Absurd Realist poet, translator, and memoirist Ron Padgett, long ensconced in New York's East Village boho Beat & Existentialist milieu, turns to his roots in this tale of Tulsa folklore circling around his father, Wayne Padgett; King of the oil town's bootleggers. The Tulsa time of this wiley tale is somewhere 'tween boom & bust. The earliest reaches extend back two generations to Padgett's granddad Grover, though only briefly touching upon Teddy Roosevelt's trust busters and the populist ferment brewing against BIG OIL. Padgett barely mentions the Tulsa race riots in passing.

Oklahoma was a "dry" state when it came to hootch, but oil lease rigs were still dripping when Wayne Padgett came of age. Though there isn't much of Osage tribal flamboyance on display, as Ron Padgett hews closely to his dad's immediate territory. Terry Wilson's book on the Osages and their visibility in and around Tulsa during the boom years can fill in some of the local composition. Ironically Wilson deploys an absurdist deadpan in chronicling the Osages, close as an academic can come to the style Ron Padgett pioneered earlier in his career writing Beat memoirs & punchline poetry. Wilson cinematically captures the new oil heirs on their joyrides into town having assimilated silk top hats, tux and tails into their tribal regalia. Padgett is challenged with a central subject dry as the Protestant work ethic he embodied, illicit work notwithstanding. Despite the Dixie Mafia contacts and some compulsive gambling that plays out in tragic ways a bit up the family tree, the Padgetts seemed to be straight shooters, with only narrator Ron betraying much of an appetite or curiosity for life lived on the wild side.

The contrasts found within the House of Padgett are the stuff of cross-pollinated literary dreams. Imagine Elmore Leonard or his fictional hardboiled characters holed up in a tornado alley Plains safehouse with Burroughs adding-machine heir and stiff-lipped Wild-side explorer William Burroughs, as this Tulsa teen scene deftly sketches in. Ron Padgett recalls his fledgling effort at publishing an underground lit journal while still in high school and working out of bootleggin' dad's house:

"But the oddity of the larger situation dawned on me only years later: at one end of our house was the office of one of the biggest whiskey businesses in town, while at the other was the 'office' of an avant-garde literary magazine. Really, though, I was simply imitating my dad: I had my office desk, I operated a cottage industry, and I pursued a project that most people would have considered bizarre. But what was truly bizarre was that Daddy was reading Beat and Black Mountain poetry." Wild-eyed ecstasy chasing visionaries such as Ted Berrigan, er rather, a private eye hired by Berrigan's squeeze's proper parents, might stop by the house looking for the literary mentor, only to be gruffly chased off by Big Daddy. How did a high school junior out in the oil & red dirt provinces manage to net a cast of literary luminaries like LeRoi Jones (Amiri Baraka), Paul Blackburn, Robert Creeley, Allen Ginsberg, Jack Kerouac, Ron Loewinsohn, Clarence Major, Gilbert Sorrentino and Berrigan for his WHITE DOVE REVIEW 5x8 1/2 staple job? Just neighborhood luck to have buddy Joe Brainard hangin' out as Art Director. The same Joe Brainard whose too short career retrospective was being exhibited at top tier museums of modern art from Boston to Berkeley a year or so ago. But this is Wayne's story, a different sort of exemplar of Junior Achievment in action.

Don't be put off by the title OKLAHOMA TOUGH. Turns out the subtitled: "My Father, King of the Tulsa Bootleggers" is a tender and flavorful slice of regional folklore. Virtually every minor character does a star turn, burning some bit of colorful essence onto a reader's retina. From the penitentiary cameo by old school toughs like Jew Snyder, to the more fully fleshed out complex shades of modern men-in-the-making like Bobby Bluejacket, the bedrock matriarch Verna Padgett, and the younger generation roadhouse loves from whom off-the-cuff wisdom literature flows in Ron Padgett's interview tapes, one only wishes this memorable Tulsa tale included an index. If this ever makes it to the big screen I have no suggestions for the casting of King Wayne or Boho Scribe Ron. But the soundtrack wouldn't be complete without some ol' J.J. Cale-Leon Russell seductive shuffles, Jimmy LaFave dustbowl retreads and the Red Dirt Rangers' roadhouse stomps.

A very well written story that depicts an unique individual living in an intriguing time and place. Wayne Padgett is a compelling and contradictory man, some one I would like to get to know. Reading this book is like having a conversation with this powerful figure.

This gripped me from beginning to end: a very finely drawn portrait of a man of unusual quality. Anyone who's ever been drawn to the "outlaw" mystique will appreciate the opportunity to see how it begins, lives, and ends in Wayne Padgett, the author's father. A terrific read.

Since the 1960s, Ron Padgett has been writing some of the best, and funniest, and most challenging poetry in the English language. My favourite of his books have been The Tulsa Kid and Toujours L'Amour, but I've loved everything he's written (even the small-press oddity Poems I Guess I Wrote). His direct language, his enthusiasm for goofiness, his smart playfulness -- all this stuff moves me and inspires me.

But with You Never Know, Padgett moves beyond the 10th rung of a 10-rung ladder. He's still nuts, and often hilarious, but this whole mortality thing has got him doing stuff so perfect, so condensed, so magical... geez.

You know, people generally hate poetry. But shove a book like this in their shaking paws and they might have second thoughts.

It's a lovely looking book, too, but it would've looked better mimeographed and stapled down the side with a line drawing by Joe Brainard on the cover.

Yeah! Resoundingly.

The poetry of Ron Padgett is hallmarked with a very special wit and an artfully conversational American approach. You Never Know offers a complete spectrum of his style, which has a penchant for surprise and discovery, all in service to acknowledging the simple magic of everyday life. Poet As Immortal Bird: A second ago my heart thump went/and I thought, "This would be a bad time/to have a heart attack and die, in the/middle of a poem," then took comfort/in the idea that no one I have ever heard/of has ever died in the middle of writing/a poem, just as birds never die in mid-flight./I think.

Among the Blacks consists of two works: Padgett's translation of Roussel's early story "parmi les noirs," first published in 1935 in his book Comment j'ai écrit certain de mes livres, together with Padgett's memoir focusing upon his own experience among black people. Roussel's story, about a master mariner named White who encounters an African chief named Booltable, is built upon the kind of whimsical and extravagant word play (its first and last sentences are identical except for one letter in one word -- "pooltable" / "Booltable") for which Roussel was idolized by the French Surrealists. In contrast, as he writes in his Afterword, Padgett's memoir "grew out of the nagging need to come to grips with the frustrations of being a white American who had grown up in a racist environment and who, despite his rejections of racism at an early age, had rarely felt unselfconscious in the company of a black person." Its language is transparent and unmannered, "an attempt somply to tell the trutgh, and to do so with a minimum of artfulness."

I teach high school English. My students are wild about this book. That's all I have to say, and an astute reader will recognize immediately that nothing more need be said.

This book is likely to end up in University Libraries next to books on "how to teach Johnny to read," but it is a highly eclectic and imaginative primer on creative reading, influenced by Padgett's New York school poetry pals and French movements like Oulipo. This book is aimed, in the first instance, at teachers, but I think it makes enjoyable reading for just about anyone interested in "creative reading."

An excellent collection of poetry that will not bore. Of special interest to those with a knowledge of France and its literature.

It is characteristic of Padgett's modesty that this *Selected* is about as long as many of his other books; it is characteristic of his generosity that the volume is so satisfying, seems so capacious despite crossing the wire at well under 120 pp. One reason to buy this book is that so much of Padgett's ouevre has crawled into the world under tiny, independent auspices that can't keep him on the shelves; Godine is an appropriate middle ground -- good at keeping books in print -- but that's no reason to be complacent. Padgett is the ultimate answer-man to people who claim to not like poetry because it's too solemn, not interesting, not concerned with the real world, real issues -- blah, blah, blah. He represents a unique grafting of a European dada sensibility onto the body of a thoroughly American dispenser of crackerbarrel wisdom, weather superstitions, etc. Better than any other poet I know, Padgett manages the trick of being ever-amused, following the crazy synapse-jumps of his sharp but highly distractable attention, without sacrificing any of his capacity to render the pathos of the human condition. He is also the funniest poet currently alive on the planet, one whose irony never stands in the way of direct treatment of the thing or direct expressions of emotion. From "Tone Arm": "You people of the future / How I hate you / You are alive and I'm not / I don't care whether you read my poems or not". It would be their loss; don't let it be yours.

Además de la novela corta que da título al libro, la edición se acompaña de un conjunto de relatos en los que el autor demuestra su capacidad imaginativa y su dominio del lenguaje. La prosa de Guillaume Apollinaire nunca ha sido tan reconocida como sus versos, pero debemos advertir que los textos que integran "El Poeta Asesinado" han servido de hipotexto para obras maestras posteriores de la talla de Kafka.

This is one book I can't do without. I was introduced to Kenneth Koch's work when I was at the University of Wisconsin-Madison taking a workshop from an author who had taught with Koch. It has been my "writing Bible" ever since. I have used almost every exercise at one time or another with elementary school children, with fantastic results. Along with Koch's "Rose, Where Did You Get That Red?", this is a classic.

this is a great book: well written; comprehensive but not encylopedic; engaging and entertaining. it was intended for junior or senior high school students and some of it's suggetions and examples reflect that BUT please don't let that stop you from buying it. it is simultaneously a good introduction to poetic forms (and poetry in general), a quick reference for the more advanced student, and a source of inspiration for practicing poets.

I use this book all the time! I've had it for over 10 years and find myself continually going back to it. Recently I began writing a poem every morning before getting out of bed, and this book is invaluable for helping wake up my brain and start the creative juices flowing. The forms are clearly defined with good examples given, and the sheer number of forms included is inspiring! If one isn't working for me that morning, I simply flip to another. I've used this book with teenagers and with adults in poetry-writing exercises--it works well with all ages.

This book is my favorite poetry handbook--and I have several--because it covers so many forms in such an clear, undry (i.e. entertaining) way. It's fun to read. I've taught poetry writing at about 40 elementary schools through the Writers in the Schools programs and children's literature at the University of Iowa. The Handbook gives a passel of forms that can be used with kids of all ages. In the children's lit class, the book was a means of showing the wide variety of forms. The undergrad students in that class, most of whom weren't that familiar with poetry, were dazzled by all the possibilities that the book opened up. As a writer, I enjoy reading about the different forms and examples. You can try writing in one of the forms, or try making up a new form based on forms in the book. Either way, you learn, you enjoy, you think, and you write, thanks to the Handbook.