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Women Editing Beat Little Magazines Faculty of Arts and Philosophy 2015-2016 Julie Stokx WOMEN EDITING BEAT LITTLE MAGAZINES Analyzing Hettie Jones’ Role as Co-editor of the Beat Little Magazine “Yugen” (1958-1962) Promotor: Professor dr. Isabelle Meuret Dissertation submitted in partial fulfillment of the requirements for the degree of Master of Arts in American Studies Acknowledgments Studying literature, I have always enjoyed reading. However, I never thought about how manuscripts of famous writers actually found their way to printed works. Thus, when I first started this project, researching the editing work of the women of the Beat Generation, I did not realize that I would become so interested in the actual process of editing and publishing. And, yet, today I pay more and more attention to the way texts are crafted, and, to the small names in books under the actual author. While the creative minds of our time, writing beautiful poetry and stories, continue to amaze me, I cannot help but ask “what about the editors?” Thus, I am grateful to have had the opportunity to write about this aspect, which I knew so little about. Of course, I would not have been able to do it alone. Therefore, I want to thank my promoter Professor dr. Isabelle Meuret for her advice, feedback, and inspiration. I also appreciated all the support of the other professors of the MAAS-program and my fellow colleagues. Lastly, I want to thank Hettie Jones. I was able to have a correspondence with her about her time working as an editor of the little magazine Yugen. Not only did her answers to my questions add great depth to my research, she will also forever inspire me. TABLE OF CONTENTS I. Introduction ........................................................................................................................ 2 II. Theoretical Framework ..................................................................................................... 6 1. The Little Magazine in America .................................................................................... 6 1.1 Definition ................................................................................................................. 6 1.2 Historical Context: Magazines and the Mass Market .............................................. 8 1.3 Characteristics of Little Magazines ........................................................................ 11 2. The Beat Generation .................................................................................................... 15 2.1 Rebels at a Time of Conformity and Repression ................................................... 16 2.2 “This is really a Beat Generation” .......................................................................... 17 2.3 Silent Girls in Black: The Women of the Beat Generation .................................... 21 2.3.1 Historical Context: the Domestic Ideal of the 1950s ....................................... 21 2.3.2 Women Beats ................................................................................................... 24 3. The Little Magazines of the Beat Generation .............................................................. 28 3.1 Beats and the Media ............................................................................................... 29 3.2 Beat Little Magazines ............................................................................................. 30 3.3 Women editors ....................................................................................................... 33 III. Analysis ......................................................................................................................... 38 1. Methodology ................................................................................................................ 38 2. Setting the Scene: the Editors, the Story, the Magazine .............................................. 38 3. Analysis of Yugen and the role of Hettie Jones as co-editor ........................................ 42 3.1 Editorial policy ....................................................................................................... 42 3.2 Content and contributors ........................................................................................ 43 3.3 Financial Issues ...................................................................................................... 46 3.4 Production .............................................................................................................. 48 3.6 Audience ................................................................................................................. 49 3.7 Editorial Strategy .................................................................................................... 49 3.8 Yugen’s Impact on the Beat Generation and on Hettie Jones ................................ 50 3.9 “So, were you just the typist?” ............................................................................... 52 IV. Conclusion ..................................................................................................................... 55 Bibliography ........................................................................................................................ 57 Appendix ............................................................................................................................. 61 1 I. Introduction In the 1950s many literary “little” magazines started to appear in the United States. These little magazines were called little, not so much because of their actual size, but because of their small audience, their short lifespan, and their little economic profit. The literary content of these magazines was considered not commercial. This meant that the writers published in little magazines were usually unknown, or that their material was avant-garde or experimental. While the type of content of little magazines varied from fiction and poetry to literary criticism, it was characterized by its nonconformity and eccentricity.1 This kind of material was not suited for the money-minded popular periodicals because, unlike the editors of little magazines, their editors had to take the literary tastes of their audience into account. And, these popular periodicals were often more concerned about actually selling the magazines and making a profit from them. Conversely, the intent of the editors of little magazines was selfless. They wanted to give new writers and new literary movements a platform. Little magazines were not a specific phenomenon of 1950s America, although there was definitely an increase in such magazines at that time. Indeed, little magazines had been around since the nineteenth century, and there were many examples of little magazines in Britain and other parts of the world.2 Additionally, during the 1950s, a new literary movement that originated in the late 1940s, started to flourish: the Beat generation. This generation is mostly known for its three main literary icons: Jack Kerouac, Allen Ginsberg, and William Burroughs. However, there were more writers that but it also included Gregory Corso, Michael McClure, Gary Snyder, and Lawrence Ferlinghetti as well as the younger generation of beat writers such as Bob Kaufmann and LeRoi Jones. Also, women were no strangers to the Beat Generation, often, seen as a “boy-gang,” centered on the famous male writers. The contributions of women were ignored and the women themselves were labeled as “silent beat chicks.” The omission of the women of the Beat generation from history and the literary canon is an often-studied phenomenon. Since the 1990s, feminist and Beat scholars and have continuously made efforts to recognize the significance of these women Beats. 1 Eliot Anderson and Mary Kinzie, eds., The Little Magazine in America: A Modern Documentary History, (New York: The Pushcart Press, 1978), 3. 2 Ibid. 2 Additionally, these women were often the “agents of their own recovery by writing themselves into Beat and postwar history” via memoirs. Among the most famous women of the Beat generation are Joyce Johnson, Diane di Prima and Hettie Jones.3 The surge of little magazines in the 1950s and the emergence of the Beat generation were connected. Even though, critics frequently claim that there is no truly “beat little magazine,” multiple little magazines were publishing beat poetry before mainstream publishing caught on. One of those little magazines was Yugen: A New Consciousness in Arts and Letters (1958-1962). It only ran for eight issues but offers such a wide range of literature that it can be compared to the many poetry anthologies that were documenting the New American Poetry. These anthologies were published after 1960, such as Donald Allen’s The New American Poetry: 1945-1960. In Yugen a similar diversity of material can be noticed. To illustrate, in Yugen 1 Jack Micheline, a lesser known beat, and Allen Ginsberg appear side by side, and Yugen 4 presents work of both Jack Kerouac and New York School poet Frank O’Hara. Although Yugen is frequently mentioned as an important little magazine in both beat and little magazine studies, a comprehensive analysis of the magazine as such is missing. According to The Oxford Critical and Cultural History of Modernist Magazines, Yugen was one of the only magazines that “ended up looking anything like an American beat little magazine.”4 However, since the magazine published works of various schools of poetry, can it really be characterized as a Beat little magazine? Yugen was a project created
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