Michael McClure – författare

This essential collection of Michael McClure's poetry contains the most original, radical, and visionary work of a major poet who has been garnering acclaim and generating controversy for more than fifty years. Ranging from "A Fist Full", published in 1957, through "Swirls in Asphalt", a new poem sequence, "Of Indigo and Saffron" is both an excellent introduction to this unique American voice and an impressive selection from McClure's landmark volumes for those already familiar with his boldly inventive work. One of the five poets who heralded the Beat movement in the 1955 Six Gallery reading in San Francisco, McClure reveals in his poetry a close kinship to Romanticism, Modernism, Surrealism, and Japanese haiku. These poems - grounded in imagination and a profound regard for the natural world - chart a poetic landscape of utter originality.

This essential collection of Michael McClure's poetry contains the most original, radical, and visionary work of a major poet who has been garnering acclaim and generating controversy for more than fifty years. Ranging from "A Fist Full", published in 1957, through "Swirls in Asphalt", a new poem sequence, "Of Indigo and Saffron" is both an excellent introduction to this unique American voice and an impressive selection from McClure's landmark volumes for those already familiar with his boldly inventive work. One of the five poets who heralded the Beat movement in the 1955 Six Gallery reading in San Francisco, McClure reveals in his poetry a close kinship to Romanticism, Modernism, Surrealism, and Japanese haiku. These poems - grounded in imagination and a profound regard for the natural world - chart a poetic landscape of utter originality.

Michael McClure’s Josephine: The Mouse Singer, a play in verse, is based on a story of Franz Kafka’s, “Josephine the Singer, or the Mouse Folk.” Kafka and McClure? And yet the combination is bound to work, for in essence both writers in their different ways ponder the trials of the artist in an arbitrary universe. McClure’s exuberant, inspired adaptation, in fact, reminds us of the bizarre whimseys Kafka’s tales were originally intended to be. The first New York production of Josephine: The Mouse Singer, in November 1978 at the WPA Theatre, received The Village Voice’s prestigious Obie award for the Best Play of the Year. “As so often happens Off-Off-Broadway,” the Voice’s citation reads. “it is a play that was performed for only three weekends, but it is a play of extraordinary wit and grace and wisdom, at once utterly charming and almost unbearably painful, a play which tells us that the relationship between artists and their society is often intolerable, but which also tells us that for a society to endure without its artists is impossible.”

“NOW IT IS TIME FOR A NATION,/ a spiritual Nation/based/and formed on open freedom,/on flesh and biology…” The antipolitical activism, biologically based aesthetics, and exuberantly sensuous spirituality that have won Michael McClure acclaim since the birth of the San Francisco poetry renaissance in 1955 are affirmed with new range and eloquence in Fragments of Perseus. The title poem presents fragments of an imaginary journal by Perseus, son of Zeus and Danae, slayer of the snake-haired Medusa, and husband of Andromeda. With “The Death of Kim Chuen Louie,” we move from myth to reportage, ancient Greece to modern San Francisco’s Chinatown, where the poet has come upon a murder. Following are “Baja Bundle,” six poems composed under the spell of travel through Baja California, Mexico, as well as invocations, proclamations, love poems, and dream narratives. Radiating symmetrically from a central axis, McClure’s poems spiral across the page with the grace of organisms. As Aram Saroyan has noted, “he sees poetry itself as a ’muscular principle––an athletic song or whisper of fleshly thought,’ and in his poems he is able to make his vision compelling.”

“Poetry,” Michael McClure has said, “is not a system but is real events spoken of, or happening, in sounds.” And for thirty years, whether in his early “Dionysian” lyrics or his evolving “bio-alchemical” wisdom, his work has shown a ferocious energy and driving physicality. A poet of and for our time, his own formal structures—the shape of his poems and his highly charged breath-line—nevertheless look back to the classics, to the Provençal troubadours, and to the Romantic verse of Blake, Keats, and Shelley. McClure’s Selected Poems is the first major retrospective collection of a poet and Obie-winning playwright associated with the San Francisco Renaissance from its start as well as the early Beat movement. The poems in the book, chosen by McClure himself, hold the undiminished force of three decades’ work distilled. Included in Selected Poems are poems and long passages from nine of the author’s earlier collections.

Rebel Lions, Michael McClure’s first book of poetry since the retrospective Selected Poems (1985), spans a decade of profound personal change and poetic evolution for the author. In an introductory note, he provides a backdrop for the collection, which moves from old life to new. McClure’s work bursts forth from the matrix of the physical and spiritual. “Poetry is one of the edges of consciousness,” he asserts. “And consciousness is a real thing like the hoof of a deer or the smell of a bush of blackberries at the roadside in the sun.” In the first section of Rebel Lions, “Old Flames,” the poems range from the realistic (“Awakening and Recalling a Summer Hike”) to the metaphorical (“The Silken Stitching”), as the poet addresses a life on the verge of transformation. The second section, “Rose Rain,” exults in a life transformed through love’s alchemy. Rebel Lions closes with “New Brain,” poems affirming the freedom of all humankind and matter in the eternal now.

The final book of poems from a Beat Generation legend, Mule Kick Blues finds McClure restlessly innovating until the end."Intelligent, affable and flecked with unconventional typography—as in previous books … Mule Kick Blues is an estimable coda to a storied career."—San Francisco Chronicle"What a beautiful book. … I can’t think of any contemporary artist who explores the interior, the inside-out of the dharma as magically and freely as McClure except maybe for David Lynch. Were they friends?"—Eileen Myles"This legendary rockstar eco-poet’s gemlike modal structures will keep humming while 'black ants circle a bubble of honey.' A final performance from a master poet."—Anne Waldman"These pyramids and lozenges of crystal and light point in all directions and pierce you with the sobbing foghorn lobs of the ever-morphing ripples of the San Andreas Fault Ensemble. Long live McClure and the Libratonic Scales of Interspecies Justice!"—Filip Marinovich"His dedication to the pursuit of liberation in craft and subject matter reveals him to be a powerhouse of wisdom, love, joy. In this book, his ferocity and tenderness intertwine. Here are poems of improvisational intensity. And they are great gifts to us."—Uche NdukaA powerful collection of new work written during the last years of McClure's life, Mule Kick Blues was readied for publication before the poet's death in May 2020. Its opening section gives us a rare view into his thoughts about his own mortality, particularly in the moving sequence "Death Poems." The book takes its title from an innovative series of homages to blues musicians like Leadbelly and Howlin' Wolf, and evoking Kerouac’s concept of "blues" poems. Featuring shout-outs to lifelong friends like Philip Whalen, Diane di Prima, and Gary Snyder, the long poem "Fragments of Narcissus," and the eco-logical and zen-infused themes for which he is known, Mule Kick Blues is a definitive statement by one of the most significant American poets of the last sixty years. Introduction by poet Garrett Caples, McClure’s editor at City Lights.

Readers of Michael McClure’s play Gorf may be reminded of Alfred Jarry’s Ubu Roi, even if dancing TV sets and the “Middle American” protagonists Mert and Gert bring the surreal effect down to native ground. On another level Gorf is a ritual of regeneration, or, if you like, a kind of spiritualized Hellzapoppin. The “murdered” Mert and Gert are reborn in the search for their child, the Shitfer, who disintegrated when “hurled through Time and Space” is resurrected as his discrete “pieces” find and recognize their unity. And presiding over all is Gorf himself––the flying purple phallus, the cosmic joke and life principle, “Our fantasies,” McClure explains, “when they are enacted, open infinite doors. A play may help us be what we truly are by showing us the possibilities of action.” And John Lion, who conceived and produced the widely acclaimed 1974 Magic Theater production of Gorf in San Francisco, adds in his introduction that “man’s capacity for renewal and rebirth is tied to his ability to remain in touch with his child self,” With this in mind, Gorf is both a play and play itself––satire and myth, married to frivolity and fable. This edition includes photographs by Ron Scherl from the original stage production.

Praise for Michael McClure: "Michael McClure shares a place with the great William Blake, with the visionary Shelley, with the passionate D.H. Lawrence."--Robert Creeley "McClure's poetry is a blob of protoplasmic energy."--Allen Ginsberg "Without McClure's roar there would have been no Sixties."--Dennis Hopper Michael McClure is a living legend. One of the poets who participated in the famous Six Gallery reading that featured the public debut of Allen Ginsberg's landmark poem Howl, he was immortalized by Jack Kerouac in his novel Big Sur. A central figure of the Beat Generation, McClure collaborated with Wallace Berman and Bruce Conner and was later associated with San Francisco's psychedelic counterculture. Originally self-published in 1964 and long out of print, Ghost Tantras is one of McClure's signature works, a book mostly written in "beast language." A mix of lyrical, guttural, and laryngeal sound, lion roars, and a touch of detonated dada, this is one of his best-known but least available books, a deep well from which decades of poetry have drawn.McClure's inspiration has always been the animal consciousness that still lives in mankind, and he has had a consistent message: "When a man does not admit that he is an animal, he is less than an animal." Ghost Tantras is his original and singular manifesto for a poetry that relies not on images and pictures, but on muscular, sensual, energetic sound. Michael McClure has received numerous awards and continues to reach new audiences through his poetry, plays, and performance.

A landmark work of bio-romanticism, Mephistos and Other Poems is the first completely new collection in five years from legendary Beat and SF Renaissance poet Michael McClure, reflecting his interests in mammal consciousness and ecological survival. The title sequence stems from McClure's ongoing "grafting" experiment, growing new poems from fragments of previously ones. "Some Fringes" is a series of haiku-like nature poems, while the seventeen-part "Rose Breaths" derives from the poet's practice of meditation. The freestanding poems grouped under the title "Being" pay homage to many of McClure's collaborators and fellow travelers like Bruce Conner, Terry Riley, and Dave Haselwood. The book climaxes with "Song Heavy," recounting McClure's recent encounter with a beached whale in Rockport, Massachusetts, and recalling his classic "For the Death of 100 Whales," which he read at the Six Gallery in 1955--the inaugural moment of American eco-poetics. Michael McClure is an award-winning American poet, playwright, songwriter, and novelist.After moving from Kansas to San Francisco as a young man, he was one of the five poets who participated in the Six Gallery reading that featured the public debut of Allen Ginsberg's landmark poem "Howl." A key figure of the Beat Generation, McClure is immortalized as Pat McLear in Jack Kerouac's novels The Dharma Bums and Big Sur. He also participated in the sixties counterculture alongside musicians like Janis Joplin and Jim Morrison. McClure remains active as a poet, essayist, and playwright and lives with his second wife, Amy, in the San Francisco Bay Area. Michael and I have been twisting the Dharma for twenty years now. He reads his poetry like a mad lion or a hummingbird or a soft evening tidal pool or a wild California thunderstorm...His words are of a new realm of love and joy and terror. What a pleasure to play with such a perceptive artist. It's always been my great joy to make music to his words."--Ray Manzarek [C]ertainly a genius in thought and writing it out ...McClure is one of the few contemporaries to have understood Kerouac as a literary poet--and learned some joyous classic invention therefrom ...Thus we have a McClure poet, a McClure natural philosopher, and a McClure prosateur and novelist.Hardly anyone in America with equal range and sharpness, liveness. What more?"--Allen Ginsberg Praise for Mephistos: In Mephistos we are again thrown into Michael McClure's lavish lair of forceful magic. Its actions are literal ones, handfuls of jewels disintegrate as a firewall rises to a solid prism. There is no poet more adept at calling forth the elements, only to fashion them later as eternal amulets for his readers. 'NEW MOON ((BLACK!)) /STAR CLOUDS/ HALOES/ Flashlight reflects/ into two small eyes.' You will find your body changed through the labyrinth these poems initiate."--Cedar Sigo "Close attention will be rewarded in kind. Keep Mephisto near at hand, read only a poem or two at a time, let the imagery possess you. It's okay, you can trust it. It's McClure: he'll never steer you wrong."--Robert Hunter, lyricist, poet, songwriter "He is such a sweet paradox! Like most of Shelley and the late poems of D.H. Lawrence, McClure turns the phenomenal world inside out, seeking Mind within mind."--Diane di Prima, poet "If you've enjoyed McClure's writings in the past, this volume ought to recapture your poetic heart and rekindle your imagination."--Jonah Raskin, New York Journal of Books "Mephistos is perhaps an open love letter to all of McClure's many fans who have followed him ever since he arrived in San Francisco from Kansas City more than half a century ago."--San Francisco Chronicle