Allen Ginsberg
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Beat Generation and Postmodernism: Deconstructing the Narratives of America
2015 Beat Generation and Postmodernism: Deconstructing the Narratives of America Nicolas Deskos 10623272 MA Literary Studies: English Literature and Culture Supervisor: Dr Roger Eaton University of Amsterdam Contents Introduction 3 The American Dream 3 The Beat Generation 5 Postmodernism 8 Outline 9 Chapter 1: On the Road to a Postmodern Identity 11 Promise of the Road and Its Reality 12 What it Means to Be American 15 Searching for a Transcendent Identity 17 Chapter 2: Deconstructing Burroughs’ ‘Meaningless Mosaic’ 22 Language as a System of Control 23 Metafiction in Naked Lunch 27 Chapter 3: Ginsberg’s Mythical Heroes 32 Fragmentation of the Self 34 Heroes of the Past 39 Conclusion 43 Works Cited 47 2 Introduction This research aims to reinterpret and recontextualise the principal Beat writers – Jack Kerouac, Allen Ginsberg, and William S. Burroughs – from the theoretical perspective of postmodernism. I aim to go beyond the traditional interpretation of the Beat Generation as a countercultural, counterhegemonic movement and challenge the “binary opposition between the establishment culture and a dissenting counterculture” (Martinez 7). Through the interpretative paradigm of postmodernism, I want to show that the Beat writers were concerned with the tension between the myths of America and its reality, appropriating one’s identity in the face of a dominant culture, and questions surrounding being, existence and reality. In doing so, I will locate their texts within the discourses of the mainstream as opposed to at its margins. Thus, I will argue that Burroughs, Kerouac and Ginsberg deconstruct, in their own ways, the official and mythical narratives of America, particularly the narrative on which the country is built: the American Dream. -
Kaddish Y Otros Poemas (1958-1960)
www.elboomeran.com Allen Ginsberg Kaddish y otros poemas (1958-1960) Epílogo de Bill Morgan Traducción de Rodrigo Olavarría EDITORIAL ANAGRAMA BARCELONA 001-216 Kaddish.indd 5 05/05/2014 18:28:13 www.elboomeran.com Título de la edición original: Kaddish and Other Poems: 1958-1960 City Lights Books San Francisco, 1961 Queremos manifestar nuestro agradecido reconocimiento a Peter Hale, del Allen Ginsberg Trust, por autorizar la reproducción de fotografías de Allen Gins- berg, facsímiles del manuscrito original, el ensayo «Cómo ocurrió “Kaddish”» y el retrato de Allen Ginsberg que perteneció a Naomi Ginsberg. Diseño de la colección: Julio Vivas y Estudio A Ilustración: foto © Allen Ginsberg Collection Primera edición: junio 2014 © De la traducción, Rodrigo Olavarría, 2014 © Del epílogo, Bill Morgan, 2010 © Allen Ginsberg, 1961 © EDITORIAL ANAGRAMA, S. A., 2014 Pedró de la Creu, 58 08034 Barcelona ISBN: 978-84-339-7897-4 Depósito Legal: B. 9776-2014 Printed in Spain Reinbook Imprès, sl, av. Barcelona, 260 - Polígon El Pla 08750 Molins de Rei 001-216 Kaddish.indd 6 08/05/2014 15:20:24 www.elboomeran.com Dedicado a Peter Orlovsky en el Paraíso «Prueba el sabor de mi boca en tu oreja» 001-216 Kaddish.indd 7 05/05/2014 18:28:13 www.elboomeran.com KADDISH For Naomi Ginsberg, 1894-1956 I Strange now to think of you, gone without corsets & eyes, while I walk on the sunny pavement of Greenwich Vil- lage. downtown Manhattan, clear winter noon, and I’ve been up all night, talking, talking, reading the Kaddish aloud, listening to Ray Charles blues shout -
A Marxist Analysis of Beat Writing and Culture from the Fifties to the Seventies
The Working Class Beats: a Marxist analysis of Beat Writing and Culture from the Fifties to the Seventies. Paul Whiston Sheffield University, United Kingdom Introduction: a materialist concept of ‘Beat’ The Beat Generation was more than just a literary movement; it was, as John Clellon Holmes, stated ‘an attitude towards life’.1 In other words, the Beat movement was a social, cultural and literary phenomenon. I will analyse what this Beat ‘attitude’ actually meant and also what the relationship between the literature and the Beat culture was. In A Glossary of Literary Terms Abrams defines ‘Beat’ as signifying ‘both “beaten down” (that is, by the oppressive culture of the time) and “beatific” (many of the Beat writers cultivated ecstatic states by way of Buddhism, Jewish and Christian mysticism, and/or drugs that induced visionary experiences)’.2 My focus will be on the beaten down aspects of Beat writing. I will argue that this represents a materialist concept of ‘Beat’ (as opposed to the ‘spiritual’ beatific notion) which aligns with Marx’s ideas in The German Ideology.3 Given that ‘beaten down’ is defined in terms of cultural oppression I will put forward the thesis that the culturally oppressed writers of the Beat Generation were those of a working-class background (particularly Cassidy and Bukowski) and it was their ability to create a class-consciousness that gave Beat writing and culture its politically radical edge. 1 I question the extent to which the likes of Ginsberg and Kerouac were really ‘beaten down’. Evidence will be shown to prove that most of these ‘original’ Beats had a privileged upbringing and a bourgeois/bohemian class status, therefore being ‘Beat’, for them, was arguably a ‘hip’ thing to be, an avant-garde experiment. -
Kaddish" by Allen Ginsberg by Donnie Mather
The Journey to the Stage: "Kaddish" by Allen Ginsberg By Donnie Mather "Kaddish" by Allen Ginsberg is an unrelenting expression of grief in poetic narrative written mostly in a marathon 36 hour session fueled by uppers and coffee. In transferring this monolithic text to the environs of theatre, many humbling questions spring to mind. How does one capture the original energy behind this seminal exertion of poetry? How does one meet such specific personal experience? What is the theatrical equivalent to the non-linear recollection of thoughts, memories, and nightmares searching for peace and grace? The poem “Kaddish” is largely the story of Allen’s mother, Naomi Ginsberg. Naomi's journey began with her immigration as a child from Russia to make a new life in New Jersey where she battled mental illness in adulthood--and ended with a stroke while committed to a mental institution on Long Island. Allen signed for her eventual lobotomy that most likely led to her untimely stroke. Previously, Allen had written notes for years in his journals including false starts of poems about his relationship with Naomi. But, it was the finality of her death that was the catalyst for "Kaddish". The beauty of the poem is in the words. I love poetry. I love poetic theatre. I first read "Kaddish" fifteen years ago. As I did, the words leapt off the page for me begging to be given physical form. I was not alone in this instinct to adapt "Kaddish". In the early 1960's, photographer/filmmaker Robert Frank asked Ginsberg to adapt his poem into a screenplay which he did. -
BEATS and GINNSBERG Badri Prasad Pokharel∗ ABSTRACT Every Literary Movement Has a Potential to Influence the Future Generation
BEATS AND GINNSBERG Badri Prasad Pokharel∗ ABSTRACT Every literary movement has a potential to influence the future generation. In this context, the Beat Generation, a literary movement was started shortly after the World War II by some ángry young men' or rebellious personalities who were seeking another world for the adjustment away from the confinements of the established norms and conventions. The post war period was a time when many people from every nook and corner were in pursuit of liberation in works, life style and other alternate forms of livelihood. 'Beat' writers, though they didn't follow the established patterns, were socially and culturally accepted by the then young generation either in the group of 'hippie', or in the hallucinogenic world. Engaging in norcotic intoxication, Immoral and unsocial activities like gay marriage, homosexuality etc., purposeless wanderings, practicing Eastern religious activities etc. sound, in a sense, completely non sense, but what can be perceived from those abovementioned activities is that the young generation had been fed up with the established terms and conditions and was on the way of exploring new world. In short, the 'Beats' have shown a way to the aspired youth for an alternate source of creativity. INTRODUCTION In the late 1940s and early 50s the Beat Generation also known as the Beat Movement emerged with the works of some writers such as Allen Ginsberg, Jack Kerouac, and William Burroughs, Herbert Huncke, Gregory Corso. It was Jack Kerouac, an acknowledged leader and spokesman of the Beat Generation, who for the first time introduced the phrase "Beat Generation" in 1948 to characterize the underground and anti conformist youth gathering in New York. -
The Personal Poetics of Robert Lowell and Allen Ginsberg
MCNEES, MATTHEW J., Ph.D. Suffering and Liberation: The Personal Poetics of Robert Lowell and Allen Ginsberg. (2011) Directed by Drs. Keith Cushman and Anthony Cuda. 174 pp. This dissertation examines Robert Lowell and Allen Ginsberg’s personal poetry. While both poets attend to the random details of daily life, thereby establishing common ground as autobiographical writers, they differ markedly in their perspectives about the value of those details. Lowell possesses a stark, often nihilistic view, attesting to the irredeemable suffering of humanity; Ginsberg ascribes to a self-confident, sometimes larger-than-life persona, believing that complete freedom from fear is possible for everyone. My approach is roughly chronological, beginning when both poets committed themselves to personal, autobiographical poetry during the 1950s. The temporal frame of the study, with a few exceptions, spans from the early 1950s through the l970s. I give due attention to each poet’s “breakthrough” work in the 1950s--like Ginsberg’s Howl and Lowell’s Life Studies--but I also place both poets on a larger continuum that began before they wrote their breakthrough works and lasted beyond their initial success. I explain Lowell and Ginsberg’s place in the broader literary history of the modern poets that immediately preceded them. Each found the tenets of modern poetry limiting to his personal approach and found it necessary to resuscitate the value of individual, personal subjectivity, something that countered the prevailing notions of objective poetry as put forth most notably by T. S. Eliot. Lowell’s commitment to personal poetry came after he had already established his reputation in the 1940s, so his break into personal poetry was highly self-conscious; Ginsberg committed to it early and he never wavered in his approach. -
Wholly Communion, Literary Nationalism, and the Sorrows of the Counterculture Daniel Kane
Wholly Communion, Literary Nationalism, and the Sorrows of the Counterculture Daniel Kane all those americans here writing about america it’s time to give something back, after all our heroes were always the gangster the outlaw why surprised you act like it now, a place the simplest man was always the most complex you gave me the usual things, comics, music, royal blue drape suits & what they ever give me but unreadable books? Tom Raworth, “I Mean” These opening lines from “I Mean” by British poet Tom Raworth, published in 1967 in Raworth’s fi rst full- length collection, The Relation Ship (Goliard Press),1 stand as a kind of metaphor for a larger problem facing British avant- garde poetry in the 1960s. Put simply, “I Mean” addresses an “American” infl uence on British letters that was to weigh heavily on poets challenging the restrained formalism and hostility to the modernist project characteris- tic of the British “Movement” poets.2 How were the many Beat and Black Mountain– enamored versifi ers of Albion to be innovative on their own terms? The avant- garde, as Raworth seems to have it, is predicated on the aura of the “outlaw,” the “gangster.” Such fi gures are suggestively American, par- ticularly when read within the context of the poem’s opening lines. American signs pointing the way forward for a developing British poetics include an idealized simplicity, comics, and music.3 Raworth’s poem works in part to ask whether the English will be able to “give something back.” What would that “something” sound like? What would it look like? Would it be somehow Framework 52, No. -
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A Transnational Reading of Allen Ginsberg and the Soviet Estradny Movement
AvantGardes at the Iron Curtain: A Transnational Reading of Allen Ginsberg and the Soviet Estradny Movement by Gregory M. Dandeles A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (English Language and Literature) in the University of Michigan 2017 Doctoral Committee: Professor John A. WhittierFerguson, Chair Associate Professor Julian Arnold Levinson Associate Professor Joshua L. Miller Associate Professor Benjamin B. Paloff Gregory M. Dandeles [email protected] ORCID iD: 0000000347162210 © Gregory M. Dandeles 2017 i Table of Contents: List of Figures iii Abstract iv Introduction: AvantGardes at the Iron Curtain 1 Chapter I: Transnational Beatnik: Russia in Allen Ginsberg’s Early Poetry 19 Chapter II: Red Cats: Allen Ginsberg in Translation and Propaganda 35 Chapter III: Planet News in 1965: The Estradny Movement’s Impact on Ginsberg’s Poetry 69 Conclusion: AvantGardes After the Iron Curtain 114 Appendix 122 Bibliography 130 ii List of Figures Fig. 1. The caption of this Sovietera propaganda says “Freedom, American Style.” 27 Fig. 2. This Khrushchevera poster promises “Hybrid seeds are the key to high 47 corn yields!” Fig. 3. The cover of a Russian pamphlet of “Howl” (Вой) depicting the “Moloch” 50 figure Fig. 4. “The Moloch of Totalitarianism,” by Nina Galitskaya 51 Fig. 5. The cover of “Red Cats” painted by Lawrence Ferlinghetti 63 Fig. 6. Andrei Voznesensky, “Portrait of Allen Ginsberg,” hair and open cuffs, 1991 65 Fig. 7. Sheet music for “On Jessore Road,” published with the poem in Collected 109 Poems Fig. 8. -
Allen Ginsberg Film and Video Archive, 1983 - 1996
http://oac.cdlib.org/findaid/ark:/13030/tf4d5nb0gw No online items Guide to the Allen Ginsberg film and video archive, 1983 - 1996 Processed by Steven Mandeville-Gamble; machine-readable finding aid created by Steven Mandeville-Gamble Department of Special Collections Green Library Stanford University Libraries Stanford, CA 94305-6004 Phone: (650) 725-1022 Email: [email protected] URL: http://library.stanford.edu/spc/ © 2001 The Board of Trustees of Stanford University. All rights reserved. Guide to the Allen Ginsberg film Mss Media 0004 1 and video archive, 1983 - 1996 Guide to the Allen Ginsberg film and video archive, 1983 - 1996 Collection number: Mss Media 0004 Department of Special Collections and University Archives Stanford University Libraries Stanford, California Contact Information Department of Special Collections Green Library Stanford University Libraries Stanford, CA 94305-6004 Phone: (650) 725-1022 Email: [email protected] URL: http://library.stanford.edu/spc/ Processed by: Steven Mandeville-Gamble Date Completed: 2001 Sept. Encoded by: Steven Mandeville-Gamble © 2001 The Board of Trustees of Stanford University. All rights reserved. Descriptive Summary Title: Allen Ginsberg film and video archive, Date (inclusive): 1983 - 1996 Collection number: Mss Media 0004 Creator: Aronson, Jerry Extent: 154 videotapes Repository: Stanford University. Libraries. Dept. of Special Collections and University Archives. Language: English. Access Restrictions None. Publication Rights Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections. Provenance Purchased, 2001. Preferred Citation: [Identification of item], Allen Ginsberg film and video archive, Mss Media 0004, Dept. -
Allen Ginsberg's Genius
Allen Ginsberg’s genius for public life should not obscure his genius as an artist or his study of his art. —ROBERT PINSKY, 1997 U.S. POET LAUREATE Allen Ginsberg’s PREFACE Genius The Secret or Hermetic Tradition In 1957, at the age of fifteen, I bought for seventy-five cents a copy of the City Lights paperback edition of Howl and Other Po- ems with the trademark black-and-white cover. It was the first book of poetry I ever bought, and it made me feel as cool as any- one in my high school. Howl was underground poetry, outlawed poetry. Ginsberg made it seem as though it was cool to be a teen and that teens, not adults, knew what was cool. To those of us— I wasn’t the only teenage beatnik in suburbia—who owned a copy, Howl conferred a strange power. Reading it brought initi- ation into a secret society. It bound us together and gave us a sense of identity as members of a new generation that had come of age in the wake of World War II and the atomic bomb, a gen- eration that lived in the shadow of nuclear apocalypse. There was something wonderfully subversive about Howl, something the poet had hidden in the body of the poem because it was too dan- gerous to say openly, something we had to uncover and decode. xi xii / Preface Ginsberg didn’t want to be too easily understood. As he himself would explain, Howl was meant to appeal “to the secret or her- metic tradition of art.” Of course, as a teenager I didn’t know there was a secret tradition of art. -
From a Jewish Communist to a Jewish Buddhist: Allen Ginsberg As a Forerunner of a New American Jew
Article From a Jewish Communist to a Jewish Buddhist: Allen Ginsberg as a Forerunner of a New American Jew Yaakov Ariel Department of Religious Studies, The University of North Carolina at Chapel Hill, 106 Carolina Hall, UNC Campus, Chapel Hill, NC 27599, USA; [email protected] Received: 21 December 2018; Accepted: 31 January 2019; Published: 7 February 2019 Abstract: The article examines Allen Ginsberg’s cultural and spiritual journeys, and traces the poet’s paths as foreshadowing those of many American Jews of the last generation. Ginsberg was a unique individual, whose choices were very different other men of his era. However, it was larger developments in American society that allowed him to take steps that were virtually unthinkable during his parents’ generation and were novel and daring in his time as well. In his childhood and adolescence, Ginsberg grew up in a Jewish communist home, which combined socialist outlooks with mild Jewish traditionalism. The poet’s move from communism and his search for spirituality started already at Columbia University of the 1940s, and continued throughout his life. Identifying with many of his parents’ values and aspirations, Ginsberg wished to transcend beyond his parents’ Jewish orbit and actively sought to create an inclusive, tolerant, and permissive society where persons such as himself could live and create at ease. He chose elements from the Christian, Jewish, Native-American, Hindu, and Buddhist traditions, weaving them together into an ever-growing cultural and spiritual quilt. The poet never restricted his choices and freedoms to one all- encompassing system of faith or authority.