glorycloud's Diaryland Diary

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from a letter written by Allen Ginsberg

So (experiments) are many modern canvasses as you know. The sketch is a fine "Form."]

W.C. Williams has been observing speech rhythms for years trying to find a regular "measure"-

he's mistaken I think.

There is no measure which will make one speech the exact length of another, one line the exact length of another.

He has therefore seized on the phrase "relative measure" in his old age.

He is right but has not realized the implications of this in the long line.

Since each wave of speech-thought needs to be measured (we speak and perhaps think in waves)-or what I speak and think I have at any rate in "Howl" reduced to waves of relatively equally heavy weight-and set next to one another they are in a balance O.K.

The tenchnique of writing both prose and poetry, the technical problem of the present day, is the problem of transcription of the natural flow of the mind, the transcription of the melody of actual thought or speech.

I have learned more toward capturing the inside-mind-thought rather than the verbalized speech. This distinction I make because most poets see the problem via Worthsworth as getting nearer to actual SPEECH, verbal speech.

I have noticed that the unspoken visual-verbal flow inside the mind has great rhythm and have approached the problem of strophe, line and stanza and measure by listening and transcribing (to a great extent) the coherent mental flow. Taking THAT for the model for form as Cezanne took Nature.

This is not surrealism-they made up an artificial literary imitation.

I transcribe from my ordinay thoughts-waiting for extra exciting or mystical moments or near mystical moments to transcribe.

This brings up problems of image, and transcription of mental flow gives helpful knowledge because we think in sort of surrealist (juxtaposed images) or haiku-like form.

music: Lightning Bolt "Hypermagic Mountain"

1:30 p.m. - 2008-09-08

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