Ken Fields poem for Gus

Gussy Gus
Albuquerque, NM

“Earth angel, earth angel, the one I adore”
–The Penguins

Ten months after your death I got the news.
All that time you were still alive.  Each week
I thought of you or told a Blaisdell story,
The way I saw you first, at my front door,
Six hours late, the middle of the night, festooned
With leaves in your hair from the back yards you’d crashed through
As curly haired as Bacchus and as stoned:
“Your neighbors don’t know you, man”—you kept shouting,
“Professor Fields, goddamn it.”  The next three days
We talked and drank around the clock, the only
Trace of that conviviality, the phrase
“Far fuckin’ out!”  We said it a thousand times,
Late sixties eloquence, we never looked back.
We burned our lives to the rail, in a few years,
You sobered up and in a few more, me too.
From then on we remembered what we said.

You got to Stanford through a pachuco gang
In San Diego, tattoos on the backs of your fingers.
Arrested for stealing a book, you finished high school
In a bad boys joint run by the nuns.  The bookseller
(Later your trade) thought about what you’d done—
He’d never had a thug steal Wallace Stevens,
So he sent you all the Stevens in his store
And In Defense of Reason, strange remorse.
This Winters is smart, you said.  You came to Stanford
Where Uncle Lumpy, as you called him, loved you.
Your master and mine, he called you his wild boy.
One day the dean of men confronted you.
He’d just found out about your tattoos.  “This school
Is a gentleman’s school, and I expect you to act
Like one, at least, and not come back next term.
We’ve never had anyone like you.”  When you told Winters,
He stood up, pushing his chair into the wall,
And stumped across the quad.  “I never knew
What he said to the dean.”  Hell, you know what he said,
“This boy is ten times smarter than you.  He stays”

You only taught the best:  Mrs. Bridge,
Basho’s Narrow Road, Kurosawa,
Chris Marker and Descartes’ Meditations:
“Wrong in every one of them, but read them
Like a French New Novel, narrated by a man
Trying to keep from going mad, and failing.”
You were my only intellectual.
Your charm,
Your beautifully vulgar equanimity,
Brought learning to the table and the street,
“Where the rubber meets the chode,” I hear you laugh,
The rude road Strode rode.  In that quick riff
You’d hear John Ford, Woody, and Sonny Rollins,
And the Duke holding court at The Frontier,
The all-night diner where you said good night.
When you described a round bed with a bedspread
Printed with a target—“it was like ground zero
At a fuckathon”—my wife fell in love with you,
“The funniest man alive.”  And you still are.

“Not too many words between myself
And the world outside,” you wrote.
Well, more than you let on.  A single room
Is overflowing with them, “Some white puff
Just beyond our mouth.”  I want to phone you
When a doctor tells me of a patient complaining
Of fireballs in her universe, another
Suffering immaculate degeneration,
And a man controlling his rage by taking something
He called Hold Off.  But no one’s home.
Gus,
Fireball, immaculate degenerate, you hold off,
You’re somewhere out there, as they say at Acoma
(Simon Ortiz recalls you at Okie Joe’s),
You’re somewhere out there, Gus, or as you’d say it,
(Corazon, baby) you are far fuckin’ out.

Ken Fields

Ernest Gaines awarded National Medal of Arts

Photo by Jim Santana from the archives of Gus Blaisdell

Photo by Jim Santana from the archives of Gus Blaisdell

Photo of Ernest Gaines by Edward "Ned" Springs

Photo of Ernest Gaines by Edward “Ned” Springs

 The guy in the picture with me is Edward "Ned" Spring.  He was a very good friend of both Gus Blaisdell and me.  We were at Stanford together back in the late 50s.  We used to listen to a lot of Jazz together, drink wine and discuss literature.  Ned use to write liner notes for 33 rpm dust jackets.  He could be extremely funny...He died young.  I think Gus was at his bed side when he died,  Gus called to tell me he had gone to the big PAD in the sky.  He left a wife and two children.  Gus and I were at the memorial. It was very quiet.  Betty, Ned's wife,  wanted it that way.  Just a few close friends.  I think that was the only time I was ever seen to cry.  Ned was quite thin, and Gus always called him The Snake.  He called me Prez, because I wore a hat like the one Lester Young, the great jazz musician, wore.  Gus was good at giving people different names.  "Hey, Prez, the snake has left us "  We had been out drinking at the No Name Bar in Sausalita only a couple of weeks before he died--Me, Gus and Ned.....Ernie>

The guy in the picture with me is Edward “Ned” Spring. He was a very good friend of both Gus Blaisdell and me. We were at Stanford together back in the late 50s. We used to listen to a lot of Jazz together, drink wine and discuss literature. Ned use to write liner notes for 33 rpm dust jackets. He could be extremely funny…He died young. I think Gus was at his bed side when he died, Gus called to tell me he had gone to the big PAD in the sky. He left a wife and two children. Gus and I were at the memorial. It was very quiet. Betty, Ned’s wife, wanted it that way. Just a few close friends. I think that was the only time I was ever seen to cry. Ned was quite thin, and Gus always called him The Snake. He called me Prez, because I wore a hat like the one Lester Young, the great jazz musician, wore. Gus was good at giving people different names. “Hey, Prez, the snake has left us ” We had been out drinking at the No Name Bar in Sausalita only a couple of weeks before he died–Me, Gus and Ned…..Ernie>

HepCats

Gus published Clark's book NOW ITS JAZZ

Gus Blasidell and Clark Coolidge    Albuquerque, New Mexico    © Nicole Bliasdell Ivey

Gus published Clark Coolidge’s     NOW ITS JAZZ       Writings on Kerouac & The Sounds

*Excerpt from SPD website–  “Music. Cultural Writing. Perhaps no living American poet has taken Kerouac, jazz and bop prosody into as many original directions as Clark Coolidge. In his inimitable prose, Coolidge recalls and explores the role Kerouac (Part 1) and jazz (Part 2) have played in his artistic development. A book of tremendous energy from the very first sentence: ON THE ROAD was first handed to me by somebody in a dorm at Brown, my sophomore year, 1957-58. ‘Here, read this.”

Art on the Edge

Gus and Group

Claremont 1971 (standing left to right Hap Tivey, James Turrell, Gus Blaisdell, Lewis Baltz, seated Mowry Baden, Guy Williams)

“It Happened at Pomona: Art at the Edge of Los Angeles 1969-1973 — Part 3: At Pomona”

By Sneha Abraham 2:30 pm February 24, 2012 Campus EventsThe Arts

Chris Burden, Untitled, 1966.Chris Burden, Untitled, 1966. Bronze. 6 1/2 x 5 in. (16.5 x 12.7 cm). Collection of the artist. © Chris Burden. Photograph courtesy of the artist.
Hap Tivey, Sunpainting, 1971Hap Tivey, Sunpainting, 1971. Window frame, paint, paper, tape, and incandescent light. 24 x 24 x 3 in. (61 x 61 x 7.6 cm). © Hap Tivey. Photograph courtesy of the artist.

“Part 3: At Pomona” demonstrates how Pomona College’s extraordinary community, inspired by the atmosphere created by curators Hal Glicksman and Helene Winer, developed some of the most important aesthetic currents of the late 20th century. These artists, both faculty and students, engaged the developing legacies of Conceptualism and Minimalism and forged transformations of these ideas that became prototypes for future generations. This exhibition chronicles the experimental art that emerged in the late 1960s and the role played by Pomona College in advancing these practices.

The period covered by “Part 3” roughly equates with a renaissance in Pomona’s arts community that can be traced to Mowry Baden’s ’58 arrival as chairman of the art department in 1968 (he served as professor until 1971), and which ended, in 1973, with the mass departure of the arts faculty in protest over, among other causes, Helene Winer’s dismissal due to the notorious Wolfgang Stoerchle performance seen in “Part 2.” During this period, Pomona faculty and alumnus James Turrell was performing his first ganzfeld experiments and conducting flare performances; Lewis Baltz was at work on his legendary Tract Houses series; and Mowry Baden was creating interactive sculptures that would have a profound effect on his students, among them Chris Burden ’69, Michael Brewster ’68 and Peter Shelton ’73.  Burden was transitioning from architecture to sculpture to performance. Brewster was exploring the potential of light and sound as an artistic medium, while Shelton was experimenting with corrosion as a painterly medium, which would have a lasting effect on his eventual career as a sculptor.

Central to this group is the under-recognized work of Mowry Baden. His interest in movement and its impact on perception clearly echoes many of the aesthetic concerns that informed works produced through Hal Glicksman’s Artist’s Gallery exhibition program. Baden’s particular articulation of these concerns in works that require viewers to interact and physically operate the sculptures demonstrate a more performative and collaborative approach to audiences that prefigures much contemporary work today. 

Telling it like it is / Review of GBC

5.0 out of 5 stars the writer as cultural Hero, November 7, 2012
By
dan noyes (New Mexico) – See all my reviews
This review is from: Gus Blaisdell Collected (Hardcover)

This book is a look at the writing,the life, and the letters of an exceptional writer who lived the zeitgeist of his time by writing, editing and selling books. He also helped other
writers get published and noticed. He also taught. And he also loved loquats.And women. And he writes about all of these-and more- in this wonderful book.The intellectual life he engaged was from The Beats to Postmodernism. Blaisdell was a writer and thinker who had interests in the Classics, Asian poetry, art, culture, psychology and philosophy. He created a rich world in his writing and that is here in a collection of essays, poems and letters that explore art, photography, philosophy, and film.

Blaisdell’s talent as a writer and thinker in these engaging essays is evident in how he uses words, structure, metaphor and image in writing about culture and meaning.
The essays about his life and his letters-along with an excellent timeline of his life-round out the book. The photographs in the book are an excellent counterpoint that capture the hero as he ages, travels and investigates art and culture. A photograph in the book of Gus Blaisdell encountering a Matisse exhibit taken by Nicole Blaisdell Ivey is a truly great photograph that shows a man encountering art and caught in the experience of art. In fact-the whole book is related to how Blaisdell wrote about that encounter.gus-studio-shelf-nicole1.jpg

Gus and Evan Connell R.I.P.

DSC_3197

Farewell, Evan Connell

Evan-ConnellFrom Counterpoint Press

January 10, 2013

Berkeley, CA: Counterpoint Press is sad to announce the death of author Evan S. Connell. Mr. Connell died Wednesday night after several years of declining health. He was 88.

Evan Connell has long been recognized as one of the most important American voices of contemporary letters. A novelist, short story writer, and poet, Connell is the author of seventeen books, including Deus lo Volt!The Aztec Treasure House,Points for a Compass RoseLost in Uttar Pradesh, and the bestselling Son of the Morning Star, which was made into a 1991 miniseries.

His novels Mrs. Bridge (1959) and Mr. Bridge (1969) were adapted into the critically acclaimed 1990 Merchant-Ivory film Mr. and Mrs. Bridge starring Paul Newman and Joanne Woodward. Wallace Stegner said of Mrs. Bridge that “[It] is a hell of a portrait…She’s as real and as pathetic and as sad as any character I have read in a long time.”

Connell was awarded the Robert Kirsch Award (a Los Angeles Times Book Prize) for “a living author with a substantial connection to the American West, whose contribution to American letters deserves special recognition.” Counterpoint Press will publishing a new edition of his book of prose poems, Notes From a Bottle Found on the Beach in Carmel, in February 2013.

In 2009 Evan Connell was nominated for the Man Booker International Prize, for lifetime achievement. He was born on 17 August, 1924, in Kansas City, Missouri and attended Dartmouth College and the University of Kansas. Connell is also an alumni of Stanford and Columbia universities.

Evan Connell lived and worked in Sante Fe, NM.

Gus wrote an extended essay called “After Ground Zero: The Writings of Evan Connell, Jr.” New Mexico Quarterly (Summer 1966). An excerpt is published in Gus Blaisdell Collected titled VATIC WRITING Evan S. Connell Notes from a Bottle… p.185

DISCUSSING GUS Saturday January 5th 3:00 pm at Bookworks 4022 Rio Grande Albuquerque, New Mexico

DSC_3982Join editors William Peterson and Nicole Blaisdell Ivey                                               for the final GBC book event.

Film Studies Gus’ Notes on Remarriage Comedies

        Notes on Remarriage Comedies aka comedies of equality or dailiness…

P1010110

     Classical comedy (cc) involves a young pair overcoming obstacles who get together for the first time. Ends in festival, feast, wedding; the old ratify the young, the young acknowledge the old, and society is assured of continuing.

    Remarriage comedy (henceforth, rem.) involves an older pair, seeking a divorce, who end up getting back together, together again. Privacy (rem) is studied as opposed to the public ( classical comedy).

Freud asks, What does the woman want? Consider inflections: peevish, exasperated, impatient. Better, rephrase as, Given male desire is figured dramatically by the Oedipus complex, What is the form of female desire?

(Note. Freud argued that the Oedipus complex was universal, applying to humans regardless of sex. Questionable.)

Rem answers, what the woman wants is education. Education means leading out the best self, not indoctrination—seeking the attainable but as yet unattained self(of both). Who has education to give?

Men do, and the form this takes in rem is that the men endlessly lecture the women. (Possible shadow: the man could be pretending to provide education but really be [ seducing ] the woman, turning her into his private toy for his pleasure.) So the creation of the new woman is the business of men. But in truly transforming the woman the man must himself undergo change—such that the couple transformed is a new birth or vision of the human.  That a man can walk in the direction of his dreams we all know; but that a woman can, and with the right man, is some of the news this genre brings.

This is accomplished in Cavell’s and Milton’s terms only through a meet and happy conversation, where “meet” means “just”: helpmeet, as in Genesis, not helpmate. These conversations (and lectures) take enormous amounts of time. The price for the woman is that no sense of “mother” applies to her: she is not one and her own is not present. (Sexuality between the two trying to divorce is a displaced issue; in cc it is central issue.)

Part of the change required of the man is humiliation. Essential to this is the fact of what I will call mutual forgiveness (a form of Gratified Desire?), acknowledgment.

The father is always on the side of the woman’s desire, unlike cc where he can be the first obstacle.

Since privacy is studied, often in a place of perspective called a green world, or in the rem genre, Connecticut; the marriage to work is beyond the sanction or church, state, or society. The real scandal is love, the outlaw status of its truth (p. 31) (Sherwood forest is a green world, as is Eden—to which we can’t quite return; and Shakespeare’s Arden). The feature of the green world allows the couple to feel that they have grown up together(p.31). An incestuous relationship is changed into one that can stand public scrutiny. Questioning this is one reason why Amanda Bonner takes their [private] marriage to court.

A constant threat to rem is that at any moment it can become melodrama. Adam’s Rib frames the Bonner’s marriage with the melodrama of the Attinger’s marriage. It is from Adam’s Rib that Cavell will derive the melodrama of the unknown woman.

*from Gus’s computer

Gus Blaisdell Collected editors William Peterson and Nicole Blaisdell Ivey will be DISCUSSING GUS Saturday January 5th 3:00 pm at Bookworks 4022 Rio Grande  Albuquerque, New Mexico