Harold Norse at his apartment on Guy Place, 1974. Photo by William Childress.
Harold Norse in 1984
Harold Norse & William S. Burroughs 1980
Harold Norse in his 20s
Let Go and Feel Your Nakedness
Let go and feel your nakedness, tits ache to be bitten and sucked
Let go with pong of armpit and crotch, let go with hole a-tingle
Let go with tongue lapping hairy cunt, lick feet, kiss ass, suck cock and balls
Let the whole body go, let love come through, let freedom ring
Let go with moans and erogenous zones, let go with heart and soul
Let go the dead meat of convention, wake up the live meat of love
Let go with senses, pull out the stops, forget false teachings and lies
Let go of inherited belief, let go of shame and blame, in brief
Let go of forbidden energies, choked back in muscle and nerves
Let go of rigid rules and roles, let go of uptight poses
Let go of your puppet self, let go and renew yourself and be free
Let go the dead meat of convention, wake up the live meat of love
Let go this moment, the hour, this day, tomorrow will be too late
Let go of guilt and frustration, let liberation and tolerance flow
Let go of phantom worries and fears, let go of hours and days and years
Let go of hate and rage and grief, let walls against ecstasy fall for relief
Let go of pride and greed, let go of missiles and might and creed
Let go the dead meat of convention, wake up the live meat of love
Harold Norse in the early 1960s
Harold Norse & Gerard Malanga 1995
Harold Norse in Crete 1963
Harold Norse Obituary by Todd Swindell and Jim Nawrocki
Harold Norse, whose poetry earned both wide critical acclaim and a large, enduring popular following, died on Monday, June 8, 2009, in San Francisco, just one month before his 93rd birthday. Norse, who lived in San Francisco for the last thirty five years, had a prolific, international literary career that spanned 70 years. His collected poems were published in 2003 under the title In the Hub of the Fiery Force, and he continued to read publicly into his 90s, bringing his work to new generations.
Born in 1916 to an illiterate, unwed mother, Harold Norse’s natural gift for language, influenced from the varied dialects of his surroundings, led to a boyhood interest in writing that blossomed into a rich, peripatetic life that he documented in an innately American poetic idiom.
Like Walt Whitman, Norse was a Brooklyn native. He came of age during the Depression, an experience that significantly shaped his voice and endeared him to a varied audience of underdogs and the persecuted. Beginning in 1934, he attended Brooklyn College, where he met and became the lover of Chester Kallman. In 1939, when W.H. Auden and Christopher Isherwood gave their first reading in America, Norse and Kallman were in the front row winking flirtatiously at the famous writers. Harold soon became Auden’s personal secretary, a role he filled until Kallman and Auden became lovers.
During the 1940s, Norse lived in Greenwich Village and was an active participant in both the gay and literary undergrounds. His close friends at the time included James Baldwin, who was a teenager when he met Norse in 1942. A close friend of Julian Beck and Judith Malina, he was integral in the early foundation of The Living Theater. In the summer of 1944 Norse was introduced to Tennessee Williams in Provincetown, Massachusetts, where the two shared a summer cabin while Williams completed the manuscript for The Glass Menagerie.
Abandoning his doctoral work in English in 1953, Norse sailed to Italy, spending the next fifteen years traveling across Europe and North Africa. Living in Rome, Naples, and Florence, Norse immersed himself in the classical culture that had survived the two World Wars. He found a mentor and friend in William Carlos Williams, who encouraged the younger poet to move away from the classical poetics of academia and explore the poetic possibilities of the spoken word of the American streets. The complete correspondence of Norse and Williams, titled The American Idiom, was published in 1990.
Harold’s travels continued in the 1960s, bringing him to Tangier, where he consorted with Paul and Jane Bowles, Ira Cohen, and Mel Clay. In 1959 he traveled to Paris, settling into the infamous Beat Hotel. Through friend and fellow Beat Hotel resident Gregory Corso, Harold met William S. Burroughs then Brion Gysin. It was Norse who introduced Ian Sommerville to Burroughs as the group experimented with the cut-up method of writing. His collection of writing from that period was published in English as a cut-up novella, The Beat Hotel, in 1983.
From Paris Norse moved onward to Greece and Hydra, where he reconnected with the poet Charles Henri Ford, a friend from Greenwich Village days, and smoked pot with the then unknown poet Leonard Cohen. Harold also spent time in Switzerland, Germany, and England. During this time he maintained a close correspondence with Charles Bukowski, who affectionately referred to Norse as “Prince Hal, Prince of Poets.” In 1969 he edited Penguin Modern Poets 13 featuring Norse, Philip Lamantia and, in his first major international exposure, Bukowski.
In 1969, gravely ill from hepatitis, Norse repatriated to Venice, California where he was met by Bukowski and the young poet Neeli Cherkovski. He enjoyed the social freedom and political activism of the hippy era, so presciently voiced in his writing, which breathed new life into his body and work. Harold also reconnected with Jack Hirschman (the two had spent time together in Greece during Norse’s expatriate years) as well as Anais Nin who first mentored the Brooklyn born poet in the early 1950s when Norse’s first book was published. Recovering his health, Harold became a vegetarian and a body builder at Gold’s Gym along with a young Arnold Schwarzenegger.
In 1972 Norse moved to San Francisco, ultimately settling in the Albion Street cottage he would occupy for the next thirty years. The 1970s were a productive and fulfilling time for Harold as the personal and sexual liberty he had lived clandestinely now became the cultural norm. City Lights Books published a collection of poems tilted Hotel Nirvana in 1974. It was nominated for a National Book Award. Carnivorous Saint, published in 1977, was an historic collection of poetry that covered Norse’s gay erotic experience from World War II through the Gay Liberation. During this period Harold was a habitué of North Beach coffee houses where he often connected with fellow poet Bob Kaufman.
Norse’s autobiography, Memoirs of a Bastard Angel, was published in 1989 to international acclaim. Chronicling his rich life at the cutting edge of twentieth-century literary arts, Norse’s memoirs were republished in 2002. A National Poetry Association Award was bestowed upon him in 1991. At over 600 pages, his collected poems–In the Hub of the Fiery Force–was published in 2003 During his final years, Norse continued to live in his cottage in San Francisco’s gritty Mission District, continually reworking his poems, giving readings, and corresponding with admirers from around the world.
Harold Norse Photographed by Allen Ginsberg
Harold Norse in his 90s
The Business of Poetry
The business of poetry
is the image of a young man
making music and love
to a girl whose interest
in love and music coincides
with an enormous despair in both
their inner selves like a plucked
guitar in the dry hot sun of
hope where savage and brutal men
are tearing life like a page
from a very ancient
and yellow
book
Classic Frieze in a Garage
I was walking thru the city past umber embassies
& pine-lined palaces
fat palms beside balconies
the heat something
you could really touch
the kids with cunning
delinquent faces
after americano sailors
-thinking of nerval tends-moi le pausilippe
et la mer d’Italie & living
on the hill posillipo under
a gangster’s dancefloor
among goldfinches
on the bay of naples
in a stone cottage
over tufa caves in which the sea
crashed in winter sweet gerard
one hundred years
have made the desolation greater
the tower is really down & the sun blackened
beyond despair the loudspeaker drowns
finches cliffs caves
all in the hands of racketeers
yet i have passed my time dreaming thru this
fantastic wreck
walking thru incendiary alleys of crowded laundry
with yellow gourds in windows &
crumbling masonry of wars
human corruption
so thick and hopeless that i laugh
when suddenly i saw among the oil & greasy rags
& wheels & axles of a garage
the carved nude figures of
a classic frieze
there above the dismantled
parts of cars!
perfect! & how strange! garage
swallows sarcophagus!
mechanic calmly spraying
paint on a
fender
observed in turn by lapith and centaur!
flow
of unthinking flesh!
frank thighs! eyes
of aphrodite!
the myth of the mediterranean
was in that garage
where the brown wiry
youths saw nothing unusual
at their work
among dead heroes & gods
but i saw hermes in the rainbow
of the dark oil on the floor
reflected there
& the wild hair of the sybil
as her words bubbled
mad and drowned
beneath the motor’s roar
Island of Giglio
we sailed into the harbor
all the church bells rang
the main street on the crescent shore
hung iridescent silks from windows
stucco housefronts gleamed
rose, pistachio, peach
and a procession sang
behind a surpliced priest
carrying a burnished Christ
when I set foot on shore
a youth emerged from the crowd
barefoot and olive-skinned
and we climbed up rocky slopes
till dusk fell and close to the moon
at the mouth of a cave we made love
as the sea broke wild beneath the cliff
Piccolo Paradiso
Piccolo Paradiso
let the age hang itself! we’ve had
four marvelous days together
no news reports only music
& no serious discussions
plenty of wine the best
from the islands
white
falerno & ischian
& lacrima cristi
we’ve made up
for months
of loneliness
hard work
nastiness
of ‘superiors’
we may not live
very well or long
our mistakes are perhaps too great
to bear correction
at this midpoint
of our lives (you’re somewhat younger)
surely too great
to make up for the lengths we go
to hide them
e cosi…that’s
how it goes
but at least
we’re ahead of the game
we’ve stolen a march
on the dead the herd
if the return to grayness
sharp tempered weapons
of those who force life
into corners
is more than we can bear
remember this
the wine
the ladder
of stars that climb
vesuvius outside
my window
the waves
banging into smooth
tufa caves
& the opera
as we lay together
remember
Carnivorous Saint
we dig up ancient shards
clicking cameras
among the dying cypresses
choked by Athenian smog.
yet cats continue basking
in the hazy sun
the chained goat sways in ecstasy
the Parthenon looks down from creamy heights
lichen and rust nibble the pediments
and tourist feet break the spell
of antiquity’s vibrations
the grass hits
as I look at rusty orangeade caps
thinking Who needs nuclear Apollo?
thermonuclear Minerva?
Nike crashing to grand finale?
we need the anti-Christ
who is probably playing football around the corner
the sweet boy who used to be called Eros
and wants us to be happy.
bring back the carnivorous saint
whose mother is no virgin
she’s Our Lady of Peace Movements
to ban the bomb and clean up the air
she’ll wave her umbrella and change the world.
ah yes, when the grass hits
old worlds burn down and new worlds form
in clouds of brown monoxide morning.
Athens, Jan. 1964
I’m Not a Man
I’m not a man, I can’t earn a living, buy new things for my family. I have acne and a small peter.
I’m not a man. I don’t like football, boxing and cars.
I like to express my feeling. I even like to put an arm
around my friend’s shoulder.
I’m not a man. I won’t play the role assigned to me- the role created by Madison Avenue, Playboy, Hollywood and Oliver Cromwell, Television does not dictate my behavior.
I’m not a man. Once when I shot a squirrel I swore that I would never kill again. I gave up meat. The sight of blood makes me sick. I like flowers.
I’m not a man. I went to prison resisting the draft. I do not fight when real men beat me up and call me queer. I dislike violence.
I’m not a man. I have never raped a woman. I don’t hate blacks. I do not get emotional when the flag is waved. I do not think I should love America or leave it. I think I should laugh at it.
I’m not a man. I have never had the clap.
I’m not a man. Playboy is not my favorite magazine.
I’m not a man. I cry when I’m unhappy.
I’m not a man. I do not feel superior to women
I’m not a man. I don’t wear a jockstrap.
I’m not a man. I write poetry.
I’m not a man. I meditate on peace and love.
I’m not a man. I don’t want to destroy you
San Francisco, 1972