Diane Di Prima Books

I had the privilige of hearing Diane Di Prima read recently, and discovered a new found appreciation for this collection. Many of her volumes have been published as a smaller collection previously, and then expanded to include the later works. 'Loba' is an amazingly, deceptively layered collection weaving together many themes and images over a length of her life. I highly recommend this, among others!

"It is the Word that is the Ground of Love..."

Diane di Prima is one of the most talented twentieth century American women poets, and the most important female figure of the Beat literary movement. She has authored thirty four books, including the two that have appeared in 1998, Loba, and the re-issued edition of Memoirs of a Beatnik, a classic of Beat narrative-a witty chronicle of the cultural conditions from which it grew. When the first part of Loba first appeared in 1978, it was hailed as the female counterpart to Allen Ginsberg's Howl. Loba is a series of poems forming a compact whole, presenting in a visionary manner all forms of the female experience. Anyone who knows Diane di Prima and her work knows that she is Loba, the protagonist of the work and the focal point of the poems. Loba, meaning she-wolf in Spanish, is an archetypal figure, fusing qualities that are both human and animal, terrestrial and divine. Diane di Prima's poetry has been essentially lyrical, even in its most radical aspects, but she has chosen to define this work of her maturity as an epic, inasmuch as an epic is a narrative poetic work about a quest. As in all epics, di Prima starts in a present time that echoes the past and that clearly foreshadows the portion of the journey to come: the conclusion. The poem opens with an invocation to the "lost moon sisters", to whom di Prima's poetry is addressed, who all partake of the divine multiplicity of the wolf-goddess. As poet Marge Piercey commented, di Prima, in this book, has taken from many mythologies to create her own. Loba is not just one figure, rather, it is a conglomeration of the re-incarnations of many personae within one character. We see the Loba under many other masks: in Flanders, we see her in the soft light of a Vermeer painting; in the exquisite Kali-ma versions, she is "as fresh as jasmine", but also bloody and ferocious; we see her also as the Maternal Principle, singing to her children or making an amulet for her daughter; we see her as the principle of Female Creation, Lilith; geographically, we see her in the most diverse places, from Brooklyn to the Bardo; we see her young, ageless and as an old hag. Born in Brooklyn in 1934, having lived in Manhattan for a period of time, Diane di Prima moved to Northern California where she has lived for the past thirty years. She has studied Zen and Tibetan Buddhism, and has delved in the science of alchemy and in the western magical traditions. This work summarizes her life and work, presenting to us her poetic itinerary. In Loba di Prima deals with mythical figures from the native American mythology to the heroes of Western medieval romances (from Tristan and Iseult to Guinevere), to the figures of the Judeo-Christian religion in The Seven Joys of the Virgin, to the acclamations to Lilith, to the personal re-creation of the myths of classical antiquity (such as Persephone, Ariadne, Helen, et al.), to the saga of the Sumerian Goddess Inanna, and finally to the hymns in honor of the Goddess Kali. Loba lives her own eclectic myth and encourages all of us to create our own magical reality. The superiority of the Female Principle permeates the whole volume, as openly declared in one of the Inanna poems: "The king is expendable, but not the Queen." Di Prima has evolved from a poetry that was essentially a poetry of protest and denunciation to a poetry that is meditation in motion, and that includes, comforts, teaches and soothes, rather than confronts. The style is fresh, crisp, and abounds with startling and powerful images. But there is a new, hieratic, classical tone in many of the poems in this volume. The volume is replete with teachings, reflections and musings on life that di Prima wants to share with her readers, and that come forth as brief and powerful aphorisms, as in the first verse of poem "He Who Was Not Born from a Lotus": "It is the Word that is the Ground of Love. . ." In many poems, di Prima speaks like a Hermes-like messenger come down to speak to men: "I come to speak of the long & slender vase / of the goblet like a sphere laid open / of the vessel with two handles, the one with none. . ." The epic properly ends with a poem entitled "Persephone: Reprise", a poem about severance and rebirth. Every great poem is a descent to what di Prima calls "the fluid boundaries of Hades," from which "we spring continuously into life & death." It is apparent that under the persona of Loba, the poet is talking about herself, the woman "with broom and pen," describing herself in a remarkably objective way, as if she were on the outside, looking at herself: "There is a woman who is full of grace / her lap is ample & empty / she is not abstract or sheepish / ... I warmly recommend this volume as one of the most important books of poetry of the twentieth century.

A Reader from Berkeley, CA

I'm a huge di Prima fan, and this is an awesome book. The More or Less Love Poems are some of my favorite of all her poetry.

I've been having an ongoing flirtation with the "Beat Generation" this year, having read Diane Di Prima, Anne Waldman, William Burroughs, Allen Ginsberg and Jack Kerouac, among others. When I stumbled across this set of audio CD's, I thought I'd died and gone to heaven. To hear these giants of their generation reading their own works was a dream come true.

The title "First Thought, Best Thought" was the phrase that poet Allen Ginsberg used to describe spontaneous and fearless writing--a way of "telling the truth" that arises from naked and authentic experience.

Here's the gist of the CD's:

*William S. Burroughs teaching his breakthrough methods for generating fresh writing--including "the cut-up method," chance operations, and dreamwork.


*Diane di Prima on how to survive as an artist: preserving your sensibility, creating a supportive artistic community, getting published, self-publishing, and much more.


*Allen Ginsberg exploring every stage of poetic activity--from inspiration, to composition, to revision, to performing your poetry in public.


*Anne Waldman on the elements of the poet's craft--from the raw material of the words themselves to the many aspects of the poem in performance.

I must say that my own writing practice (after listening to these CD's a few times) has been profoundly enriched for the better. I've decided to publish my own poetry and I'm experimenting with the cut-up method suggested by Burroughs. It's a blast and funny has hell at times.

If you need a giant dose of inspiration and/or encouragement for your writing, then by all means, BUY THIS COLLECTION!

Of course, the Universe being a giant cross-reference, these authors led me to other great books: "Women of the Beat Generation" by Brenda Knight was an eye-opening read about the women of that generation.

Here's a blurb from that book: "In many ways, women of the Beat were cut from the same cloth as the men: fearless, angry, high risk, too smart, restless, highly irregular. They took chances, make mistakes, made poetry, made love, made history. Women of the Beat weren't afraid to get dirty. They were compassionate, careless, charismatic, marching to a different drummer, out of step. Muses who birthed a poetry so raw and new and full of power that it changed the world. Writers whose words weave spells, whose stories bind, whose vision blinds. Artists for whom curing the disease of art kills."

I'd also recommend, "Fast Speaking Woman" by Anne Waldman and "Memoirs of a Beatnik" by Diane Di Prima. Ms. Waldman got her inspiration for the title poem from the Shaman, Maria Sabina. So, you MUST read about Maria Sabina in this amazing book, "Maria Sabina: Her Life and Chants" by Alvaro Estrada. Here's a taste of one of her chants:

Because I can swim in the immense
Because I can swim in all forms
Because I am the launch woman
Because I am the sacred opposum
Because I am the Lord opposum

I am the woman Book that is beneath the water, says
I am the woman of the populous town, says
I am the shepherdess who is beneath the water, says
I am the woman who shepherds the immense, says
I am a shepherdess and I come with my shepherd, says

Because everything has its origin
And I come going from place to place from the origin . . .

(Alvaro Estrada, "Maria Sabina: her Life and Chants")

To say that this collection of poems is "delightful" would be the understatement of the decade. Diane DiPrima quickly knocked her way up to being one of my favorite poets in the space of 5 days (the time it took for me to read this book !). These poems are bohemian and contemporary. They're forlorn in a controlled way, romantic but smirking, and strong willed. DiPrima truly outdid herself penning every word.

Ranging from cutting political literalness to heart-bending humanness, these letters comprise a solid coming-of-age volume. Their greatest power comes from a question that recurs in different forms throughout: Why Not? Why not stop driving and plant flowers in cars? Why not love like crazy? Why not live your visions? Even though I now more frequently read the likes of Mary Oliver, it is this spirit of *everything as raw potential* that I so admire in Di Prima.

It is definitely a timepiece, infused with the energy of a 1960's-formed consciousness (that speaks against nuclear weapons, deforestation, police brutality, capitalism, and of course touts revolution, with touches of eastern philosophy), but a timepiece that stands vibrant. The issues Di Prima addresses are still relevant today, though it is harder to see them through the eyes of clear hope with which she writes. But again, therein lies her power.

Additionally, as one of the few published female poets emerging with the beatniks, I think it is important to give her lines a read. Yes, she can pound out that characteristic beatnik rant (though she never goes on to the extent of Ginsberg), but she can also sing a soft pulse that de-cynifies the imagination, reminds us of the dream at the heart of dreams, and revels in Life.

I go to a somewhat conservative boarding school and lent this book to one of my writing teachers, who previously had said that there is no way that a political poem can be heartfelt. This book proves that notion wrong. Normally when people think about politics, they only think about who is running for office, but there is so much more than that in this book. This book should be available in every library in both the poetry and political section. This is an inspiring book that speaks not only to the mind, but to the heart.

As one of the poets featured in Will Work for Peace, one might expect me to be a bit biased, but nothing could be farther from the truth. Most poets work in a virtual vacuum, only tenuously connected to each other by the occasional workshop or shared membership in a 'poetry society'. When Brett Axel first approached me for a submission to an anthology he was considering, the names Marge Piercy, Lyn Lifshin, Moshe Bennaroch and so many others were abstractions to me as a fledgling poet. I knew these tremendous writers were 'out there' somewhere, beating down doors with their words and keeping a struggling artform alive. But to think that someday I would ever share a credit with these dynamic modern poets would be a pipe dream at best. It is through the sincere efforts of Brett Axel that many newer voices like mine have an extraordinary opportunity to appear with Pulitzer Prize winners and other poetic heavyweights. By way of an honest review, however, I will say this- not everything in this book will be to your particular liking. I myself came across some works that did not move me in the way the author may have intended. Some imagery can be raw and visceral, using shock value in place of craft at times. But to ignore those voices would be an even more shocking turn of events, so praise be to the editor for not sacrificing his vision to a senseless conformity. As Pete Seeger so aptly put it in his quote, trying to read all these poems at one time would be like trying 'to swallow Manhattan whole'. I say to you- buy this book, read this book, but understand that it's what you do after reading this book that will ultimately define who you could be. Poetry is alive and well, and lives in the blunt pages of Will Work for Peace.

This book has been a long time coming. Brett Axel has really contributed to the poetry world in a way that is noticed, rather than swept into a corner. Many of the poems are good, some are great. Not all the poets are famous, but most of them contributed good work. I liked Amy Ouzoonian's and Brett's poems, as well as "Pinaud's Tonic" by Michael Pollick. I recommend reading that one. The only criticism I would have of the book is of the extreme scatalogical nature of some of the poems, which do not seem to fit with the theme of the anthology, and would, perhaps, be better in collections by that particular poet, rather than in such an anthology. But, overall, it is a great work.

I liked this book. It has some of the best poetry I've ever seen in it. I especially liked the poems by Marge Piercy, Antler, Diane di Prima, and Susan Griffin, but all of it was good. I think there was only one or two that I didn't like at all and they were short. I'd give it 5 stars but the type was kind of small and I'd rather it be easier to read. My eyes aren't what they were when I was 30.

Just amazing start to finish! I like the disregard for fame used in putting the book together. That great poems got in even if they were writtenby nobodys. Look at Roger Bonair-Agard's poem on page 74. Shortly after Will Work For Peace came out he won Slam Nationals, becoming Slam Champion of 1999, which will be getting him lots of offers. But Zeropanik Press didn't need to be told he was good by an award. They could tell by his writing! Good for them and good for all of us because Will Work For Peace is a literary milestone. It's a new standard for all future anthology editors to try to live up to. Thumbs up to Brett Axel and Thumbs up to Zeropanik Press for their guts and integrty.

Diane di Prima's "Recollections of My Life as a Woman" is a must read for anyone who loves her poetry. I found it to be incredibly insightful and enjoyable to read. Understanding her life definitely helps demystify some of her poetry, like LOBA, for instance. She is such a diverse writer and woman. Everyone who reads this will benefit from it no matter what.

I found this book to be captivating. I felt as though I was right along side her on her journeys. The eras she lived through were so richly detailed. She had so much hope and energy. I never wanted this book to end.

This is a wonderful book, presenting a brilliant vibrant picture of a cultural movement and time, the Beats/Hippies, and a woman who embodied all the artistic and humanistic values in an incredibly pure form. To me, the book (and the woman) are inspiring in their dedication to the values of art, spontanaeity, love, and Zen naturalness. An invaluable read for women artists, especially, and also for artists in general, and people interested in a certain world view and life style.

Diane di Prima is one of the most foremost and noteworthy female writers of the Beat generation and the 20th century. She has been affiliated with such writers as Jack Keroac, Allen Ginsburg and Robert Creeley. She wrote and inspired in a mans world bringing to life a new female perspective in the 1950's. She continues to write extraordinary poetry, essays, and amazing prose. Her writing style is original and still refreshing to read fifty years later. Diane in her latest book Recollections of My Life As a Woman : The New York Years, an autobiography, goes on to embrace all aspects of her life as a woman. It was an amazing book. I enjoyed it, and I think most will, even if your forte is not beat generation history. It's a good read for others who want to learn more about the beat generation, and it's a great book because of the excellent narrative, and the obvious love she has for writing as well as life it's self.

At the end of the book I cried because it was over. That happened once before at age 10 when I finished Black Beauty. This book hit nerves in me that hadn't been touched since On the Road. DiPrima's brilliance, toughness, honesty and forays into the unknown make me want to find her phone number so I can talk to her... this rare woman!

Sorry, but this is both an unimportant work, and pornographic (when every chapter revolves around one sex scene, I think it is safe to accuse a book of being pornographic). Understandably, it has been written that this book was intended to be exploitative, and di Prima wrote it because she needed money. Great. I hold nothing against writers doing what they need to do to make a living. If I recall correctly, Stephen King got his start writing articles for Playboy. With all that said, however, I think it is also important not to hold a book to unrealistic expectations, simply because of the author. Porn, porn, porn. Let's see: chapter 1, sex with Ivan. Chapter 2, recollection of the first time she had sex with Ivan. Chapter 3, sex with Robin (a man in love with Ivan). Chapter 4, Sex with Tomi (a female friend). Chapter 5, Tomi has sex with Tomi's brother. Chapter 6, Sex with 4 other women. Chapter 7, sex with Tomi's father Serge. Chapter 8, sex with young Jack and some guy with big ears while runaway girl watches. And so it goes, through all the chapters. So, if you're looking for a "spank" book, then check it out. If you're looking for a book about the beats from a woman's perspective (as it is boldly proclaimed on the front cover), look somewhere else.

No, it is not porn...but it is definitely not for prudes!

This book gave me a gorgeous, ripe, sensual snapshot of the life and the times of Diane DiPrima and the subculture in which she existed.

The writing sometimes lacked, but overall - it's a juicy peach with a bittersweet aftertase.

This book was loaned to me by a friend who swore that I would have to read it "with one hand free". While the story is very erotic, and the sex scenes are very real and compelling, I would not wholly agree with that statement. This, in part, is due to the fact that love scenes between men and women no longer do anything for me sexually. I prefer erotic writings between two women, and, though there were a few added to this book to spice things up (for me anyways) there were definitely not enough to arouse me to free one hand.

The story, however, is well written. It was an easy, delightful read, one that I polished off in two sittings. It catalogues the life of a young writer coming into her own sexuality, seizing whatever moments of transient, sensual bliss that she comes across. This book is somewhat autobiographical, cultivated from Di Prima's own experiences as a college drop out who, annoyed with the system of 1950`s education, decided to instead pursue writing full time. The main character in the story parallels her life to such a degree that the author had even named her heroine "Di Prima". The character Di Prima also flits about in the underworld of 1950's New York, inhabiting skeevy, infested pads with multiple people, coffee houses, book stores, parks, smoked out bar scenes, forests, fields, and (on one occasion) a country farm. Where the truth is obscured in this bohemian world of sex, drugs, and (pre) rock and roll is only up to the reader's decision. I know little about Di Prima myself, so I like to look at this as a fairly inventive, fictional piece of writing.

This is definitely a worthwhile read. I must admit, were I more inclined to heterosexual love scenes, I would have, indeed, read this with one hand free, seeing as how in every single chapter is a different, vivid description of one of her many sexual encounters. If you are inclined to beat writing, this is a canon of that genre. If you are a fan of erotica, how have you not read this one yet? Read it in a room, alone, or with a partner. It will get your juices flowing, if you pardon the pun.

As someone isn't easily shocked by sex, this book was engaging. I found myself hoping to find happiness within "one" of her sexcapades. However, if you are interested in an easy read, with graphic details. Enjoy. Don't be offended.

I was disappointed with this book, but that could very well be my own fault because of the expectations I took with me when I first started it. I had picked up this book in hopes of finding the female version of On The Road. I wanted a female artistic rendering of the period and art and philosophy and what her thoughts were on what she went through. Instead I found a mediocre telling of sexual encounters. I understand that sexual freedom was a big part of the Beat experience and I certainly have no problem with reading about that aspect of Di Prima's life, I was just disappointed that she basically made it appear that her role in the whole Beat movement had nothing much to do with art or philosophy, but more to do with being a sexual object. Isn't that what women fight against these days?

I'm willing to admit that my own prejudices and opinions and desires are a big part of what made me not like this book. I guess I would suggest that you read it with an open mind and without a lot of great expectations. The writing is ok but not great. The stories are a little on the boring side. There isn't a lot of introspection or thoughts on life and politics and poetry. It seems more to me that her editors told her sex would sell and they cut everything else of any interest or importance out of the book. So to me, the book is far too shallow to be something I'd recommend to anyone else.