Howl and Other Poems
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One Fast Move Or IFINAL
1 One Fast Move or I’m Gone: Kerouac’s Big Sur. Dir. Curt Worden. Perfs. Joyce Johnson, Lawrence Ferlinghetti, Carolyn Cassady, John Ventimiglia, Tom Waits, Sam Shepard, Patti Smith, Bill Morgan, Brenda Knight, and others. DVD. Kerouacfilms, 2008. $29.98 Reviewed by Tom Pynn If you think Kerouac found salvation on the road . you don’t know jack. Since 1986 we’ve had a handful of films about Jack Kerouac and the “beat generation” that have appealed to a general audience. Documentaries such as John Antonelli’s Kerouac (1986), Lerner and MacAdams’ What Happened to Kerouac? (1986), and, more recently, Chuck Workman’s The Source (2000), however, fail to get to the heart of the matter concerning the works themselves, but have instead tended to focus on the lives of the artists. This conceptual failure has tended to perpetuate the cult(s) of personality of particular members, mostly the men, while obscuring the deeper significance of the works and the place in American arts and letters of these important writers and artists. Beat Studies scholars have therefore faced difficult challenges in convincing the public and academia of the importance of the literature and elevating Kerouac et al. beyond mere fodder for Euro-American teenage male fantasy, which is especially true of the work of Jack Kerouac, the so-called “King of the Beats.” Curt Worden and Jim Sampas’ One Fast Move or I’m Gone, therefore, is a welcome addition to the scholarship devoted to excavating the depth and richness of Kerouac’s work. Unlike previous documentaries, this one focuses exclusively on what has sometimes been called his last great novel, Big Sur (1962). -
Naked Lunch for Lawyers: William S. Burroughs on Capital Punishment
Batey: Naked LunchNAKED for Lawyers: LUNCH William FOR S. Burroughs LAWYERS: on Capital Punishme WILLIAM S. BURROUGHS ON CAPITAL PUNISHMENT, PORNOGRAPHY, THE DRUG TRADE, AND THE PREDATORY NATURE OF HUMAN INTERACTION t ROBERT BATEY* At eighty-two, William S. Burroughs has become a literary icon, "arguably the most influential American prose writer of the last 40 years,"' "the rebel spirit who has witch-doctored our culture and consciousness the most."2 In addition to literature, Burroughs' influence is discernible in contemporary music, art, filmmaking, and virtually any other endeavor that represents "what Newt Gingrich-a Burroughsian construct if ever there was one-likes to call the counterculture."3 Though Burroughs has produced a steady stream of books since the 1950's (including, most recently, a recollection of his dreams published in 1995 under the title My Education), Naked Lunch remains his masterpiece, a classic of twentieth century American fiction.4 Published in 1959' to t I would like to thank the students in my spring 1993 Law and Literature Seminar, to whom I assigned Naked Lunch, especially those who actually read it after I succumbed to fears of complaints and made the assignment optional. Their comments, as well as the ideas of Brian Bolton, a student in the spring 1994 seminar who chose Naked Lunch as the subject for his seminar paper, were particularly helpful in the gestation of this essay; I also benefited from the paper written on Naked Lunch by spring 1995 seminar student Christopher Dale. Gary Minda of Brooklyn Law School commented on an early draft of the essay, as did several Stetson University colleagues: John Cooper, Peter Lake, Terrill Poliman (now at Illinois), and Manuel Ramos (now at Tulane) of the College of Law, Michael Raymond of the English Department and Greg McCann of the School of Business Administration. -
“Howl”—Allen Ginsberg (1959) Added to the National Registry: 2006 Essay by David Wills (Guest Post)*
“Howl”—Allen Ginsberg (1959) Added to the National Registry: 2006 Essay by David Wills (guest post)* Allen Ginsberg, c. 1959 The Poem That Changed America It is hard nowadays to imagine a poem having the sort of impact that Allen Ginsberg’s “Howl” had after its publication in 1956. It was a seismic event on the landscape of Western culture, shaping the counterculture and influencing artists for generations to come. Even now, more than 60 years later, its opening line is perhaps the most recognizable in American literature: “I saw the best minds of my generation destroyed by madness…” Certainly, in the 20h century, only T.S. Eliot’s “The Waste Land” can rival Ginsberg’s masterpiece in terms of literary significance, and even then, it is less frequently imitated. If imitation is the highest form of flattery, then Allen Ginsberg must be the most revered writer since Hemingway. He was certainly the most recognizable poet on the planet until his death in 1997. His bushy black beard and shining bald head were frequently seen at protests, on posters, in newspapers, and on television, as he told anyone who would listen his views on poetry and politics. Alongside Jack Kerouac’s 1957 novel, “On the Road,” “Howl” helped launch the Beat Generation into the public consciousness. It was the first major post-WWII cultural movement in the United States and it later spawned the hippies of the 1960s, and influenced everyone from Bob Dylan to John Lennon. Later, Ginsberg and his Beat friends remained an influence on the punk and grunge movements, along with most other musical genres. -
Lawrence Ferlinghetti, Poet Who Nurtured the Beats, Dies At
Lawrence Ferlinghetti, Poet Who Nurtured the Beats, Dies at 101 An unapologetic proponent of “poetry as insurgent art,” he was also a publisher and the owner of the celebrated San Francisco bookstore City Lights. By Jesse McKinley Feb. 23, 2021 Lawrence Ferlinghetti, a poet, publisher and political iconoclast who inspired and nurtured generations of San Francisco artists and writers from City Lights, his famed bookstore, died on Monday at his home in San Francisco. He was 101. The cause was interstitial lung disease, his daughter, Julie Sasser, said. The spiritual godfather of the Beat movement, Mr. Ferlinghetti made his home base in the modest independent book haven now formally known as City Lights Booksellers & Publishers. A self-described “literary meeting place” founded in 1953 and located on the border of the city’s sometimes swank, sometimes seedy North Beach neighborhood, City Lights, on Columbus Avenue, soon became as much a part of the San Francisco scene as the Golden Gate Bridge or Fisherman’s Wharf. (The city’s board of supervisors designated it a historic landmark in 2001.) While older and not a practitioner of their freewheeling personal style, Mr. Ferlinghetti befriended, published and championed many of the major Beat poets, among them Allen Ginsberg, Gregory Corso and Michael McClure, who died in May. His connection to their work was exemplified — and cemented — in 1956 with his publication of Ginsberg’s most famous poem, the ribald and revolutionary “Howl,” an act that led to Mr. Ferlinghetti’s arrest on charges of “willfully and lewdly” printing “indecent writings.” In a significant First Amendment decision, he was acquitted, and “Howl” became one of the 20th century’s best-known poems. -
Everything Lost
Everything Lost Everything LosT THE LATIN AMERICAN NOTEBOOK OF WILLIAM S. BURROUGHS GENERAL EDITORS Geoffrey D. Smith and John M. Bennett VOLUME EDITOR Oliver Harris THE OHIO STATE UNIVERSITY PRESS / COLUMBUS Copyright © 2008 by the Estate of William S. Burroughs. All rights reserved. Library of Congress Cataloging-in-Publication Data Burroughs, William S., 1914–1997. Everything lost : the Latin American notebook of William S. Burroughs / general editors: Geoffrey D. Smith and John M. Bennett ; introduction by Oliver Harris. p. cm. Includes bibliographical references. ISBN-13: 978-0-8142-1080-2 (alk. paper) ISBN-10: 0-8142-1080-5 (alk. paper) 1. Burroughs, William S., 1914–1997—Notebooks, sketchbooks, etc. 2. Burroughs, William S., 1914–1997— Travel—Latin America. I. Smith, Geoffrey D. (Geoffrey Dayton), 1948– II. Bennett, John M. III. Title. PS3552.U75E63 2008 813’.54—dc22 2007025199 Cover design by Fulcrum Design Corps, Inc . Type set in Adobe Rotis. Text design and typesetting by Jennifer Shoffey Forsythe. Printed by Sheridan Books, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanance of Paper for Printed Library Materials. ANSI Z39.49-1992. 9 8 7 6 5 4 3 2 1 coNtents ACKNOWLEDGMENTS vii INTRODUCTION BY OLIVER HARRIS ix COMMENTS ON THE TEXT BY GEOFFREY D. SMITH xxvii NOTEBOOK FACSIMILE 1 TRANSCRIPT AND FAIR COPY (with notes and variant readings) 105 ABOUT THE EDITORS 217 acknoWledgments First and foremost, the editors wish to thank James Grauerholz, literary execu- tor of the William S. Burroughs estate, for permission to publish this seminal holograph notebook. -
The 1957 Howl Obscenity Trial and Sexual Liberation
Portland State University PDXScholar Young Historians Conference Young Historians Conference 2015 Apr 28th, 1:00 PM - 2:15 PM A Howl of Free Expression: the 1957 Howl Obscenity Trial and Sexual Liberation Jamie L. Rehlaender Lakeridge High School Follow this and additional works at: https://pdxscholar.library.pdx.edu/younghistorians Part of the Cultural History Commons, Legal Commons, and the United States History Commons Let us know how access to this document benefits ou.y Rehlaender, Jamie L., "A Howl of Free Expression: the 1957 Howl Obscenity Trial and Sexual Liberation" (2015). Young Historians Conference. 1. https://pdxscholar.library.pdx.edu/younghistorians/2015/oralpres/1 This Event is brought to you for free and open access. It has been accepted for inclusion in Young Historians Conference by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. A HOWL OF FREE EXPRESSION: THE 1957 HOWL OBSCENITY TRIAL AND SEXUAL LIBERATION Jamie L. Rehlaender Dr. Karen Hoppes HST 201: History of the US Portland State University March 19, 2015 2 A HOWL OF FREE EXPRESSION: THE 1957 HOWL OBSCENITY TRIAL AND SEXUAL LIBERATION Allen Ginsberg’s first recitation of his poem Howl , on October 13, 1955, at the Six Gallery in San Francisco, ended in tears, both from himself and from members of the audience. “The people gasped and laughed and swayed,” One Six Gallery gatherer explained, “they were psychologically had, it was an orgiastic occasion.”1 Ironically, Ginsberg, upon initially writing Howl , had not intended for it to be a publicly shared piece, due in part to its sexual explicitness and personal references. -
The Impact of Allen Ginsberg's Howl on American Counterculture
CORE Metadata, citation and similar papers at core.ac.uk Provided by Croatian Digital Thesis Repository UNIVERSITY OF RIJEKA FACULTY OF HUMANITIES AND SOCIAL SCIENCES DEPARTMENT OF ENGLISH Vlatka Makovec The Impact of Allen Ginsberg’s Howl on American Counterculture Representatives: Bob Dylan and Patti Smith Submitted in partial fulfillment of the requirement for the M.A.in English Language and Literature and Italian language and literature at the University of Rijeka Supervisor: Sintija Čuljat, PhD Co-supervisor: Carlo Martinez, PhD Rijeka, July 2017 ABSTRACT This thesis sets out to explore the influence exerted by Allen Ginsberg’s poem Howl on the poetics of Bob Dylan and Patti Smith. In particular, it will elaborate how some elements of Howl, be it the form or the theme, can be found in lyrics of Bob Dylan’s and Patti Smith’s songs. Along with Jack Kerouac’s On the Road and William Seward Burroughs’ Naked Lunch, Ginsberg’s poem is considered as one of the seminal texts of the Beat generation. Their works exemplify the same traits, such as the rejection of the standard narrative values and materialism, explicit descriptions of the human condition, the pursuit of happiness and peace through the use of drugs, sexual liberation and the study of Eastern religions. All the aforementioned works were clearly ahead of their time which got them labeled as inappropriate. Moreover, after their publications, Naked Lunch and Howl had to stand trials because they were deemed obscene. Like most of the works written by the beat writers, with its descriptions Howl was pushing the boundaries of freedom of expression and paved the path to its successors who continued to explore the themes elaborated in Howl. -
Religion and Spirituality in the Work of the Beat Generation
DOCTORAL THESIS Irrational Doorways: Religion and Spirituality in the Work of the Beat Generation Reynolds, Loni Sophia Award date: 2011 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 28. Sep. 2021 Irrational Doorways: Religion and Spirituality in the Work of the Beat Generation by Loni Sophia Reynolds BA, MA A thesis submitted in partial fulfilment of the requirements for the degree of PhD Department of English and Creative Writing University of Roehampton 2011 Reynolds i ABSTRACT My thesis explores the role of religion and spirituality in the work of the Beat Generation, a mid-twentieth century American literary movement. I focus on four major Beat authors: William S. Burroughs, Allen Ginsberg, Jack Kerouac, and Gregory Corso. Through a close reading of their work, I identify the major religious and spiritual attitudes that shape their texts. All four authors’ religious and spiritual beliefs form a challenge to the Modern Western worldview of rationality, embracing systems of belief which allow for experiences that cannot be empirically explained. -
This Is Not a Dissertation: (Neo)Neo-Bohemian Connections Walter Gainor Moore Purdue University
Purdue University Purdue e-Pubs Open Access Dissertations Theses and Dissertations 1-1-2015 This Is Not A Dissertation: (Neo)Neo-Bohemian Connections Walter Gainor Moore Purdue University Follow this and additional works at: https://docs.lib.purdue.edu/open_access_dissertations Recommended Citation Moore, Walter Gainor, "This Is Not A Dissertation: (Neo)Neo-Bohemian Connections" (2015). Open Access Dissertations. 1421. https://docs.lib.purdue.edu/open_access_dissertations/1421 This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. Graduate School Form 30 Updated 1/15/2015 PURDUE UNIVERSITY GRADUATE SCHOOL Thesis/Dissertation Acceptance This is to certify that the thesis/dissertation prepared By Walter Gainor Moore Entitled THIS IS NOT A DISSERTATION. (NEO)NEO-BOHEMIAN CONNECTIONS For the degree of Doctor of Philosophy Is approved by the final examining committee: Lance A. Duerfahrd Chair Daniel Morris P. Ryan Schneider Rachel L. Einwohner To the best of my knowledge and as understood by the student in the Thesis/Dissertation Agreement, Publication Delay, and Certification Disclaimer (Graduate School Form 32), this thesis/dissertation adheres to the provisions of Purdue University’s “Policy of Integrity in Research” and the use of copyright material. Approved by Major Professor(s): Lance A. Duerfahrd Approved by: Aryvon Fouche 9/19/2015 Head of the Departmental Graduate Program Date THIS IS NOT A DISSERTATION. (NEO)NEO-BOHEMIAN CONNECTIONS A Dissertation Submitted to the Faculty of Purdue University by Walter Moore In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy December 2015 Purdue University West Lafayette, Indiana ii ACKNOWLEDGEMENTS I would like to thank Lance, my advisor for this dissertation, for challenging me to do better; to work better—to be a stronger student. -
City Lights Pocket Poets Series 1955-2005: from the Collection of Donald A
CITY LIGHTS POCKET POETS SERIES 1955-2005: FROM THE COLLECTION OF DONALD A. HENNEGHAN October 2005 – January 2006 1. Lawrence Ferlinghetti. Pictures of the Gone World. San Francisco: City Lights Pocket Bookshop, 1955. Number One 2. Kenneth Rexroth, translator. Thirty Spanish Poems of Love and Exile. San Francisco: City Lights Pocket Bookshop, 1956. Number Two 3. Kenneth Patchen. Poems of Humor & Protest. San Francisco: City Lights Pocket Bookshop, 1956. Number Three 4. Allen Ginsberg. Howl and Other Poems. San Francisco: City Lights Pocket Bookshop, 1956. Number Four 5. Marie Ponsot. True Minds. San Francisco: City Lights Pocket Bookshop, 1956. Number Five 6. Denise Levertov. Here and Now. San Francisco: City Lights Pocket Bookshop, 1957. Number Six 7. William Carlos Williams. Kora In Hell: Improvisations. San Francisco: City Lights Books, 1957. Number Seven 8. Gregory Corso. Gasoline. San Francisco: City Lights Books, 1958. Number Eight 9. Jacques Prévert. Selections from Paroles. San Francisco: City Lights Books, 1958. Number Nine 10. Robert Duncan. Selected Poems. San Francisco: City Lights Books, 1959. Number Ten 11. Jerome Rothenberg, translator. New Young German Poets. San Francisco: City Lights Books, 1959. Number Eleven 12. Nicanor Parra. Anti-Poems. San Francisco: City Lights Books, 1960. Number Twelve 13. Kenneth Patchen. The Love Poems of Kenneth Patchen. San Francisco: City Lights Books, 1961. Number Thirteen 14. Allen Ginsberg. Kaddish and Other Poems. San Francisco: City Lights Books, 1961. Number Fourteen OUT OF SERIES Alain Jouffroy. Déclaration d’Indépendance. San Francisco: City Lights Books, 1961. Out of Series 15. Robert Nichols. Slow Newsreel of Man Riding Train. San Francisco: City Lights Books, 1962. -
Everything Lost the Latin American Notebook of William S
Everything Lost The Latin American Notebook of William S. Burroughs William S. Burroughs Edited by Geoffrey D. Smith, John M. Bennett, and Oliver Harris In late summer 1953, as he returned to Mexico City after a seven-month expedition through the jungles of Ecuador, Colombia, and Peru, William S. Burroughs began a notebook 2007 240 pp. of final reflections on his four years in Latin America. His first novel, Junkie, had just been published and he would soon $59.95 cloth 978-0-842-080-2 be back in New York to meet Allen Ginsberg and together complete the manuscripts of what became The Yage Letters and Queer. Yet this notebook, the sole survivor from that period, reveals Burroughs not as a writer on the verge of success, but as a man staring down personal catastrophe and visions of looming cultural disaster. Losses that will not let go of him haunt Burroughs throughout the notebook: "Bits of it keep floating back to me like memories of a daytime nightmare." However, out of these dark reflections we see emerge vivid fragments of Burroughs's fiction and, even more tellingly, unique, primary evidence for the remarkable ways in which his early manuscripts evolved. Assembled in facsimile and transcribed by Geoffrey D. Smith, John M. Bennett, and Burroughs scholar Oliver Harris, the notebook forces us to change the way we see both Burroughs and his writing at a turning point in his literary biography. William S. Burroughs is recognized as one of the most innovative, politically trenchant, and influential artists of the twentieth century. -
Material Language for Protest Cran, Rona
University of Birmingham Material language for protest Cran, Rona DOI: 10.1080/0950236X.2018.1517105 License: None: All rights reserved Document Version Peer reviewed version Citation for published version (Harvard): Cran, R 2018, 'Material language for protest: collage in Allen Ginsberg's 'Wichita Vortex Sutra'', Textual Practice, vol. 34, no. 4, pp. 669-689. https://doi.org/10.1080/0950236X.2018.1517105 Link to publication on Research at Birmingham portal Publisher Rights Statement: This is an Accepted Manuscript of an article published by Taylor & Francis in Textual Practice on 26/10/2018, available online: http://www.tandfonline.com/10.1080/0950236X.2018.1517105 checked on 6/12/2018 General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain. Where a licence is displayed above, please note the terms and conditions of the licence govern your use of this document.