Lawrence Monsanto Ferlinghetti (March 24, 1919 – February 22, 2021) was an American poet, painter, social activist, and co-founder of City Lights Booksellers & Publishers. An author of poetry, translations, fiction, theatre, art criticism, and film narration, Ferlinghetti was best known for his second collection of poems, A Coney Island of the Mind (1958), which has been translated into nine languages and sold over a million copies. When Ferlinghetti turned 100 in March 2019, the city of San Francisco turned his birthday, March 24, into "Lawrence Ferlinghetti Day".
Early life
Ferlinghetti was born on March 24, 1919, in Yonkers, New York. Shortly before his birth, his father, Carlo, a native of Brescia, died of a heart attack; and his mother, Clemence Albertine (née Mendes-Monsanto), of Portuguese Sephardic Jewish descent, was committed to a mental hospital shortly after. He was raised by an aunt, and later by foster parents. He attended the Mount Hermon School for Boys (later Northfield Mount Hermon) graduating in 1937, then the University of North Carolina at Chapel Hill, where he earned a B.A. in journalism in 1941. He began his journalism career by writing sports for The Daily Tar Heel, and published his first short stories in Carolina Magazine, for which Thomas Wolfe had written.
He served in the U.S. Navy throughout World War II, as the captain of a submarine chaser in the Normandy invasion. In 1947, he earned an M.A. degree in English literature from Columbia University with a thesis on John Ruskin and the British painter J. M. W. Turner. From Columbia, he went to the University of Paris and earned a Ph.D. in comparative literature with a dissertation on Paris as a symbol in modern poetry.
Ferlinghetti met his wife-to-be, Selden Kirby-Smith, the granddaughter of Edmund Kirby-Smith, in 1946 aboard a ship en route to France. They were both heading to Paris to study at the Sorbonne. Kirby-Smith went by the name Kirby.
He moved to San Francisco in 1951 and founded City Lights in North Beach in 1953, in partnership with Peter D. Martin, a student at San Francisco State University. They both invested $500. In 1955 Ferlinghetti bought Martin's share and established a publishing house with the same name. The first series he published was the Pocket Poets Series. He was arrested for publishing Allen Ginsberg's Howl, resulting in a First Amendment trial in 1957, where Ferlinghetti was charged with publishing an obscene work—and acquitted.
Poetry
Ferlinghetti published many of the Beat poets and is considered by some as a Beat poet as well. Yet Ferlinghetti did not consider himself to be a Beat poet, as he said in the 2013 documentary Ferlinghetti: Rebirth of Wonder: "Don't call me a Beat. I never was a Beat poet."
Ferlinghetti penned much of his early poetry in the vein of T. S. Eliot. Ferlinghetti told poet and critic Jack Foley, "Everything I wrote sounded just like him." Yet, even in his poems inspired by Eliot such as Ferlinghetti's "Constantly Risking Absurdity," Ferlinghetti is ever the populist as he compares the poet first to a trapeze artist in a circus and then to a "little charleychaplin man."
Critics have noted that Ferlinghetti's poetry often takes on a highly visual dimension as befits this poet who was also a painter. As the poet and critic Jack Foley states, Ferlinghetti's poems "tell little stories, make 'pictures'." Ferlinghetti as a poet paints with his words pictures full of color capturing the average American experience as seen in his poem "In Golden Gate Park that Day: "In Golden Gate Park that day/ a man and his wife were coming along/ ... He was wearing green suspenders ... while his wife was carrying a bunch of grapes." In the first poem in A Coney Island of the Mind entitled, "In Goya's Greatest Scenes, We Seem To See," Ferlinghetti describes with words the "suffering humanity" that Goya portrayed by brush in his paintings. Ferlinghetti concludes his poem with the recognition that "suffering humanity" today might be painted as average Americans drowning in the materialism: "on a freeway fifty lanes wide/ a concrete continent/ spaced with bland billboards/ illustrating imbecile illusions of happiness."