{"id":70036,"date":"2025-09-14T12:15:48","date_gmt":"2025-09-14T16:15:48","guid":{"rendered":"https:\/\/www.artsjournal.com\/herman\/?p=70036"},"modified":"2025-09-14T23:05:20","modified_gmt":"2025-09-15T03:05:20","slug":"charles-plymell-sunday-service-of-sun-and-clouds","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/herman\/2025\/09\/charles-plymell-sunday-service-of-sun-and-clouds.html","title":{"rendered":"Charles Plymell<\/em><\/font>
Sunday Service of Sun and Clouds<\/strong>"},"content":{"rendered":"
\n
\"\"<\/a>
Plymell at 90<\/em><\/font>.<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n

There was a time when Charles Plymell claimed that Bob Dylan stole his Nobel Prize. Charley was full of blustering anger in those days, calling his old friend Allen Ginsberg a phony, his publisher Lawrence Ferlinghetti a two-bit miser, and Jack Kerouac a Mama’s boy whose On the Road<\/em> he never read. In more recent years Charley has apologized for his deprecation of Ginsberg and dedicated his latest book, Over the Stage of Kansas<\/a><\/em>, to Ferlinghetti, though he still claims not to have read<\/strong> <\/em>Kerouac. Because it would make poetic sense, I’d like to date his change of heart \u2014 not only metaphorically but literally \u2014 to the time he had a heart attack and wrote this majestic, never-published poem.<\/strong><\/p>\n\n\n

\n
\"\"<\/a>
Click and click again to read the entire poem.<\/a><\/em><\/figcaption><\/figure>\n<\/div>\n\n\n

In fact, his apologies to Ginsberg and Ferlinghetti came later.<\/strong> As to that Nobel laureate? Well . . . I believe Charley still considers him a thief.<\/strong><\/p>\n\n\n\n

POSTSCRIPT: Here’s another of Charley\u2019s books, published by Bottle of Smoke Press: Keyboard Intercourse<\/a>.<\/em> <\/strong><\/p>\n\n\n\n

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<\/p>\n","protected":false},"excerpt":{"rendered":"

There was a time when Charles Plymell claimed that Bob Dylan stole his Nobel Prize. Charley was full of blustering anger in those days, calling his old friend Allen Ginsberg a phony, his publisher Lawrence Ferlinghetti a two-bit miser, and Jack Kerouac a Mama’s boy whose ‘On the Road’ he never read. In more recent years, though he still claims not to have read Kerouac, Charley has apologized for his deprecation of Ginsberg and dedicated his latest book, ‘Over the Stage of Kansas,’ to Ferlinghetti. Because it would make poetic sense, I would like to date his change of heart, not only metaphorically but literally, to the time he had a heart attack and wrote this majestic, never-published poem.<\/strong><\/p>\n","protected":false},"author":3,"featured_media":70101,"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":[26,18,4,23,17],"tags":[],"class_list":{"0":"post-70036","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-books","8":"category-literature","9":"category-main","10":"category-news","11":"category-political-culture","12":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2025\/09\/charles-plymell-at-90-jh.jpg","jetpack_shortlink":"https:\/\/wp.me\/pbvgEs-idC","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/70036","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=70036"}],"version-history":[{"count":5,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/70036\/revisions"}],"predecessor-version":[{"id":70163,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/70036\/revisions\/70163"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media\/70101"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=70036"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=70036"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=70036"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}