Nineties heritage, as it could start from State College, works under the aegis of what was being imbibed by the kiddies— not uppers or downers (that much), but hallucinogenics. Many nights in the mid-to-late Nineties, the Nineties revolution in State College was a revolution-in-consciousness around skewered perspectives, visionary trances, and painterly firmaments. State College was and is serviced, in this respective, by something beneath the surface which illuminates the entirety of Happy Valley, and central Pennsylvania— a mystique emanating from Mother Nature herself, around a sense of earth magic resonating from the greener areas in and around State College. Nature breathes there. Hallucinogens heighten the sense of ecstasy and fulsomeness bestowed by greenery on the place.
No joke that, on the syllabus for true Nineties State College hipsters, a place was made for the French Symbolist poets of the nineteenth century— Rimbaud, Baudelaire, Verlaine. Hipsterism, in an era of turmoil, balanced imperatives other than just popular music and parties— reading culture in State College wasn't nothing. Other than the philosophy texts I was studying, up to and including Kant and over to the Deconstructionists (philosophy was my major at PSU, and my philosophy credits did transfer over to Penn), the heaviest lit in my brain were the Symbolists, who took all of our sense of being on trips and navigating mind-scapes and articulated what we couldn't, yet.
So, the lot of us had not just a sense of a soundtrack for our adventures— we had texts which meant something to us, which were also conduits to our personal (and collective) revolutions. The poem from Something Solid, Season in Hell: White Candle takes, and places this set of circumstances on the table for all to see. Rimbaud, in his masterwork, enacts an interior process in text of complete personal revision and revolution of self. My poem takes what was already transformative and makes it do double-time, enumerating not only a personal revolution but a revolution pertaining to the rigors of early marriage. Marriage and Rimbaud are not naturally simpatico; but the Nineties sense of unlikely juxtapositions (including State College's game of class-confounding) take, and make the contingencies which serve the poem resonate to a Symbolistic frequency. Such is one pertinent manifestation of Nineties-ism. Other, similar early work, like Room 510 Atherton Hilton, The dawn broke over our bodies, and Song for Maria, takes Symbolist impulses and radically eroticizes them, working along a vibe axis of enchantment/damnation, searching for a potent voice still youthful, still casual (if passionate), in heaven/hell. If something or someone was supposed to be inhibiting our creativity, they failed.
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On a more practical note: State College in the 90s was
very strange. It should've been that, being an artist and coming from a
background steeped in the arts, I would feel uncomfortable and disoriented
there. After all, the public associate State College and Penn State
with football, Joe Paterno, and little else. Granted, PSU State College is a
high-ranking school with several outstanding departments (including continental
philosophy, which was my major), but its image or "face to the world"
is all about athletics. It's just that I didn't find State College that
limiting. There was an active underground scene in the arts in the 90s, which included inspired participants, and which
gave the place some real vitality.
I moved to State College
in '94 without formalizing any plans to do theater or anything theater related.
I had spent the summer of '92 at Carnegie Mellon doing pre-college for acting,
but it hadn't led anywhere. What theater at PSU had going that I was intrigued
with was a weekly series of plays, written by students and graduate students
and produced by them too: Outlaw Playwrights. By the spring of '95, I was
actively writing plays, because the outlet to have them produced was there. By
the the spring of '99 (I had left a script in late '98 once I'd moved to NYC),
I'd had four one-acts produced.
State College had an active
indie rock scene, too. Summer in State College in the 90s can't have been that
much different than Athens,
Georgia in the
early 80s. The whole town was slowed down. Everyone involved in State College Indie lived in a room in a house and there
were house parties all the time. What State College needed, but never got, was
an R.E.M., to be a flagship bearer from State College
to the world. There were candidates; the best and most popular candidate was a
band of which every member was a local icon. They were musically great and very
muscular (and as classicist about musical quality as early R.E.M.) but no one
in the band could sing. If this band had had a Michael Stipe, the whole
movement in State College would've come to the
surface much faster.
People were fucking. To the extent that some arts scenes
in America have problems with this, State College
didn't. The sexual mores were pretty blase about faithfulness and seriousness, too. This extended even to life on campus; North Halls was considered the
"artsy" set of dorms, and I lived there for a long time. The idea of
doing pick-up routines, hanging around playing music and smoking pot, and
grooving on what you were going to do in the arts when you "grew up" was de
rigueur. What was important was that you could live on campus if you were an
artist and still not starve to death spiritually. We all absorbed the 90s
ethos, which amounted to a more tortured and world-weary version of the 60s.
And most of us listened to the same music. Nirvana weren't too big in State College: Smashing Pumpkins, Radiohead, Sonic Youth,
Guided by Voices, the Flaming Lips were all massive. I got into Nick Drake and
Big Star on the side. Brit-Pop, particularly Blur, was around.
How did we relate to the football shenanigans? We didn't.
We simply acted as if they weren't happening. In North Halls, on South Atherton Street,
on West College, you could get away from that crap,
and really do it, and mean it. Although visiting East Halls was always a fun
education on what it meant to live on the dark side of things.
I enjoyed my philosophy classes, and did well in them. They
were a handful of other courses I liked. If I often flaked out on Gen Ed
requirements, it's because I was a flake in many ways in those days. Philosophy
engaged me; other than that, my mind was possessed by the arts. Or intoxicants. By 1997, they were coffeeshops in
State College where, if you knew the right people,
you could buy gooballs over the counter. Or smoke a joint openly sitting out in
the cafe. Bohemia,
and the scandals in it. Bohemia styled, also, in a down-home mode for central Pa.
The last six
months I spent in State College in '98 were
the happiest. It was a bacchanal to match anything in Philly, Chicago, NYC or DC. And if no one in the
wider world knew or cared that it was happening, we were too young to notice or
fret that this was the case. We'd get to that later.
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