(no subject)
But probably the most endearing thing about Jeejee was his intense enthusiasm for anything he happened to take up, even when it was demonstrated beyond a shadow of a doubt that he could not achieve success in that sphere of activity. When Larry had first met him he had decided to be one of India’s greatest poets and with the aid of a compatriot who spoke little English (‘he vas my compositor,’ Jeejee explained) he started a magazine called Poetry for the People, or Potry for the Peeple or Potery for the Peopeople, depending on whether Jeejee was supervising his compositor or not. This little magazine was published once a month, with contributions from everyone that Jeejee knew, and some of them made strange reading, as we discovered, for Jeejee’s luggage was full of blurred copies of his magazine which he would hand out to anyone who displayed interest.
Perusing them we discovered such interesting items as ‘The Potry of Stiffen Splendour - a creetical evaluation’. Jeejee’s compositor friend apparently believed in printing words as they sounded, or, rather, as they sounded to him at that moment. Thus there was a long and eulogistic article by Jeejee on ‘Tees Ellyot, Pot Supreme’. The compositor’s novel spelling combined with the misprints naturally to be found in such a work, made reading it a pleasurable though puzzling occupation. ‘Whye Notte a Black Pot Lorat?’, for example, posed an almost unanswerable question, written apparently in Chaucerian English; while the article entitled ‘Roy Cambill, Ball Fighter and Pot’, made one wonder what poetry was coming to. However, Jeejee was undaunted by the difficulties, including the fact that his compositor never pronounced the letter ‘h’ and so never used it. His latest enthusiasm was to start a second magazine (printed on the same hand-press with the same carefree compositor), devoted to his newly evolved study of what he called ‘Fakyo’, which was described in the first copy of Fakyo for All as ‘an amalgum of the misterious East, bringing together the best of Yoga and Fakirism, giving details and tiching people ow’.
Perusing them we discovered such interesting items as ‘The Potry of Stiffen Splendour - a creetical evaluation’. Jeejee’s compositor friend apparently believed in printing words as they sounded, or, rather, as they sounded to him at that moment. Thus there was a long and eulogistic article by Jeejee on ‘Tees Ellyot, Pot Supreme’. The compositor’s novel spelling combined with the misprints naturally to be found in such a work, made reading it a pleasurable though puzzling occupation. ‘Whye Notte a Black Pot Lorat?’, for example, posed an almost unanswerable question, written apparently in Chaucerian English; while the article entitled ‘Roy Cambill, Ball Fighter and Pot’, made one wonder what poetry was coming to. However, Jeejee was undaunted by the difficulties, including the fact that his compositor never pronounced the letter ‘h’ and so never used it. His latest enthusiasm was to start a second magazine (printed on the same hand-press with the same carefree compositor), devoted to his newly evolved study of what he called ‘Fakyo’, which was described in the first copy of Fakyo for All as ‘an amalgum of the misterious East, bringing together the best of Yoga and Fakirism, giving details and tiching people ow’.