Free Download Pictures of the Gone World (City Lights Pocket Poets Series), by Lawrence Ferlinghetti

Free Download Pictures of the Gone World (City Lights Pocket Poets Series), by Lawrence Ferlinghetti

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Pictures of the Gone World (City Lights Pocket Poets Series), by Lawrence Ferlinghetti

Free Download Pictures of the Gone World (City Lights Pocket Poets Series), by Lawrence Ferlinghetti

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Product details

Series: City Lights Pocket Poets Series (Book 1)

Paperback: 45 pages

Publisher: City Lights Publishers; 2nd ed. edition (January 1, 2001)

Language: English

ISBN-10: 0872863034

ISBN-13: 978-0872863033

Product Dimensions:

4.9 x 0.3 x 6.3 inches

Shipping Weight: 2.1 ounces (View shipping rates and policies)

Average Customer Review:

5.0 out of 5 stars

7 customer reviews

Amazon Best Sellers Rank:

#50,554 in Books (See Top 100 in Books)

"Pictures of the Gone World" had not been so fully praised as Ferlinghetti's next book of poems, "A Coney Island of the Mind". The only reason I can come up with is the extensive use of surrealist imagery and references to other poets, painters, sculptors etc., that the poems are full with. But in "Coney Island" there is a similar creative procedure--even the line order is "floating", as in "Pictures", so why is this book less known than "Coney Island"? It is probably not a matter of quality; probably more people feel attracted to read a book about Coney Island than one with a title which at first sight doesn't seem to say too much about its content.The poems incuded in "Pictures" are nevertheless great. This collection of verse is probably one of the most representative works during the Beat generation, along with Ginsberg's "Howl and other poems" (also published in City Lights Books) and Kerouac's "On the Road". Ferlinghetti succesfully intertwines surrealistic and dadaistic tendencies with oral speech, complex verbalization processes such as ekphrasis, which show the poet's skills at his best.This second edition brings us 18 new poems, which every Beat fan must get. Some of these new poems are quite remarkable, such as "Surfers are poets too", and there are some "addenda" to the previous ones. For example, no. 6 includes a whole new stanza, and words in no. 1 have been changed. This 1995 edition is also a collector's item, for it was published to celebrate 40 years of City Lights publishing.

Ferlinghetti was my introduction to Beat poetry, and an excellent one at that. I highly recommend this book. Personally, however, I prefer the original 1955 version with the poems in their original order (it can also be found separately on Amazon). To each their own.

Here we have it: the first book in the mostly-OOP Pocket Poets series by Ferlinghetti's SF-based City Lights publishing house, and Ferlinghetti's own first book of poems, arguably just as good as A Coney Island of the Mind (which, actually, can be said of almost all Ferlinghetti's books of poetry. High class, all over the place). Ferlinghetti, Whitman's 20th-century successor, the "new" poet for the common man (and woman!), and an adorable old guy (still kickin' at 89! still readin' and writin' pomes), semi-member of the Beat scene, definite member of the SF Renaissance, gives us 27 (or 45 if you picked it up after '95) of his precious, wise-for-his-age (born: 1919; published: 1955) free-verse observations.This 'nik is famous for his cut up style, a style that adds to the intended jazziness of the lines, all intended to be spoken out loud. A favorite of mine, only available here (a number are reprinted in his more famous Coney Island) deals with vanity: number #17, or "London," and goes like this (keep in mind, I can't accurately copy the structure of the poem here, severely--no! slightly!--detracting from the poem's inner jazz):Londoncrossfiguredcreeping with tramsand the artists on sundaysin the summerall 'tracking Nature'in the suburbsItcould have been anyplacebut it wasn'tIt wasLondonand when someone shouted overthat they had got a modelI ran out across the courtbut thenwhen the model started taking offher clothesthere was nothing underneathI mean to sayshe took off her shoesand found no feettook off her topand found no titunder itand I must she did looka bitASTOUNDEDjust standing therelooking downat where her legs werenotBut so very carefully thenshe put her clothes back onand as soon as she was dressed againcompletelyshe was completelyall rightDo it again! cried someonerushing for his easelBut she was afraid toand gave up modellingand forever afterslept in her clothesOh yeah. You love it. This and "See/it was like this" (or #9) from Coney Isle. are what got me into Ferlinghetti (and with a little help from Whitman, into poetry!), as well as a few friends. Just memorize those two suckers (and maybe #25, "The world is a beautiful place") and you'll have all the cats swooning.90%Highly recommended. Also recommended is going to Google images, and running two or three searches for pictures of Ferlinghetti so you can to stare in wonder at his jolly-faced glory.

Great book!

I really enjoy Ferlinghetti's poetry. It's interesting, colorful, and evocative without resorting to tasteless sexual references . This little book is a classic. I hope it will always be in print.

I never tire of Lawrence Ferlinghetti. The additional new poems are a great plus.

I am embarassed to say that I picked this book up on my last visit to City Lights (several years ago) but I never actually read it. Other than for a piece or two in an anthology, I had never read Ferlinghetti, period. Having enjoyed the hospitality of the upstairs poetry room, that seemed somehow ill-mannered of me.Simply put, I liked this collection. The images and meanings are more subtle than a lot of poets with Beat roots. He can really paint a word picture to put you in the scene. You instantly soak up the nuances of the whole. Then maybe he'll nudge you, ever so slightly, into seeing the absurdity in it. Or perhaps he'll interject a reminder of your own mortality in a simular subtle way. It is appropriate that one of the poems deals with Edward Hopper. I get that Hopperesque quality of an observer in an existential urban landscape with much of the collection. About the only difference that I detected from the first 27 poems (written by 1955) and the 18 new ones (new in 1995) is a difference in rhythm. The older poems have much more of that classic coffee house beat- at least in my head. Of yes, he also uses the term "cyberpunk" in one of them.... But the word painting, and sense of subtle absurdity, is still right on the money.

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