{"id":30495,"date":"2018-07-29T14:57:51","date_gmt":"2018-07-29T18:57:51","guid":{"rendered":"http:\/\/www.artsjournal.com\/herman\/?p=30495"},"modified":"2018-08-07T07:56:38","modified_gmt":"2018-08-07T11:56:38","slug":"an-incandescent-poet-in-his-solitary-cell","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/herman\/2018\/07\/an-incandescent-poet-in-his-solitary-cell.html","title":{"rendered":"An Incandescent Poet in His Solitary Cell"},"content":{"rendered":"<p><div id=\"attachment_30692\" style=\"width: 359px\" class=\"wp-caption alignleft\"><a href=\"https:\/\/www.youtube.com\/watch?v=PlVi3o1UdW8\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-30692\" data-attachment-id=\"30692\" data-permalink=\"https:\/\/www.artsjournal.com\/herman\/?attachment_id=30692\" data-orig-file=\"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2018\/07\/sinclair-beiles-e1532955803256.jpg\" data-orig-size=\"349,253\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"The Poet Sinclair Beiles (1930-2000)\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Sinclair Beiles (1930-2000) &lt;\/p&gt;\n\" data-medium-file=\"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2018\/07\/sinclair-beiles-300x217.jpg\" data-large-file=\"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2018\/07\/sinclair-beiles-e1532955803256.jpg\" src=\"http:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2018\/07\/sinclair-beiles-e1532955803256.jpg\" alt TITLE=\"The poet Sinclair Beiles (1930-2000). CLICK FOR AN INTERVIEW WITH BEILES ABOUT HIS RELATIONSHIP WITH WILLIAM S. BURROUGHS AND BRION GYSIN IN TANGIERS AND PARIS, THE DISCOVERY OF THE CUT-UP, AND 'NAKED LUNCH'.\" width=\"349\" height=\"253\" class=\"size-full wp-image-30692\" \/><\/a><p id=\"caption-attachment-30692\" class=\"wp-caption-text\">Sinclair Beiles (1930-2000)<\/p><\/div>Gerard Bellaart<\/a> writes that after the South African poet <a href=\"http:\/\/www.artsjournal.com\/herman\/2015\/04\/sinclair-beiles-poet-of-many-parts-and-places.html\">Sinclair Beiles<\/a> died, in 2000, &#8220;a wealthy collector who owns the largest holding of Sinclair&#8217;s manuscripts visited me&#8221; &#8212; this was in 2008 &#8212; &#8220;and assured me that he would sort out a proper gravesite. Seeing the grave now in the condition it is in makes my blood boil. I am grateful Gary is there.&#8221; <a href=\"https:\/\/en.wikipedia.org\/wiki\/Gary_Cummiskey\">Gary Cummiskey<\/a>, who with Bellaart has done more than anyone to memorialize Beiles, writes: &#8220;Sinclair\u2019s grave continues to be unmarked. There is no headstone. The one you see in the photo [below] belongs to another grave. When I was there last time I was told there was an in-cemetery service for about 500 rand a year, and they would ensure that the grave is kept neat and free of weeds. I will enquire if the service is still available. Then I will pay for the service and make sure that they are keeping their end of the bargain.&#8221;<\/p>\n<p><div id=\"attachment_30630\" style=\"width: 359px\" class=\"wp-caption alignleft\"><a href=\"http:\/\/www.artsjournal.com\/herman\/2015\/04\/sinclair-beiles-poet-of-many-parts-and-places.html\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-30630\" data-attachment-id=\"30630\" data-permalink=\"https:\/\/www.artsjournal.com\/herman\/2018\/07\/an-incandescent-poet-in-his-solitary-cell.html\/sinclair-belies-gravesite-3\" data-orig-file=\"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2018\/07\/sinclair-belies-gravesite-3.jpg\" data-orig-size=\"349,636\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"sinclair belies gravesite-3\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;The gravesite of Sinclair Beiles (1930-2000) near Johannesburg, South Africa [Photo: Gary Cummiskey, 2017]&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2018\/07\/sinclair-belies-gravesite-3-165x300.jpg\" data-large-file=\"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2018\/07\/sinclair-belies-gravesite-3.jpg\" src=\"http:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2018\/07\/sinclair-belies-gravesite-3.jpg\" alt title=\"The gravesite of Sinclair Beiles (1930-2000) near Johannesburg, South Africa, 18 years after he died. [Photo: Gary Cummiskey]\" width=\"349\" height=\"636\" class=\"size-full wp-image-30630\" srcset=\"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2018\/07\/sinclair-belies-gravesite-3.jpg 349w, https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2018\/07\/sinclair-belies-gravesite-3-165x300.jpg 165w\" sizes=\"auto, (max-width: 349px) 100vw, 349px\" \/><\/a><p id=\"caption-attachment-30630\" class=\"wp-caption-text\">The gravesite of Sinclair Beiles (1930-2000) <br \/>in Johannesburg, South Africa. <br \/><font size=2>[Photo: Gary Cummiskey, 2018]<\/font><br \/><\/p><\/div>&nbsp;&nbsp;<font size=6><strong><em>INFERNAL<\/em><\/strong><\/font><br \/>\n&nbsp;&nbsp;<font size=3><em>For Sinclair Beiles<\/em><\/font><\/p>\n<p>&nbsp;&nbsp;<font size=4>The tyranny of rhyme&#8211;<br \/>\n&nbsp;&nbsp;the shivering branch,<br \/>\n&nbsp;&nbsp;the perishing flower&#8211;<br \/>\n&nbsp;&nbsp;makes everything a crime.<\/p>\n<p>&nbsp;&nbsp;Cops and finks who comb<br \/>\n&nbsp;&nbsp;their hair with signatures<br \/>\n&nbsp;&nbsp;let us know&#8211;don\u2019t laugh&#8211;<br \/>\n&nbsp;&nbsp;that integrity and sincerity<br \/>\n&nbsp;&nbsp;are not the same. <\/p>\n<p>&nbsp;&nbsp;This unmarked plot of earth<br \/>\n&nbsp;&nbsp;is primeval and infernal&#8211;but<br \/>\n&nbsp;&nbsp;we who are as temporary<br \/>\n&nbsp;&nbsp;as plants that fail to flourish<br \/>\n&nbsp;&nbsp;shall therefore give it birth. <\/p>\n<p>&nbsp;&nbsp;<em><strong>&#8211;JH<\/strong><\/em><\/font><\/p>\n<p>&nbsp;&nbsp;<font size=2><em>Indebted to Vladimir Nabokov,<br \/>\n&nbsp;&nbsp;Frank Scully, Andr\u00e9 Previn,<br \/>\n&nbsp;&nbsp;and E.M. Foster.<\/em><\/font><\/p>\n<p><center><strong>Beiles at his best was <a href=\"https:\/\/www.youtube.com\/watch?v=p8MtOTMFSmE\">an incandescent poet<\/a>. How else to describe the author of these lines:<\/strong><\/center><\/p>\n<p><font size=4><em><\/p>\n<div align=\"center\">there is a way of committing suicide<br \/>called poetry<br \/>there is a way of taking a knife<br \/>and carving from the infinite nothingness of the sky<br \/>a solitary cell<br \/>in which one spends a lifetime pacing about<br \/>occasionally shouting messages<br \/>through the barred cell window<br \/>at different passers by.<br \/>there is a way of trying to create a universe<br \/>with all its constellations<br \/>from the view of people scurrying by<br \/>in the rain with their umbrellas up,<br \/>a way of ruling a nation of shadows.<br \/>there is a way of imagining<br \/>one possesses all the secrets of the soul<br \/>and this gift will provide one with freedom,<br \/>a way of imagining all the sights<br \/>not yet photographed by the travel agencies<br \/>there is a way of believing<br \/> one has special dreams &#8230; <\/div>\n<p><\/em><\/p><\/blockquote>\n<p><\/font><\/p>\n<p>Bellaart writes further: &#8220;As you know, I consider Sinclair the father of cut-up. He certainly considered himself one of the fathers. And that was not just Sinclair&#8217;s occasional spell of madness making the claim. His name is still absent from the <a href=\"http:\/\/www.artsjournal.com\/herman\/2016\/05\/three-centennial-parties-for-harold-norse.html\/plaque-at-beat-hotel-240\">Beat Hotel plaque<\/a>&#8220;.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Gerard Bellaart writes that after the South African poet Sinclair Beiles died, in 2000, &#8220;a wealthy collector who owns the largest holding of Sinclair&#8217;s manuscripts visited me&#8221; &#8212; this was in 2008 &#8212; &#8220;and assured me that he would sort out a proper gravesite. Seeing the grave now in the condition it is in makes [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":30668,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[19,18,4],"tags":[],"class_list":{"0":"post-30495","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-art","8":"category-literature","9":"category-main","10":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2018\/07\/sinclair-beiles-enh-200.jpg","jetpack_shortlink":"https:\/\/wp.me\/pbvgEs-7VR","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/30495","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/comments?post=30495"}],"version-history":[{"count":4,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/30495\/revisions"}],"predecessor-version":[{"id":30896,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/30495\/revisions\/30896"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media\/30668"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=30495"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=30495"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=30495"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}