Bill Morgan, Thomas Merton & Lawrence Ferlinghetti: and the Protection of All Beings (Beatdom Books, 2022)
As to the U.S. Beats I am more in sympathy with them
but in most cases I do not respond to them fully.
Thomas Merton letter to Stefan Baciu (1965): p.77
I have sitting before me a splendid hard copy edition of Bill Morgan’s The Typewriter is Holy: The Complete Uncensored History of the Beat Generation (2010). I have read the evocative beauty a few times and there can be no doubt Morgan has covered, in readable detail, the varied lives of the Beats in an honest and transparent way. Most of the significant Beats such as Kerouac, Cassady, Ginsberg, Corso, Burroughs, Snyder and Ferlinghetti are covered in a candid way (their opponents are also noted). There can be no doubt Morgan is one of the finest chroniclers of the Beats (as a complex tribe) and individual Beat activists and poets in a thoughtful way and manner. There is, though, more digging that needs to be done on the Beats and the Roman Catholic Beat tradition—such is the initial approach in Thomas Merton & Lawrence Ferlinghetti: And the Protection of All Beings.
I have, in a suggestive way, attempted to reflect on the Beat-Roman Catholic Beats in two books: Thomas Merton and Beats of the North Cascades (2005 & 2008) and Thomas Merton and the Counter Culture: A Golden String (2016). I have also touched on the Beats in the North Cascades (a mountainous area where I live) in “The Beat Generation in the Mountains” Appalachia (Winter/Spring 2012). But it is Morgan’s fine primer on Merton and Ferlinghetti that needs to be heeded and read attentively.
The subtitle of the missive sums up the main focus of the book. Merton was emerging as a political writer in the late 1950s-early 1960s (most unusual for a Roman Catholic monk mostly known for his writings on the contemplative life). Ferlinghetti was committed to calling forth poets to think and write in a more political (albeit anarchist) manner. The idea was to birth, in 1961, a magazine, The Journal For The Protection Of All Beings. Ferlinghetti sent out many an invitation for contributors but few were those willing to submit an article, poem or other means of facing the dire political issues of the time. Merton and Ferlinghetti both shared a Roman Catholic background, both had political leanings, both were poets and both shared a French European cultural ethos. Morgan covers these similarities in a nuanced way. Merton had written Original Child Bomb: Points For Meditation To Be Scratched On The Walls Of A Cave (a chilling 41-point description of the research, planning and final dropping of the bombs on Hiroshima and Nagasaki). Ferlinghetti thought this anti-poem of sorts would fit perfectly into the Journal. The concern was would the Roman Catholic censors allow such a poem to be published by a monk? A significant part of this timely missive by Morgan covers the correspondence in the late Spring-Summer-Autumn-Winter of 1961 regarding Merton’s contribution to the Journal. There was, though, another poem-anti-poem by Merton that held Ferlinghetti: Chant to Be Used in Processions Around A Site With Furnaces (the theme, of course, the docile attitude of those who mindlessly obeyed orders, Arendt calling this the “banality of evil”—Merton I might add had a significant respect for Arendt). Morgan included both of these creative anti-poems in the book and the confusion about their publishing.
Needless to say, there was more than Ferlinghetti and City Lights interested in Merton’s poems: James Laughlin-New Directions (Merton had published some of his earliest poems with New Directions in the 1940s), Robert Lax- Pax and Dorothy Day-The Catholic Worker were all vying to publish Merton’s prophetic and compact political commentary-Morgan does a superb job of highlighting this reality. The flurry of letters between Merton and Ferlinghetti is well-tracked and traced by Morgan revealing much about both men and the state of publishing at the time.
The inclusion in the book of Ferlinghetti’s “Picturesque Haiti” reflects the obvious gap between the Haiti of the tourist industry and the actual and lived reality of many Haitians in which poverty is their painful lives lived, image and reality not to be confused. Merton approved the lengthy reflection. Merton did face the ire of his censors, but true to form, Ferlinghetti and Laughlin were sensitive to the problem and Laughlin went the extra mile to publish Merton’s yet more political writings, the “Cold War Letters”. Merton’s long letter to Ferlinghetti (December 12, 1961) tells the complex tale (and much else) in substantive depth—this is a letter worth mulling over many times—so much said about many pertinent and timely issues, including Merton’s high praise for the comments by Nez Perce on Chief Joseph’s surrender position, “I will fight no more forever”. Merton did wax hot and cold about some of the contributions to the Journal, though.
Morgan touched on the use Lenny Bruce made of “Chant”, the language of Chant, of course, a perversion of its deeper religious meaning, Merton in the anti-poem making it abundantly clear, that a form of crude statism had become the new religion, a religion Ginsberg aptly portrayed in Howl. The more intense correspondence period between Merton and Ferlinghetti came to an end by late 1961 but this did not mean an end of their friendship (nor Merton’s interaction with the Beats).
The publication of Merton’s Monks Pond in 1968 included contributions by Snyder and Kerouac (Ferlinghetti welcomed to offer a submission) and it was in 1968 Merton reconnected with Ferlinghetti again. Merton was in search of a hermitage far from Gethsemani, his new Abbot approved of such a search so Merton took to Redwoods, New Mexico and Alaska on such a pilgrimage. Merton and Ferlinghetti met for the 1st time in May 1968 and Ferlinghetti offered Merton a room for the night above City Lights. A correspondence emerged again between Merton and Ferlinghetti after their meeting in San Francisco (May 29 1968 and June 5, 1968), Morgan, rightly so, threading together these shorter letters.
There was an ongoing interest at the time in Evans-Wentz’s Tibetan Book of the Dead and when Merton travelled to Asia, he met the young Chogyam Trungpa Rinpoche and the Dalai Lama (who were at odds with one another)—Merton enthused about both, Rinpoche became a guru of sorts to the Beats, Naropa Institute his educational centre (much controversy in the early years) whereas the Dalai Lama was far from such tensions and clashes. But, to return to Ferlinghetti and Merton.
Morgan brings this timely and well-wrought book to an end by highlighting, in a poem, “A Buddha in the Woodpile” his lament about the tragedy in Waco Texas with the Branch Davidians and pondering if the presence of Merton (or other contemplatives) would have prevented such carnage. And, in 2001, Ferlinghetti in a poem, “Mouth” wonders whether he will yet “join the Trappists”.
Morgan began the book by recounting visits with Ferlinghetti, when both were much younger, and Ferlinghetti’s fond remembrance of Merton and as Ferlinghetti near the end of his all too human journey his support of Morgan’s book on Merton and Ferlinghetti—fine bookends, indeed.
I cannot finish this review without noting both the fine cover and the many black and white photographs in the book, many taken by Merton.
The photographs that introduce us to the book are ones of a young Ferlinghetti with “Prayer Room” in a half shadow behind him and Merton in his Cistercian robe with forest and trees in the background. There are other photos of James Laughlin, cover to Original Child Bomb, typed and written letters, cover to Journal for the Protection of All Beings and photo of Rinpoche and Merton-Dalai Lama.
It is an obvious good to see Bill Morgan extending his work on the Beats in the direction of the Roman Catholic Beats, Merton being but one of them, Kerouac and Ferlinghetti obvious affinities although Ferlinghetti more solid and grounded than Kerouac, Kerouac’s slow descent sad and tragic. Hopefully, in time, much more work will be done on the Christian and Roman Catholic Beats (and those with Beat affinities) and the internal points of concord and discord, Dorothy Day, Catholic Worker, Dan/Phil Berrigan, William Everson-Mary Fabilli, Denise Levertov, Mary Norbert Korte and Jim Forest but doorways into such an expansive and catholic vision.
Thomas Merton & Lawrence Ferlinghetti: and the Protection ff All Beings is worthy of many a curious and ample read and Morgan should be generously rewarded for his fine sleuth work.
Ron Dart
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