Gary Snyder last night at Poets House in New York. The film,
The Practice of the Wild: A Conversation with Gary Snyder and Jim Harrison opens tonight at the
Quad Cinema in New York. Photo by Lawrence Schwartzwald. More about the film:
A portrait of legendary Beat poet Gary Snyder. His poetry embraces and celebrates the rhythms of nature and the written word. Occupying a hallowed yet humble position within the realms of poetry, academia, ecological activism and spiritual practice, Snyder distinguished himself among peers such as Allen Ginsberg and Jack Kerouac by becoming both a countercultural hero and a Pulitzer Prize winner. Here, we follow Snyder’s journey through nature and across the page with his cantankerous compadre and fellow scribe Jim Harrison. Together, these two old friends roam the hills of the central California coast, musing on Bay Area bohemia, Zen Buddhism and the morally charged interdependence of all living things. (Running time 0:53)
Gary Snyder last night at Poets House in New York. The film, The Practice of the Wild: A Conversation with Gary Snyder and Jim Harrison opens tonight at the Quad Cinema in New York. Photo by Lawrence Schwartzwald. More about the film:
"I teach horizontally, meaning that while I might begin with a fixed idea of what I'm going to teach that day, I let it drift rhizomatically way off topic, often pulling it back when it gets too far. I rely on non-fixed materials to teach this way; the whole world is at my fingertips. Should I go off on a tangent about John and Rauschenberg and their love relationship as expressed in Rauschenberg's bed, an image of that bed is always a click away. From there, we can head anywhere into the non-fixed universe, be it film, text or sound. And of course, that always takes us elsewhere. As Cage says, 'We are getting nowhere fast.'" 
that anyone has yet got the imaginative measure of that terrifying day six years ago. Certainly our Tolstoy has not crawled out of the rubble. The closest we have, Don DeLillo, succeeded as an essayist-journalist ("In the Ruins of the Future: Reflections on Terror and Loss in the Shadow of September,” Harper’s, December 2001) but, to my mind, failed as a novelist ("Falling Man"). One reason, perhaps, is that the remembered emotion was instantly buried under a pile of cultural junk.' - Tod Gitlin in his review of Susan Faludi's The Terror Dream (written for 
