death. In "the festival" he blurs the distinctions
between opposites, seeking to dissolve the subject
within a larger cosmic self. Here more shamanic
elements are presented to the case of Duncan, the
typical outsider-shaman-poet and king of the anti-
formalist revolt which was spear-headed by the
beat generation.
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In the Poetry of Bob Kaufman author of
“Abomunist Manifesto” and “Second April”, both
published under Ferlinghetti at City lights, we get
a contemporary rekindling of bardic orality in the
spectre of Jazz. In Walking Parker home”
Kaufman speaks of Sweet beats of Jazz impaled
on slivers of wind”. Here a mystical fragrance
ignites an everywhere. He continues with
“historical sound pictures on new bird wings”
(Beckett, 2012). Here he evokes a shamanic styled
image of a bird and imprints sound upon it. This
type of transformation is central to Kaufman’s
work and volumes of poetry. The urban landscape
of New York becomes transformed too into
mystical space an "alter city" of "secret disciples".
The secret religiosity here coheres with Ginsberg's
rendering of East Harlem as a "new Eden". The
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