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Selected Poems
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Rebel Lions
Rebel Lions, Michael McClure's first book of poetry since the retrospective Selected Poems (1985), spans a decade of profound personal change and poetic evolution for the author. In an introductory note, he provides a backdrop for the collection, which moves from old life to new. McClure's work bursts forth from the matrix of the physical and spiritual. "Poetry is one of the edges of consciousness," he asserts. "And consciousness is a real thing like the hoof of a deer or the smell of a bush of blackberries at the roadside in the sun." In the first section of Rebel Lions, "Old Flames," the poems range from the realistic ("Awakening and Recalling a Summer Hike") to the metaphorical ("The Silken Stitching"), as the poet addresses a life on the verge of transformation. The second section, "Rose Rain," exults in a life transformed through love's alchemy. Rebel Lions closes with "New Brain," poems affirming the freedom of all humankind and matter in the eternal now.
Mule Kick Blues
The final book of poems from a Beat Generation legend, Mule Kick Blues finds McClure restlessly innovating until the end. Completed over the last years of his life, Mule Kick Blues is the final book of poems by Beat Generation legend Michael McClure. Taking its title from an innovative sequence of homages to blues musicians like Leadbelly, Willie Dixon, and Howlin' Wolf, and evoking Kerouac's concept of "blues" poems, Mule Kick Blues contains stark meditations on the poet's mortality as well as the nature and zen poems for which McClure is known. With shout-outs to lifelong friends like Philip Whalen, Diane di Prima, and Gary Snyder, the long poem"Fragments of Narcissus," and the profound and moving sequence "Death Poems," Mule Kick Blues is a definitive statement by one of the most significant American poets of the last 60 years. "His validity and his intelligence and his intensity and his curiosity about the complexly diverse world in which we live is to me extraordinarily interesting."--Robert Creeley
Rain Mirror
"Rain Mirror," writes Michael McClure, "stands as my most bare and forthright book. It contains two long poems, 'Haiku Edge' and 'Crisis Blossom, ' which are quite disparate from one another." Together, the poems complement each other as do light and dark. "Haiku Edge" is a poem of linked haiku, often humorous, sometimes harsh, and always elegant. "Crisis Blossom," in contrast, is a long poem in three parts that records the author's "state of psyche, capillaries, muscles, fears, boldnesses, and hungers down where they exist without management," and the months of shock and recovery during a psychophysical meltdown.
The Beard
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Ghost Tantras
"Praise for Michael McClure:"Michael McClure shares a place with the great William Blake, with the visionary Shelley, with the passionate D.H. Lawrence."-Robert Creeley" McClure's poetry is a blob of protoplasmic energy."-Allen Ginsberg"Without McClure's roar there would have been no Sixties."-Dennis Hopper: Michael McClure is a living legend. One of the poets who participated in the famous Six Gallery reading that featured the public debut of Allen Ginsberg's landmark poem Howl, he was immortalized by Jack Kerouac in his novel, Big Sur. A central figure of the Beat Generation, McClure collaborated with Wallace Berman and Bruce Conner and was later associated with San Francisco's psychedelic...
Gorf
The "murdered" Mert and Gert are reborn in the search for their child, the Shitfer, who disintegrated when "hurled through TIme and Space", is resurrected as his discrete "pieces" find and recognise their unity. And presiding over all is Gorf himself - the flying purple phallus, the cosmic joke and life principle.
About the Rose
A remarkable portrait of a web of artistic connections, traced outward from Jay DeFeo's uniquely generative work of art Through deep archival research and nuanced analysis, Elizabeth Ferrell examines the creative exchange that developed with and around The Rose, a monumental painting on which the San Francisco artist Jay DeFeo (1929-1989) worked almost exclusively from 1958 to 1966. From its early state to its dramatic removal from DeFeo's studio, the painting was a locus of activity among Fillmore District artists. Wallace Berman, Bruce Conner, Wally Hedrick, and Michael McClure each took up The Rose in their photographs, films, paintings, and poetry, which DeFeo then built upon in turn. The resulting works established a dialogue between artists rather than seamless cooperation. Illustrated with archival photographs and personal correspondence, in addition to the artworks, Ferrell's book traces how The Rose became a stage for experimentation with authorship and community, defying traditional definitions of collaboration and creating alternatives to Cold War America's political and artistic binaries.
Dark Brown
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