Daniel Kane – författare

During the late 1960s, throughout the 1970s, and into the 1980s, New York City poets and musicians played together, published each other, and inspired one another to create groundbreaking art. In "Do You Have a Band?", Daniel Kane reads deeply across poetry and punk music to capture this compelling exchange and its challenge to the status of the visionary artist, the cultural capital of poetry, and the lines dividing sung lyric from page-bound poem. Kane reveals how the new sounds of proto-punk and punk music found their way into the poetry of the 1960s and 1970s downtown scene, enabling writers to develop fresh ideas for their own poetics and performance styles. Likewise, groups like The Fugs and the Velvet Underground drew on writers as varied as William Blake and Delmore Schwartz for their lyrics. Drawing on a range of archival materials and oral interviews, Kane also shows how and why punk musicians drew on and resisted French Symbolist writing, the vatic resonance of the Beat chant, and, most surprisingly and complexly, the New York Schools of poetry.In bringing together the music and writing of Richard Hell, Patti Smith, and Jim Carroll with readings of poetry by Anne Waldman, Eileen Myles, Ted Berrigan, John Giorno, and Dennis Cooper, Kane provides a fascinating history of this crucial period in postwar American culture and the cultural life of New York City.

An artist and writer whose charming and inventive works are at once modest and ambitious, Joe Brainard was one of the most distinctive figures on New York City’s vibrant cultural scene in the 1960s and 1970s. Widely known for his influential experimental memoir, I Remember, Brainard worked in a variety of forms, from New York School–aligned poetry to Pop Art–adjacent artworks, including wild riffs on the comic strip character Nancy. His art drew on the everyday and popular culture, exuding a sense of amiability, wit, and generosity.Love, Joe presents a selection of Brainard’s letters stretching from 1959 to 1993, offering an intimate view of his personal and artistic life. They allow readers to witness an extraordinarily fertile moment in New York’s history, when literary and visual arts intersected with happenings, proto-punk and psychedelic rock concerts, and experimental music and dance performances. Brainard’s letters to his partner, Kenward Elmslie, and others also open a window onto the transformations of queer life during this period. His correspondents include poet and artist friends such as John Ashbery, Anne Waldman, Ted Berrigan, Alice Notley, Fairfield Porter, Ron Padgett, Bernadette Mayer, James Schuyler, Alex Katz, and Andy Warhol, as well as lovers, patrons, high school friends, and fans. At once an insider’s view of the art and literary worlds and a revelation of Brainard’s creative process, these letters invite readers to share in his radical but gentle candor, his open-mindedness, and a sophisticated naiveté that helped him erase the conventional barriers between art and life.

An artist and writer whose charming and inventive works are at once modest and ambitious, Joe Brainard was one of the most distinctive figures on New York City’s vibrant cultural scene in the 1960s and 1970s. Widely known for his influential experimental memoir, I Remember, Brainard worked in a variety of forms, from New York School–aligned poetry to Pop Art–adjacent artworks, including wild riffs on the comic strip character Nancy. His art drew on the everyday and popular culture, exuding a sense of amiability, wit, and generosity.Love, Joe presents a selection of Brainard’s letters stretching from 1959 to 1993, offering an intimate view of his personal and artistic life. They allow readers to witness an extraordinarily fertile moment in New York’s history, when literary and visual arts intersected with happenings, proto-punk and psychedelic rock concerts, and experimental music and dance performances. Brainard’s letters to his partner, Kenward Elmslie, and others also open a window onto the transformations of queer life during this period. His correspondents include poet and artist friends such as John Ashbery, Anne Waldman, Ted Berrigan, Alice Notley, Fairfield Porter, Ron Padgett, Bernadette Mayer, James Schuyler, Alex Katz, and Andy Warhol, as well as lovers, patrons, high school friends, and fans. At once an insider’s view of the art and literary worlds and a revelation of Brainard’s creative process, these letters invite readers to share in his radical but gentle candor, his open-mindedness, and a sophisticated naiveté that helped him erase the conventional barriers between art and life.

This landmark book, together with its accompanying CD, captures the heady excitement of the vibrant, irreverent poetry scene of New York''s Lower East Side in the 1960s. Drawing from personal interviews with many of the participants, from unpublished letters, and from rare sound recordings, Daniel Kane brings together for the first time the people, political events, and poetic roots that coalesced into a highly influential community. From the poetry-reading venues of the early sixties, such as those at the Les Deux Mégots and Le Metro coffeehouses to The Poetry Project at St. Mark''s Church, a vital forum for poets to this day, Kane traces the history of this literary renaissance, showing how it was born from a culture of publicly performed poetry. The Lower East Side in the sixties proved foundational in American verse culture, a defining era for the artistic and political avant-garde. The voices and works of John Ashbery, Amiri Baraka, Charles Bernstein, Bill Berkson, Ted Berrigan, Kenneth Koch, Bernadette Mayer, Ron Padgett, Denise Levertov, Paul Blackburn, Frank O''Hara, and many others enliven these pages, and the thirty five-track CD includes recordings of several of the poets reading from their work in the sixties and seventies. The Lower East Side''s cafes, coffeehouses, and salons brought together poets of various aesthetic sensibilities, including writers associated with the so-called New York School, Beats, Black Mountain, Deep Image, San Francisco Renaissance, Umbra, and others. Kane shows that the significance for literary history of this loosely defined community of poets and artists lies in part in its reclaiming an orally centered poetic tradition, adapted specifically to open up the possibilities for an aesthetically daring, playful poetics and a politics of joy and resistance.

This is an introductory book about the history and contemporary usage of the Chinese language.Chinese is generally considered a difficult language. It is also a fascinating and important language that cannot be ignored. A growing number of English speakers are learning the Chinese language to the enrichment of their lives and the admiration of their friends. Chinese does, however, present a number of challenges. Written Chinese looks like a random set of stroke, dots and dashes. In its handwritten form, it looks like a series of undifferentiated squiggles. Spoken Chinese sounds like a rapid series of almost identical monosyllables with rising and falling intonations. This book is a contemporary introduction to the modern Chinese language as it is used in China during the first few years of the twenty-first century. China has changed so much and so dramatically over the past century, and indeed over the past twenty years, and these changes are reflected in the language. Textbooks written only twenty years ago are now quite quaint. Much information on the actual use of putonghua (Mandarin Chinese), the use of dialects or various romanization systems is now out of date. The aim of this book is to present current realities. China is a country with a long history, and to understand modern China we must know something of its past. The same applies to the language. Earlier stages of Chinese still have a deep influence on the current language, and we should at least be aware of such influences. This book is not a language textbook for those wishing to learn Chinese. It does not try to teach the Chinese language. It is a book about Chinese. It has been written for people who are thinking of taking up Chinese and would like some insights into what they are letting themselves in for. As the Chinese strategist, Sunzi said, "zhi ji zhi bi, bai zhan bai sheng."—"Know yourself and know the other: a hundred battles, a hundred victories." The same applies to learning Chinese.

The Kitans established the Liao dynasty in northern China, which lasted for over two centuries (916-1125). In this survey the reader will find what is currently known about the Kitan language and scripts.The language was very likely distantly related to Mongolian, with two quite different scripts in use. A few generations after their state was defeated, almost all trace of the Kitan spoken and written languages disappeared, except a few words in Chinese texts. Over the past few decades, however, inscriptions from the tombs of the Liao emperors and the Kitan aristocracy have been at least partially deciphered, resulting in a significant increase of our knowledge of the Kitan lexicon, morphology and syntax.