The Age of Anxiety Book Description: Anxious Americans have increasingly pursued peace of mind through pills and prescriptions. In 2006, the National Institute of Mental Health estimated that 40 million adult Americans suffer from an anxiety disorder in any given year: more than double the number thought to have such a disorder in 2001. In The Age of Anxiety, Andrea Tone draws on a broad array of original sources—manufacturers' files, FDA reports, letters, government investigations, and interviews with inventors, physicians, patients, and activists—to provide the first comprehensive account of the rise of America's tranquilizer culture.

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AG: So Auden –W.H.Auden, the… who, incidentally, it was his anthology that I was reading from originally – the… it’s the first thing in his five-volume anthology of English poetry, poetry of the English language (which we’ve talked about before) also, in the (19)40’s, during World War II, wrote a very great poem called “Age of Anxiety” in old Germanic and Anglo-Saxon alliterative meters. So I thought I would read some of that (and there’s one copy that I got out of the Boulder library which I’ll put in our own (Naropa) library for a couple of weeks, and then I have my own copy here, so if anybody wants to take a look at this at leisure, do so). It’s called “Age of Anxiety”. I think it came out in… wait a minute, let’s see.(19)44 maybe?. [Editorial note – it was 1947] – It was a big deal. Auden around about that time was a really great poet and is, remains, a great poet. I remember, at the time, I was living with (Jack) Kerouacand with (William) Burroughsnear Columbia University on 115th Street. Burroughs had known.Bill Gilmore, who was a. stayed with Auden in a house in Brooklyn Heights in (19)39 when Auden first came over from England, and there was a brilliant, eccentric, strange guy namedAlan Ansen, who, at the time. was a big queer, who lived out in Woodmere, New York, and had huge learned correspondence with Thomas Mann about the prosody in Wagner’s Ring operas (because Wagner was into prosody, as was Auden, as was Stravinsky, as was Chester Kallman, as was Alan Ansen), prosody, like the measurement of word and music together, or the music of the language or the measure of the language, the measure of the line. And Alan Ansen, who was a friend of (Jack) Kerouac’s and mine, and Neal Cassady, was Auden’s secretary when he wrote this huge epic poem. “Age of Anxiety” in alliterative meters. And I was. So we were all very familiar with it, back in the (19)40’s – mid-‘Forties and late-‘Forties and some early (19)50’s – and I haven’t looked at it since, until today – again – (I) went over to the Boulder Library and picked up a copy (because I remembered it was written in the alliterative meter) and it really is great. So I picked out some passages that I remember from the (19)40’s – to the (19)80’s [present], that almost thirty-five years have stuck in my mind, so I guess they still are good.

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William Burroughs and Alan Ansen – Photograph by Allen Ginsberg

The scene is. It’s during the war, and “Age of Anxiety”, a really prophetic poem. “A Baroque Eclogue” (sic) – (“Baroque”, because he’s using a great many fancy complicated meters). It’s Auden at the height of his energy and power, and also his scholarship, also his crankiness – that he went back. So, eccentric crankiness. There was a struggle at that time between various schools of poetics. One, to go to a more open form like (William Carlos) Williams, who was just breaking through then and writing his best work, beginning “Paterson” then, an American meter. Auden, who was living in New York on Seventh Avenue and… I guess Seventh Avenue and Twenty-third Street, near the Chelsea Hotel.

When it was first published in 1947, The Age of Anxiety-W. Auden's last, longest, and most ambitious book-length poem-immediately struck a powerful chord, capturing the imagination of the cultural moment that it diagnosed and named.Beginning as a conversation among four strangers in a barroom on New York's Third Avenue, Auden's analysis of Western culture during.
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Later, I think, Williams sent me to see Auden. The discussion was over prosody and meter between us, open-form prosody, and. despite the fact that Auden was using older English forms and strict counted meter, he thought, every single line of Auden was different at least, it wasn’t as if they were metronomic and repetitive and boring. There was a real ear at work. So, he gave me a little note to go visit Auden, and I went to see him. Also I’d known Chester Kallman, his boyfriend, and Alan Ansen, his secretary. So Ansen typed up “Age of Anxiety” – and one of the people we’re going to be trying to get here [Naropa} teaching sooner or later is Alan Ansen, because Peter saw him… [to Peter Orlovsky] – You saw him this summer?

PO: Yes, I spent (five days…)

AG: What’s he doing? What’s he doing now?

PO: He’s teaching at the American Center college in Athens. He brings about forty books to class. It meets about two hours, once a week – makes fifty dollars, and he’s teaching (Ezra) Pound, (T.S.) Eliot.

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AG: Auden

PO: Auden too

AG: Any language?

PO: Well, I only went to one class, but.

AG: He’s been studying Hebrew and Arabic and Persian and Sanskrit. He knew German well in those days (and) French well enough to do… he did. his big thesis was a thesis on the prosody, the metrical schemes and the prosody, related to music in theWagner Ring cycle. So, maybe we’ll get him here sooner or later. Anyway, this [“Age of Anxiety”] is what he typed up

Spectronic devices driver. It is a situation during the war, late at night, in a bar on Second Avenue, New York City. A young soldier on leave, a navy intelligence man of some sort (maybe gay but in the closet), a Jewish woman, not-so-young anymore, but on the town, looking for someone to sleep with or talk to, and a sort of straight middle-aged man, who is, actually, sort of the hero, at the end of the evening goes home alone and has a long soliloquy which I’ll read

So it’s Malin, Emble, Quant and Rosetta – various people. So they’re all sitting along by the bar, thinking their own thoughts. War news on the radio. They happen to get together and start talking. They have a good time together, get a little drunk, kind of a little paradise between them that night, a “moment in eternity”. They all go to Rosetta’s house to have a drink. She falls in. she has a crush on the young soldier (so has one of the guys) but she makes out with him (or thinks she’s going to). They all drink to their delightful night. The two other older guys go home and leave them together. She sees them to the door, comes back and finds the young soldier drunk and asleep on her bed, (he) can’t do anything! (She) has a long soliloquy over his. corpse! (which I’ll read also) – All done in this alliterative meter.

So, Emble was thinking. (they haven’t met yet – it’s just, what are they thinking about, sitting alone) – Emble was thinking. “Estranged.” (this is the young soldier) – “Estranged, aloof,/They brood over being till the bars close,/The malcontented who might have been/The creative odd ones the average need/To suggest new goals. Self-judged they sit,/Sad haunters of Perhaps who after years/To grasp and gaze in get no further/Than their first beholding, phantoms who try/Thr