Poetry & Popular Culture: 9/27/09 - 10/4/09

Wednesday, September 30, 2009

R.I.P. Henry Gibson (1935-2009)

Henry Gibson (nee James Bateman in Germantown, Pennsylvania, in 1935) died on September 14 of cancer. An actor most recently known for the recurring role of Judge Clark Brown on Boston Legal, Gibson was a veteran of Hollowood and television, though the Poetry & Popular Culture office remembers him most for his role as "The Poet" on Rowan & Martin's Laugh-In—the most famous mass-produced poet since Ernie Kovacs' Percy Dovetonsils.

Each week, emphasizing the "Ibsen" in his last name and wearing an ankh on a chain around his neck, Gibson held a giant flower—an image that no doubt recalled the flower that Percy Dovetonsils used to stir his drink a decade earlier—and recited a short, humorous poem. Audiences were so taken with his verse that they eventually led to the publication of A Flower Child's Garden of Verses (New American Library, 1970) and two comedy albums, The Alligator and The Grass Menagerie.

Here is "The Alligator":

The alligator is my pal.
He could be your pal, too.
He will if you'll just understand
That he's got feelings too.

The alligator is my friend.
He likes to wink and flirt.
I'd rather have him as my friend
Than wear him on my shirt.

The alligator ate my friend.
He can eat your friend too
If only you would understand
That he needs protein too.

He loves to play and swim about.
He never sings the blues.
You'd like him better as a friend
Than wearing him as shoes.

Alligator! Alligator! Alligator!
He could be your friend—
Could be your friend
Could be your friend
Too.

For a nice collection of Gibson's Laugh-In verse (plus guest appearances by John Wayne and a hilarious Sammy Davis, Jr.) check out the video here. For a startling contrast, click here for an example of Percy Dovetonsils. What do you make of the similarities and differences?

Subscribe to: Posts (Atom)

Praise for Everyday Reading: Poetry and Popular Culture in Modern America

"Mike Chasar's brilliant, witty book is the definitive guide to the growing field of American popular poetry. Empowered by prodigious research and informed by thorough knowledge of the traditional poetry canon, Chasar's five chapters take us deep into the way poetry functioned in the lives of ordinary people." — Cary Nelson, University of Illinois, editor of The Oxford Handbook of Modern and Contemporary American Poetry

•

"Burma-Shave quatrains, newspaper columns, scrapbooks with thousands of stanzas held together by affection and paste, folksy, pseudonymous, nationally famous radio hosts and the fans who sent them an avalanche of homemade verse: these are just some of the materials taken seriously in Mike Chasar’s extraordinarily memorable, and likely influential, study of popular American verse, and of the popular culture that grew up around it, for most of the twentieth century. Chasar combines the painstaking, arduous archival methods of real historians with the close analyses that we expect from literary critics, applied to verse, to images, and to informative prose ephemera. He persuasively links Williams Carlos Williams’s innovations to roadside signs, the Iowa Writers’ Workshop to the Hallmark card; he may change how you see some eminent writers’ work. Even more than that, however, Chasar should get twenty-first-century readers to sit up and notice the uses that so many Americans, only a couple of generations ago, found for the poetry that they enjoyed. Or, to take up a mode that Chasar appears to be the first to analyze: THIS OLD-TIME VERSE/ HAS LOTS TO SAY/ IF YOU CAN READ IT/ CHASAR’S WAY. His book is an ambitious, serious claim on present-day literary studies; it’s also a surprise, and a delight." — Stephen Burt, Harvard University, author of Close Calls with Nonsense: Reading New Poetry

•

"As Bob Dylan put it, 'We have our ideas about poets,' and we certainly have our ideas about poetry. Lately, those ideas have led to a national outcry in favor of bringing poetry back into American public life. But in Everyday Reading, Mike Chasar shows us that if we can rethink our ideas about poets and poetry, we will find that poems have always been part and parcel of modern life. This is an important—really, a necessary—book for anyone interested in modern poetics, in the history of reading, in the many appearances of poetry in the era of its supposed disappearance." — Virginia Jackson, University of California Irvine, author of Dickinson's Misery: A Theory of Lyric Reading

•

"This breakthrough study convincingly shows that American poetry in the opening decades of the twentieth century, far from being a largely elitist product that appealed to a limited audience, circulated among a number of different readers to a remarkable degree and left its traces in surprising areas." — Edward Brunner, Southern Illinois University Carbondale, author of Cold War Poetry

•

"The lyric spring will never cease creating an emotional pressure, sought after by every searching consciousness—this is what Mike Chasar ... has shown in his book Everyday Reading" — Marina Zagidullina, New Literary Observer

•

"[T]he originality of Chasar's close readings, the sheer amount of research informing each chapter, and the speculations on what can be learned from such careful analyses of popular cultural practices make Everyday Reading not so everyday and well worth reading." — Lisa Steinman, The Journal of American History

•

"[The] tension between the poetic and the popular is the crux of Chasar's fun and thoughtful book. Chasar is a literary archaeologist. He excavates the poetry in Burma Shave ads, literary scrapbooks of the 1920s and 1930s, old time radio shows, and yes, even Hallmark cards. His close reading of [Paul] Engle's poem 'Easter' as well as the reproduction of the actual card is genius. His thesis is that early-twentieth-century market culture was saturated with poetry (as opposed to 'Poetry') that was participatory rather than exclusionary. This emotional interactivity with poetry, Chasar posits, set the stage for the bizarre matrix of media, commerce, and culture that would come to define the second half of the twentieth century." — Dean Rader, American Literature

•

"Everyday Reading goes far in illustrating how poetry played a much larger role in most Americans' lives than it does today. Chasar paints a picture of a more various and ultimately dissident American public than most might have expected, a public for whom poetry was a crucial part of an overall strategy to counter the dominant political, economic, and social paradigms of their era. Written beautifully and researched meticulously, Everyday Reading will prove an important resource for political and cultural historians, literary scholars, and anyone else interested in how poetry transcends the page and becomes an active part of how we spend our days." — Daniel Kane, Journal of American Studies

•

"Highly recommended." — Choice

•

"Everyday Reading is sure to act as a touchstone for scholars interested in popular digital literature as well as the contemporary avant-garde....[It] concludes with a flourish: an anecdote about the author's grandmother's use of clipped poetry in wartime letters to her husband that evidences Chasar's arguments while remaining personal and poignant. It is a fitting moment for a book that is so innovative, important, and constantly successful" — David Levine, College Literature

•

"Scrapbooking, which appears in other chapters following the first one, becomes the controlling metaphor for Chasar's study—and for reading habits today. With so many cultural products driven by individual tastes and various engines of a global economy, readers inevitably select and construct their own 'tradition,' which may have much or little to do with what they have been taught is important. Chasar's well-documented, thoughtful book offers the larger picture of this phenomenon, of which the battle for the best is only part of the story." — Rhonda Pettit, Reception

•

"A brilliantly written book, startling the reader with his thorough research and analysis" — Sheila Erwin, Portland Book Review