Though not quite ordinary, snow at Halloween is far from unheard-of in our part of upper New England, and was no surprise at all some five decades back. Mercifully, it had held off on the locally designated trick-or-treat night. I remember how we followed our son, the only child of an eventual five, from door to door in our hamlet. I have a photo of him, three years old, in cowboy costume. His boots are on backwards, and for reasons of his own he insisted we leave them that way.
I was 32, in my fifth year of teaching at Dartmouth College, still agonizingly awkward in the presence of colleague and student alike. All through those five years preceding, some nasty inner goblin kept sneering. You think you belong here, fool?
Over-stimulated, I’d driven to my office absurdly early, having yo-yoed in and out of sleep in the wee hours, high on the fact that Muhammad Ali, against every oddsmaker’s prediction, had knocked out the hulking George Foreman. That match in what was then Zaire is still known by the name Ali gave it: the Rumble in the Jungle.
There were no closed-circuit TV or theatre outlets close to my rural home, and none of our nearby stations, virtually all AM back then, carried the fight. I had to listen on tenterhooks as some voice on my crackling radio – from a station, I think, in Albany– summarized each round after the fact. Though the announcer reported everything, including the eighth-round knockout, quite dispassionately, I recall my own whoop! of exhilaration.
My upbringing and indeed my life in general could scarcely have been less similar to Ali’s, and it’s gotten no more so since. Perhaps because the Rumble in the Jungle’s 50th anniversary transpired so recently, I’ve been wondering all over again just why I was I so attracted to the example of this iconic athlete– and compelled by it.
I witnessed my first heavyweight championship on a friend’s tiny black-and-white television, because in 1952 we had none at our house. In that fight, Rocky Marciano (by later standards practically a bantam at 5’10” and 185 pounds) knocked out the considerably bigger Jersey Joe Walcott in the 13th, after Joe had amassed a sizable lead in points. My friend’s father, an immigrant Ulsterman, celebrated quite loudly, which wasn’t like him at all. At ten years old, I didn’t detect what was likely a racist edge to his glee.
After that fight, I followed boxing for a few years in a casual way. I clearly remember, say, a voice intoning “the champ’s legs are rubbery!” in the first of the Patterson-Johansson confrontations. That 1959 memory lingers less for the fight itself, though, than for listening to it with a group of male teenagers sprawled on the floor of a log cabin in Maine. The place belonged to a friend’s parents, and the long weekend was meant to be all about her sixteenth birthday. The adults in their room didn’t know– or did they?– that most of us were a bit high on the beer I’d smuggled in from home.
In the summer of ’64, I occasionally passed Sonny Liston in the flesh, because he trained in north Philadelphia, near to where I was doing some volunteer community work. To pass that scowling colossus on the sidewalk was to pity the flippant young man named Cassius Clay, because, as Cassius would shortly put it in a poem, nobody expected “the total eclipse of the Sonny.” To me, Liston looked like the least vulnerable human alive. The one time I actually met his eyes on the street, his very glare almost KO’d me.
Yes, from the first day of his seizing the heavyweight title, I was captivated by this splendid-looking man, now Muhammad Ali. I sided with him in his resistance to the Viet Nam war, raged over the racist lifting of his boxing license in his prime, admired his resolution no matter, and, for all the lionheartedness of Smokin’ Joe, lamented Frazier’s winning their first bout after my hero returned in 1971.
The Frazier-Ali Superfight II and the Thrilla in Manila were monumental, epical, to be sure; but there was something about those eight rounds in Africa that downright riveted many of my generation, black, white, you name it. The Rumble, watched by nearly sixty million people, seemed a sort of crown jewel in a golden age of heavyweight boxing, inspiring books, countless articles, and a fabulous soundtrack to the documentary, When We Were Kings. The fight has also sustained animated conversation ever since among those who recall the event, although few of us have much interest in prizefighting nowadays.
For us, the shine soon wore off. For one thing, there came to be too many purported World Championships: WBA, WBC, IBF, WBO, and who knows what else? More importantly, with the exception, perhaps, of the abrasive, hard-to-like Floyd Merriweather, we have no pugilistic stars, let alone ones larger than life. Finally, the popularity of boxing’s horrific competitor, so-called Ultimate Fighting– full of tactics men of my generation were taught to consider dirty– leaves many of us geezers appalled.
Liston, Frazier, Foreman, Norton, Holmes, Shavers, Ellis, Mathis, Terrell, Young: these were boxers who’d have been notable in another era (Frazier still is). If they seemed lesser than Ali, this was not altogether an athletic distinction. I think of something said after Ali’s death by Foreman (may he rest in peace!), whose evolution from menacing gangbanger to good-natured uncle remains extraordinary. “In Africa,” said George, “I realized I wasn’t fighting a man but a force.” * Yes, Ali, whose evolution from enemy of western civilization to international hero seems even more remarkable, was every bit of that.
But I’ve gotten a little off-track. I began with an early October morning just after the Rumble, when few lights were yet on in college buildings. In spite of the hour, I saw two young black men standing outside the English department offices. The sight was somehow striking. Half a century back, the men’s presence at any time of day would have been unusual, so few students of color enrolled at Dartmouth in those times. Maybe it was the snow
dropping on the three of us that somehow leant the scene an even more idiosyncratic dimension,
ghostly aura, Halloween-worthy. Indeed, to this day, the memory feels dreamlike.
As I got closer to those two, I heard one ask the other, “Hey, you want to watch the Foreman shuffle?” I can hear that question as clearly as if it were 1974 all over again. The young man affects buckling legs, lolls his head, then, spinning in a ragged circle, collapses face-down, twitching like someone in his final throes. My laughter at that pantomime was as spontaneous and genuine as theirs. I gave them a double thumbs-up– and was immediately stabbed by the old, familiar unease.
After the fallen man snapped to his feet without help from hand or leg, I felt less hip than at any time before or since. I chided myself. Damn! Couldn’t I have come up with something cooler than the thumbs-up bit? The two young men, for whatever reason, perhaps a celebratory one, had on what looked like tailored suits. I glanced down at my own attire– flannel shirt, corduroys, scuffed hiking boots– and concluded that I’d even dressed wrong! I was already going bald, and my ungloved hands looked pasty as cookie dough. The pair of students resumed their vigorous palaver without so much as acknowledging me.
So you think you belong, fool?
That moment marked the onset of what would surely be a daunting day. Preoccupied with my son and his Halloween rituals, and more emphatically with the fight, I’d devoted no time the night before to class preparation, and under such circumstances, I thought of meeting my students as somebody might contemplate the gallows. The notion of straying into improvisation chilled me. I had no lesson plan. I’d be adrift in unpredictability.
My freshman class was the first to meet; we’d be continuing our labored consideration of Milton’s Paradise Lost. (That mammoth poem was required reading in first-year English, which tells you something of the period’s ethos among the Ivies.) Great as the epic may be, Paradise Lost –even without its controversial status in those crucial early years of contemporary feminism– was an ongoing problem. How could I possibly generate interest in it among eighteen-year-olds? I’m sure I hadn’t done so at all up to that point, however diligently I prepared. No, I didn’t belong.
Now I take an improbable detour to explain, if possible, why The Rumble in the Jungle, whose worldwide societal impact was seismic, proved so important to me. Mind you, I may be all wet in my evaluations. Memory is often a careless or an overbearing editor, often both.
Whatever the case, I’d spent much of the previous summer in Boulder, Colorado, home of the nascent Naropa Institute, now Naropa University. The enterprise was conceived by a certain Tibetan monk, the late Chogyam Trungpa Rinpoche (a scoundrel, as has become even clearer since). Rinpoche imagined Naropa as an alternative to the syllogistic and Eurocentric culture of conventional American colleges.
I didn’t have a trace of credentials to join Naropa’s writing faculty, having published no book yet, only a handful of poems in magazines, most ephemeral, a very few more established, and I had no Buddhist or even flamboyantly countercultural inclinations. No, my appointment was farcically nepotistic. One of Naropa’s administrators was a college friend named John, who vaguely remembered some of my undergraduate efforts in poetry, and who was a serious Buddhist, fluent in Chinese and competent even in Tibetan. I can’t recall how he and Rinpoche met, but the monk had taken him on board as a sort of executive secretary. It was John who recruited me for the team. Needless to say, and even more so than at Dartmouth, I was plagued by my same old fear of committing fraud. I just wasn’t much like the other people at Naropa. What if they saw through me and revealed my bourgeois, westernized character?
Make what you will of Rinpoche’s experiment, Naropa did attract many a luminary: Gary Snyder, John Cage, Anne Waldman, Dianne di Prima, William Burroughs, et al. While the term “luminary” hardly applied to me, I did meet on an irregular basis with my own small clutch of students, some truly interesting ones among the hippies, stoners, and spiritual tourists. The earth, however, didn’t move in those sessions.
It was quite otherwise in another setting. To my genuine astonishment, I found myself a colleague of the world-famous Allen Ginsberg. We met with a far larger and more enthusiastic group. In the seventies, and to this day, Ginsberg was either idol or buffoon, depending on your perspective. He wouldn’t have found many partisans, for instance, among Dartmouth English professors. (Ginsberg’s Liston, you might say, was the academically-ennobled T.S. Eliot.)
As for me, I still feel that, although he was not struck by lightning in his every poetic endeavor (who is?), poems like Howl and Kaddish and at least a handful, especially, in his The Fall of Amerika, have lodged themselves in our cultural consciousness– and for very good reason. They gave permission to speech and self-expression that had not existed before. And except when I stood among an uncountable throng to hear Martin Luther King in 1963, I’ve never been in the presence of anyone who could invoke so much of what what the Buddhists at Naropa called virya. Variously translated, virya is the continuous energy by which we may shed samsara, the mundane cycle of life and death. To use George Foreman’s term, Ginsberg represented a force.
When, after my first week out west, I’d found the man very approachable and congenial, I sheepishly asked if he’d look at some of my poems. He obliged, and in a day or so, filled with apprehension, I met with him one-on-one. Would he have unearthed that awful fraud I’d sought to disguise? What in fact ensued marked a crux in my artistic life. Allen said my poems all showed real promise, that it was a shame I so doggedly repressed it. He explained by way of a comment I’ll never forget: “You’re too worried about poetry; it’s just a word; it’ll take care of itself.”
Allen Ginsberg, however much he may have mocked his own Ivy League training and the values undergirding it, was what might in his time have been called a classically educated man. So his counsel to me was less that I throw away such perspective as I’d developed as student and teacher at other Ivy League institutions than that I regard it as one among countless others.
In “worrying about poetry,” Allen thought, my writing paid dutiful homage to canons of trained excellence as established by a certain elite, and I ought to insist on autonomy when it came to writing poetry. He quoted a line in which Dr. Williams pointed out that poetry might very well come from the mouths of Polish grandmothers. My commitment to being “literary” suggested too much preoccupation with capital-A Art, and too little with more genuine promptings. The man’s attitude as writing coach carried over into his Naropa classroom, in which Ginsberg allowed the discussion to take whatever direction it would. The talk was organic, not determined.
After that summer, I’d begun to apply Ginsberg’s poetic counsel to my own work, however different it inevitably was and remains from his. I had not, though, imported his approach into my classrooms. It took The Rumble in the Jungle to jar me out of my uptight pedagogical manner. The development, however, was not causative but circumstantial. My obsession with the prizefight hadn’t allowed me to construct a rigid lesson plan. I’d have no alternative to Ginsberg’s improvisatory mode. Though I’d come in that Thursday from the October snowstorm full of trepidation, the following hour proved by far my most animated class since I first arrived in Hanover. Among other crucial things, I recalled Ginsberg simply conceding his ignorance whenever somebody asked a question he couldn’t answer.
Oh, I marveled, you can do that?
Well, I did that myself several times on that autumn morning in 1974, and amazingly enough, nobody seemed shocked when I didn’t have an answer to this or that query; the discussion went on and stayed lively. As it happened, yes, this fool did belong where he was. Everyone in the room, most importantly the teacher, knew as much for the very first time.
I chuckle as I look back on the years preceding that vital moment after The Rumble in the Jungle. By pure, happy coincidence, I learned that a professor didn’t have to stay up late reading and translating Milton’s Latin sonnets lest some freshman grill him about their relations to Paradise Lost. (Of course, I exaggerate, but not greatly.)
Is there some some connector among the various things I’ve recalled? My firstborn son in cowboy boots, worn backward at his insistence, in an unconventional manner; two young men in the ethereal snow of October, one enacting the Foreman Shuffle, the other laughing in approval; Allen Ginsberg ad-libbing his way from the Greek Classics to Ezra Pound to Bob Dylan and much else; a sputtering, laconic radio broadcast from Albany, New York; above all, the Rumble in the Jungle, the memory that prompts all these others.
Even if it weren’t ludicrous, I’ve already conceded that it would be facile to construe a cause-and-effect relation between a famous prizefight in Zaire and my growth as man, writer, and teacher. Rather, as I reflect on it now, the Rumble in the Jungle, like all of Ali’s fights from my twenty-third year and well into my thirties, emblemized something I’d been yearning for without knowing I sought it: comfort with a certain improvisatory, or, perhaps more accurately, unpredictable element.
I think of Ali’s befuddling his opponent by leading with his right and not the expected left jab; his proceeding from that unanticipated strategy to his “rope-a-dope,” by which, against all counsel he’d surely been given, he allowed Foreman to hit his arms and mid-section again and again until, exhausted, he had no answer for Ali’s flurry of response and went down for the count.
I now think my fascination with Muhammad Ali – in his own poetic idiom, in the ring, in his valorous struggle against a bigoted organization and society– lay in how he epitomized something I hadn’t known I lacked before, an unwillingness to accept models and limits imposed by anyone outside himself but his own God. He was as nimble a man and mind as he was a boxer: you could throw whatever you wanted at him, and he’d always have some unexpected counterpunch. Muhammad Ali did not “worry” about extrinsic standards of any kind, because he knew they’d cramp his style. For me, the night big George Foreman hit the canvas soon coincided with a very early step or two of –what? The Syd Lea Shuffle?
Not of course that Ali’s life consisted principally of style, any more, I hope, than my own has, and no, I can’t claim that on its own The Rumble in the Jungle occasioned a change in my outlook on life, love, art, society, politics, what have you. And yet in retrospect this man’s triumph in a career so many strove to undo clarifies something of incalculable importance to me and to millions all over the world: the most significant rule is that there are no rules. Commitment to one’s own integrity should trump the requisites of other individuals, castes, institutions, even nations.
Big George had it right: Ali was a force. It’s force of a kind I still feel now and then in my eighties, and, as my recollections imply, it can flow from improbable quarters. When life becomes too routine, too much samsara, I hope my virya, wherever it comes from, can keep showing up as needed right through my own final round