Category: Zen Poetics

Ginsberg, Ghost Tantras, Ginsberg Marathon

On June 1, 2013, I was honored to be named the Featured Poet for the 12th Annual Allen Ginsberg Memorial Open Mic Poetry Marathon in Seattle. For the past twelve years poet and archivist Paul Nelson has engineered this event. Paul has the pulse of poetry in the universe. He’s been a guest poet in China, he’s interviewed Ginsberg, McClure, and dozens of other poets, and he has written about the Projective Verse poets of the Black Mountain school—Charles Olson, Creeley, and Duncan among others. His two books: Before Slaughter, poems, and Organic Poetry—American Field Poetics are landmark works. Paul’s goal is to keep it coming—poetry is the heart beat, the blood, the juice of the modern idiom. The marathon is just one aspect of his dedication to poetry. By marathon Paul means a marathon. He kicked it off at 8:00 PM June 1st by giving me 45 minutes to read from my collection Satori, poems. At 6:00 AM the next morning, there was a recitation of Ginsberg’s Wichita Sunrise Sutra followed by a communal breakfast of scrambled eggs and pancakes and man, we were back in the days of the Summer of Love—the only thing missing was the acid dream. Paul ended the marathon at 1:00 PM June 2nd . This is a glorious tribute to the enduring power of Allen Ginsberg to inspire writers, to keep alive...

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Page Eight–Zen Poetics-The Poetics of Fiction 2

Page Eight–Zen Poetics–The poetics of fiction 2 ©2012 by Jack Remick and Robert J. Ray This is the Second Posting on Zen Poetics for Fiction Writers: A Golden Rule: Force the writer to create with power.  Zen Poetics: How to read a poem To read a poem, you must first HEAR it. Let the words roll out and over you. To read a poem, do this—tape yourself reading it then close your eyes and listen. Poems want to enter you as voice. Poems want to enter you as emotion. The voice enters you and you hear action and you see images. Story to the fiction writer is the big thing. Story moves in time. Image and action and compression are the big things to the poet. Compression means the poet squeezes out all the Unnecessary leaving only the Essential. Time is essential to story. Not essential to poem. The Unnecessary is any word or cluster of words in a line that impedes the image’s completion. Image is analogy. Analogy is metaphor. Her hair hung like copper wire Coiled on ashen shoulders Zen  Poetics Unearths Illusion Fiction writers get lost in language because language is deceptive. Clearing out the Unnecessary lets the writer show the story as it happens instead of telling the story in garbled mucked up prose loaded with embedded clauses and wondereds and imagineds and realizeds. The...

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©2010-2017 Jack Remick, Robert J. Ray. All rights Reserved. Unauthorized use and/or duplication of this material, including text and images, without express and written permission from this blog’s author and/or owner is strictly prohibited. Short excerpts and links may be used, provided that full and clear credit is given to Jack Remick and Robert J. Ray and "Bob and Jacks Writing Blog" with appropriate and specific direction to the original content.