Part of contesting the monotony of the New York School poetry scene, as Giorno saw it, was to promote a more immediately accessible performance-poetry style characterized by insistent repetitions that owed more to the pop lyric than to poetry proper. Giorno’s poetry from the mid-1960s through to this day employs an incantatory style built on the repetition and variation of a series of key phrases.
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“It seems strange that in 1968, everything was still externally puritanical,” Mr. Giorno told Mr. Obrist. “We all took lots of drugs, and in our personal lives were liberated. But in the media, and outside world, pornographic or erotic images were never used.”
His own work drew heavily from the ideas of the found imagery that fueled the Pop revolution and also from the tradition of the ready-made — plain, found objects presented as art — articulated by Marcel Duchamp and filtered through the writing of Burroughs and Brion Gysin. In his earliest work, Mr. Giorno mined news items and presented them virtually untouched as verse, as in this piece from his first, privately circulated collection, “The American Book of the Dead,” in 1964:
A plainsclothesman
was beaten to his knees
by a mob of teenage girls yesterday
when he and his partner
tried to break up a fight
between two girl gangs
in a school yard
in the Bedford-Stuyvesant
section of Brooklyn.
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