We gathered in a circle, some of us in chairs, others of us on blankets, on a sunny afternoon, celebrating a friend’s 40th birthday. It’s a lovely day — quality time with friends, all of us pleased to be together, laughing, telling stories, sharing observations and enthusiasms. Afterwards, I reflect upon Allen Ginsberg’s centering of Carrie Nation in the midst of the vortex in his antiwar poem “Wichita Vortex Sutra.” Nation was a temperance zealot. She ran around cities like Wichita attacking alcohol-serving establishments with a hatchet in the decades prior to Prohibition. I recall there being a straightedge band named after her in the 1990s, as well as a fictional band in Russ Meyer’s 1970 film Beyond the Valley of the Dolls. Is Ginsberg suggesting that Prohibition birthed Vietnam? What is a vortex? In his 1914 essay “Vortex,” modernist poet Ezra Pound described the latter as “the point of maximum energy.” But of course, Pound was a fascist. Is his essay one we need to read to understand Ginsberg? It’s a modernist manifesto, one that launched the short-lived movement known as Vorticism. (British fascist Wyndham Lewis is the other major figure linked with the movement.) Pound was obsessed with “race” and “race-memory” and attacked hedonism. Yet he’s widely considered one of the most influential poets of the twentieth century. The “Vortex” essay ends with a quote from Pound’s lover and contemporary, the modernist poet H.D. The latter is a curious figure, for sure. H.D. experienced “visions,” sought treatment from Sigmund Freud, and dabbled in the occult. For further discussion of H.D.’s interest in the latter, see Matte Robinson’s book The Astral H.D.: Occult and Religious Sources and Contexts for H.D.’s Poetry and Prose.