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.enlightened social possibilities.The book is alsoBy 1988 the world has been taken over by fas- filled with moving poems about personal dreams,cists under the pretext of a war against drugs.The desires, and loss.wild boys serve as the liberators of the Americas, The original poetic voice of Without Doubtoperating out of bases in Mexico and Central and leaves quite a lasting impression.In Clausen sSouth America.Burroughs expands this storyline poems, empirical perceptions mix inventively within Cities of the Red Night and The Place of Dead jazzed-up surreal and modernist imagery.Tragedy isRoads.The boys platform of liberation is based on juxtaposed with well-placed humor.Lyrical modeseliminating  all dogmatic verbal systems.The fam- mingle easily with narrative, epic, and oratoricalily unit and its cancerous expansion into tribes, ones.Carrying on the most exciting, politicallycountries, nations we will eradicate at its vegetable progressive, and intellectually probing aspects ofroute. This program is similar to that of the Ar- the Beat tradition, strings of high-speed adjectivesticulated in Cities of the Red Night as well as that of mix with considered speculations about the unfairthe Johnson Family in The Place of Dead Roads.nature of our socioeconomic landscape.Audrey Carsons reappears at the end of the The book includes an introduction by Gins-book.Colonel Bradly sends him on a mission to berg that is replete with well-deserved superlatives:contact the roller-skating wild boys in the sub-  The frank friendly extravagance of his metaphorurbs of Casablanca.His contact is a shoeshine & word-connection gives Andy Clausen s poetryboy called The Dib.They hook up with Jimmy the a reading interest rare in poetry of any genera-Shrew, a bicycle boy who arms them with  film tion. Ginsberg adds:  Would he were, I d take mygrenades. They toss one when a cop stops them, chance on a President Clausen!Without Doubt 353Without Doubt is one of the most consistently glimpse of hope, either in the substance of thevital poetry books of its era.Just about every piece text or in the way that the poems surrealist ele-in the volume is a compelling, surprise-filled jewel.ments convey, in the beautifully descriptive phraseA six-page narrative poem,  The Bear, which is in- of philosopher Ernst Bloch,  anticipatory illumina-fluenced by visionary poems like Mayakovsky s  An tions  hints or sketches of social possibilities thatExtraordinary Adventure which Befell Vladimir do not yet exist in the actual world.In  Patriotism,Mayakovsky in a Summer Cottage and Ginsberg s the second poem in the book (predating the fall of The Lion for Real, is told from the point of view of the Soviet Union), Clausen redefines love of one sa female speaker who throughout the poem is being country and peoples by predicting that  Russia &chased by a half-fantasized, half-real bear.The chase America / will pass in the night, implying that thegives the poet time to ponder questions about poli- end of repressive policies on both sides of the coldtics and the imagination.But when the bear inevi- war would open space for more democratic andtably catches up to the narrator, she summons  all egalitarian political arrangements.In  The Ironmy power and hits the bear in the mouth, where- Curtain of Love, Clausen expressionistically trans-upon the bear turns into a man who tells the narra- forms symbols of cold-war militarism into pacifisttor with a certain amount of sincerity:  All I wanted imagery:  there s a warhead strapped to the back /to do was kiss you. But the narrator sees through of the dove / It s the iron curtain of love. In the lat-the curtained contradictions, and a somewhat sur- ter poem, he also paraphrases a Russian proverb toreal tale includes the real antichauvinist message: assert that, even in dire moments,  every wall has a  You didn t want to kiss me / You wanted to own door. Or, as the main character in  Old Man putsme / to dominate. When the bear-man disappears, it:  All in All, it s a rough life.One not only has tothe  blood & teeth remained, and  Word raced surrender, one has to keep fighting after that.through the community /  Mayakovsky is Dead.  Many of the poems in Without Doubt focus onUtilizing a Mayakovskian style, Clausen carries on various aspects of late 20th-century American life.the Russian poet s radical tradition and extends its Clausen writes with lyrical power about homeless-political vision by metaphorically in a surprising ness in  Sacred Relics :  red nosed busted bluetwist of an ending killing Mayakovsky himself.derelicts / supported by lampposts & buildings / in The Challenge presents a moment of deep the typewriter rain. These homeless are surviving,despair ( up & down the abandoned boiling /  gambling pain on the miracle / that s never hap-coastal waters of my desecrated torso ) by lament- pened yet. At the poem s end, Clausen ominouslying how far the poet is from more optimistic his- tells world leaders that a time will come when theytorical moments, including the earliest days of the will need these homeless folks experience.Russian revolution when it seemed, before Stalin- Clausen s poems explore the spectrum ofism took hold, that a more progressive era might human emotion [ Pobierz całość w formacie PDF ]