Barbara Moraff (born 1939) is an American poet of the
Beat generationcurrently living in Vermont. She continues to write, and also creates potter and cooks. [citebook|title=All Poets Welcome: the Lower East Side poetry scene in the 1960s |author=Daniel Kane|year= 2003|publisher=University of California Press|id=ISBN 0520233840] Jack Kerouaccalled Moraff "the baby of the Beat generation" citebook/title=The Beat Generations Writers/author=A Robert Lee/year=1996 because she was just 18 when they met but was already being published by Leroi Jonesand in Evergreen Review. She was reading in various NYCcoffeehouses when she was able to get out of a very restrictive home environment--complicated by plastic surgery needed to repair her face after a mutilation. In a 1964 interview with Paideuma(University of Maine), Kerouac called Moraff "the best girl poet writing in America". "citebook/title=The Beat Generations Writers/author=A Robert Lee/year=1996
Moraff and her lover moved to Vermont in late 1961, where they built a small one-room cabin on land belonging to a former
Black MountainCollege student with whom they exchanged work for rent. At that time Barbara was experimenting writing SOUND poetry (see Denise Levertovarticle, Virginia Quarterly, aligning Moraff, Duncan, Creeley, Olson).
Moraff's first child, Alesia, was born in 1966 and shortly afterward she bought a remote hilltop farm in
Strafford, Vermont. She taught herself organic farming practices and for many years raised the family's food and kept a cow and two goats. She made cheese and studied medicinal herbs. Her son Marco was born in 1971. In 1972 he was diagnosed with cystic fibrosis.
In 1973, Moraff founded
Vermont Artisans, Vermont's first craft sales and educational cooperative. She studied human nutrition and after 3 years of research devised a nutritional plan for Marco, which resulted in the writing of THE COOKBOOK/HANDBOOK TO NUTRITION FOR KIDS WHO HAVE CYSTIC FIBROSIS. It was considered crazy to even discuss nutritional problems, let alone write a cookbook for children who required enzymes at every meal in order to metabolize food nutrients. Moraff self-published the book; it can be found in the CF Foundation's library, and is used by physicians who agree with her commonsense approach of telling one's child that it is his/her body that is ill, not the child-as-person.
Marco grew healthy and ran long-distance track in high school. He became an artist, and many of his works are now in private collections. He also designed and built furniture using driftwood, branchwood, marble, and slate. He died in April 2007 as a result of his
Chogyam Trungpain 1974 through Allen Ginsberg. She thought she could learn Tibetan Buddhist breathing methods to help Marco develop lungs strong enough to resist the early ravages of CF.
Moraff continued her Buddhist practice and study, attending the last seminary at which Trungpa was present, and later, ngedon school.
Moraff began writing poetry again in 1976 when asked by a feminist lesbian press to sit on its editorial board. There she edited the magazine
CONCHand co-edited an anthology of local women's writings and art. This included the first published work of Louise Erdrich.
Moraff is currently (2007) editing and collating a collection of prevously published and unpublished work and is also working on a new collection (tentative title Machig Labdron Songs). Forthcoming in late spring 2007 is a booklet from Longhouse Publishers, FOOTPRINT.
Although partially disabled, Moraff is still able to produce some pottery, mostly commissioned dinner sets. In the summer, she bakes wholegrain sourdough bread and sells it at local farmers' markets.
Here is one of the Machig poems:Machigma to Chundrak Dorje (
Well, I've given up on timeIt's overrated& simplicity? a few wildwith domesticatedflowers in a simpatico vase.
A letter arrives postmarked Aprilin July, my month. Got lost. Got found. Foundmy box. Well, it's about Stanley. Stanley died.Of a self-inflicted life.& someone shot his Beagle. That dog was hislife.Petra says she finds traces he leftin the woods he loved but wonders whyhe drug a wagonwheel upside Boomer Mountain& left it leaning on his mother's gracestone instead of flowers even plastic & why he leftbackseat of the old blue Valiantjust inside the line of balsams facingmy old house. Well, he had to keepan eye on the hippieshe believed we were because only crazy hippieswould hv come on purpose to thse woodsback of nowhere. I think I leftsomeething there also, like a poem about Stan& his Percherons sugaring in the cathedralof the cold Spring trees. oh it was real
Copyright Barbara Moraff 2006
Barbara's publishers: Toothpaste Press, Potes & Poets Press, Longhouse, Coffeehouse Press, White Pine Press, O'Leary Family, Nomad London, Totem-Corinth (4 Young Lady Poets), Snakestail/High risk (A Different Beat), and the usual "many magazines & journals" & antholgies including Evergreen Revew, Yögen, Trobar, Kauri, Femora, Fuckyou, Beatitude, Bluebeat, Beat Scene, The Nation, Yale Penny Poems, Virginia Quarterly, Origin, Longhouse, Wormwood Review, Rosebud, Cedar Rock, Plucked Chicken, Wildflower, Van Gogh's Ear, Valley News, L.A. Weekly, Vajradhaty Sun, Sulfur, Cipher Journal, Abraxas, Bloodroot, et. Barbara also appears in two movies: an anti-war film Button, Button (aired on CBS) and Enlightened Society (Vajradhatu Films).
This article was provided by Barbara Moraff on March 17, 2007, and typed here by BethPoet on April 23, 2007. Extensively edited by Leonora Forslund on April 11, 2008.
*"Deadly Nightshade (Morning Coffee Chapbook)", Coffee House Press 1989
*"You've got me (Scout)", Longhouse 1987
*"Contra La Violencia", White Pine Press 1985
*"Telephone company repairman poems", Toothpaste Press 1983
*"Mister", Penny poems 1952
*"Learning to Move"
*"Open to the Other"
*"Potterwoman Book 2"
*"A Single Branch, A Single Flower Enough"
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