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Readers of Michael McClure's play
Gorf may be reminded of Alfred Jarry's
Ubu Roi, even if dancing TV sets and the "Middle American" protagonists Mert and Gert bring the surreal effect down to native ground. On another level
Gorf is a ritual of regeneration, or, if you like, a kind of spiritualized Hellzapoppin. The "murdered" Mert and Gert are reborn in the search for their child, the Shitfer, who disintegrated when "hurled through Time and Space" is resurrected as his discrete "pieces" find and recognize their unity. And presiding over all is Gorf himself--the flying purple phallus, the cosmic joke and life principle, "Our fantasies," McClure explains, "when they are enacted, open infinite doors. A play may help us be what we truly are by showing us the possibilities of action." And John Lion, who conceived and produced the widely acclaimed 1974 Magic Theater production of Gorf in San Francisco, adds in his introduction that "man's capacity for renewal and rebirth is tied to his ability to remain in touch with his child self," With this in mind, Gorf is both a play and play itself--satire and myth, married to frivolity and fable. This edition includes photographs by Ron Scherl from the original stage production.
About the author
Michael McClure, a founding member of the Beat Generation, has long been noted for the popularity of his dynamic poetry performances. At twenty-two he gave his first poetry reading at the legendary Six Gallery event in San Francisco, where Allen Ginsberg first read
Howl. He is the co-author of the song "Mercedes Benz" and often performs with musicians, notably Ray Manzarek and Terry Riley.
