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128 “Sunflower Sutra” I walked on the banks of the tincan banana dock and sat down under the huge shade of a Southern Pacific locomotive to look at the sunset over the box house hills and cry. Jack Kerouac sat beside me on a busted rusty iron pole, companion, we thought the same thoughts of the soul, bleak and blue and sad-eyed, surrounded by the gnarled steel roots of trees of machinery. The oily water on the river mirrored the red sky, sun sank on top of final Frisco peaks, no fish in that stream, no hermit in those mounts, just ourselves rheumy-eyed and hungover like old bums on the riverbank, tired and wily. Look at the Sunflower, he said, there was a dead gray shadow against the sky, big as a man, sitting dry on top of a pile of ancient sawdust-- I rushed up enchanted--it was my first sunflower, memories of Blake--my visions--Harlem and Hells of the Eastern rivers, bridges clanking Joes Greasy Sandwiches, dead baby carriages, black treadless tires forgotten and unretreaded, the poem of the riverbank, condoms & pots, steel knives, nothing stainless, only the dank muck and the razor-sharp artifacts passing into the past and the gray Sunflower poised against the sunset, crackly bleak and dusty with the smut and smog and smoke of olden locomotives in its eye-- corolla of bleary spikes pushed down and broken like a battered crown, seeds fallen out of its face, soon-to-be-toothless mouth of sunny air, sunrays obliterated on its hairy head like a dried wire spiderweb, leaves stuck out like arms out of the stem, gestures from the sawdust root, broke pieces of plaster fallen out of the black twigs, a dead fly in its ear,
Unholy battered old thing you were, my sunflower O my soul, I loved you then! The grime was no man's grime but death and human locomotives, all that dress of dust, that veil of darkened railroad skin, that smog of cheek, that eyelid of black mis'ry, that sooty hand or phallus or protuberance of artificial worse-than-dirt--industrial-- modern--all that civilization spotting your crazy golden crown and those blear thoughts of death and dusty loveless eyes and ends and withered roots below, in the home-pile of sand and sawdust, rubber dollar bills, skin of machinery, the guts and innards of the weeping coughing car, the empty lonely tincans with their rusty tongues alack, what more could I name, the smoked ashes of some cock cigar, the cunts of wheelbarrows and the milky breasts of cars, wornout asses out of chairs & sphincters of dynamos--all these entangled in your mummied roots--and you there standing before me in the sunset, all your glory in your form! A perfect beauty of a sunflower! a perfect excellent lovely sunflower existence! a sweet natural eye to the new hip moon, woke up alive and excited grasping in the sunset shadow sunrise golden monthly breeze! How many flies buzzed round you innocent of your grime, while you cursed the heavens of the railroad and your flower soul? Poor dead flower? when did you forget you were a flower? when did you look at your skin and decide you were an impotent dirty old locomotive? the ghost of a locomotive? the specter and shade of a once powerful mad American locomotive? You were never no locomotive, Sunflower, you were a sunflower! And you Locomotive, you are a locomotive, forget me not! 129
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UNIVERSIDADE FEDERAL DE SANTA CATAR
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2 Catalogação na fonte pela Bibli
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4 To the Empress, for reasons far b
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6 ABSTRACT Through a dialogical rel
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8 TABLE OF CONTENTS CHAPTER I Intro
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10 Although Tropicália coalesced a
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12 America people began to change t
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14 CHAPTER II Defining Concepts The
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16 poetry as a new “revolutionary
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18 definida, o tropicalismo introdu
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20 by contemporary international tr
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22 relationship to the object (for
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24 way, or no way. Americans entere
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26 grounds of the world became even
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28 did not want to risk a major con
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30 3.4 Global Dominance Race Begins
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32 Minh’s army, and a cease fire
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34 However, America’s success was
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36 As Kennedy was commemorating 100
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38 that could not be asked, neither
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40 and now controlled its will. For
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42 States. To oppose war meant that
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44 Alongside Day on all her struggl
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46 economic, and political. Even th
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48 bourgeois or aristocrats.” 97
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50 Finally, there is also the biogr
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52 Mass media was then a promising
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54 them - proved to be quite a “n
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56 later be summed up on Médici sl
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58 between the artists prevailed ab
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60 Oiticica’s art and ideas were
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62 The first phase of the Cinema No
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64 imported distinguished directors
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66 artists of the highest caliber m
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68 songs of protest. The music itse
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70 instruments, and singers’ voic
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72 could have imagined that that se
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74 “repente” 166 of Tom Zé, co
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76 However, the onus of this mass a
Page 80 and 81: 78 Deslocar a arte do espaço no qu
Page 82 and 83: 80 Ginsberg and other beat writers,
Page 84 and 85: 82 for older poets, but it was exac
Page 86 and 87: 84 like Vicente Celestino, 193 Catu
Page 88 and 89: 86 their poetry and songs. The atom
Page 90 and 91: 88 “macumba.” In both cases the
Page 92 and 93: 90 connection, only a stream of wil
Page 94 and 95: 92 6.4. Poetic Bodies in Action The
Page 96 and 97: 94 artists of the time were ignorin
Page 98 and 99: 96 of the cool youth of the United
Page 100 and 101: 98 which would bring freedom and ju
Page 102 and 103: 100 into myths, Caetano repeatedly
Page 104 and 105: 102 wrong to consider such artists
Page 106 and 107: 104 Americans of the 1950s as a nob
Page 108 and 109: 106 Primary Sources REFERENCE LIST
Page 110 and 111: 108 Chomsky, Noam, and Herman, Edwa
Page 112 and 113: 110 Mendes, Murilo. “Pirâmide,
Page 114 and 115: 112 U.S. Department of State Online
Page 116 and 117: 114 lightning in the mind leaping t
Page 118 and 119: 116 who howled on their knees in th
Page 120 and 121: 118 who were burned alive in their
Page 122 and 123: 120 and who therefore ran through t
Page 124 and 125: 122 Breakthroughs! over the river!
Page 126 and 127: 124 “America” America I've give
Page 128 and 129: 126 Bloor made me cry I once saw Is
Page 132 and 133: 130 So I grabbed up the skeleton th
Page 134 and 135: 132 The warm bodies shine together
Page 136 and 137: 134 “Batmacumba” Batmakumbayêy
Page 138 and 139: 136 “Geleia Geral” Um poeta des
Page 140 and 141: 138 Sem lenço sem documento Nada n
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