SHOOSTER
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The Mammals

McClure, Michael
75 USD
Date
1971
Category
Poetry
Description
Michael McClure (October 20, 1932 – May 4, 2020) was an American poet, playwright, songwriter, and novelist. After moving to San Francisco as a young man, he found fame as one of the five poets (including Allen Ginsberg) who read at the famous San Francisco Six Gallery reading in 1955, which was rendered in barely fictionalized terms in Jack Kerouac's The Dharma Bums. He soon became a key member of the Beat Generation and was immortalized as Pat McLear in Kerouac's Big Sur. McClure's other plays include Josephine The Mouse Singer and VKTMS. He had an eleven-year run as playwright-in-residence with San Francisco's Magic Theatre where his operetta "Minnie Mouse and the Tap-Dancing Buddha" had an extended run. He made two television documentaries – The Maze and September Blackberries – and was featured in several films, including Martin Scorsese's The Last Waltz (1978), where he recites from The Canterbury Tales; Norman Mailer's Beyond the Law (1968); and, most prominently, Peter Fonda's The Hired Hand (1971). McClure was a close friend of the Doors' lead singer Jim Morrison and is generally acknowledged as having been responsible for promoting Morrison as a poet. McClure performed spoken word poetry concerts with Doors keyboardist Ray Manzarek until the latter's death in 2013; several albums of their work have been released. McClure also contributed the afterword to No One Here Gets Out Alive, Jerry Hopkins's and Danny Sugerman's seminal Doors biography. McClure also released albums of his work with minimalist composer Terry Riley. McClure's songs include "Mercedes Benz", popularized by Janis Joplin, and new songs which were performed by Riders on the Storm, a band that consisted of Manzarek and Doors guitarist Robbie Krieger.
Excerpt
The plays in this book were written during the same period as DARK BROWN and in the same manner — THE BLOSSOM was written spontaneously after “three days of careful preparation”. Together they form the catalyst for later work — the first use of grahhr language in THE FEAST and the involvement with Billy the Kid in THE BLOSSOM. Read as poetry (“projective verse turned to theater”) these dramas, in the same way as DARK BROWN, explode the traditional separation of the writer from his work (“writing is not a product but an extension of the body”). As theater they re-examine the complex relationships of characters to each other and to the audience. "There is no time. I am visited by a man who is the god of foxes there is dirt under the nails of his paw fresh from his den. We smile at each other in recognition."
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