All Poets Welcome: The Lower East Side Poetry Scene in the 1960s

Index

Index Tracks on the compact disc are represented in italic type with the abbreviation CD followed by the track number. 295 Abrams, Sam, 140, 150 abstract expressionism, 3, 116 academia, 3, 4, 42–43, 99–100, 215n47. See also names of universities Acconci, Vito Hannibal, xix, 154, 188, 198 Adams, Leonie, 42 Addison, Lloyd, 81 Adventures in Poetry, 154, 168, 257n5, 259n15, 263n54 African American poets/poetics. See Black Arts movement; Umbra; Umbra poets; names of individual poets Aldan, Daisy, 105 Algarín, Miguel, 203, 206; Aloud: Voices from the Nuyorican Café, 203, 204, 205 Allen, Donald, 8, 11, 17, 35. See also The New American Poetry: 1945–1960 Allen, Michael, 123, 124, 125, 250n21; departure from St. Mark’s, 187; and federal funding, 129, 130, 136, 127, 255n65; and firing of Jacobs, 145–48; and Ron Gold reading, 183, 185 Allen anthology. See The New American Poetry: 1945–1960 Aloud: Voices from the Nuyorican Café, 203, 204, 205 Amini, Johari, 85 Anderson, Margaret, 2, 61 Andrews, Bruce, 191, 197–98, 270n27; “Writing Social Work and Political Practice,” 194 Angel Hair, 153, 154, 156, 244n149 Angry Arts Week, 149, 150, 255–56n74. See also Genre of Silence The Anonymous Diary of New York Youth (Mead), 66–67 Ant, Howard, 34, 35 An Anthology of New York Poets, 182, 266–67n93 Antin, David, 142; Angry Arts Week, 149, 150; antiwar movement, 66, 79; attack on, 181; and Poetry Project, 141–43; St. Mark’s benefit readings for, 16, 126–28; “Who Are My Friends,” CD4 Antonius, Brother, 40 appropriation, 46–47, 110–11, 112–18, 120, 154, 157–59, 259nn10,12 Artaud, Antonin, 13, 34, 236n50 Ashbery, John, 41; as apolitical, 262–63n47; “How Much Longer Shall I Be Able to Inhabit the Divine Sepulcher?” 114; “Last Month,” 46; and New York vs. Black Mountain schools, 24; on O’Hara’s poetics, 249–50n15; Padgett on, 42, 43; on role of readings, xvi-xvii; The Tennis Court Oath, 191; “They Dream Only of America ,” CD13; “Thoughts of a Young Girl,” Ashbery, John (continued) CD14; “To a Waterfowl,” 114; as witness for Sanders, 78 Aspen Writers Conference, 135 Atelier East Gallery, 56 Auden, W.H., xvii, 61, 82, 123, 126; Platonic Blow, 70 audience participation, 31, 33, 171–73, 263n60 audio tape, 6, 169–70, 263n58 avant-garde. See names of individual movements and schools Bakhtin, Mikhail, 128 Banes, Sally, 87 Baraka, Amiri, 3–4, 13, 29, 80, 238n74; conviction of, 171, 172, 173; defense of New American Poetry, 9–10; “The Eighth Ditch,” 216n57; in Evergreen Review, 9, 13; Four Young Lady Poets, 253–54n50; legal charges against, 15, 60, 216n57, 232–33n12; on natural rhythms of poetry, 27; Olson’s influence on, 19, 23, 218n71; open readings at Le Metro, 41; “A Poem Some People Will Have to Understand,” CD12; and Umbra poets, 238–39n79. See also The Floating Bear Barnard College, 264n68 Barr, Nelson, 39, 225n46 Barthes, Roland, 188, 195 Barzini, Benedetta, 156 Barzun, Jacques, 14, 102, 215–16n51 Beach, Christopher, 12, 204, 207 Bearden, David, 102, 103, 104 Beat poets, xiii, xiv, 1, 3, 34; Ashbery on, xvii; and black culture, 88–89; chancedetermined writings of, 38; lack of publishing opportunities for, 29; and Le Metro, 39; and New York School, 42, 109–12, 158–59. See also names of individual poets Beatty, Paul, 204 bebop, 29, 43–44 Beck, Julian, 50 Beckett, Samuel, 63 benefit readings, 16, 126–28, 141, 183 Bergé, Carol, 1, 8, 20, 22, 253–54n50; on directorship of Poetry Project, 136; in Fuck you, 65; and Les Deux Mégots readings, 34, 39; as organizer, 36, 41; in Poets at Le Metro, 45; and police crackdowns, 51; post–New York, 180 Berger, Art, 79 Berger, Martin, 77 Berkeley Defense League, 183 Berkeley Poetry Conference, 121, 153 Berkson, Bill, 105, 176, 177; “I Feel Free,” CD18; “Poem,” CD19 Bernstein, Charles, 110, 111, 141, 188; on development of language school, 190, 191; on naturalness, 200; on readings, 196 Berrigan, Phil, 16, 17 Berrigan, Sandy Alper, 101, 109, 46n175 Berrigan, Ted, 1, 206–7, 217n66, 246n170, 247n183; and Alper, 246n175; and appropriation and collaboration, 46–47, 110–11, 113–18, 120, 259nn10,12; “Ash Tarzan,” 113; Beat and New York Schools, blending of, 108–12, 158; censorship of, 102–4, 215– 16n51; on contemporaries, 101; departure of, 176, 183, 185–86; “80th Congress” (with Gallup), 164; as establishing SecondGeneration New York School, 106–8, 227n76, 257n8; Folklore Center readings, 56; “Get the Money...