When you are old and grey and full of sleep, And nodding by the fire, take down this book, And slowly read, and dream of the soft look Your eyes had once, and of their shadows deep; How many loved your moments of glad grace, And loved your beauty with love false or true, But one man loved
poems & poets
—after “Trumpet,” Jean-Michel Basquiat
the broken sprawl & crawl
of Basquiat’s paints, the thin cleft
of villainous pigments wrapping
each frame like the syntax
in somebody else’s relaxed
explanation of lateness:
All the Beat Generation writers occupy a contested space in conversations about American literature. The creators and guardians of the modernist canon dismissed Beat writers such as Allen Ginsberg, Jack Kerouac, and William S. Burroughs as subliterary, mere popular culture icons, vacuous self-promoters, and even inciters of juvenile delinquency.
As Norman Podhoretz wrote in "The Know-Nothing Bohemians," his 1958 attack on the Beats in Partisan Review, "On the Road and The Subterraneans are so patently autobiographical in content that they become almost impossible to discuss as novels." Podheretz grants the Beats great, albeit negative, influence when he claims that "juvenile crime can be explained partly in terms of the same resentment against normal feeling and the attempt to cope with the world that lies behind Kerouac and Ginsberg." These attacks, along with the pop-culture image of the beatnik—as embodied by the iconic, goatee-wearing slacker Maynard G. Krebs—have
With roots in the civil rights movement, Malcolm X and the Nation of Islam, and the Black Power movement, the Black Arts movement is usually dated from approximately 1960 to 1970. Both the Black Power and Black Arts movements were responses to the turbulent socio-political landscape of the time. As racial inequality prevailed and black leaders such as
Superstition continues to flourish around the earth even in the face of the most technologically advanced societies. Some may regard it as a curious relic dating from less scientifically advanced times when people sought explanations for the apparently random workings and spinnings of nature. To others, superstition is an integral and constantly shifting part of the richness of culture in an increasingly secular world. New technologies and new relationships to nature often breed new superstitions as we grapple with changes and advancements.
We now know that some superstitions originate from scientific fact, such as some that are related to animals, food, and weather, and yet—on other occasions, there seems to be no reason or rationale behind a notion at all. People still cross their fingers in a promise or become leery when a black cat crosses their path. Why do you think superstitions have such a hold on people? Imagine the spark (and sparkle) of incorporating superstition