Cover

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pp. 1-1

Title Page, Copyright, Dedication

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pp. iii-v

Contents

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pp. vii-viii

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Acknowledgments

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pp. ix-xi

I gratefully acknowledge all the poets, writers, scholars, and reading series organizers who took the time to share their stories and ideas with me through interviews, phone calls, and e-mails: Bruce Andrews, John Ashbery, Carol Bergé, Bill Berkson, Charles Bernstein, Sara Blackburn, Jerry Bloedow, Peter Cenedella, Paul Chevigny, Tom Clark, Steven Clay, Andrei Codrescu, ...

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Introduction

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pp. xiii-xix

In the early to mid-1960s, a growing poetry-reading scene was developing in dozens of cafés and lofts around Manhattan, particularly in the neighborhood known as the Lower East Side. Especially significant reading series in this area were centered, chronologically, at Mickey Ruskin and Ed Kaplan’s Tenth Street Coffeehouse, at Ruskin and Bill Mackey’s Les Deux Mégots coffeehouse ...

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1. Community through Poetry

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pp. 1-26

During the early to mid-1960s, before the founding of the Poetry Project at St. Mark’s Church in 1966, a series of poetry readings based in various coffeehouses on the Lower East Side of Manhattan began to receive growing attention from the local press and the wider literary community. These readings, the most important of which began at Les Deux Mégots (on East Seventh ...

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2. Oral Poetics on the Lower East Side

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pp. 27-56

Poets of the Lower East Side directed attention to the function of art in society by reinvigorating the tradition of the poetry reading. Readings were not just public presentations of texts, but events that defined a contemporary avant-garde as they redefined the way poetry was used in contemporary American culture. Amiri Baraka’s description of his writing practice helps us see how ...

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3. The Aesthetics of the Little

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pp. 57-122

On the Lower East Side throughout the 1960s, much of the poetry that was read at places including Les Deux Mégots, Le Metro, and the Poetry Project could best be disseminated through the mimeograph magazine and the smallcirculation, low-cost bound magazine. The mimeograph in particular allowed for speedy, cheap reproduction. That speediness lent mimeographed materials ...

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4. The Poetry Project at St. Mark’s Church

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pp. 123-152

Peter Stuyvesant, the Dutch governor of what was then known as New Amsterdam, founded St. Mark’s Church, officially called St. Mark’s-in-the-Bouwerie. The original chapel was built in 1660. Stuyvesant’s land holdings extended from what is now Broadway to the East River and Fifth Street to Seventeenth Street. This property was known as Stuyvesant’s “Bouwerie,” derived from the ...

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5. Anne Waldman, The World, and the Early Years at the Poetry Project

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pp. 153-186

Anne Waldman was in many ways a natural choice to inherit the director position at the Poetry Project. Born in 1945, brought up in Greenwich Village, and associated with St. Mark’s Church since her early teens, Waldman was part of an intergenerational bohemian milieu that would inform the choices she made as arts director. Her mother, Frances LeFevre, had been involved with ...

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6. Bernadette Mayer and “Language” in the Poetry Project

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pp. 187-202

By the early 1970s, things were changing at the Poetry Project. The Reverend Michael Allen left New York City in 1970 for a position as dean of the Berkeley Divinity School in New Haven, Connecticut. With Allen’s departure, the Project was now being led by a new generation of reading series organizers and administrators, including Larry Fagin and Steve Facey. New York School ...

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Epilogue: Bob Holman, the Poetry Project, and the Nuyorican Poets Café

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pp. 203-208

A poetry slam involves a group of poets reading their work to an audience— members of this audience then score the poet’s poem and performance, and the winner receives some kind of symbolic or cash prize.1 In his introduction to Aloud: Voices from the Nuyorican Cafe, Cafe founder Miguel Algarín writes that slams in the early 1990s at the Nuyorican started with ...

Notes

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pp. 209-272

Bibliography

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pp. 273-288

Sources and Permissions

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pp. 289-293

Index

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pp. 295-306

Production Notes

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pp. 307-307

Playlist for compact disc

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pp. 309-310

Image Plates

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