Nancy Peters Quotes

The old San Francisco is under attack to the point where it's disappearing

The tempest unleashes an alphabet letters fall through the apertures of crazy angles to spell out the future uprooting the course of invention and enslaving the masters

The most important of the beat poets. He was a really true poet with an original voice, probably the most lyrical of those poets.

We have one called Commodity Aesthetics, which is our section on popular culture.

He found in the narcotic night world a kind of modern counterpart to the gothic castle — a zone of peril to be symbolically or existentially crossed.

During the '70s, when the Cold War was still on, we invited Voznesensky and Yevtushenko to come here. We had very large readings for them. It was a way of kind of culturally thawing the Cold War.

The stars are dreaming but they are laughing I see myself in the smile of a polar bear while turning the pages of an arctic sky reading the delirious lines that foretell the sovereignty of language and the rule of invisible birds

Then (in 1981) we did a book by Geoffrey Rips called "Unamerican Activities," which was a documentation of the subversion of the underground press. That was when the Freedom of Information Act made those files available. We were shocked, we couldn't believe that our government had been bombing people, infiltrating their organizations. In fact, I think one of the files listed Lawrence as a "beatnik rabble-rouser."

We're still in a state of shock … We have our "Dump Bush and Cheney" sign in the window, which Lawrence [Ferlinghetti] painted himself. We're looking forward to impeachment or perhaps, indictments for war crimes.

Ginsberg used to stay in the publishing house. Our editorial office had two rooms and a kitchen; it was a tiny place. And one of the rooms was kind of a guest room so that visiting authors could stay there. Allen would come sometimes for a week at a time or more. And he hung out in the store, also. The store had become quite a center for writers by that time. Ginsberg was working on "The Fall of America," which was his long chronicle of the Vietnam War, which is full of the anguish and passion and anger that so many people felt. The war had been going on for such a long time by then. That book won the National Book Award [in 1974].

When I joined City Lights in 1971 and started working with Lawrence, it was clear that it had been very much a center of protest, for people with revolutionary ideas and people who wanted to change society. And when I first began working at the little editorial office up on Filbert and Grant, people that Lawrence had known through the whole decade of the '60s were dropping in all the time, like Paul Krassner, Tim Leary, people who were working with underground presses and trying to provide an alternative to mainstream media. This was a period of persecution, and FBI infiltration of those presses.

I'm looking for the binding energy of a look a crop of reflections to be reaped in a winter of thorn when icebergs of illusion will melt to be served at high tea and the spaces between the poles pinned down

Lawrence is usually the first poet kids read in schools that they really like. It's a real turn-on for them.

The mood of the '50s is like today.