Word: rexroth
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...lewd work was hardly in the tradition of Ulysses. It consisted mainly of a parade of poetry professors from nearby universities to justify Ginsberg’s sexual imagery as an instrument of rendering his vision of human experience. Mark Schorer (of Berkeley), Walter Van Tillburg Clark, and Kenneth Rexroth (strawman poet and loquacious spokesman for the North Beach literati) told Judge Clayton Horn that the language of vulgarity was for Ginsberg a natural vernacular. (Ginsberg, after a stint at Columbia had been educated in night-spots, ghost towns, and freight car pilgrimages west...
Like Holderlin, Blake, Baudelaire, or Rimbaud, the Beat poets are expatriates in contemporary society. They come to San Francisco, writes Rexroth, “for the same reason so many Hungarians have been going to Austria recently.” To Ginsberg, America is Moloch (the semiotic god whose worship entailed human sacrifice, usually of the first-born); and the great minds of Ginsberg’s generation, kicked around by the machine age, looking for “jazz or sex or soup,” are sacrificed to the great American dynamo...
...theme, for those of you who don’t know. Frantically combing through the piles of CDs and LPs strewn across the floor, I hit gold: a CD of Lawrence Ferlinghetti and other Beat poets with the Cellar Jazz Quintet. I put on the CD and Kenneth Rexroth came on, angrily spitting out the words to “Thou Shalt Not Kill.” Rexroth built up to the furious conclusion, damningly beating out, “And all the birds of the deep sea rise up / Over the luxury liners and scream...
...script, by the Coens, John Romano, Robert Ramsey and Matthew Stone, sets Miles Massey (George Clooney), a Beverly Hills divorce lawyer with fabulous teeth and midlife ennui, against gorgeous, oft-married Marilyn Rexroth (Catherine Zeta-Jones). Miles is beguiled by her beauty and cunning, and she might be attracted to him, if he hadn't weaseled her out of a fortune and if she weren't about to marry a Texas zillionaire (Billy Bob Thornton...
...from exact renditions of the Farsi of Rumi's day?which in any case he doesn't speak. To create them, he has used literal translations provided by others. Barks' emphasis on poetic essence over linguistic exactitude owes a strong debt to earlier poet-translators like Robert Bly, Kenneth Rexroth and Ezra Pound who championed a style of direct, aggressively unacademic translation. Following their example, Barks was able to create an American Rumi: one who speaks across the centuries with a voice as direct and imperative as a tug on the shirt...