Educational Babble

and

“All nature is so full . . .”

Ditto & Mimeo Handouts from the Early 70's

larry goodell

(part of the last page of as 8 ½ by 14 mimeo handout)

!"

duende digital book(let)2011

po box 571 placitas, new mexico 87043 usa larrygood@comcast.net

Educational Autobiography of LarryGoodell According to Dr. Harold Taylor

Harold Taylor (1915-1993) creative educator, president of Sarah Lawrence College

at age 30, banished grades and report cards. "The whole educational system has becomeone massive quiz program, with the prizes going to the most enterprising, mostrepulsively well-informed person . . .” Author of How to Change Colleges: Notes on RadicalReform (1971) and Students Without Teachers: The Crisis in the University (1969).

I took a graduate seminar with Mr. Taylor at the University of New Mexico: he asked usto do a short educational autobiography . . . lg

To see is to re-form all speech. jj

~Louis Zukofsky 23Feb70Placitas, New Mexico

EDUCATIONAL AUTOBIOGRAPHY OF LARRY GOODELL ACCORDING TO DR.HAROLD TAYLOR

East Side School, Mark Howell School (elementary schools in Roswell, New Mexico, &I remember most my 3rd Grade teacher, a tall bull dike, man type clothes, Miss Fisher,she sat on her desk & ate baby food & drank cokes, she taught me stamp collecting)Roswell Junior High School — the science teacher told me I had a future in makingscientific drawings, I learned the stages of the chicken eggRoswell Senior High School — two great teachers, Miss Nole taught a fantastic coursedissecting earthworms & frogs, & Mr Gaddis who encouraged me to write a musicalCLUB PROGRESSIONS & wrote the words to the songs.

“Gertrude Stein” whispered to me thru Gaddis & my English teacher Dennis [Mrs.]Bromberg

(stationed at Walker Air Force Base near Roswell where the Enola Gay took off from &did in Japan [actually came to WAFB sometime after]) jazz pianist, teacher, introducedme to Bud Powell's piano (context: retarded tail-end of the swing era with ‘westernmusic’ addition) real teachers were Getz, Miles Davis, Brubeck, Shearing, CharlieParker, Stravinsky, Schönberg's PIERROT LUNAIRE, Woody Herman, Stan Kentonj

USC — Exhibit A: football rooting cap. dead independent death of academia. evenmore than hischool the football hero social order (fake militants) non-fraternityloneliness (the bells of hell go TINGALINGALING for you & not for me) ShrineAuditorium concerts. opera GERTRUDE GROB-PRANDEL in TRISTAN & ISOLDE

after taking her sex potion, waving her silk handkerchief & the inevitable CLUMSYembrace

Shorty Rogers live. Marilyn Monroe live. Mr First Twelve-Tone Composition(& I cdnt even hear intervals correctly when Halsey Stevens played them on the piano,like minor & major sixths etc. )– Mabel Prune (old & wrinkled in tight knit dress) toldme in HARMONY & SOLFEGGIO CLASS that I had no voice at all)Richard Condon fresh from Harvard swung ‘modern poetry` at me & changed me into‘English major` maybe this was a mistake, Bruce McElderry, Jr. 2 semesters ofAmerican Lit. Frank Baxter & TV Shakespeare. UCLA kept cutting Tommy Trojan's

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sword off (extras in the Student Union basement) or painting him blue & yellow (but hewas sprayed with plastic). /// FRANCIS CHRISTENSEN, a quiet flaming linguist, gotme into Paul Roberts & I made first inroads into linguistic science. All thosewriting/literature teachers kept me from the San Francisco Renaissance — I discoveredthis years later, much resentment, hung up in the Eliot /Faulkner/Thomas ‘modernity`— the extremes of the freeze that set in around Eliot (& Robert Bly thinks the freeze hasnow set in around Olson). I was star Academe, PHI BETA KRAPPA & honors (farmedout)1957===========================+ ABUNeMa – still unturned-on 'teachers' (to lead a horse to no water) — into the extreme ofacademic rot — Wasteland of Lit/Crit/Shit — 'English' profs HATE POETRY (fewexceptions) obviously trying to stifle it with tons of stupid papers nobody REALLYwants to read even once, let alone a year from now — what excitement of earlier yearsfell off — extreme incompetence dealing with lit/critters — more warmth from friendsin mathematics, anthropology than these seminar tadpoles — I came to HATEexplication de texte — from here I went into teaching at Nine Million MasturbatingIdiots (NMMI in Roswell), honorary captain, I was saluting incorrectly, faced with aroom full of bruisers, football stars etc. I was insignificant up against the COMBINEDTONNAGE of that room.

I became one of the unholy three (3 teachers, we cdtalk to each other). FRATERNIZING with students talking about injustices there. USARMY. MOJAVE DESERT. CAMP IRWIN CALIFORNIA. Chaplain’s Assistant. UNMAGAIN. INTERRUPTED BY CUBAN MISSILE CRISIS & FORT POLK, LA. I GOT OUTFOR NEXT SEMESTER. Robert Creeley. 1962. I was 27.

|BREAK0 THRU|

EDUCATIONAL BABBLE THE TOWER DOESNT FALL DOWN BUT IS ANERECTION ON ITSELF ¹definition of FAKE Gödel’s theory (go outside the systemto see the system) brings me to any COUNTERPOINT to this class I can manage

shall we saw this seminar table intwo? the PARTICULARS of what we're doing in this room are lost in muzzinessbecause the rhetoric is 'institutional' — the referents are exhausted rather thansomething constantly renewing – I appeal to the Earth in all her particulars & will peelback the carpet & blast thru the floor to get to her

THE UNIVERSITY — parallel erections of closed systems — NOWfake, fake, fake.j

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so, '62, tapes of readings, etc. I began to hear my voice & consequently others more,speech, clearly (fuzz-muzz lifting under scrutiny of whatever thing got into a specificenergy)I taught a couple years at the Academy for Boys, 8th to 10th grade, teaching me thruPaul Roberts’ English Sentences & enthusiastic kids devouring paperbacks (advantageof private schools)

.SUMMER OF '63 VANCOUVER POETRY SESSION — Charles Olson, Creeley,Robert Duncan, Ginsberg, Philip Whalen, Denise Levertov & numerous younger — thiswas indeed ‘a walking grove of trees` — this session compressed world energiestogether & I took it — hand to hand — go to the man & ask him how he does it, you doit how you do it, people will FIND the Great Man because that's where the lines ofenergy lead & we’ve got to, American history is the ONLY history now thatsignificant horizontal movement came to a ST0P (the Pacific) & now goes vertical which is the HIGH ´peyote & spaceman³ and the return to the Earth as our only‘local` God/dess.

I came back to New Mexico and edited & publishedDUENDE. a series of [mimeo] books of contemporary American poetry by R. Bayes, F.Franklyn, R. Watson. K. Irby, M. Randall, L. Eigner, R. Kelly, W. Dodd, F. Ward, W.Harris, D. Franks, & a couple small anthologies of New Mexico poets, & a book of myown — CYCLES /’66/ in Placitas, caretaker of a fantastic terraced place, OJO DELORNO, since 1963.j

Berkeley Poetry Series in 1965 — again a whopper — backwash of energies felt all overthe country "Words are value, instruction, action. And they've got to become politicalaction. The radicalism lies from our words, alone. And if they're not right—and I'm nottalking Mr. Williams’ republic of words, I'm talking ourselves here this week, the poetsof America. And I don't mean America."/from Olson's 'reading' at Berkeley, '65 “... theprivate is public and the public is where you behave...”j

‘67 on — Native American Church Easter Peyote Meeting in Tesuque. Drop City JoyFestival in Trinidad. Tarot. Iching. Summer Solstice in Golden Gate Park. FillmoreTotality. Acid & Immediately A NEW LAND a 'novel'. Jack Spicer. Manera Nueva.Steve Katona. New Buffalo. Max Finstein. Calligraphy. Notebooks. Kell Robertson.New Mexico. Zingdap. My Reading of Divine Brandy at Rodey Theatre Descent intothe Orchestra Pit & Resurrection in the Arms of Six Chicks. Acid as Revelation Brother.“Wherever She Blows.” Oriental Blue Streak. Event Poems. Marriage Hymns. Magic inAct. Bird Visions. Lenore. Meg Randall. Ann Quin. Daily Life of the Aztecs. Peyotl.Messages. Eater of Filth. Old Chinese Graphics. Gino Brenda Krishna Cornflake.Marriage. SHE'S BEEN THERE ALL THE TIME................................................

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j

learning as specific day-to-day sense (how do you build a root cellar?) is more intenselyreal than the abstract hogwash broken up arbitrarily into 'class' time, science makessense as discipline here but something stronger is going on outside this system coming back into this environment (buried in cement) reveals that VERY LITTLE HASHAPPENED (that was guaranteed by the Secretary of Defense) — I shdnt be surprised– speaking here primarily of the ‘English Department` (that meaningless designation hasto be dropped — & why not drop the entire department) "What do you care aboutWestern Civilization — as a friend has lately written, 'How big a piece of it do youown...how much would you miss it if it disappeared tomorrow?' /Phil Whalen in THEBEST OF ITj

the so-called MOVEMENT (as I see it in powerful fragments) is intense in New Mexico& the university draws nothing from its energy which again & again is its problem — *THE RHETORIC IS STILL EDUCATIONALESE & FAKE *except Steve Baer (ZOMES)now teaching in the Architecture Dept. . .

I'm not interested in 'education' Lenore & I are interested in HOW WE CANGET FOOD THAT ISNT POISONED (our baby getting significant doses of DDT fromher breast milk) I take this as central fact of where I am now. we've just ordered organicseeds, enlarging our garden, will move soon where we can have more land toourselves, animals, yes.

I am ‘in school` Ithot to finish a master's (to be able to teach & make some money) & that's ruled out, sofloating on the GI Bill till the land deal becomes possible.

I take some ‘farming’ as central to anymeaningful change in the Universe City

(that is, making firm oneself with the land) that — farming, herding, the land dealt fruitfully with is the only focus I findmeaningful

(when the core is rotten, exhausted you find something which as focalpoint/center constantly renews itself) j

I am drawing from this source — a ceremonial calender — for my family — beginningeachyear with the winter solstice — around each peak time will gather songs, feasts, ____

‘Have pushed thru the words to the objects (that is, some words, some objects). & now will the actual movement, dance, ceremony SPEAK? To not just TALK the ceremony etc., the dance, but to have it?`

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"What is your platform?

Ressurexion Renaissance Total Paradise

I put down programmatical funk. speaking, now,absolutely off the record - my business isn't

really to put anything down - I want a new life I say RISE ANDFLOURISH

for all you're worth {it is allyou're worth?}

SHINE, Radiate,Joy bliss and whoopee vibrations!

{The night air!}{The weather!}

EXQUISITEWhat did you say the message was?”

/Philip Whalen in EVERY DAY, 1964

(the above was on 3 smudgy purple ditto pages)

please see my “Six Broadsides from the 70's”on Scribd

http://scr.bi/hWURhQ

(the following is on 3 legal sized mimeographed pages)

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“All nature is so full . . .”

1 of 3 pagesst

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all nature is so full, that that district produces the greatest variety which isthe most examined

/Gilbert White, THE NATURAL HISTORY OF SELBORNE

But when the Place is brought forward fully in form conceived entirely by theactivation of a man who is under its spell it is a resurrection for us and the investigationeven is not extractable. And it is then the only real thing.

/Ed Dorn in WHAT I SEE IN THE MAXIMUS POEMS

It is his body that is his answer, his body intact and fought for, the absolute of hisorganism in its simplest terms, this structure evolved by nature, repeated in each act ofbirth, the animal man; the house he is, this house that moves, breathes, acts, this housewhere his life is, where he dwells against the enemy, against the beast.Or the fraud.

/Charles Olson in THE RESISTANCE

History is a literal story, the activity of evidence.. . .

The most insistent concern I find in Olson's writing is the intent to gain the particularexperience of any possibility in life, so that no abstraction intervenes.

/Robert Creeley in the introduction to OLSON/SELECTEDWRITINGS

The lies of Johnson and his regime are terms of the language of a grand psycho-pathology of daily political life that belongs to their refusal to face the facts of what theyare doing. The actual terms of the Geneva agreements on Vietnam, the actual nature ofthe National Liberation Front and of the various governments of Saigon, the actualdestruction of the country that is being 'liberated' —these facts are censored from allconsiderations of the reality of the war, and the specter of Communism raised in thehallucinatory obsession that is American foreign policy, a ::over-image projected as by amagic-lantern upon the cloud of hostile intentions the liberator does not acknowledge,lures the American forces on to shoot down actual men in the streets, to all the fearfulviolence that we are familiar with in studies of the psychopathology of individual cases.From this history of a war has emerged a sentence in which the dream-content isbrilliantly clear: 'In order to save the village it was necessary to destroy it.' Thelanguage of this history is to be read as the language of a psychotic episode in whichthere is no recognition of the madness, where with pious regret and considereddeliberation the President can write in Vietnam his history in terror and suffering.

/Robert Duncan in MAN'S FULFILLMENT IN ORDER AND STRIFE

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All other men's worlds are the poet's chaos./Coleridge

The superior man understands what is right; the inferior man understands what willsell.

/Confucius

Insight is always in sight: an action, not a report./Cid Corman in a review of Larry Eigner’s ANOTHER TIME INFRAGMENTS

Education begins with poetry, is strengthened thru proper conduct (self-discipline) &consummated thru music. /Confucius

All that the rest forget in order to make their life possible, we are always bent ondiscovering, on magnifying even; it is we who are the real awakeners of our monsters,to which we are not hostile enough to become their conquerors; for in a certain sensewe are at one with thorn; it is they, the monsters, that hold the surplus strength whichis indispensable to those that must surpass themselves.

/Rilke in a letter to M?, Nov 1920

Interval & recurrence make the dance. Tho dance is round, but not to say it comes to anend & begins again. When the dancer comes to the place he was, he is changed, he isanother place. She is another place. Interval & recurrence make the dance. I have notimposed a rhythm. Since the dance is the body's dance, it moves as the body will. Ormust.

/Robert Kelly in introduction to ROUND DANCES*

Poetry if anything has a sense for everything. /Louis Zukofsky

I agree that our M.A. program does not fit your talents, just as your commonplace bookdemonstrates. Yet we do not have facilities now for giving you what you would like toget. You want more writing, more 'creative,' imaginative emphasis — less of thestandard academic. Our major commitment, however, goes to the incipient Ph.D. 's andthe secondary school teachers. We serve them rather than you, and I don't see anyalternative with our money and our staff. We cant serve everyone.

/Prof. Zavadil, acting head of the English Department, in a letter to Larry Goodell /l2Feb1970

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Let a man take time enough for the most trivial deed, though it be but the paring of hisnails. /Thoreau in A WEEK ON THE CONCORD &

MERRIMACK RIVERS

In the poem this very lighted room is dark, and the dark alight with love's intentions. Itis striving to come into existence in these things, or, all striving to come into existence isIt — in this realm of men’s languages a poetry of all poetries, grand collage, I name It,having only the immediate event of words to speak for It. In the room we, aware orunaware, are the event of ourselves in It. The gnostics and magicians claim to know orwould know Its real nature, which they believe to be mis-written or cryptically writtenin the text of the actual world. But Williams is right in his no ideas but in things; for Ithas only the actual universe in which to realize Itself. We ourselves in our actuality, asthe poem in its actuality, its thingness, are facts, factors, in which It makes Itself real.Having only these actual words, these actual imaginations that come to us as we work.

. . .Every particular is an immediate happening of meaning at large....

/Robert Duncan Introduction to BENDING THE BOW

The STATE has a sacred physical bodyand her sacred physical body is the earthand for all men is the equal right to the use of the earth;and something more you made clear to me,harder to phrase, deep as the blood— a patriotism born of unbroken communionwith the sun, with the planets,witii the dark nights and the stars through the treesof one's own landscape.

/from HENRY GEORGE, 1913, by Haniel Long

We are now gathering all the threads of history together and linking modern science tothe primitive and archaic sources.

/Gary Snyder in POETRY AND THE PRIMITIVE

/Godel's/ theorem states that it is impossible to prove that a logical system at least ascomplicated as arithmetic contains no concealed contradictions by using only theoremswhich are derivable within the system. ...To prove mathematics free from potentialcontradiction one must use principles outside mathematics, and then to prove thatthese new principles do net conceal contradiction one must use new principles beyondthem. The regress has no end — one has languages .and metalanguages without limit.

/P.W.Bridgman in THE WAY THINGS ARE (1959)

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It is impossible to write of what one has written or lived, except as the day is, out thewindow, now, explicit.

/Ken Lrby in a 'biog. sketch' for THE ROADRUNNER POEM

I am always trying to tell this thing that a space of time is a natural thing for anAmerican to always have inside them as something in which they are continuouslymoving. Think of anything, of cowboys, of movies, of detective stories, of anybody whogoes anywhere or stays at home and is an American and you will realize that it issomething strictly American to conceive a space that is filled with moving, a space oftime that is filled always filled with moving and my first real effort to express this thingwhich is an American thing began in writing The Making of Americans.

/Gertrude Stein in THE GRADUAL MAKING OF THE MAKINGOF AMERICANS

I want something morethan this dull yearly Christmas-Easter invasion of my inner spirit. I'm doubtful aboutthe pseudo-Indian, paranoid about it, can be freaked out by visions (that peyote tripwith Ann & Lenore for instance, with the demons of Mexico hot on our trail). But Iknow mostly when I'm on that line between trust & risk, when I'm not defaming, oracting, when I'm in fact on tne ground — exactly as when I'm writing a poem &whatever it is carries it thru. It was that identical feeling I trusted to those nights—inthat what I made with my hands seemed to ride the contact pure with the very rhythm& necessity of this earth. The fantastic realization that I am not an Indian, and can be asproud, and do have a brother, which is my participation in some life vision. The Geminithing but more than that, the longing for the man, the feeling of ugly incompetencepossibly moving/growing out into some full flesh of man.

Aztec statuesof Xipe Totec, the priest wearing the skin of the sacrificed victim, the hands dangling atthe wrists of the priest, his lips protruding thru the victim-flesh lips.

***But the felt presence of this teacher figure, elder brother, found as an archetype in Jung,becomes even the wise old man.

That there is in the reestablisnment of the orders of the earth, somelearning to be done. I don’t know the guru, the Indian, yet this slow, ever so slowcommunication from the 'brother' does exist.

/from a letter I wrote In December '69I have ‘studied` in Roswell, New Mexico, Los Angeles, Albuquerque, Camp Irwin,

Calif., Vancouver, B.C., Placitas, Berkeley, Placitas —

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The entire course of the Hopi Road of Life is unfolded every year in an annual cycle ofnine great religious ceremonies that dramatize the universal laws of life.

/Frank Waters in BOOK OF THE HOPI

With the years the personal prescriptions for one's work recede, thankfully, before aninterest that nature as creator had more of a hand in it than one was aware. The workthen owns perhaps something of the look of found objects in late exhibits — whicharrange themselves as it were, one object near another — roots that have becomesculpture, wood that appears talisman, and so on: charms, amulets maybe, but neverreally such things since the struggles so to speak that made them do not seem to havebeen human trials and evils — they appear entirely natural.

/from preface to FOUND OBJECTS by Louis Zukofsky, 1962

The Art of poetry will choose to be born by the agent of the greatest syntacticaldensity in the language, which we naturally call the world. And there is no otherresponsible definition of the world.

/Ed Dorn in a review of Creeley's PIECES*

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A UNIVERSE CITY LAID OUT IN THE 6 DIRECTIONS WITH THE LAND AS ORGANIZING ELEMENT

*

fields fieldsUP/High places NORTH

birds/planes study of Barren Regionsspace travel the poles/deserts/hunger/poverty

songs the city war

WEST EAST Water dayoceans/rivers/ ‘the unconscious’ birth/rebirthdeath ancestors wise men winter solsticesummer solstice / the old priests creation of the universe

Quetzalcoatl CENTER animals/plants/treesthe poet plaza

sculptors/paintershuge area for dancing

music/feasts/spectacle fire

DOWNSOUTH Low places

the Sun the earth/Coatlicue solar energy mining

light jewelry tropical regions earthquakes

fields Southern Hemisphere fieldspreColumbian people

'racial' conflict a g r i c u l t u r e

adobe buildings, inexpensive dome buildings (portable or not) set up for the differentareas of activity

fields worked a family to each or communally houses in the periphery, separate families or communes close in or commutable distances away

*

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‘Be neither too shy if you are a plant nor too bold if you are human for we are the same essence we work together to produce the life flesh

almost obscured suicided suicided by desperate mechanical flights I will overload yr sensesyou wd never have thot there was so muchit rains down in yr return the dancing sisters comethe colors of corn grainseven after the herdsman murdered the farmeryou few dance to the butterfly maidens& make them bear as you build & plant againmud bricks laid water over the handsthe universe galactic voices in & out meetwater over the hands Life Fleshthe garden you plant among the evil facesis the riches of youth they wd copy yr designsin backhand & kill you with themthere is only the return & the Paradise you givefrom the sun that burns of its own unforcedwithin you'

/from part 9 of A NEW LAND by Larry Goodell

Walter Chappell

WOMB OF ALL MESSAGES

(quotes not in the above papers but from a pencil written sheet, early 70's)

If this is dictation it is drivingme wild.

/Jack Spicer

The temple is holy,because it is not for sale.

/Ezra Pound

Every one is a visionary, if you scratch him deep enough./Yeats

Rodin was solitary before fame came to him, and afterward hebecame perhaps still more solitary. For fame is ultimately but thesummary of all misunderstandings that crystallize about a newname.

/Rilke

As far as I can go gives me life again on the page./R. Duncan

I think we have inherited the Satanic inner nature of the Protestant./R. Duncan

Love is the measure of the capacity for joy./Charles Williams

The automobile is the end of progress on earth./Gertrude Stein in “Picasso”

Are you “knocking any gods out?”/Charles Potts

The powers work thru a moving focus./Larry

j

a thank you to Ken Irby for many letters which brought to myattention some of the quotations

!"

duende digital book(let)2011

po box 571 placitas, new mexico 87043 usa larrygood@comcast.net

Great White Brother writings in clothwrapping (1970)

Educational Babble

and

“All nature is so full . . .”

Ditto & Mimeo Handouts from the Early 70's

larry goodell

(part of the last page of as 8 ½ by 14 mimeo handout)