24-11-2005
Lawrence Ferlinghetti
(b. 1919)
I AM WAITING
I am waiting for my case to come up and I am waiting for a rebirth of wonder and I am waiting for someone to really discover America and wail and I am waiting for the discovery of a new symbolic western frontier and I am waiting for the American Eagle to really spread its wings and straighten up and fly right and I am waiting for the Age of Anxiety to drop dead and I am waiting for the war to be fought which will make the world safe for anarchy and I am waiting for the final withering away of all governments and I am perpetually awaiting a rebirth of wonder
I am waiting for the Second Coming and I am waiting for a religious revival to sweep thru the state of Arizona and I am waiting for the Grapes of Wrath to be stored and I am waiting for them to prove that God is really American and I am seriously waiting for Billy Graham and Elvis Presley to exchange roles seriously and I am waiting to see God on television piped onto church altars if only they can find the right channel to tune in on and I am waiting for the Last Supper to be served again with a strange new appetizer and I am perpetually awaiting a rebirth of wonder
I am waiting for my number to be called and I am waiting for the living end and I am waiting for dad to come home his pockets full of irradiated silver dollars and I am waiting for the atomic tests to end and I am waiting happily for things to get much worse before they improve and I am waiting for the Salvation Army to take over and I am waiting for the human crowd to wander off a cliff somewhere clutching its atomic umbrella and I am waiting for Ike to act and I am waiting for the meek to be blessed and inherit the earth without taxes and I am waiting for forests and animals to reclaim the earth as theirs and I am waiting for a way to be devised to destroy all nationalisms without killing anybody and I am waiting for linnets and planets to fall like rain and I am waiting for lovers and weepers to lie down together again in a new rebirth of wonder
I am waiting for the Great Divide to be crossed and I am anxiously waiting for the secret of eternal life to be discovered by an obscure general practitioner and save me forever from certain death and I am waiting for life to begin and I am waiting for the storms of life, to be over and I am waiting to set sail for happiness and I am waiting for a reconstructed Mayflower to reach America with its picture story and tv rights sold in advance to the natives and I am waiting for the lost music to sound again in the Lost Continent in a new rebirth of wonder
I am waiting for the day that maketh all things clear and I am waiting for Ole Man River to just stop rolling along past the country club and I am waiting for the deepest South to just stop Reconstructing itself in its own image and I am waiting for a sweet desegregated chariot to swing low and carry me back to Ole Virginie and I am waiting for Ole Virginie to discover just why Darkies are born and I am waiting for God to lookout from Lookout Mountain and see the Ode to the Confederate Dead as a real farce and I am awaiting retribution for what America did to Tom Sawyer and I am perpetually awaiting a rebirth of wonder
I am waiting for Tom Swift to grow up and I am waiting for the American Boy to take off Beauty's clothes and get on top of her and I am waiting for Alice in Wonderland to retransmit to me her total dream of innocence and I am waiting for Childe Roland to come to the final darkest tower and I am waiting for Aphrodite to grow live arms at a final disarmament conference in a new rebirth of wonder
I am waiting to get some intimations of immortality by recollecting my early childhood and I am waiting for the green mornings to come again youth's dumb green fields come back again and I am waiting for some strains of unpremeditated art to shake my typewriter and I am waiting to write the great indelible poem and I am waiting for the last long careless rapture and I am perpetually waiting for the fleeing lovers on the Grecian Urn to catch each other up at last and embrace and I am awaiting perpetually and forever a renaissance of wonder
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ESTOU À ESPERA
Estou à espera que seja a vez do meu caso e estou à espera de um renascimento do maravilhoso e estou à espera de alguém que descubra realmente a América e se lamente e estou à espera da descoberta de uma nova fronteira simbólica no Oeste e estou à espera que a Águia Americana estenda realmente suas asas e se erga e voe pelo bom caminho e estou à espera que a Era da Ansiedade caia morta e estou à espera duma guerra que virá preparando o mundo para a anarquia e estou à espera da decadência definitiva de todos os governos e estou perpetuamente à espera de um renascimento do maravilhoso
Estou à espera da Segunda Vinda e estou à espera dum renascimento religioso que se alastre pelo estado do Arizona e estou à espera que as Vinha da Ira sejam armazenadas e estou à espera que elas comprovem que Deus realmente é Americano e estou à espera s sem me rir que Billy Graham e Elvis Presley troquem seus papéis a sério e estou à espera de ver Deus na televisão empoleirado nos altares das igrejas caso eles consigam apanhar o bom canal para sintonizar Deus e estou à espera que a Última Ceia seja servida novamente com um novo estranho aperitivo e estou perpetuamente à espera de um renascimento do maravilhoso
Estou à espera que chamem o meu número e estou à espera do final vivo e estou à espera que meu velho volte para casa com bolsos cheios de dólares de prata radioactiva e estou à espera que acabem as experiências atómicas e estou à espera alegremente que as coisas piorem para depois melhorarem e estou à espera que o Exército da Salvação tome conta da situação e estou à espera que a multidão humana algures caia duma falésia abaixo agarrada a seu guarda-chuva atómico
e estou à espera que o Ike actue e estou à espera que os humildes sejam abençoados e herdem a terra sem pagar impostos e estou à espera que as florestas e os animais reclamem a terra como sua e estou à espera que se descubra uma maneira de acabar com todos os nacionalismos sem matar ninguém e estou à espera que os piriquitos e os planetas caiam como chuva e estou à espera que os amantes e as choradeiras se deitem juntos novamente num novo renascimento do maravilhoso
Estou à espera que a Grande Barreira seja atravessada e estou ansiosamente à espera que o segredo da vida eterna seja descoberto por um obscuro clínico geral e me salve para sempre da morte certa e estou à espera que a vida comece e estou à espera que os temporais da vida passem e estou à espera de soltar velas e zarpar para a felicidade e estou à espera que iam Mayflower reconstruído chegue a América com sua história aos quadradinhos e direitos da TV vendidos desde já aos nativos e estou à espera que a melodia perdida ressoe novamente no Continente perdido num novo renascimento do maravilhoso
Estou à espera do dia em que tudo se esclareça e estou à espera que o Old Man River deixe de correr pelos arredores do Country Club e estou à espera que o extremo sul deixe de se reconstruir à sua própria imagem e estou à espera que um carro des-segregado me leve de volta a antiga Virgínia e estou à espera que a antiga Virgínia descubra porque é que nascem os negros e estou à espera que Deus espreite da Montanha das Espreitadelas e se aperceba que a Ode aos Confederados Mortos na verdade é uma farsa e estou à espera do castigo pelo que a América fez ao Tom Sawyer e estou perpetuamente à espera de um renascimento do maravilhoso
Estou à espera que o Tom Swift cresça e estou à espera que o rapaz Americano arranque as roupas à Beleza e se ponha em cima dela e estou à espera que Alice no País das Maravilhas me retransmita seu integral sonho de inocência e estou à espera que o Cavaleiro Rolando atinja a última e mais sombria torre e estou à espera que Afrodite germine armas vivas numa conferência final de desarmamento num novo renascimento do maravilhoso
Estou à espera do sentir algum prenúncio da imortalidade relembrando minha infância e estou à espera que voltem as manhãs de esperança que voltem os campos verdes da juventude e estou à espera que acorde de arte espontânea percorram minha máquina de escrever e estou perpetuamente a espera o grande e indelével poema e estou à espera pelo último longo êxtase desleixado e estou perpetuamente a espera que os fugidios amantes da Ânfora Grega consigam finalmente agarrar-se e enlaçar-se e estou à espera perpetuamente e para sempre de um renascimento do maravilhoso
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Autobiography
I am leading a quiet life in Mike's Place every day watching the champs of the Dante Billiard Parlor and the French pinball addicts. I am leading a quiet life on lower East Broadway. I am an American. I was an American boy. I read the American Boy Magazine and became a boy scout in the suburbs. I thought I was Tom Sawyer catching crayfish in the Bronx River and imagining the Mississippi. I had a baseball mit and an American Flyer bike. I delivered the Woman's Home Companion at five in the afternoon or the Herald Trib at five in the morning. I still can hear the paper thump on lost porches. I had an unhappy childhood. I saw Lindbergh land. I looked homeward and saw no angel. I got caught stealing pencils from the Five and Ten Cent Store the same month I made Eagle Scout. I chopped trees for the CCC and sat on them. I landed in Normandy in a rowboat that turned over. I have seen the educated armies on the beach at Dover. I have seen Egyptian pilots in purple clouds shopkeepers rolling up their blinds at midday potato salad and dandelions at anarchist picnics. I am reading 'Lorna Doone' and a life of John Most terror of the industrialist a bomb on his desk at all times. I have seen the garbagemen parade in the Columbus Day Parade behind the glib farting trumpeters. I have not been out to the Cloisters in a long time nor to the Tuileries but I still keep thinking of going. I have seen the garbagemen parade when it was snowing. I have eaten hotdogs in ballparks. I have heard the Gettysburg Address and the Ginsberg Address. I like it here and I won't go back where I came from. I too have ridden boxcars boxcars boxcars. I have travelled among unknown men. I have been in Asia with Noah in the Ark. I was in India when Rome was built. I have been in the Manger with an Ass. I have seen the Eternal Distributor from a White Hill in South San Francisco and the Laughing Woman at Loona Park outside the Fun House in a great rainstorm still laughing. I have heard the sound of revelry by night. I have wandered lonely as a crowd. I am leading a quiet life outside of Mike's Place every day watching the world walk by in its curious shoes. I once started out to walk around the world but ended up in Brooklyn. That Bridge was too much for me. I have engaged in silence exile and cunning. I flew too near the sun and my wax wings fell off I am looking for my Old Man whom I never knew. I am looking for the Lost Leader with whom I flew. Young men should be explorers. Home is where one starts from. But Mother never told me there'd be scenes like this. Womb-weary I rest I have travelled. I have seen goof city. I have seen the mass mess. I have heard Kid Ory cry. I have heard a trombone preach. I have heard Debussy strained thru a sheet. I have slept in a hundred islands where books were trees. I have heard the birds that sound like bells. I have worn grey flannel trousers and walked upon the beach of hell. I have dwelt in a hundred cities where trees were books. What subways what taxis what cafes! What women with blind breasts limbs lost among skyscrapers! I have seen the statues of heroes at carrefours. Danton weeping at a metro entrance Columbus in Barcelona pointing Westward up the Ramblas toward the American Express Lincoln in his stony chair And a great Stone Face in North Dakota. I know that Columbus did not invent America. I have heard a hundred housebroken Ezra Pounds. They should all be freed. It is long since I was a herdsman. I am leading a quiet life in Mike's Place every day reading the Classified columns. I have read the Reader's Digest from cover to cover and noted the close identification of the United States and the Promised Land where every coin is marked In God We Trust but the dollar bills do not have it being gods unto themselves. I read the Want Ads daily looking for a stone a leaf an unfound door. I hear America singing in the Yellow Pages. One could never tell the soul has its rages. I read the papers every day and hear humanity amiss in the sad plethora of print. I see where Walden Pond has been drained to make an amusement park. I see they're making Melville eat his whale. I see another war is coming but I won't be there to fight it. I have read the writing on the outhouse wall. I helped Kilroy write it. I marched up Fifth Avenue blowing on a bugle in a tight platoon but hurried back to the Casbah looking for my dog. I see a similarity between dogs and me. Dogs are the true observers walking up and down the world thru the Molloy country. I have walked down alleys too narrow for Chryslers. I have seen a hundred horseless milkwagons in a vacant lot in Astoria. Ben Shahn never painted them but they're there in a vacant lot in Astoria. I have heard the junkman's obbligato. I have ridden superhighways and believed the billboard's promises Crossed the Jersey Flats and seen the Cities of the Plain And wallowed in the wilds of Westchester with its roving bands of natives in stationwagons. I have seen them. I am the man. I was there. I suffered somewhat. I am an American. I have a passport. I did not suffer in public. And I'm too young to die. I am a selfmade man. And I have plans for the future. I am in line for a top job. I may be moving on to Detroit. I am only temporarily a tie salesman. I am a good Joe. I am an open book to my boss. I am a complete mystery to my closest friends. I am leading a quiet life in Mike's Place every day contemplating my navel. I am a part of the body's long madness. I have wandered in various nightwoods. I have leaned in drunken doorways. I have written wild stories without punctuation. I am the man. I was there. I suffered somewhat. I have sat in an uneasy chair. I am a tear of the sun. I am a hill where poets run. I invented the alphabet after watching the flight of cranes who made letters with their legs. I am a lake upon a plain I am a word in a tree. I am a hill of poetry. I am a raid on the inarticulate. I have dreamt that all my teeth fell out but my tongue lived to tell the tale. For I am a still of poetry. I am a bank of song. I am a playerpiano in an abandoned casino on a seaside esplanade in a dense fog still paying. I see a similarity between the Laughing Woman and myself. I have heard the sound of summer in the rain. I have seen girls on boardwalks have complicated sensations. I understand their hesitations. I am a gatherer of fruit. I have seen how kisses cause euphoria. I have risked enchantment. I have seen the Virgin in an appletree at Chartres And Saint Joan burn at the Bella Union. I have seen giraffes in junglejims their necks like love wound around the iron circumstances of the world. I have seen the Venus Aphrodite armless in her drafty corridor. I have heard a siren sing at One Fifth Avenue. I have seen the White Goddess dancing in the Rue des Beaux Arts on the Fourteenth of July and the Beautiful Dame Without Mercy picking her nose in Chumley's. She did not speak English. She had yellow hair and a hoarse voice I am leading a quiet life in Mike's Place every day watching the pocket pool players making the minestrone scene wolfing the macaronis and I have read somewhere the Meaning of Existence yet have forgotten just exactly where. But I am the man And I'll be there. And I may cause the lips of those who are asleep to speak. And I may make my notebooks into sheaves of grass. And I may write my own eponymus epitaph instructing the horsemen to pass.
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Autobiografia
A VIDA que levo é muito sossegada Passo os dias no café do Mike admirando os campeões de bilhar do grupo Dante e os viciados de matraquilhos A vida que levo é muito sossegada na zona leste de Broadway Sou americano fui um rapaz americano Lia o Magazine dos Rapazes Americanos e tornei-me escuteiro nos subúrbios Julgava-me o Tom Sawver pescando caranguejos no rio Bronx pensando no Mississipi Tive uma luva de baseball e uma bicicleta American Flyer Distribuí o Woman’s Home Companion às cinco da tarde ou o Herald Tribune às cinco da manhã Ainda ouço o jornal cair em terraços esquecidos Tive uma infância infeliz Vi Lindberg aterrar Olhei para a minha terra mas não vi anjo nenhum Fui apanhado a roubar lápis num bazar barato no mesmo mês fui promovido a Escuteiro Chefe Derrubei árvores para o Grémio da Agricultura e sentei-me nelas Desembarquei em Norrnandia num barco a remos que virou Vi exércitos educados na praia de Dover Vi pilotos egípcios em núvens purpúreas negociantes enrolando seus toldes ao meio dia salada de batatas e dente de leão em piqueniques anarquistas Estou a ler «Lorna Doone» e uma biografia de John Most o terror dos industrialistas sempre com uma bomba na gaveta da escrivaninha Vi os lixeiros desfilarem no dia comemorativo de Colombo atrás das fanfarras ruidosas Há tempos que não vou visitar os Claustros ou as Tuileries mas continuo a pensar lá ir Vi os lixeiros desfilarem debaixo da neve Comi cachorros quentes nas feiras Ouvi o Discurso de Gettysburg e o Discurso do Ginsberg Gosto disto por aqui e não voltarei para onde vim Também eu viajei em vagões de carga vagões de carga vagões de carga Viajei no meio de desconhecidos Estive em Ásia Estive com Noé na Arca estava na India quando Roma foi construída Estive na Manjedoura com o burro Vi o distribuidor eterno Ouvi um trombone pregar Ouvi Debussy filtrado por um lençol Dormi numa centena de Ilhas onde os livros eram árvores Ouvi os pássaros chilreando como sinos Usei calças de flanela cinzenta e caminhei pela praia do inferno Vivi numa centena de cidades onde as árvores eram livros Que metros que táxis que cafés Que mulheres de seios cegos membros perdidos entre arranha-céus Vi as estátuas dos heróis nas encruzilhadas Danton chorando na entrada do metro Colombo em Barcelona apontando p’ro oeste nas Ramblas rumo ao American Express Lincoln no seu trono de rocha e um enorme Rosto de Pedra no Dacota do Norte Bem sei que o Colombo não inventou a América Ouvi uma centena de Ezra Pounds domesticados Deviam soltá-los todos Já passou muito tempo desde que fui pastor A vida que levo é muito sossegada Passo os dias no café do Mike lendo os anúncios classificados Li duma ponta a outra as Selecções do Reader’s Digest e notei a perfeita identificação entre os Estados Unidos e a Terra Prometida Já que em todas as moedas está marcado da Montanha Branca ao sul de São Francisco Vi a Mulher que Ri no Luna Parque ao pé da Barraca das Gargalhadas sob uma tempestade de chuva sempre a rir-se Ouvi os ruídos da noite das grandes pândegas Tenho vagueado tão só como as multidões solitárias A vida que levo é muito sossegada Passo os dias à porta do café do Mike a ver o mundo passar em curiosos sapatos comecei uma vez uma volta ao mundo a pé mas desisti em Brooklyn Essa ponte era demais para mim Já tentei o silêncio o exílio e a astúcia Voei demasiado perto do sol e as minhas asas de cera derreteram-se Ando à procura do meu Velho que nunca conheci Ando à procura do Lider Perdido com quem voei Os jovens deviam ser exploradores O lar é o ponto da partida Mas minha mãe nunca me disse que podia haver cenas destas Útero-cansado descanso Tento viajado Visitei a cidade dos fantasmas Conheço as massas amaçadas Ouvi chorar o Kid Ory «Confiamos em Deus» mas nas notas de dólar não há nada inscrito porque elas próprias já são Deus Leio diariamente os anúncios «precisa-se» a procura duma pedra duma folha duma porta esquecida Ouço a América cantar nas Páginas Amarelas Quem diria que a alma passa crises Leio todos os dias os jornais e noto a ausência da humanidade nessa triste pletora da imprensa Vejo que esvaziaram o Lago de Walden para pôr lá um parque de diversões Vejo que estão a obrigar o Melville a comer sua própria,baleia Vejo que vem aí uma nova guerra mas não serei eu quem vai lutar nela Li os grafitis do destino nas paredes dos urinois Fui eu quem ajudou o Kilroy a escrevê-los Marchei pela Quinta Avenida acima tocando clarim num severo pelotão mas voltei rápido para o Casbah à procura de meu cão Noto alguma semelhança entre os cães e eu Os cães são os verdadeiros observadores correndo os quatro cantos do mundo na terra de Molloy Passeei-me por vielas estreitas demais para Chryslers Vi uma centena de carroças de leite sem cavalo num terreno baldio nas Astúrias Ben Shahn nunca as pintou mas elas lá estão retorcidas nas Astúrias Tenho ouvido o grito do sucateiro percorri super-auto-estradas e acreditei na promessa dos cartazes Atravessei as planícies de Jersey vi as suas cidades e rebolei-me nas terras ermas de Westchester com bandos errantes de nativos em vagões de carga Tenho-os visto Sou o homem Estive lá Sofri um pouco Sou americano Tenho passaporte Mas não sofri em público E sou jovem demais para morrer Sou um selfmademan Tenho planos para o futuro Estou na bicha para um bom emprego Talvez me mude para Detroit Por enquanto vendo gravatas Sou um Zé Ninguém Sou um livro aberto para o meu patrão Sou um mistério impenetrável para os meus amigos íntimos A vida que levo é muito sossegada Passo os dias no café do Mike contemplando o umbigo Sou uma parte da longa loucura do corpo Tenho vagueado por bosques nocturnos Tenho-me apoiado em portais bêbados. Tenho escrito histórias frenéticas sem pontuação Sou o homem Estive lá Sofri um pouco Sentei-me em cadeiras de cansaço Sou uma lágrima do sol Sou a colina onde os poeta trepam Inventei o alfabeto depois de observar o vôo das garças que faziam letras com as pernas Sou um lago na planície Uma palavra numa árvore Sou uma colina de poesia Sou uma razia no inarticulado sonhei que os dentes todos me caiam mas a minha língua sobrevivia para dizer como foi Pois sou um silêncio poético Sou um banco de canções Sou um piano mecânico num casino abandonado numa esplanada à beira-mar num nevoeiro espesso mas sempre a tocar Vejo uma semelhança entre a Mulher que Ri e eu Ouvi o som do verão na chuva Vi raparigas em passadeiras de tábua com estranhas sensações compreendo suas hesitações Sou um colhedor de fruta Vi como os beijos causam euforia Corri o risco de ficar encantado Vi a Virgem numa macieira em Chartres e Santa Joana ardendo em Bella Union Vi girafas em selva-ginásios seus pescoços como o amor entrelaçados nas circunstâncias de ferro deste mundo Vi Vénus Afrodite em seu corredor ventoso Ouvi uma sereia cantar na Quinta Avenida Vi a deusa branca bailando na Rue des Beau’ Arts no dia I4 de Julho e a Bela Dama sem Mercé com o dedo no nariz em Chumbley’s Ela não falava inglês Tinha cabelos amarelos e voz rouca e nenhum pássaro cantava A vida que levo é muito sossegada passo os dias no café do Mike observando os jogadores de bilhar de bolsa nesse cenário ministroni devorando macarroni e li algures o Significado da Existência mas esqueci exactamente onde Sou o homem E estarei lá E talvez faça despertar os lábios da gente adormecida E talvez transforme em folhas de relva meus cadernos de apontamentos E talvez escreva meu anónimo epitáfio pedindo aos cavaleiros que não se detenham
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DOG The dog trots freely in the street and sees reality and the things he sees are bigger than himself and the things he sees are his reality Drunks in doorways Moons on trees The dog trots freely thru the street and the things he sees are smaller than himself Fish on newsprint Ants in holes Chickens in Chinatown windows their heads a block away The dog trots freely in the street and the things he smells smell something like himself The dog trots freely in the street past puddles and babies cats and cigars poolrooms and policemen He doesn't hate cops He merely has no use for them and he goes past them and past the dead cows hung up whole in front of the San Francisco Meat Market He would rather eat a tender cow than a tough policeman though either might do And he goes past the Romeo Ravioli Factory and past Coit's Tower and past Congressman Doyle of the Unamerican Committee He's afraid of Coit's Tower but he's not afraid of Congressman Doyle although what he hears is very discouraging very depressing very absurd to a sad young dog like himself to a serious dog like himself But he has his own free world to live in His own fleas to eat He will not be muzzled Congressman Doyle is just another fire hydrant to him The dog trots freely in the street and has his own dog's life to live and to think about and to reflect upon touching and tasting and testing everything investigating everything without benefit of perjury a real realist with a real tale to tell and a real tail to tell it with a real live barking democratic dog engaged in real free enterprise with something to say about ontology something to say about reality and how to see it and how to hear it with his head cocked sideways at streetcorners as if he is just about to have his picture taken for Victor Records listening for His Master's Voice and looking like a living questionmark into the great gramophone of puzzling existence with its wondrous hollow horn which always seems just about to spout forth some Victorious answer to everything
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CÃO
O cão trota livre pela rua e vê a realidade e as coisas que ele vê são maiores do que ele e as coisas que ele vê são a realidade dele Bêbados pelas portas Luas suspensas nas árvores O cão trota livre pela rua e as coisas que ele vê são mais pequenas que ele Peixe em folha de jornal Formigas em buracos Galinhas nas vitrinas de Chinatown de cabeças a um quarteirão de distância O cão trota livre pela rua e as coisas que cheira cheiram um pouco como ele O cão trota livre pela rua passa por poças e bebés gatos e charutos salas de jogo e polícias Ele não tem raiva aos polícias apenas não lhe dizem respeito e passa por eles e passa por vacas mortas pendura as inteiras frente ao Mercado de Carnes de São Francisco Ele preferia comer uma vaca tenra a um duro polícia embora tanto um como outro possam servir E passa pela Fábrica de Massas Italianas Romeo e pela torre Coït e pela estátua do Congressista Doyle Ele tem medo da torre de Coít m não tem medo do Congressista Doyle embora o que ouve seja muito d .sanim~ dor muito deprimente muito absurdo para um jovem cão triste como ele para um cão sério como ele Mas tem o seu próprio mundo livre para viver as suas próprias pulgas para morder e não aceitará o açaime Para ele o Congressista Doyle é mais uma bomba de incêndio na rua O cão trota livre pela rua tem a sua própria vida para viver e para pensar e para reflectir tocando provando e experimentando tudo investigando tudo sem benefícios nem dúvidas um realista real que tem um conto real para contar e uma cauda real para o contar um cão que ladra realmente vivo democrático envolvido na real livre iniciativa com alguma coisa a dizer sobre a ontologia alguma coisa a dizer sobre a realidade e como a ver e a ouvir com a cabeça sempre de lado nas esquinas como se lhe estivessem a tirar o retrato para os discos Victor ouvindo a Voz do Dono fazendo lembrar um ponto de interrogação vivo virado para o grande gramofone da existência intrigante com seu prodigioso corno oco que parece pronto a cuspir uma resposta alguma resposta Victoriosa para tudo
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TRUE CONFESSIONAL
I was conceived in the summer of Nineteen Eighteen (or was it Thirty Eight) when some kind of war was going on but it didn’t stop two people from making love in Ossining that year I like to think on a riverbank in sun on a picnic by the Hudson as in a painting of the Hudson River School or up at Bear Mountain maybe after taking the old Hudson River Line paddlewheel excursion steamer (I may have added the paddlewheel)— the Hudson my Mississippi) And on the way back she already carried me inside of her I lawrence ferlinghetti wrought from the dark in my mother long ago born in a small back bedroom— In the next room my brother heard the first cry, many years later wrote me— “Poor Mom—No husband—No money—Pop dead— How she went through it all—” Someone squeezed my heart to make it go I cried and sprang up Open eye open heart where do I wander into the heart of the world Carried away by another I knew not And which of me shall know my brother? “I am my son, my mother, my father, I am born of myself my own flesh sucked’ And someone squeezed my heart to make me go And I began to go through my number I was a wind-up toy someone had dropped wound-up into a world already running down The world had been going on a long time already but it made no difference It was new it was like new i made it new i saw it shining and it shone in the sun and it spun in the sun and the skein it spun was pure light My life was made of it made of the skeins of light The cobwebs of Night were not on it were not of it It was too bright to see too luminous too numinous to cast a shadow and there was another world behind the bright screens I had only to close my eyes for another world to appear too near and too dear to be anything but myself my inside self where everything real was to happen in this place which still exists inside myself and hasn’t changed that much certainly not as much as the outside with its bag of skin and its ‘aluminum bear” and its blue eyes which see as one eye in the middle of the head where everything happens except what happens in the heart vajra lotus diamond heart wherein I read the poem that never ends
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CONFISSÃO A SÉRIO
Fui concebido no verão I9I8 (ou era 38) durante uma guerra qualquer o que não impediu duas pessoas de fazer amor em Ossining esse ano gosto de imaginar isso ao sol nas margens dum rio durante um piquenique ao pé do Hudson como num quadro da escola de Hudson ou então no Bear Mountain talvez depois de ter apanhado o antigo paddlewheel a vapor (talvez tenha acrescentado o paddlewheel — O Hudson é o meu Mississipi). E de regresso ela trazia-me já dentro dela eu lawrence ferlinghetti arrancado da obscuridade de minha mãe há muito tempo nascido num pequeno quarto — No quarto do lado meu irmão ouviu o primeiro grito muitos anos depois escreveu-me –«coitadinha da mãe - sem marido - sem dinheiro - pai morto Como aguentou ela tudo isso —» Alguém me espremeu o coração para a pôr a andar Gritei e saltei Olho aberto Coração aberto a mais onde vagueio Gritei e saltei no coração do mundo Levado por um outro que desconhecia E qual eu conhecerá meu irmão? «Sou filho de mim mesmo sou minha mãe, meu pai, Nascido de mim próprio minha própria carne mamada» E alguém me espremeu o coração para me pôr a andar E pus-me a fazer o meu número Era um brinquedo de dar à corda que alguém deixou cair num mundo já gasto O mundo girava já há muito tempo mas não fazia diferença estava novo estava como novo tornei-o novo e vi-o brilhar e brilhava ao sol e girava ao sol e o eixo que fiava era de pura luz Minha vida estava feita de eixos de luz As teias d’aranha da Noite não estavam nela não faziam parte dela Era demasiado brilhante de ver demasiado luminoso para fazer uma sombra e havia um outro mundo por detrás das cortinas brilhantes bastava fechar os olhos para que outro mundo surgisse tão perto e tão querido que só podia ser eu mesmo meu eu interior onde tudo o que é real havia de acontecer neste lugar que existe ainda em mim e que não mudou muito certamente menos que o exterior com seu saco de pele e sua «barba d’alumínio» e seus olhos azuis azuis que vêem como um só olho no meio da testa onde tudo acontece salvo o que acontece no coração vajra lótus coração de diamante no qual leio o poema que não tem fim
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THE MOUTH OF TRUTH
Is this the mouth of truth in the face of this woman walking across the Piazza Bocca de/la Verità where the great round stone is set up in lhe portico of the Church of Santa Maria in Cosmedin her little feet taking her past the Temple of the Virgins past the Temple of the Phallus and past the Street of the Misericordia She has not been kneeling in any church She trots along on her too high heels She has smart rhinestone glasses and silk pants very well cut She has a sweet face spoiled by lipstick a botched attempt at something but the truth She could be the daughter of a shah but she isn’t She’s some secretary Late at the office the boss was beastly tonight Her mouth must have answered Those rouge lips could cope with any tongue She’s tough in a way but not so tough Sue has her soft spots her lower lip is very sensitive You can tell there are other soft places from that She has her cigarette lit in her right hand the same hand she may have put into the Mouth of Truth that great round pagan stone at the mouth of the church which will bite off your hand if you’re hiding some lie She did not put her head into the mouth of the lion Her left hand has rings in the wrong places She doesn’t have a boyfriend this year but she has her cigarette You can tell it is a dose friend the way she fondles it It is a filter tip She is looking forward to lying down on her bed in the dark in her slip with the window open There is a tree outside In the morning a bird She is smoking her cigarette her mouth of truth around the filter which has filtered out all but the truth The truth will come through the truth will out the mouth fall open when she’s asleep of her back by the open window by the tree with its leaves like lips the lower lip so sensitive will quiver the throat utter some deep sound the tongue mute messenger with its speechless truth To whom will she tell it in what dream...
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A BOCA DA VERDADE
Será isto a boca da Verdade no rosto desta mulher atravessando a Piazza «Bocca della Verita» Onde se ergue a grande pedra redonda no pórtico da igreja en Cosmedin De seus pequenos pés ela ultrapassa o Templo das virgens o Templo do falus e a rua da misericórdia Ela não se ajoelhou em nenhuma igreja Ela trota em tacões bem altos tem óculos em cristal de rocha e umas calças muito bem cortadas Ela tem um belo rosto estragado por rouge à lèvres numa tentativa falhada tudo salvo a Verdade Ela podia ser a filha de um Shah mas não o é Ela é uma secretária demorada no escritório O patrão estava odioso esta noite sua boca deve ter respondido seus lábios vermelhos poderiam bater não importa qual língua Ela é dura à sua maneira mas nem tanto dura Ela tem seus pontos fracos seu lábio inferior é muito delicado podem ver-se outros pontos fracos daí Ela tem um cigarro aceso na mão direita a mesma mão que podia ter metido na boca da Verdade essa grande pedra pagã redonda na boca da igreja que vos morderá a mão se vós escondereis uma mentira Ela não meteu sua cabeça na boca do leão sua mão esquerda tem anéis nos dedos errados Este ano Ela não tem namorado mas tem seu cigarro vê-se bem que é um amigo intimo na maneira como ela o carícia É um cigarro de filtro Ela está impaciente de se deitar Na cama na obscuridade com sua camisa a janela aberta lá fora uma árvore de manhã um pássaro Ela fuma seu cigarro com a boca da Verdade em volta do filtro que filtrou tudo salvo a Verdade a Verdade passará a Verdade sairá a boca abrir-se-á quando adormecer de costas perto da janela aberta perto da árvore de folhas como lábios O lábio inferior tão delicado vai tremer de sua garganta sairá um som profundo a língua mensageiro mudo com sua verdade sem palavras A quem o dirá ela em qual sonho e qual «sombrio pombo de língua vibrante» passará debaixo do horizonte de sua espera?
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Traduções de André Shan Lima e Isabelle Lima, de Lawrence Ferlinghetti, A boca da verdade, Edição de Autor e tradutores, I986, La Garenne, France |
Into Darkness, in Granada
O if I were not so unhappy I could write great poetry! Dusk falls through the olive trees Federico Garcia Lorca Leaps about among them Dodging the dark as it falls upon him O if only I could leap like him And make great songs Instead I swing about wildly as in a children’s jungle gym in a vacant lot by Ben Shahn jump up suddenly upon the back of a running horse in the face of a plains’ twister And paddle away slowly into total darkness in a Dove boat.
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San Francisco Chronicle
Catching up with Lawrence Ferlinghetti
Heidi Benson, Chronicle Staff Writer
Thursday, March 19, 2009
On Tuesday, poet Lawrence Ferlinghetti turns 90. Nearly 60 years ago, he came to San Francisco, fell in love with this "small white city," and soon after co-founded City Lights Books. One of the most vibrant and long-lived cultural institutions in town, the store remains an international magnet for the imaginative, as does the Web site for City Lights Booksellers & Publishers (Citylights.com). Just this week, production began on a film based on the obscenity trial over Ferlinghetti's publication of Allen Ginsberg's poem "Howl."
Mayor Gavin Newsom has declared that March 24 will henceforth be called "Lawrence Ferlinghetti Day," in honor of his "enormous contributions to our city's life and culture," while the bookstore staff invites everyone to send along birthday wishes, via e-mail, to: lfbirthday@citylights.com.
Q: When you were named San Francisco's first poet laureate in 1998, you spoke of the damage to the culture caused by the yawning gap between the city's rich and poor. Have your worst fears been borne out?
A: When I arrived in the city, the citizens seemed to have an island, considering San Francisco a kind of offshore republic, founded by gold miners and gold diggers, cast-off seamen and vagabonds, railroad barons and rogue adventurers and ladies of fortune. What with the electronic revolution and the Information Age, we have joined the rest of the world.
Oldies such as myself talk about the good old days with nostalgia since that was when they were young and beautiful (and full of testosterone).
Q: You served as a ship's commander in the Pacific during World War II. What's the most important thing you learned in the Navy?
A: In four years at sea, I learned that the sea is a monster and can turn on you at any time. Seeing Nagasaki made me an instant pacifist.
Q: How have the concerns of poets changed since you began writing?
A: In the social revolution of the 1960s, the chant was "Be here now." Today with television, e-mail and especially cell phones, it's "Be somewhere else now."
Q: Your favorite 19th century American poet?
A: Walt Whitman, of course. He gave voice to the people and articulated an American populist consciousness.
Q: Why do you prefer the term wide-open poetry to Beat poetry?
A: I never wrote "Beat" poetry. Wide-open poetry refers to what Pablo Neruda told me in Cuba in 1950 at the beginning of the Fidelista revolution: Neruda said, "I love your wide-open poetry."
He was either referring to the wide-ranging content of my poetry, or, in a different mode, to the poetry of the Beats. Wide-open poetry also refers to the "open form" typography of a poem on the page. (A term borrowed from the gestural painting of the Abstract Expressionists.)
Q: Can writing be taught?
A: It has to be taut.
Q: Is texting poetry?
A: It can be.
Q: You've always been an activist, as well as an artist. What do you advise activists who are complacent now that a new, seemingly more enlightened administration is in charge?
A: The dictatorial reign of George the Second almost destroyed our civil liberties as well as our economy.
We shall now see whether an "enlightened" administration can defeat Washington, D.C.,'s culture of corruption. The press has given socialism a bad name, falsely equating it with Soviet Communism. What is needed today is a form of civil libertarian socialism in which all democratic civil rights are fully protected.
What with shrinking energy resources and radical climate change, a worldwide planned economy is needed. Why won't any politician even whisper it?
Q: In the upcoming film of "Howl," James Franco will play Allen Ginsberg. Who is playing you?
A: Charlie Chaplin.
Q: Who is the love of your life?
A: Life itself is the love of my life.
Q: What's the secret of your beautiful skin?
A: Genetics.
San Francisco Chronicle
Ferlinghetti argues that poetry can save the world
Steve Heilig
Sunday, December 30, 2007
Poetry as Insurgent Art
By Lawrence Ferlinghetti
NEW DIRECTIONS; 90 PAGES; $12.95
What is the "use" of poetry? Or, as more than one author has asked, Can Poetry Matter?
More than 50 years ago, renowned American poet William Carlos Williams wrote famously that "It is difficult/ to get the news from poems/ yet men die miserably every day/ for lack/ of what is found there."
A practical man who was not only a poet but also a practicing physician, Williams' lines are usually read to imply that poetry - good poetry, at least - is essential to one's inner life and spirit. In the cultural doldrums of the early 1950s, that rang true for many people.
Around the same time Williams wrote those lines, Lawrence Ferlinghetti arrived in San Francisco, fresh from Paris with a doctorate from the Sorbonne and a love of the printed word. He soon co-founded the landmark and still-thriving City Lights Bookstore and publishers, issuing not only his own work but also the first printing of Allen Ginsberg's iconic poem "Howl" and many other works by writers who became known as Beat and others. Ferlinghetti has been poet laureate of San Francisco, received numerous awards both literary and civic, had his paintings widely exhibited and printed and, nearing 90 years of age, is about as famous as a poet can be in these times.
In other words, Ferlinghetti should need no introduction. That he still might, to the vast majority of Americans who rarely, if ever, read poetry, is part of the lamentable background to his latest book. It has been argued that the current decade is the 1950s all over again, but worse. And for Ferlinghetti, poetry's "use" extends far beyond the personal into the political. "Poetry can save the world by transforming consciousness," he argues in "Poetry as Insurgent Art," a slim hardback pocketbook manifesto of prose epigrams, seemingly addressed to poets and those who might be.
"I am signaling you through the flames," he begins in the new section from which his book takes its title. "The state of the world calls out for poetry to save it." Poetry, in this vision, must be a political statement, arrows slung for freedom of expression, thought and resistance. "Write living newspapers," he counsels. "Your poems must be more than want ads for broken hearts" - in other words, to paraphrase Bertolt Brecht, to write mere "love poetry" in such times is "almost a crime." So "challenge capitalism masquerading as democracy"; "Liberate have-nots and enrage despots"; "Don't cater to the Middle Mind of America nor to consumer society." And so on, in variations of his admonition to "be committed to something outside yourself."
This is a tall order for poetry, to be sure. But the six or seven (mostly) one-liners on each of the 30 pages are testament to Ferlinghetti's enduring vision and commitment. Some of these lines read as if they could have been penned in the Beat heyday, decades ago: "Stand up for the stupid and crazy"; "Dig folksingers who are the true singing poets of yesterday and today." Political economy, down-home mysticisms, and occasional cringe-worthy silliness ("Make permanent waves, and not just on the heads of stylish women") all blend into his own version of Rilke's "Letters to a Young Poet." Thus, poets should "see eternity in the eyes of animals," but not "be too arcane for the man in the street." Ferlinghetti can be self-deprecating: "Don't lecture like this. Don't say don't." But he is also dead serious: "Don't let them tell you poetry is bull-" and, especially, "Don't ever believe poetry is irrelevant in dark times." Indeed, as Williams would probably agree, in dark times and in this vision, poetry becomes even more essential.
The second major section of the book, "What Is Poetry?," was started by Ferlinghetti in the late 1950s; here he provides backup for his argument for the importance of poetry, and that "life lived with poetry in mind is itself an art." Here, the political returns - somewhat - to the personal, as "poetry is the shortest distance between two humans," is "the anarchy of the senses making sense"; and "it is a pulsing fragment of the inner life, an untethered music" which "restores wonder and innocence."
Again, a lofty charge, but many have believed it, and some, such as Ferlinghetti, have lived it - even though, as he acidly quips (echoing Ginsberg's famed opening lines to "Howl") in "The Populist Manifesto" appended here, "We have seen the best minds of our generation/ destroyed by boredom at poetry readings."
This impassioned, compact and concise little book won't destroy any minds. But it may stoke some hearts, as Ferlinghetti intends. Long may he add to his poetic warning: "Wake up, the world's on fire!"
Steve Heilig is a writer, editor and public health advocate in San Francisco, a frequent book critic and a music critic for the Beat magazine.
San Francisco Chronicle
Sixty years later, Ferlinghetti has written a new book-length poem, "Time of Useful Consciousness," where "technocracy" dominates the heart, where corporations rule the people, where man is greedy and badly educated, and Walt Whitman's optimism is needed - as time is running out.
Since the 1950s, Ferlinghetti has been a San Francisco institution. He opened City Lights in North Beach, a renowned bookstore that attracts visitors from across the world. He stood behind the publication of Allen Ginsberg's "Howl," an act of daring that changed the course of publishing in America. He penned dozens of books, published breakthrough works - including the Beat writers, who insisted on oral incantations - and became San Francisco's first poet laureate and its most lyrical town crier.
"My poetry, including 'The Time of Useful Consciousness,' is activism," Ferlinghetti said, sitting in a cafe in North Beach near his home. "Ecologically and politically, it's a totally dim prospect."
The 93-year-old poet spends one day a week at City Lights, and on other days can be found at his painter's studio in Hunters Point. Painting, he says, is the lighter antidote to his more painstaking poetry. With his keen blue eyes, white beard and snazzy, paint-streaked sneakers, he looks every bit the part of painter, poet and gentleman radical.
"The norm is that when people get older, they get more politically conservative, but it's been the opposite for me," Ferlinghetti said with a laugh.
Ferlinghetti's biographer, Bill Morgan, an archivist and bibliographer for Ginsberg, said the San Francisco poet has always been "interested in making things better and calling attention to the crazy things going on."
"Lawrence is still an activist interested in the politics of our time," Morgan said. "He's a really good performer of his poetry. He does not consider himself a Beat poet, but he was a publisher of the Beats. And City Lights is one of the best book stores in the country - and it's been there for 60 years."
Barry Gifford, the Bay Area author, screenwriter and poet who was friends with Ginsberg, was introduced to Ferlinghetti's poetry in high school.
"When I was a kid in high school, I remember someone had 'A Coney Island of the Mind,' and it made a real impression," Gifford said of Ferlinghetti's book of poetry, which has sold more than 1 million copies. "Lawrence has a way of saying what he needs to say in a style that is immediately comprehensible. He's always been able to communicate with his poetry better than most."
Gifford added, "Lawrence's connection with the Beats is not to be underestimated, but he has made - and continues to make - a lasting contribution to American literature."
Ferlinghetti was born in Yonkers, N.Y., in March 1919. His father, Carlo Ferlinghetti, died before he was born. His mother, Clemence, overcome by stress, asked a relative to care for Lawrence, the youngest of her five boys. Only later did he reconnect with his family.
He earned his bachelor's degree in journalism at the University of North Carolina at Chapel Hill; his master's at Columbia University, with a thesis on critic John Ruskin and painter J.M.W. Turner; and his doctorate at the Sorbonne in Paris in 1950, where he studied comparative literature and delivered his thesis (in French) on "The City as a Symbol in Modern Poetry."
He attended
the Sorbonne on the GI Bill, having served as a lieutenant commander in the Navy
during World War II.
"I was the
all-American boy, the Eagle Scout," Ferlinghetti said. "I remember I was at my
girlfriend's apartment, and there were these strange publications like the
Nation and the New Republic. I started looking at them and thought, 'Gee, this
is weird; people saying things against America?' It was an awakening. On the
East Coast, I'd never even heard of conscientious objectors."
Ferlinghetti came to San Francisco in January 1951, knowing no one and having little money. He walked up Market Street from the Ferry Building, and asked a passer-by for the Bohemian part of town. Soon settled in North Beach, he began listening to KPFA, the free, independent FM radio station that included a weekly segment by Kenneth Rexroth, the poet, essayist and philosophical anarchist.
The idea of City Lights came about by chance.
"I was coming up from my painting studio, and I drove up Columbus Avenue," Ferlinghetti said. "It was a route I wouldn't normally take, and I saw a guy putting up a sign where City Lights is now." Ferlinghetti hopped out of his car and went to say hello.
"I said, 'What are you doing?' and he said, 'I'm starting a paperback bookstore, but I don't have any money. I've got $500.' I said, 'I have $500.' The whole thing took about five minutes. We shook hands, and the store opened in June 1953 as City Lights Pocket Bookshop."
Ferlinghetti's partner was Peter Martin, a sociology student at San Francisco State who had been publishing a small magazine called City Lights. Martin was the first to publish the works of Pauline Kael - who was another KPFA contributor and would go on to be a film critic for the New Yorker.
"Peter's idea was to sell quality paperbacks, which were just coming onto the market," Ferlinghetti said. "At the time, paperback books weren't considered real books by the trade. They were just these 25-cent pocketbooks that were merchandized like newspapers on the newsstands, but the newsstand guys didn't understand what they had."
Around the same time, Ferlinghetti married Selden Kirby-Smith, who went by "Kirby." She was the granddaughter of a Civil War general and the daughter of a successful doctor, and she had earned her master's degree from Columbia. The two met in 1946 aboard a ship en route to France. They were both heading to Paris to study at the Sorbonne.
In 1955, Ferlinghetti went to a poetry reading at the Six Gallery on Fillmore Street to hear Philip Lamantia, Gary Snyder, Philip Whalen, Michael McClure and Ginsberg - all introduced by Rexroth. Jack Kerouac also was there but declined to read.
It was Ginsberg's first public reading of his wild, graphic and shattering poem, "Howl," which opens with the lines: "I saw the best of my generation destroyed by madness, starving hysterical naked, dragging themselves through the negro streets at dawn looking for an angry fix."
"Allen gave me the manuscript a couple of weeks before the public reading," Ferlinghetti said. "What a great poet does is let you see the world in a way you've never seen it before. That's what Allen did."
The day after the reading, Ferlinghetti sent a Western Union telegram to Ginsberg, who was staying in Berkeley. "I wrote, 'I greet you at the beginning of a great career,' which is what Emerson wrote to Whitman when he first read 'The Leaves of Grass.' I asked, 'When do we get the manuscript?' "
"Howl and Other Poems" was the fourth book in Ferlinghetti's City Lights' Pocket Poets Series, and featured an introduction by William Carlos Williams. In 1957, hundreds of copies of the book were seized by U.S. customs officials - who stated, "You wouldn't want your children to come across it" - and Ferlinghetti was charged with obscenity in a trial that drew international attention.
Ferlinghetti won that year, when the Municipal Court judge ruled that the poem couldn't be deemed obscene because it had "redeeming social significance."
"That established us as an independent bookstore," Ferlinghetti said. "And after that, the floodgates were open. Grove Press - which spent a lot of money on the trial - was able to publish 'Lady Chatterley's Lover' and Henry Miller's books and so on." City Lights also was known for carrying the first gay, lesbian and transgender publications.
While many of his writers were known for drug and alcohol use - he once lent his Big Sur cabin to Kerouac to dry out - Ferlinghetti always made it home for dinner.
"My mother was very protective in terms of who we had over at the house," said daughter Julie Ferlinghetti Susser, who now lives in Tennessee. "We had Gregory Corso to our house, and he once tried to shoot up. He was never allowed back. My mother did really like Kerouac. Ginsberg would come over whenever he was in town, and my mother tolerated him. He was never interested in what women had to say."
Throughout her childhood, Susser remembers something else: "I would sit by the door every night, waiting for my dad. ... He was home every day by 5:30 or 6. I remember I begged and pleaded for a pony, and my dad got me one. I saw him as a businessman who went to work and came home at the same time. He always made things fun."
The Ferlinghettis, who divorced in 1973 but remained close, also had a son, Lorenzo, who lives in Bolinas and has two children. Kirby Ferlinghetti died this year and is buried in their family plot in Bolinas.
These days, the poet is gravitating to painting. George Krevsky, Ferlinghetti's longtime gallerist, said, "When I first met Lawrence, I said, 'I've met two great poets - you and Robert Frost,' and he said, 'You should see my paintings.' "
For Ferlinghetti, painting is a "lyrical escape," a way to express himself that has more immediacy than his poems.
"It's easier to get high doing a painting," he said, walking home from the North Beach cafe. "For one thing, it's more instantaneous. A book - this new book of mine - is two years of work. Whereas a painting, I might have one in a day. I feel like I can take a lot of chances in painting."
Ferlinghetti's outlook, like his poetry and like his paintings, moves from dark to light, from foreboding to hopeful. He looks at poems such as "The Pennycandystore" as embodying a time of innocence for himself, and America.
"I wrote that in the early '50s," he said of the candy store poem. "America was full of hope."
The title of his new work, "Time of Useful Consciousness," to be released in October, comes from an aeronautical term denoting the time between when one loses oxygen and when one passes out, the moments when it's still possible to save your life.
"It's a statement about where culture is," Ferlinghetti said. Smiling, his blue eyes taking in the sunshine in North Beach, he added, "I'm trying to be an optimist."
Julian Guthrie is a San Francisco Chronicle staff writer.