Thanks, Jim for your encouraging words. There are some recurrent themes, I
think, in the book overall despite the stylistic changes. The last and
quite recent piece, 'Thanatron" is certainly a direction to the dead end,
in a different context. Have you heard the audio version at:
I recorded the vocal for this at the blind college in Hereford where I used
to work and Lawrence Russell did the soundscaping in his home studio at
The UBC station (CYVR as it was then) was actually well equipped for the
time - better than downtown CBC as it had only just been built. We used to
record my CBC R&B show there until the CBC technicians objected. CYVR also
recorded a whole series of readings by Canadian poets from the West Coast
-"Writers in Action" - I don't know what became of the tapes.
Last time I was in Vancouver (2006) I took a brief peek at East Hastings
and didn't hang about either...
You can get the book via the Book Depository - UK based but they do free
shipping to Canada:
or via Amazon.com or .ca or Barnes & Noble, apparently.
On 2/4/12 20:15, "Jim Andrews" <[log in to unmask]> wrote:
> For folks on the list, if you haven't heard Paul's Directions to the Dead
> End, it's toward the bottom of the page at
> http://www.culturecourt.com/Audio/PG/PGaudio.htm . Audio poetry from 1971
> that has aged very well indeed. This is also true of his audio poem The
> Gestalt Bunker, which is also at the above URL. Truly outstanding work,
> Paul. The timbres/textures of these works are distinctive. So is the
> production, for the time, and also Paul's performative voice. But, also, the
> content is brilliant. In The Gestalt Bunker, also from the early 70's, the
> speaker's situation in his bunker will be familiar to all experimental
> writers of what's left of the avant garde. It's also quite prescient as
> media poetry and in its concentration on the involvement of writing in
> communications technology. In that piece and also in Directions to the Dead
> End, the ecological concerns are also, well, solidly futuristic and sound
> ominously relevant then as now. And, interestingly, these pieces don't
> actually represent literary or artistic dead ends. Instead, they are
> landmark works for generations of media poets who follow.
> I didn't know that the original recordings for those two pieces were done at
> UBC student radio, Paul. CITR-FM? There's also the community station
> CFRO-FM. Which, by the way, I saw a couple of weeks ago. My poet friend
> Kedrick James announced a gig as happening at an address that turned out to
> be beside CFRO on East Hastings St. Unfortunately, the building at the gig's
> address had been totally demolished. Quite a while ago. And it's not a
> corner you want to hang around at, really. It's in the most squalid,
> drug-addled part of downtown Vancouver. Turns out that while Kedrick gave me
> the address as 115a East Hastings, it was supposed to be 1115a. These were
> directions to a dead end, certainly.
> Pretty amazing that you did those recordings in real time without
> The texts in the audio pieces I've linked to are utterly different from the
> texts in your new book, aren't they? Or at least that's true of
> 'Directions'. But your below note about the genesis of 'Directions' gives
> some indication of part of the reason, perhaps, why it has aged quite well.
> Best wishes with The Gestaltbunker - Selected Poems 1965-2010, Paul. I will
> try to get myself a copy.
> ----- Original Message -----
> From: "Paul Green" <[log in to unmask]>
> To: <[log in to unmask]>
> Sent: Monday, April 02, 2012 10:05 AM
> Subject: Re: Welcome to the Gestaltbunker
> Thanks, Jim. I think the connections and inter-textual patterns around
> 'Directions' have evolved over time, as I've written new work and/or
> revised earlier work and finally selected and sequenced it for the book.
> 'Directions' began as a probe into notions of cosmology and expanded
> consciousness, focussed by a phrase in an review of Kubrick's 2001, which I
> hadn't even seen at that stage, although I knew the Arthur Clarke story,
> 'The Sentinel" which was the basis for the film script. I was also heavily
> immersed in Andre Breton, particularly the Second Manifesto of 1930 where he
> posits a kind of aleph/omega point where all perceptions fuse, 'a certain
> point of the mind ... in which the real and imagined, past and future cease
> to be perceived as contradictions.' So the poem becomes a voyage -
> sometimes bizarre and absurdist - towards this vanishing point in the void -
> where the mystery remains unresolved.
> There's a similar voyage pattern in 'Timeship' whereas Gestaltbunker, which
> I think is more timely than ever - at least that's what people tell me -
> relates more explicitly to political and ecological issues, as do 'Oxidised
> Desert' and 'Destruction of Large Cities'.
> That's a rather fuzzy answer, I'm afraid. Oddly enough, I made Facebook
> contact today, after many years, with Gyorgy Porkolab, who was involved in
> the original 'Directions' and 'Gestaltbunker' recordings in the UBC student
> radio studios. It was all done without multi-tracking in real time - and in
> analogue, of course. I think we were inspired to use feedback by the Who...
> Thanks again for your interest in my work
> On 2/4/12 11:38, "Jim Andrews" <[log in to unmask]> wrote:
>> Dear Paul,
>> Fantastic. Congratulations.
>> I have listened to your audio poem Directions to the Dead End many many
>> times. So I'm curious what the relation of that poem/object is to the
>> chapter of poems in your book with that title.
>> ----- Original Message -----
>> From: "Paul Green" <[log in to unmask]>
>> To: <[log in to unmask]>
>> Sent: Friday, March 30, 2012 2:56 AM
>> Subject: Welcome to the Gestaltbunker
>> Brother Paul is happy to announce his latest publication The
>> Gestaltbunker -
>> Selected Poems 1965-2010:
>> The Gestaltbunker encapsulates the range of Paul A Green's output. His
>> briefings on nuclear apocalypse, global melt-down and the excesses of
>> landscaping are transmitted through surreal inscapes and an intensifying
>> torsion of language. He moves from mid-life probes into the basement of a
>> psyche to domestic praise-songs and celebrations. The riddles of time and
>> consciousness continue to pre-occupy him, whether encountered through
>> magick, music or the mysteries of the city.
>> ≥Thrillingly dystopian...≤ John Goodby
>> ≥From his cloister, Brother Paul emerges, jazzed & weaponized. As raw as a
>> Delta Blues in a sharecropper's shack, yet as sinister as Flash Gordon
>> playing Faustus on the Mongo fault-line abyss.≤ Lawrence Russell
>> "His interests have coaxed him deep into the occult, surrealism and pop
>> culture; his investigations meld and come into outstanding idiom...≤ J.
>> Michael Yates.
>> Available directly from Shearsman, as above, or via Amazon in UK and North
>> A video is in production and there will be launch readings in London and
>> elsewhere later in the year. Meanwhile, the Bunker is open for inspection.
>> Some of you may have had this information via other channels. If so,
>> apologies for flyposting your screens