LENORE KANDEL, 1932-2009

lenore

photo: Gordon Peters

From the San Francisco Chronicle:

Lenore Kandel – ‘The Love Book’ author – dies

Julian Guthrie, Chronicle Staff Writer

Thursday, October 22, 2009

Lenore Kandel hung out with Beat poets and was immortalized by Jack Kerouac, wrote a book of love poetry banned as obscene and seized by police, and believed in communal living, anarchic street theater, belly dancing, and all things beautiful.

Ms. Kandel, a lyric poet and one of the shining lights of San Francisco’s famous counterculture of the ’60s, died on Oct. 18 in San Francisco. She was 77 and had been diagnosed with lung cancer two weeks earlier.

“I met Lenore in 1965 at a citywide meeting of artists opposed to the war in Vietnam,” said actor Peter Coyote. “Lenore was physically beautiful and physically commanding. She had this voluptuous plumpness about her and an absolute serenity.”

Coyote, Ms. Kandel and her then-boyfriend Bill Fritsch – a poet and Hell’s Angel – became fast friends.

“She was working as a belly dancer and would sew these beaded curtains to make money on the side,” said Coyote, a founder of the Diggers, an anarchistic group supplying free food, housing and medical aid to the needy in San Francisco. “We would sit around and smoke dope and talk about philosophy and art. She was an enlightened person, a great being.”

Born in New York City on Jan. 14, 1932, to Russian and Mongol parents, Ms. Kandel was educated in a one-room schoolhouse in Bucks County, Pa., where she lived with her grandmother. She began writing poetry as a child, attended college in New York and moved to San Francisco around 1960, toward the end of the Beat era. Once here, she became the girlfriend of poet Lew Welch and friends with the movement’s seminal figures, including Gary Snyder, Neal Cassady and Allen Ginsberg.

In “Big Sur,” Kerouac’s 1962 novel, Ms. Kandel is portrayed as Romana Swartz, a “big Rumanian monster beauty” and Welch as Dave Wain.

By the mid-1960s, Ms. Kandel was a key figure in the burgeoning hippie scene in the Haight-Ashbury. Her book of poetry “The Love Book,” published in 1966, was deemed pornographic and the famed Psychedelic Shop on Haight Street where it was sold was raided by the police. Copies were confiscated on the grounds that their display and sale “excited lewd thoughts” and the store’s owners were arrested.

” ‘The Love Book’ was extremely graphic sexually,” said Gerald Nicosia, a Kerouac biographer and Beat generation chronicler. “She showed this openness to sexuality, this freedom of lifestyle. With ‘The Love Book,’ she became a cause celebre. But Lenore was a true lyric poet. Her language was as beautiful as anything being written.”

Ms. Kandel wrote another book of poetry, “Word Alchemy,” published in 1967. The same year, she was the only woman to speak onstage at the Human Be-In in Golden Gate Park.

“She went from the Beat community to the Diggers, to being a major player at the Human Be-In,” said the poet and Beat documentarian who goes by the name of Kush. “She was a very deep poet, and she was committed to radical values and transforming culture.”

Longtime friend Vicki Pollack, also a member of the Diggers, met Kandel in 1968.

“I saw her read from ‘Word Alchemy,’ which is her most beautiful work,” Pollack said. “It changed the way I saw poetry. She became for me a rock star.”

In recent years, Ms. Kandel – who had suffered grievous spinal injuries in a motorcycle crash aboard Fritsch’s Harley – was confined to her small apartment on Folsom Street. She continued to write, her friends say, and to find joy in everyday encounters.

“She was in a lot of pain because of her back,” said Pollack. “But she got enjoyment out of anything and everything. Lenore had what I call the gift of happiness.”

A private memorial service is being planned.

The Diggers Papers No. 25: "You live in the cement of the authority instructors."

About this document:
This passionate, brutal broadside speaks for itself with acid clarity: a real moment of beholding what’s at the end of the fork, as William Burroughs would put it. The piece has a real Peter Berg vibe to it, but, like almost all Diggers broadsides, it is unsigned by an individual so we can’t be sure…

About this series:
Arthur is proud to present scans of essential documents produced by and about the San Francisco Diggers, who were in many ways the epicentral actors in the Haight-Ashbury during the epic, wildly imaginative period from late ’66 through ’67. The Diggers’ ideas and activities are essential counter-cultural history, sure, but they are also especially relevant to the current era, for reasons that should be obvious to the gentle Arthur reader.

Most of the documents that we are presenting are broadsides originally published on a Gestetner machine owned and operated in the Haight by the novelist/poet Chester Anderson and his protege/sidekick Claude Hayward, who used the name “Communication Company,” or more commonly, “Com/Co.” According to Claude, these broadsides were then “handed out on the street, page by page, super hot media, because the reader trusted the source, which was another freaky looking hippie who had handed it to him/her.”

You can see all of the Diggers Papers we are posting here:
http://www.arthurmag.com/contributors/diggers

The Diggers Papers No. 24: "Love and Food"

DiggersPapers24

About this document:
For a few months in 1967, the Diggers provided a free meal for free to all almost every afternoon in the Panhandle area of Golden Gate Park. There were occasional variations on the theme, such as the one advertised in this broadside. Click on the image above to see it at larger size…

About this series:
Arthur is proud to present scans of essential documents produced by and about the San Francisco Diggers, who were in many ways the epicentral actors in the Haight-Ashbury during the epic, wildly imaginative period from late ’66 through ’67. The Diggers’ ideas and activities are essential counter-cultural history, sure, but they are also especially relevant to the current era, for reasons that should be obvious to the gentle Arthur reader.

Most of the documents that we are presenting are broadsides originally published on a Gestetner machine owned and operated in the Haight by the novelist/poet Chester Anderson and his protege/sidekick Claude Hayward, who used the name “Communication Company,” or more commonly, “Com/Co.” According to Claude, these broadsides were then “handed out on the street, page by page, super hot media, because the reader trusted the source, which was another freaky looking hippie who had handed it to him/her.”

The Diggers Papers No. 23 – "Anti-Rat Demonstration"

DiggersPapers23

Arthur is proud to present scans of essential documents produced by and about the San Francisco Diggers, who were in many ways the epicentral actors in the Haight-Ashbury during the epic, wildly imaginative period from late ’66 through ’67. The Diggers’ ideas and activities are essential counter-cultural history, sure, but they are also especially relevant to the current era, for reasons that should be obvious to the gentle Arthur reader.

Most of the documents that we are presenting are broadsides originally published on a Gestetner machine owned and operated in the Haight by the novelist/poet Chester Anderson and his protege/sidekick Claude Hayward, who used the name “Communication Company,” or more commonly, “Com/Co.” According to Claude, these broadsides were then “handed out on the street, page by page, super hot media, because the reader trusted the source, which was another freaky looking hippie who had handed it to him/her.”

Click on the image above to see it at larger size…

The Diggers Papers No. 18: another BEDROCK ONE event flyer/poster

Arthur is proud to present scans of essential documents produced by and about the San Francisco Diggers, who were in many ways the epicentral actors in the Haight-Ashbury during the epic, wildly imaginative period from late ’66 through ’67. The Diggers’ ideas and activities are essential counter-cultural history, sure, but they are also especially relevant to the current era, for reasons that should be obvious to the gentle Arthur reader.

Most of the documents that we are presenting are broadsides originally published on a Gestetner machine owned and operated in the Haight by the novelist/poet Chester Anderson and his protege/sidekick Claude Hayward, who used the name “Communication Company,” or more commonly, “Com/Co.” According to Claude, these broadsides were then “handed out on the street, page by page, super hot media, because the reader trusted the source, which was another freaky looking hippie who had handed it to him/her.”

This particular Com/Co document is a flyer/poster/broadside by an unknown artist advertising BEDROCK ONE, a March 5, 1967 event organized by Anderson himself. (See Robert Crumb’s flyer for the same event here.)

Check out that lineup, a real who’s who of the contemporary Haight-Ashbury arts/life scene: the Steve Miller Band, the Orkustra (the band led by guitarist Bobby Beausoleil, who would later be associated with both Kenneth Anger and Charles Manson), poet Richard Brautigan, the infamous street agitators San Francisco Mime Troupe, the San Francisco League for Sexual Freedom, the Lysergic Power & Light Company, and more.

More on Bedrock One in coming days…

Click on the image to see at a larger size…

Diggers19

The Diggers Papers No. 17: BEDROCK ONE event flyer/poster by R. Crumb (late Feb '67)

Arthur is proud to present scans of essential documents produced by and about the San Francisco Diggers, who were in many ways the epicentral actors in the Haight-Ashbury during the epic, wildly imaginative period from late ’66 through ’67. The Diggers’ ideas and activities are essential counter-cultural history, sure, but they are also especially relevant to the current era, for reasons that should be obvious to the gentle Arthur reader.

Most of the documents that we are presenting are broadsides originally published on a Gestetner machine owned and operated in the Haight by the novelist/poet Chester Anderson and his protege/sidekick Claude Hayward, who used the name “Communication Company,” or more commonly, “Com/Co.” According to Claude, these broadsides were then “handed out on the street, page by page, super hot media, because the reader trusted the source, which was another freaky looking hippie who had handed it to him/her.”

This particular Com/Co document is a flyer/poster/broadside by a pre-fame Robert Crumb advertising BEDROCK ONE, a March 5, 1967 event organized by Anderson himself. Check out that lineup, a real who’s who of the contemporary Haight-Ashbury arts/life scene: the Steve Miller Band, the Orkustra (the band led by guitarist Bobby Beausoleil, who would later be associated with both Kenneth Anger and Charles Manson), poet Richard Brautigan, the infamous street agitators San Francisco Mime Troupe, the San Francisco League for Sexual Freedom, the Lysergic Power & Light Company, and more.

More on Bedrock One in coming days…

Click on the image to see at a larger size…

Diggers18a

The Diggers Papers No. 14: THE INVISIBLE CIRCUS (Feb 24, 1967)

Arthur is proud to present scans of essential documents produced by and about the San Francisco Diggers, who were in many ways the epicentral actors in the Haight-Ashbury during the epic, wildly imaginative period from late ’66 through ’67. The Diggers’ ideas and activities are essential counter-cultural history, sure, but they are also especially relevant to the current era, for reasons that should be obvious to the gentle Arthur reader.

Most of the documents that we are presenting are broadsides originally published on a Gestetner machine owned and operated in the Haight by the novelist/poet Chester Anderson and his protege/sidekick Claude Hayward, who used the name “Communication Company,” or more commonly, “Com/Co.” According to Claude, these broadsides were then “handed out on the street, page by page, super hot media, because the reader trusted the source, which was another freaky looking hippie who had handed it to him/her.”

Here are two posterish images—the black and white one is an early poster by Victor Moscoso—plus two flyers to do with the Invisible Circus, a “community” that was supposed to last for 72 hours at the Glide Memorial Church one weekend in late February, 1967. More on what happened at the Invisible Circus in our next installment of The Diggers Papers…

Click on the image to see at a bigger size…

InvisibleCircusPoster

Diggers14moscoso

Diggers14a

Diggers14b

The Diggers Papers No. 10: "Approximately Public Explanation/FUCKIT"/"The Diggers Gladly Accept"

Arthur is proud to present scans of essential documents produced by and about the San Francisco Diggers, who were in many ways the epicentral actors in the Haight-Ashbury during the epic, wildly imaginative period from late ’66 through ’67. The Diggers’ ideas and activities are essential counter-cultural history, sure, but they are also especially relevant to the current era, for reasons that should be obvious to the gentle Arthur reader.

Most of the documents that we are presenting are broadsides originally published on a Gestetner machine owned and operated in the Haight by the novelist Chester Anderson and his protege/sidekick Claude Hayward, who used the name “Communication Company,” or more commonly, “Com/Co.” According to Claude, these broadsides were then “handed out on the street, page by page, super hot media, because the reader trusted the source, which was another freaky looking hippie who had handed it to him/her.”

The two scans below are from Chester’s collection—that’s his handwriting on the top of the first page. The authors are unknown, the pub dates are unknown: late January 1967 is our best guess.

Click on the images below to see them at full size…

DiggersPapers10a

Diggers10b

Diggers papers No. 9, Part 3 of 3: "Invitation to the Psychedelic Community"

Arthur is proud to present scans of essential documents produced by and about the San Francisco Diggers, who were in many ways the epicentral actors in the Haight-Ashbury during the epic, wildly imaginative period from late ’66 through ’67. The Diggers’ ideas and activities are essential counter-cultural history, sure, but they are also especially relevant to the current era, for reasons that should be obvious to the gentle Arthur reader.

Most of the documents that we are presenting here are broadsides originally published on a Gestetner machine owned and operated in the Haight by the novelist Chester Anderson and his protege/sidekick Claude Hayward, who used the name “Communication Company,” or more commonly, “Com/Co.”

What we have here are scans of copies of a set of 8 pages (maybe four double-sided? we don’t know) that were distributed en masse (500 copies) along the Haight on telephone poles, walls, in windows, and so on, on January 28, 1967. Chester wrote these pages, and apparently sent copies to a friend or family member with handwritten text explaining some of the terms, and it’s those papers that we’re showing here. (Follow these links to see the previously posted No. 9, Part 1 and No. 9, Part 2.).

Click on the images below to see them at full size…

Diggers9f

Diggers9g