attendance. Olson arrived drunk and drinking according to Robert Duncan. Olson had been given two dexamils "in some stupid sympathy" in the attempt "to lift him out of his actual depresset pre-reading temper." This I do notice from the transcripts I've read, Olson's language shows signs of speed freaked racing with thoughts at time struggling to connect trains of cognitions that had long left the station. What you might expect from the mix (how the evening might have differed without the dexamil?) Tom Clark considered Olson's performance "intermittently coherent". Ralph Maud wasn't at the event but undertook the task of recreating it "accurately on paper for myself and others." The Muthologos version appeared in print, I think that's the one I read from. Here in the current book he writes Olson gave "a brilliant talk/reading: fragmented, disturbed, and chaotic on one level, but completely lucid on another."

Albert Glover told me that upon returning to Buffalo after his Berkeley reading Olson appeared to have experienced something momentous. Both liberation and despair over what he took to be the irreparable loss of friends who had not supported his new outpourings. CHARLES OLSON AT THE HARBOR ends sparsely saying little about Olson's return to 28 Fort Square and the late period of his writing. Applying the ruler that measures human behavior, I see Olson as a great enough poet and thinker to be called a major literary figure. He is a vast enough ocean of complexity that we can swim in his expression and set our personal narratives on different paths in his story. If he is epic, his words will inform and teach us, generations onward... His personal habits apply to us now in time because we share his context (some more than others). Later readers will have the luxury of less context and more focus on the poems. Glover calls for our understanding of Charles Olson to be developmental in his biological and emotional chronology. Of course his many friends and associates each want "their" Olson to be "the" Olson. I'm not opposed to that. The unqualified dimensional picture can only be clarified by observing multiple points in the cosmic grid. Writers, describers, editors, scholars all may add to the show. I'd have to get philosophical to say anything more and poetic to say anything beyond.

I do think the most interesting Charles Olson to the local poets I talk with is the life's end Olson of Gloucester, Massachusetts. Early bio-regional poet Charles Olson.... (not really, but see how easy it is to go there)

The landscape (the landscape!) again: Gloucester,

the shore one of me is (duplicates), and from which

(from offshore, I, Maximus am removed, observe.

from poem by Charles Olson THE LIBRARIAN