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I.C. Notebooks 1
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xiiii The Best Generation, the third group, was originally associated with New York, but they first attracted national attention in San Francisco in 956 when Allen Ginsberg, jack Kerouac, and Gregory Corso joined Gary Snyder, Philip Whalen and others in public readings. Three significant publications in 1956-1957 aligned their work with that of many writers of the first second and fifth groups: Ark II / Moby I, Black Mountain Review No. 7 and the "San Francisco Scene" issue of Evergreen Review. John Ashbery, Kenneth Koch, and Frank O'Hara of the fourth group, the New York Ports, first met at Harvard where they were associated with the Poets' Theatre. They migrated to New York in the early fifties where they met Edward Field, Barbara Guest, and James Schuyler, and worked with the Living Theatre and the Artists' Theatre. The fifth group has no geographical definition; it includes younger poets who have been associated with and in some cases influenced by the leading writers of the preceding groups, but who have evolved their own original styles and new conceptions of poetry. Philip Whalen and Gary Snyder grew up in the Northwest and became close friends at Reed College, before moving to San Francisco. Both Stuart Perkoff and Michael McClure came to the West Coast from the Midwest, Perkoff to settle in Venice West and McClure in San Francisco, where Ron Loewinsohn and David Meltzer have also moved in recent years. John Wieners studied at Black Mountain College and founded Measure in his home town of Boston. Edward Marshall, another New England Poet, was first published in Black Mountain review; he makes his home in New York. Gilbert Sorrentino lives in Brooklyn where he edits Neon and LeRoi Jones in New York where he edits Yugen. Occasionally arbitrary and for the most part more historical than actual, these groups can be justified finally only as a means to give the reader some sense of milley and to make the anthology more a readable book and less still another collection of "anthology pieces" The statements on poetics, the biographical notes and the bibliography are aids to a more exact understanding of literary history.
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xiiii The Best Generation, the third group, was originally associated with New York, but they first attracted national attention in San Francisco in 956 when Allen Ginsberg, jack Kerouac, and Gregory Corso joined Gary Snyder, Philip Whalen and others in public readings. Three significant publications in 1956-1957 aligned their work with that of many writers of the first second and fifth groups: Ark II / Moby I, Black Mountain Review No. 7 and the "San Francisco Scene" issue of Evergreen Review. John Ashbery, Kenneth Koch, and Frank O'Hara of the fourth group, the New York Ports, first met at Harvard where they were associated with the Poets' Theatre. They migrated to New York in the early fifties where they met Edward Field, Barbara Guest, and James Schuyler, and worked with the Living Theatre and the Artists' Theatre. The fifth group has no geographical definition; it includes younger poets who have been associated with and in some cases influenced by the leading writers of the preceding groups, but who have evolved their own original styles and new conceptions of poetry. Philip Whalen and Gary Snyder grew up in the Northwest and became close friends at Reed College, before moving to San Francisco. Both Stuart Perkoff and Michael McClure came to the West Coast from the Midwest, Perkoff to settle in Venice West and McClure in San Francisco, where Ron Loewinsohn and David Meltzer have also moved in recent years. John Wieners studied at Black Mountain College and founded Measure in his home town of Boston. Edward Marshall, another New England Poet, was first published in Black Mountain review; he makes his home in New York. Gilbert Sorrentino lives in Brooklyn where he edits Neon and LeRoi Jones in New York where he edits Yugen. Occasionally arbitrary and for the most part more historical than actual, these groups can be justified finally only as a means to give the reader some sense of milley and to make the anthology more a readable book and less still another collection of "anthology pieces" The statements on poetics, the biographical notes and the bibliography are aids to a more exact understanding of literary history.
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