4 Beat Generation Poetry Books Lawrence Ferlinghetti Coney Island Mexican Night

Description: 4 Beat Generation Poetry Books By Lawrence Ferlinghetti A Coney Island of the Mind, Poems by Lawrence Ferlinghetti Published by New Directions, 34th Printing The Mexican Night: Travel Journal by Lawrence Ferlinghetti Published by New Directions, 1970 Paperback Open Eye, Open Heart by Lawrence Ferlinghetti Published by New Directions, 1973 Paperback The Secret Meaning of Things by Lawrence Ferlinghetti Published by New Directions, 1968 Paperback Very Good Vintage Condition. All four books are clean, covers attached, uncreased spines, secure bindings, previous owner inscription in Coney Island, otherwise all books are unmarked, no internal writing or notes, no highlighting, no stains, no ripped pages, no remainder marks, not ex-library. Some light visible surface, edge and corner wear from age, use, storage and handling. Please review pictures for greater details. Free USA Shipping >>>> Lawrence Monsanto Ferlinghetti (March 24, 1919 – February 22, 2021) was an American poet, painter, social activist, and co-founder of City Lights Booksellers & Publishers. An author of poetry, translations, fiction, theatre, art criticism, and film narration, Ferlinghetti was best known for his second collection of poems, A Coney Island of the Mind (1958), which has been translated into nine languages and sold over a million copies. When Ferlinghetti turned 100 in March 2019, the city of San Francisco turned his birthday, March 24, into "Lawrence Ferlinghetti Day". Ferlinghetti published many of the Beat poets and is considered by some as a Beat poet as well. Yet Ferlinghetti did not consider himself to be a Beat poet, as he said in the 2013 documentary Ferlinghetti: Rebirth of Wonder: "Don't call me a Beat. I never was a Beat poet." Ferlinghetti penned much of his early poetry in the vein of T. S. Eliot. Ferlinghetti told poet and critic Jack Foley, "Everything I wrote sounded just like him." Yet, even in his poems inspired by Eliot such as Ferlinghetti's "Constantly Risking Absurdity," Ferlinghetti is ever the populist as he compares the poet first to a trapeze artist in a circus and then to a "little charleychaplin man." Critics have noted that Ferlinghetti's poetry often takes on a highly visual dimension as befits this poet who was also a painter. As the poet and critic Jack Foley states, Ferlinghetti's poems "tell little stories, make 'pictures'." Ferlinghetti as a poet paints with his words pictures full of color capturing the average American experience as seen in his poem "In Golden Gate Park that Day: "In Golden Gate Park that day/ a man and his wife were coming along/ ... He was wearing green suspenders ... while his wife was carrying a bunch of grapes." In the first poem in A Coney Island of the Mind entitled, "In Goya's Greatest Scenes, We Seem To See," Ferlinghetti describes with words the "suffering humanity" that Goya portrayed by brush in his paintings. Ferlinghetti concludes his poem with the recognition that "suffering humanity" today might be painted as average Americans drowning in the materialism: "on a freeway fifty lanes wide/ a concrete continent/ spaced with bland billboards/ illustrating imbecile illusions of happiness." Ferlinghetti took a distinctly populist approach to poetry, emphasizing throughout his work "that art should be accessible to all people, not just a handful of highly educated intellectuals.” Larry Smith, an American author and editor, stated that Ferlinghetti is a poet, "of the people engaged conscientiously in the creation of new poetic and cultural forms." This perception of art as a broad socio-cultural force, as opposed to an elitist academic enterprise, is explicitly evident in Poem 9 from Pictures of the Gone World, wherein the speaker states: "'Truth is not the secret of a few' / yet / you would maybe think so / the way some / librarians / and cultural ambassadors and / especially museum directors / act" (1–8). In addition to Ferlinghetti's aesthetic egalitarianism, this passage highlights two additional formal features of the poet's work, namely, his incorporation of a common American idiom as well as his experimental approach to line arrangement which, as Crale Hopkins notes, is inherited from the poetry of William Carlos Williams. Reflecting his broad aesthetic concerns, Ferlinghetti's poetry often engages with several non-literary artistic forms, most notably jazz music and painting. William Lawlor asserts that much of Ferlinghetti's free verse attempts to capture the spontaneity and imaginative creativity of modern jazz; the poet is noted for having frequently incorporated jazz accompaniments into public readings of his work.

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