On the Beat Generation*
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“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. -
American Beat Yogi
Linda T. Klausner Masters Thesis: Literature, Culture, and Media Professor Eva Haettner-Aurelius 22 Apr 2011 American Beat Yogi: An Exploration of the Hindu and Indian Cultural Themes in Allen Ginsberg Klausner ii Table of Contents Preface iii A Note on the Mechanics of Writing v Introduction 1 Chapter 1: Early Life, Poetic Vision, and Critical Perspectives 10 Chapter 2: In India 21 Chapter 3: The Change 53 Chapter 4: After India 79 Conclusion 105 Sources 120 Appendix I. Selected Glossary of Hindi and Sanskrit Words 128 Appendix II. Descriptions of Prominent Hindu Deities 130 Klausner iii Preface I am grateful for the opportunity to have been able to live in Banaras for researching and writing this paper. It has provided me an invaluable look at the living India that Ginsberg writes about, and enabled me to see many facets that would otherwise have been impossible to discover. In the spirit of research and my deep passion for the subject, I braved temperatures nearing 50º Celsius. Not weather particularly conducive to thesis-writing, but what I was able to discover and experience empowers me to do it again in a heartbeat. Since the first draft, I contracted a mosquito-borne tropical illness called Dengue Fever, for which there is no vaccine. I left India for a season to recover, and returned to complete this study. The universe guided me to some amazing mentors, including Anand Prabhu Barat at the literature department of Banaras Hindu University, who specializes in the Eastern spiritual themes of the Beat Generation. She and Ginsberg had corresponded, and he sent her several works including Allen Ginsberg: Collected Works, 1947 – 1980. -
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. -
Countercultural Reflections: the Beat Generation and Occupy Wall Street in Comparative Perspective
Countercultural Reflections: The Beat Generation and Occupy Wall Street in Comparative Perspective. Name: Anita Schmale Student number: 3341623 MA Thesis, American Studies Program, Utrecht University Supervisor: Dr. Joes Segal Date of submission: 25 July 2013 Word Count: 19,892 Table of Contents 1. Introduction 1 2. Identifying the Beat Generation and Occupy Wall Street 7 2.1 Beat Generation 7 2.2 Occupy Wall Street 16 3. Expressions of Countercultural Ideas 26 3.1 Expressions of the Beat Generation 26 3.2 Expressions of Occupy Wall Street 31 4. Theories of Social Movements 35 4.1 Tilly & Tarrow 36 4.1.1 Beat Generation 38 4.1.2 Occupy Wall Street 43 4.1.3 Assessing the Theory 45 4.2 Klaus Eder 46 4.2.1 Beat Generation 49 4.2.2 Occupy Wall Street 52 4.2.3 Assessing the Theory 53 4.3 Gene Sharp 54 4.3.1 Beat Generation 57 4.3.2 Occupy Wall Street 60 4.3.3 Assessing the Theory 62 5. Conclusion 63 Works Cited 71 1. Introduction On September 18, 2011, one day after the so-called “Day of Rage”, The New York Times reports that a group of protesters gathered around the New York Stock Exchange and occupied Wall Street (Moynihan, “Protesters” par. 1). According to the newspaper, the protesters had been planning “September 17” for months and were aiming to occupy Wall Street “as an expression of anger over a financial system that they say favors the rich and powerful at the expense of ordinary citizens” (Moynihan, “Protesters” par. -
An Intersectional Approach to the Work of Neal Cassady
“I a poet too”: An Intersectional Approach to the Work of Neal Cassady “Look, my boy, see how I write on several confused levels at once, so do I think, so do I live, so what, so let me act out my part at the same time I’m straightening it out.” Max Hermens (4046242) Radboud University Nijmegen 17-11-2016 Supervisor: Dr Mathilde Roza Second Reader: Prof Dr Frank Mehring Table of Contents Acknowledgements 3 Abstract 4 Introduction 5 Chapter I: Thinking Along the Same Lines: Intersectional Theory and the Cassady Figure 10 Marginalization in Beat Writing: An Emblematic Example 10 “My feminism will be intersectional or it will be bullshit”: Towards a Theoretical Framework 13 Intersectionality, Identity, and the “Other” 16 The Critical Reception of the Cassady Figure 21 “No Profane History”: Envisioning Dean Moriarty 23 Critiques of On the Road and the Dean Moriarty Figure 27 Chapter II: Words Are Not For Me: Class, Language, Writing, and the Body 30 How Matter Comes to Matter: Pragmatic Struggles Determine Poetics 30 “Neal Lived, Jack Wrote”: Language and its Discontents 32 Developing the Oral Prose Style 36 Authorship and Class Fluctuations 38 Chapter III: Bodily Poetics: Class, Gender, Capitalism, and the Body 42 A poetics of Speed, Mobility, and Self-Control 42 Consumer Capitalism and Exclusion 45 Gender and Confinement 48 Commodification and Social Exclusion 52 Chapter IV: Writing Home: The Vocabulary of Home, Family, and (Homo)sexuality 55 Conceptions of Home 55 Intimacy and the Lack 57 “By their fruits ye shall know them” 59 1 Conclusion 64 Assemblage versus Intersectionality, Assemblage and Intersectionality 66 Suggestions for Future Research 67 Final Remarks 68 Bibliography 70 2 Acknowledgements First off, I would like to thank Mathilde Roza for her assistance with writing this thesis. -
1 the Beat Generation the Beats Were a Criticism of American Complacency Under the Ike-Nixon Regime, an Expression of New Forms
The Beat Generation The Beats were a criticism of American complacency under the Ike-Nixon regime, an expression of new forms of prose, and poetry and an exploration of consciousness, which joined the dissent of existing Bohemias [...] to produce a distinct style of literature and living, based on disaffiliation, poverty, anarchic individualism and communal living. A relaxation of 'square' (puritan, middle-class, respectable) attitudes towards sex, drugs, religion and art became the opposing uniformity of 'beat' -Eric Monstram: The Penguin Companion to Literature The “Beat Generation” is viewed as an influential cultural revolution or a literary movement that emerged in the late 1940’s in the aftermath of World War II. The Beat movement was made up of a broad geographical range, from New York City to San Francisco. At first the majority of the “beats” lived in Greenwich Village, New York. They usually hung out together in coffeehouses, jazz bars, and in Washington Square Park, sharing ideas, creating works of art -especially poetry, listening to music and having wild parties. The poetry and novels they wrote were always about their own life experiences and hence biographical. The autobiographical fiction novels of Jack Kerouac and his fellow Beat writers show that without a specific philosophy, the Beat Generation sought to redefine the American Dream and reject middle class values through the pursuit of kicks and escape from convention. Over View In the Beat Book edited by Ann Waldman, the origin of the phrase is traced back to Jack Kerouac’s conversation with John Clellon Holmes in 1948: 1 They were discussing the nature of generations, recollecting the glamour of the Lost Generation, and Kerouac said, "Ah, this is nothing but a beat generation." They talked about whether it was a "found generation" (as Kerouac sometimes called it), an "angelic generation", or some other epithet. -
Allen Ginsberg
Beat poetry and the twentieth century: Allen Ginsberg Haidee Kotze Beat poetry and the twentieth century: Allen Ginsberg Haidee Kotze B.A., B.A. Hons Dissertation submitted in fulfilment of the requirements for the degree Magister Artium in the Department of English at the Potchefstroorn-u-n-LvAr~itv fnr r.hri~ti::~n l-linh"' r Education I -_F'OTCHEFSTROOMSE UNIVEF:Sirt::n VIR CHO \I~:ttt:YH \'''"•:,¥} 1999 -04-2 1 ~~§.~}/ Supervisor: Mr. J.-L. Kruger Vanderbijlpark November 1998 Acknowledgements I would like to thank the following people and institutions: • My supervisor, Jan-Louis Kruger, for his expertise, empathy and constant support. • Edward, for his love, patience and motivation. • My parents and family, for their continued encouragement and involvement throughout my academic career. • Vernon, for his friendship and compassion. • All my friends, colleagues and lecturers whose interest in this study contributed to it in various ways. • San Geldenhuys, Lizette Marais, Yvonne Engelbrecht and Christelle Oosthuizen of the Ferdinand Postma Library (Vaal Triangle Campus), for their helpful, enthusiastic and prompt assistance. • The Centre for Science Development (HSRC South Africa), for financial assistance. Opinions expressed and conclusions arrived at are not necessarily to be attributed to the Centre for Science Development. • Sentrachem, for the additional financial support which made this study possible. Table of contents 1. Introduction: statement of problem, aims and methods ...... .. ................................. 1 1.1 Contextualisation -
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. -
America Singing Loud: Shifting Representations of American National
AMERICA SINGING LOUD: SHIFTING REPRESENTATIONS OF AMERICAN NATIONAL IDENTITY IN ALLEN GINSBERG AND WALT WHITMAN Thesis Submitted to The College of Arts and Sciences of the UNIVERSITY OF DAYTON In Partial Fulfillment of the Requirements for The Degree of Master of Arts in English Literature By Eliza K. Waggoner Dayton, Ohio May 2012 AMERICA SINGING LOUD: SHIFTING REPRESENTATIONS OF AMERICAN NATIONAL IDENTITY IN ALLEN GINSBERG AND WALT WHITMAN Name: Waggoner, Eliza K. APPROVED BY: ____________________________________________________ Albino Carrillo, MFA Committee Chair ____________________________________________________ Tereza Szeghi, Ph.D. Committee Member ____________________________________________________ James Boehnlein, Ph. D. Committee Member ii ABSTRACT AMERICA SINGING LOUD: SHIFTING REPRESENTATIONS OF AMERICAN NATIONAL IDENTITY IN ALLEN GINSBERG AND WALT WHITMAN Name: Waggoner, Eliza K. University of Dayton Advisor: Mr. Albino Carrillo Much work has been done to study the writings of Walt Whitman and Allen Ginsberg. Existing scholarship on these two poets aligns them in various ways (radicalism, form, prophecy, etc.), but most extensively through their homosexuality. While a vast majority of the scholarship produced on these writers falls under queer theory, none acknowledges their connection through the theme of my research—American identity. Ideas of Americanism, its representation, and what it means to be an American are issues that span both Whitman and Ginsberg's work. The way these issues are addressed and reconciled by Ginsberg is vastly different from how Whitman interacts with the subject: a significant departure due to the nature of their relationship. Ginsberg has cited Whitman as an influence on his work, and other scholars have commented on the appearance of this influence. The clear evidence of connection makes their different handling of similar subject matter a doorway into deeper analysis of the interworking of these two iconic American writers. -
The Importance of Neal Cassady in the Work of Jack Kerouac
BearWorks MSU Graduate Theses Spring 2016 The Need For Neal: The Importance Of Neal Cassady In The Work Of Jack Kerouac Sydney Anders Ingram As with any intellectual project, the content and views expressed in this thesis may be considered objectionable by some readers. However, this student-scholar’s work has been judged to have academic value by the student’s thesis committee members trained in the discipline. The content and views expressed in this thesis are those of the student-scholar and are not endorsed by Missouri State University, its Graduate College, or its employees. Follow this and additional works at: https://bearworks.missouristate.edu/theses Part of the English Language and Literature Commons Recommended Citation Ingram, Sydney Anders, "The Need For Neal: The Importance Of Neal Cassady In The Work Of Jack Kerouac" (2016). MSU Graduate Theses. 2368. https://bearworks.missouristate.edu/theses/2368 This article or document was made available through BearWorks, the institutional repository of Missouri State University. The work contained in it may be protected by copyright and require permission of the copyright holder for reuse or redistribution. For more information, please contact [email protected]. THE NEED FOR NEAL: THE IMPORTANCE OF NEAL CASSADY IN THE WORK OF JACK KEROUAC A Masters Thesis Presented to The Graduate College of Missouri State University TEMPLATE In Partial Fulfillment Of the Requirements for the Degree Master of Arts, English By Sydney Ingram May 2016 Copyright 2016 by Sydney Anders Ingram ii THE NEED FOR NEAL: THE IMPORTANCE OF NEAL CASSADY IN THE WORK OF JACK KEROUAC English Missouri State University, May 2016 Master of Arts Sydney Ingram ABSTRACT Neal Cassady has not been given enough credit for his role in the Beat Generation. -
Dostoevsky and the Beat Generation
MARIA BLOSHTEYN Dostoevsky and the Beat Generation American literary history is rich with heroes of counterculture, maverick writers and poets who were rejected by the bulk of their contemporaries but inspired a cult-like following among a few devotees. The phenomenon of Beat Generation writers and poets, however, is unique in twentieth-century American letters precisely because they managed to go from marginal underground classics of the 1950s to the official voice of dissent and cultural opposition of the 1960s, a force to be reckoned with. Their books were adopted by hippies and flower children, their poems chanted at sit-ins, their lives faithfully imitated by a whole generation of young baby boomers. Their antiauthoritarian ethos along with their belief in the brotherhood of mankind were the starting point of a whole movement that gave the United States such social and cultural watersheds as Woodstock and the Summer of Love, the Chicago Riots and the Marches on Washington. The suggestion that Dostoevsky had anything to do with the American Sexual Revolution of the 1960s and street rioting in American urban centres might seem at first to be far-fetched. It is, however, a powerful testimony to Dostoevsky’s profound impact on twentieth-century American literature and culture that the first Beats saw themselves as followers of Dostoevsky and established their personal and literary union (and, as it were, the entire Beat movement) on the foundation of their shared belief in the primacy of Dostoevsky and his novels. Evidence of Dostoevsky’s impact on such key writers and poets of the Beat Generation as Allen Ginsberg (1926-1997), Jack Kerouac (1922-1969), and William Burroughs (1914-1997) is found in an almost embarrassing profusion: scattered throughout their essays, related in their correspondence, broadly hinted at and sometimes explicitly indicated in their novels and poems. -
Beat Generation Alongside Figures Like D.H
SEX AND THE BODY IN MICHAEL MCCLURE’S QUEST ‘FOR THE MAMMAL SELF’ FRANCA BELLARSI Sexuality and the Beat Generation Alongside figures like D.H. Lawrence and Henry Miller, the ‘Beat Generation’ writers believed that sexuality had been harmfully evacuated from literature. Though a heterogeneous group, the Beats were united in their wish to counter the diseased consciousness which, in their eyes, affected the post-World War II American mainstream1 and its conformist adherence to the American Way of Life turned into a kind of civil religion.2 To the Beat Generation, one of the roads to rebellion was the refusal to abide by the tacit censorship, which had, for so long, made writers refrain from frankly, and candidly representing the sex act. Profoundly influenced by Whitman and Blake, the Beat Generation poets rejected Puritanical repression and denied any gap between the sacred and the profane. This dismissal of the binary opposition between the earthly and the holy, the physical and the spiritual led to a form of hybrid mysticism in which the integration of desire, pleasure, and sexual energy was part and parcel of the search for a more authentic consciousness than the one moulded by mass media conditioning, the McCarthyist containment of un- American ideas, and the cycle of work, production and consumption.3 In their quest for mind expansion, the Beats considered it essential to return to the body and to drop the psychological armour created by 1 See Allen Ginsberg, ‘Poetry, Violence, and the Trembling Lambs’ (1959), in Deliberate Prose: Selected Essays 1952-1995, ed. Bill Morgan, New York, 2000, 3-5.