WOMEN OF THE : THE WRITERS, ARTISTS AND MUSES AT THE HEART OF A REVOLUTION PDF, EPUB, EBOOK

Brenda Knight | 384 pages | 31 Dec 1998 | Conari Press,U.S. | 9781573241380 | English | Berkeley, CA, United States Muses or Maestros? Women of the Beat Generation

This collection avoids the pitfalls of many similar anthologies, that offer either only the bare bones of Brenda Knight. It is not uncommon for major cultural or artistic revolutions to be reduced to their most obvious symbols when their history is popularized. Knight's thorough and well-researched book attempts to rectify the notion of the Beat Generation as singularly male. By bringing to light a wide array of writers via biographies and fiction, poetry and other texts many previously unpublished , Knight firmly establishes both well-known and lesser-known women such as Jane Bowles, Josephine Miles, Eileen Kaufman, Hettie Jones, ruth weiss, and Denise Levertov as having been either essential precursors to or equal participants in this s' revolution that brought poetry to the streets. While several of the Beat women became successful writers Levertov, Mary Korte and Joanna McClure are still writing today this book also chronicles the sad lives of the women who married Beat poets and lost themselves in the process. Knight's study, however, is not a critical one, and the overall nostalgic tone of the book leaves no one, collectively or individually, accountable for the fact that most of these writers did not reach their prime. There are entertaining sidebar anecdotes sprinkled throughout but expanded critical and biographical materials would have greatly strengthened the book. Bringing together an array of historical and literary materials, Knight argues that, rather than a wholly masculine constellation, the Beats were also informed and motivated by female concerns. To be fair, there is a measure of validity to this notion. I had no idea yet what that meant, how far it would take us. I was about to meet my brothers and sisters. For all that, the book does little to change our perception of the Beats as a male- driven movement, where women were largely relegated to the roles of lovers or hangers-on. Many contributors seem to have nothing in common beyond a romantic attachment with one of the Beats. To her credit, Knight tries to develop some connective fiber, providing biographical sketches to create a context for the work. But her writing is marred by a breathlessness that makes us doubt her critical judgment. But she was beautiful. I married her because she was beautiful. The scene she portrays, of a visit to her future mother-in-law, Gabrielle, reveals Kerouac to be solicitous, if not overly passionate, and ends as he plays in a local park with his 2-year-old nephew, Paul. My view of the situation was that we could be, for each other, a means to an end. David L.

These women were not interested in taking a back seat to anyone, let alone a husband. Many of the so-called "muses" of the Beat men not only influenced the careers of others, but had the potential to have, and to some extent did have, their own literary careers. These women created great works, whether in tandem with their men's accomplishments, or after their relationships with Beat men ended. Anne Waldman calls the memoir the "strongest literary genre by the women of the so-called Beat generation" for a good reason. These women needed to bear witness to what went on during the Beat movement because they were "often present as the most observant and sober witnesses. They all exemplify the Beat movement in their oft-forgotten works. The women writers of the Beat movement are just that -- "beat" -- because they were and are so overlooked. Just as these women wrote themselves, they also influenced the work of the men of the Beat movement. At times women did act as the muse Philip Whalen describes sleeping with closed eyes and golden hair. In a Paris Review interview, jokingly makes a humorous but important comparison between literary collaboration and sex. In response to the question, "You don't believe in collaborations? Have you ever done any collaborations, other than with publishers? With blondes. He even comments on the beauty of his muse while writing the novel Tritessa. He says "all I did was suffer with that poor girl and then when she fell on her head and almost killed herself. She was the most gorgeous little Indian chick you ever saw. How many other women of the Beat Generation held the same role in the hearts of their men? Some of the Beat men would describe their women as having influenced their work. These men were inspired by their women, wrote about the times they spent with those women, and even consulted with them as literary partners. In contrast, the men also emphasize that they were often happier when their women were not on their minds. Even Whalen says to his goddess, "I can't hear what you say, Quietly happily out of my mind. Yes, some of these women were the anti-muse, if you will, inspiring their sons, husbands, and lovers to distress. Many of the Beat women inspired the Beat men as a result of break-ups or death. William S. Burroughs "has always maintained that it was Joan Vollmer's death which has motivated him to write ever since. He wrote after he dreamt of the deceased Joan Vollmer Burroughs. Similarly, Kerouac begins his most famous novel, , with a passage describing his break-up with Kerouac. Present or not, the women did influence the men's work. The question remains: were the Beat women muses, artists, or both? One Beat blurs this line between muse and author even further -- Neal Cassady. He never produced more than one autobiographical novel. Neither did some of the Beat women. What makes his work more noteworthy? Cassady composed letters to Kerouac and other Beats. So did the women. Neal Cassady was Jack Kerouac's muse. So were Parker, Robinson, Johnson, and countless other women. Cassady was 's muse. So were Joan Vollmer and Elise Cowen. Numerous Beat men wanted to sleep with Cassady -- and the Beat women. Despite Cassady's glorified sexual conquests, he took on a stereotypical 'womanly' role as a muse and sex-object within the Beat movement. Kerouac literally worshipped Cassady, as did many of the other Beats. Horrified by the question, "Why do you think Neal doesn't write? He has written better than I have. Other editions. Enlarge cover. Error rating book. Refresh and try again. Open Preview See a Problem? Details if other :. Thanks for telling us about the problem. Return to Book Page. The Beat Generation created an American revolution in literature and culture that transformed the mid- twentieth century. The Beats helped make literature a democracy. All one needed, they believed, was passion and a love of the written word. The names of Jack Kerouac, Allen Ginsberg, Neal Cassady, and William Burroughs and their friends are well known to the reading public The Beat Generation created an American revolution in literature and culture that transformed the mid-twentieth century. The names of Jack Kerouac, Allen Ginsberg, Neal Cassady, and William Burroughs and their friends are well known to the reading public at large, and on its face the beat movement appears to have been an exclusively male phenomenon. But the Beat movement's publicity did not necessarily reflect the reality of its literature and spirit. This singular book is devoted to contributions of women to the body and spirit of the Beat revolution. The women included in this anthology run the gamut from the famousCarolyn Cassady and Jan Kerouac-to the relatively undiscovered-Mary Fabilli and Helen Adam. The art, prose, and poetry selected represent the full range and development of their work. The women whose work is featured in this anthology were talented rebels with enough courage and creative spirit to turn their backs on "the good life" that the fifties promised and forge their way to San Francisco and Greenwich Village. They dared to attempt to create lives of their own and make their own way. Today an unprecedented amount of brilliant, imaginative and highly experimental writing by women is being recognized and applauded. This anthology looks back to the antecedents for this greater liberty of expression. It is a testament to the lives of the women who helped shape the Beat era. Together, their voices form an energetic force field of consciousness that manifested at a rich and difficult time in cultural history. Get A Copy. Hardcover , pages. Published September 1st by Fine Communications first published More Details Original Title. American Book Award Other Editions 8. Friend Reviews. To see what your friends thought of this book, please sign up. To ask other readers questions about Women of the Beat Generation , please sign up. Be the first to ask a question about Women of the Beat Generation. Lists with This Book. Community Reviews. Showing Average rating 4. Rating details. More filters. Sort order. This book was recommended to me when I worked for William Burroughs Communications. Oh, how I could relate, having been around artist junkies and wandering poets and moody, irrational alcoholic geniuses - while not seeing my female friends or myself championed as self destructive heroines. These women write about the life of US, the women who were also in those circles of creative insanity, putting up with violent, lazy, thieving, cheating men who said they loved us. Throughout history the lives This book was recommended to me when I worked for William Burroughs Communications. Throughout history the lives of women in powerful movements were hidden. They paid the rent, made sure there was food, made carbon copies of their lovers' work. But they also WROTE, beautifully, from the point of view of women who love their lovers, love their friends, and love finding their strength. These women grow as they age, becoming more compassionate and more critical. I read so much of the male Beats writing, and loved it, but didn't feel I was really in the story. Who were the women? They were us. View 1 comment. Aug 03, Amos rated it it was ok. When I was driving cross country at 19 years old my shitty Hyundai broke down permanently in the smallest most unfortunate town ever in Mississippi. Most of these people didn't have phones in their homes and it didn't help that this was a pre-cellphone era for me at least. After finding a payphone I remember locking myself in the car waiting for Triple-A to show up while several townies circled me like buzzards. I remember reading this book while locked in the car and then finishing it on the When I was driving cross country at 19 years old my shitty Hyundai broke down permanently in the smallest most unfortunate town ever in Mississippi. I remember reading this book while locked in the car and then finishing it on the greyhound bus en route to my dads place in Georgia. I was really hoping to find some juicy stories about the ignored muses of the beats, but the stories ended up being tame and more like biographies but I really liked the old photographs through out. I ended up selling the car parts for scraps to the townies. This is a fabulous book about a specific time in America. A really nifty look at the wave that preceeded the hippy era. Jul 16, Alicia rated it really liked it. Turns out they were just as intriguing and artistic and productively conflicted as their popular male counterparts. Jan 22, Jennifer added it Shelves: poetry , american-poetry , Jun 16, Kerfe rated it really liked it Shelves: biography-memoir , visual-arts , non- fiction , poetry. Knight chronicles female mentors, inspirations, activists, wives, and girlfriends of the more well-known Beat Generation men, as well as the women often overlapping who also wrote, performed, taught, and created in tandem with the men. But I was also introduced to many that I hope to investigate further: Mary Fabilli, Hettie Jones, Joanna McClure, Knight chronicles female mentors, inspirations, activists, wives, and girlfriends of the more well-known Beat Generation men, as well as the women often overlapping who also wrote, performed, taught, and created in tandem with the men. The cumulative effect of these stories negates the idea that all women in the 50s were obedient "good girls". These were wild, expansive, and complicated lives. Although, as Anne Waldman points out, "The 50s were a conservative time and it was difficult for artistic bohemian women to live outside the norm. Often they were incarcerated by their families; or were driven to suicide. Many talented women perished. Spiritual studies especially Buddhism and activism played and important role in the lives of the Beats, both male and female. Many spent years studying with Zen masters. They worked to feed and free bodies and minds, from prisons to the streets. One major criticism: Knight's continued assertion that Black Mountain College was founded by poets Robert Creeley, Charles Olson, and Robert Duncan, and based on their educational ideas, leads me to be skeptical of all of her historical facts. Even a quick look at any article about the founding of Black Mountain would show that this is not true. And the writing is sloppy at times, particularly towards the end of the book. This collection avoids the pitfalls of many similar anthologies, that offer either only the bare bones of Brenda Knight. It is not uncommon for major cultural or artistic revolutions to be reduced to their most obvious symbols when their history is popularized. Knight's thorough and well-researched book attempts to rectify the notion of the Beat Generation as singularly male. By bringing to light a wide array of writers via biographies and fiction, poetry and other texts many previously unpublished , Knight firmly establishes both well-known and lesser- known women such as Jane Bowles, Josephine Miles, Eileen Kaufman, Hettie Jones, ruth weiss, and Denise Levertov as having been either essential precursors to or equal participants in this s' revolution that brought poetry to the streets.

Horrified by the question, "Why do you think Neal doesn't write? He has written better than I have. Yet, Cassady's predominantly casual letters are no more justifiably literature than the letters of any number of men and women -- who would not necessarily be considered "authors. I got the flash from his style. What was it, then, that made the letters of Neal Cassady literature, while the writing of so many Beat women was ignored? Gregory Corso answers, In the fifties if you were male you could be a rebel, but if you were female your families had you locked up. There were cases, I knew them, someday someone will write about them. But were the writings of Beat women ignored as a result of societal mores or the psychology of the Beats themselves? Most of the women who became involved with the Beats did so as a sort of rebellion against the singular role women were allowed to play in the fifties -- that of the wife and mother. As Brenda Knight suggests, "being Beat was far more attractive than staying chained to a brand-new kitchen appliance. Yet, as Gregory Corso pointed out, in the fifties only men could be rebels. Even within the Beat community women could not find a new place. They became wives and mothers, only in a more chaotic and rebellious framework. Someone needed to care for Neal Cassady's children; someone needed to hang Jack Kerouac's T-shirts to dry; someone needed to type "Kaddish" for Allen Ginsberg. As much as the men of the "Beat Revolution" were rebelling, the values of the fifties could not be entirely opposed. In the fifties, the legacy of a woman's place surfaced even on the fringes of society. Despite their creative pursuits, the women of the Beat movement conformed, to an extent, to the mold of the fifties woman. What happened to make these women be considered sub-standard writers? What relegated them to the role of muse? They had already broken free from their families. Though they belonged to a subculture that rejected the white-collar work world and the suburban family, they still were not able to break free from the subtle misogyny that simultaneously made women's art worthless and made Neal Cassady -- a self-proclaimed con-artist -- somehow worthwhile. In The San Francisco Renaissance, Michael Davidson identifies the problem that "bohemian enclaves seldom escape issues of gender. The Beat circle did not offer a welcoming place for women to showcase their work. However, this bohemian group did offer women some refuge from tradition. The available stereotypes for women included: "wife, mother, spinster, courtesan, whore, [and] ballbreaker. Berrigan, Ted. Cassady, Carolyn. New York: W. Morrow, Charters, Ann, ed. The Portable Beat Reader. New York: Penguin Books, Davidson, Michael. New York: Cambridge University Press, Holmes, John Clellon. Passionate Opinions: The Cultural Essays. Fayetteville: University of Arkansas Press, Knight, Arthur and Kit Knight, eds. New York: Paragon House Publishers, Knight, Brenda. Berkeley, CA: Conari Press, Oxford: Clarendon Press, Muses or Maestros? Baccala I learnt more from her in a flash, Than if my brainpan were an empty hull, And every Muse tumbled a science in. Mar 09, Charmaine E. Pooh rated it it was amazing. Such a great collection of biographies and works of the women who comprised and inspired the Beat movement. Would highly recommend for any one who enjoys biographies, poetry, or feminist literature. Jun 17, J. A very good introduction to the many women Beat writers, all of whom deserve more attention. I wish there was more here, it's like a sample pack when there's plenty of samples but the samples are very small. The very important take-away from this book, is that the Beat generation are much more complex than outsiders think, and the women writers of the era deserve just as much praise as the men, if not more so. Oct 17, Georgia Roybal rated it really liked it. This book is a delightful treasure which profiles a group of fascinating women and their writings. They are not well-known but definitely worth knowing. As predecessors of the hippies, you will find lots of sex of many varieties , drugs again of many varieties , and jazz rather than rock and roll. There is also some crime not all drug related , alternative lifestyles, and courageous people. It is also a well-researched and very coherently organized book. Here are some of the writings I liked This book is a delightful treasure which profiles a group of fascinating women and their writings. Here are some of the writings I liked. There were many, but some would need to be printed in their entirety and are too long. Madeline Gleason in The Poet in the Wood And having attained self-peace Was under the illusion That the world was in order And the wicked no longer in collusion. I reached out for Bob Kaufman, the man and his poetry. And he made my life a shambles. It was not as though I didn't ask for it. I knew at a glance and after one night that this man could create my life or destroy it. The life I had known was in ashes, and like the Phoenix, my new life had begun. It was to be everything I had seen in the flash of an African Dream Suddenly wise, I did not fight the dream. Hettie Jones in Words I give you my word You pocket it and keep the change Here is a word on the tip of my tongue: love I hold it close though it dreams of leaving Hettie Jones in Teddy Bears the Highway I have always been at the same time woman enough to be moved to tears and man enough to drive my car in any direction Janine Pommy Vega in February Thaw but the green shoot thrusting through the ice is strongest the wind the snow the cold can slow her, can put her down but they cannot stop her Mary Norbert Korte in There's no Such Thing as an Ex-Catholic This Planet will survive only if All recognize a Common Mission The Common Mission is Mutual Respect Anne Waldman in I Am the Guard We throw away our last ancient forest for Happy Meal boxes Feb 26, Ruby rated it it was ok Shelves: non-fiction , y Moreover, there were no no! I did skip the primary texts which supposedly make this a more interesting book. On the whole, this might work better as a quick book of reference than as work to read from A to Z because it felt rather superficial and flimsy like that. Jan 31, Jasmine rated it liked it. It's sad that there were so many women involved with the beat poets, but they're almost never talked about. Because it talks about so many people, each section is pretty short, but overall the author does a good job of writing succinct synopses of each person and it was nice to get to read some of their writing. My complaints are that I wish the girlfriends had gotten a little less page time so that the writers and artists could have had a little more, and I thought that some of what was written It's sad that there were so many women involved with the beat poets, but they're almost never talked about. My complaints are that I wish the girlfriends had gotten a little less page time so that the writers and artists could have had a little more, and I thought that some of what was written about the women wasn't worth the space and could have been replaced with something a little more relevant or interesting. Dec 05, Meg Tuite rated it it was amazing. Check it out and read excerpts and poems from all these women: precursors of and those part of the Beats. Jan 28, Marianne rated it really liked it. I thought that this book gave the right balance between simple biographical information, stories related to capturing the spirit of the subjects, and writing samples by the subjects. I do not know if this is comprehensive, but I found my world enlarged by knowing about these wonderful female artists in an era that really still did not celebrate the feminine. Dec 02, Julie added it. This is a book that needed to be written, but I was disappointed by its brevity. It is an introductory read, personalities condensed into encyclopedic vignettes. It is obvious that Knight was allowed more access into certain character's lives than others. Jun 20, Krista rated it really liked it. Jul 15, Lauren rated it did not like it. An all around insulting and terrible book. Aug 21, Alison rated it really liked it. Jun 26, Katie Schwartz rated it it was amazing Shelves: my-favorite-books. This book was so empowering and enlightening. I've always loved beat writers. Women of the Beat inspired the hell out of me. It's an exquisite, perfect read. I devoured it. Apr 16, Marjorie rated it it was amazing. I am still haunted by some of the stories, and one tragic character in particular. Not a waste of time at all A kind of sampler of biography and works, some previously unpublished. It's a good introduction to a lot of artists, but it's broad, not deep. Oct 28, Glo Sollecito rated it it was amazing. Read this ages ago and continue to go back from time to time. Best Beat book ever and I've read a lot of them. Nov 12, Bill rated it it was amazing Shelves: owned-books , history. After you've read On The Road, read about all the women that Jack and his buddies sort of ignore, being macho boys and all. Jun 17, Lorraine rated it really liked it Shelves: read-in I think this is an important work; it highlights just how many women were involved in the Beat scene and the way that they often get left out of the official narrative of the Beat movement. It's divided into several sections: Precursors, Muses, Writers, and Artists. Each woman gets a bio and some photos and a selection of her poetry and prose if she wrote any Joan Vollmer, for example, didn't write, and so only a letter from her to Ginsberg is included as an example of her writing. My problem i I think this is an important work; it highlights just how many women were involved in the Beat scene and the way that they often get left out of the official narrative of the Beat movement. My problem is three-fold: First, it's like a dictionary of literary biography, so each woman gets a short entry which lacks depth. Second, some of the women in the Muses section just aren't good writers. I can see the value of hearing about what the time period was like in their own words, but it's just not good reading Carolyn Cassady especially. I realize that accessibility may not have been driving the editor's choice, but a lot of the poems chosen leave me cold and don't make a lot of sense to me out of context this is probably a me problem rather than a problem with the book. Very interesting insight into the lifes of the females artists, trailblazers and women or the Beat generation, who often are not credited enough or at all and mostly appear as attachments to their fathers, husbands, boyfriends etc. Some true gems in here and I really enjoyed the variety of sample writings for each artist. However, I would have enjoyed the biographies and the artwork more if there was even more focus paid to the women unrelated to the men because several women we Very interesting insight into the lifes of the females artists, trailblazers and women or the Beat generation, who often are not credited enough or at all and mostly appear as attachments to their fathers, husbands, boyfriends etc. Super excited to follow up on some of the amazing artists I discovered through this selection and would recommend it as a starting point for anyone interested in getting more into Beat literature off of the obvious path. There are no discussion topics on this book yet. Readers also enjoyed. Biography Memoir. David L. Ulin is the former book critic of the Los Angeles Times. He left The Times in Hot Property. About Us. Brand Publishing. Times Events. Times News Platforms.

Some of the Beat men would describe their women as having influenced their work. These men were inspired by their women, wrote about the times they spent with those women, and even consulted with them as literary partners. In contrast, the men also emphasize that they were often happier when their women were not on their minds. Even Whalen says to his goddess, "I can't hear what you say, Quietly happily out of my mind. Yes, some of these women were the anti-muse, if you will, inspiring their sons, husbands, and lovers to distress. Many of the Beat women inspired the Beat men as a result of break-ups or death. William S. Burroughs "has always maintained that it was Joan Vollmer's death which has motivated him to write ever since. He wrote Howl after he dreamt of the deceased Joan Vollmer Burroughs. Similarly, Kerouac begins his most famous novel, On the Road , with a passage describing his break-up with Edie Parker Kerouac. Present or not, the women did influence the men's work. The question remains: were the Beat women muses, artists, or both? One Beat blurs this line between muse and author even further -- Neal Cassady. He never produced more than one autobiographical novel. Neither did some of the Beat women. What makes his work more noteworthy? Cassady composed letters to Kerouac and other Beats. So did the women. Neal Cassady was Jack Kerouac's muse. So were Parker, Robinson, Johnson, and countless other women. Cassady was Allen Ginsberg's muse. So were Joan Vollmer and Elise Cowen. Numerous Beat men wanted to sleep with Cassady - - and the Beat women. Despite Cassady's glorified sexual conquests, he took on a stereotypical 'womanly' role as a muse and sex-object within the Beat movement. Kerouac literally worshipped Cassady, as did many of the other Beats. Horrified by the question, "Why do you think Neal doesn't write? He has written better than I have. Yet, Cassady's predominantly casual letters are no more justifiably literature than the letters of any number of men and women -- who would not necessarily be considered "authors. I got the flash from his style. What was it, then, that made the letters of Neal Cassady literature, while the writing of so many Beat women was ignored? Gregory Corso answers, In the fifties if you were male you could be a rebel, but if you were female your families had you locked up. There were cases, I knew them, someday someone will write about them. But were the writings of Beat women ignored as a result of societal mores or the psychology of the Beats themselves? Most of the women who became involved with the Beats did so as a sort of rebellion against the singular role women were allowed to play in the fifties -- that of the wife and mother. As Brenda Knight suggests, "being Beat was far more attractive than staying chained to a brand-new kitchen appliance. Yet, as Gregory Corso pointed out, in the fifties only men could be rebels. Even within the Beat community women could not find a new place. They became wives and mothers, only in a more chaotic and rebellious framework. Someone needed to care for Neal Cassady's children; someone needed to hang Jack Kerouac's T-shirts to dry; someone needed to type "Kaddish" for Allen Ginsberg. As much as the men of the "Beat Revolution" were rebelling, the values of the fifties could not be entirely opposed. In the fifties, the legacy of a woman's place surfaced even on the fringes of society. Despite their creative pursuits, the women of the Beat movement conformed, to an extent, to the mold of the fifties woman. What happened to make these women be considered sub-standard writers? What relegated them to the role of muse? They had already broken free from their families. Though they belonged to a subculture that rejected the white-collar work world and the suburban family, they still were not able to break free from the subtle misogyny that simultaneously made women's art worthless and made Neal Cassady -- a self-proclaimed con-artist -- somehow worthwhile. In The San Francisco Renaissance, Michael Davidson identifies the problem that "bohemian enclaves seldom escape issues of gender. The Beat circle did not offer a welcoming place for women to showcase their work. However, this bohemian group did offer women some refuge from tradition. The available stereotypes for women included: "wife, mother, spinster, courtesan, whore, [and] ballbreaker. Berrigan, Ted. Cassady, Carolyn. New York: W. Morrow, Charters, Ann, ed. The Portable Beat Reader. New York: Penguin Books, Davidson, Michael. New York: Cambridge University Press, Holmes, John Clellon. Passionate Opinions: The Cultural Essays. Fayetteville: University of Arkansas Press, Knight, Arthur and Kit Knight, eds. New York: Paragon House Publishers, Knight, Brenda. Berkeley, CA: Conari Press, Aug 03, Amos rated it it was ok. When I was driving cross country at 19 years old my shitty Hyundai broke down permanently in the smallest most unfortunate town ever in Mississippi. Most of these people didn't have phones in their homes and it didn't help that this was a pre-cellphone era for me at least. After finding a payphone I remember locking myself in the car waiting for Triple-A to show up while several townies circled me like buzzards. I remember reading this book while locked in the car and then finishing it on the When I was driving cross country at 19 years old my shitty Hyundai broke down permanently in the smallest most unfortunate town ever in Mississippi. I remember reading this book while locked in the car and then finishing it on the greyhound bus en route to my dads place in Georgia. I was really hoping to find some juicy stories about the ignored muses of the beats, but the stories ended up being tame and more like biographies but I really liked the old photographs through out. I ended up selling the car parts for scraps to the townies. This is a fabulous book about a specific time in America. A really nifty look at the wave that preceeded the hippy era. Jul 16, Alicia rated it really liked it. Turns out they were just as intriguing and artistic and productively conflicted as their popular male counterparts. Jan 22, Jennifer added it Shelves: poetry , american-poetry , Jun 16, Kerfe rated it really liked it Shelves: biography-memoir , visual-arts , non-fiction , poetry. Knight chronicles female mentors, inspirations, activists, wives, and girlfriends of the more well-known Beat Generation men, as well as the women often overlapping who also wrote, performed, taught, and created in tandem with the men. But I was also introduced to many that I hope to investigate further: Mary Fabilli, Hettie Jones, Joanna McClure, Knight chronicles female mentors, inspirations, activists, wives, and girlfriends of the more well-known Beat Generation men, as well as the women often overlapping who also wrote, performed, taught, and created in tandem with the men. The cumulative effect of these stories negates the idea that all women in the 50s were obedient "good girls". These were wild, expansive, and complicated lives. Although, as Anne Waldman points out, "The 50s were a conservative time and it was difficult for artistic bohemian women to live outside the norm. Often they were incarcerated by their families; or were driven to suicide. Many talented women perished. Spiritual studies especially Buddhism and activism played and important role in the lives of the Beats, both male and female. Many spent years studying with Zen masters. They worked to feed and free bodies and minds, from prisons to the streets. One major criticism: Knight's continued assertion that Black Mountain College was founded by poets Robert Creeley, Charles Olson, and Robert Duncan, and based on their educational ideas, leads me to be skeptical of all of her historical facts. Even a quick look at any article about the founding of Black Mountain would show that this is not true. And the writing is sloppy at times, particularly towards the end of the book. But if you are interested in the neglected women who contributed to the legacy of Beat art, this is a good place to start your investigations. There are representative poems and other writings by the women excerpted here too. An interesting collection that contains brief biographies of the women in the Beat scene and either writing about them, or samples of their own work. There are a lot of women covered here and the definition of "beat" seems to extend to anyone on the fringe of the San Fransisco poetry scene of the 50s and 60s. I suppose Beat has as many different meanings as Goth. I wasn't much interested in the movement for a long time as I pictured people in turtle necks and berets reciting poetry over bongos. Then I read Kerouac's novels and was blown away by the intensity, the non-conformist lives, the poverty and the tragedy and how very much it sounded like now. I think the problem with this book is the thing I love most about the Beats is the novels, I'm afraid I'm not very good at poetry appreciation, and so I didn't connect with this book as I would have liked. Still the stories of the women were amazing. I wish the writing had included more fiction and less memoirs and poetry. Perhaps the reason that the women are less famous is that they didn't write novels, and poets are never as famous as novelists. Still there were a few writers that made me want to read more by them. I wish someone could do an oral history of the Beat women, or just the beats. I fear not enough has survived and too many are dead to make this possible but I think that oral history would be such a good scheme for examining the scene. The male beats have come under criticism for being misogynistic, which personally I don't see. I think the quote that stood out the most for me from this book was that there were plenty of women writers in the scene. But that unlike the men, they weren't published, rather they were sent to mental institutions or committed suicide, or both as in the case of Elsie Cowen, because women just weren't allowed to non- conform like men. The book is definitely a collection of literature and lives. This is both its strength and weakness. While it makes a good reference to find out whose who, and for samples of lots of different works, sometimes it just seems a bit too disjointed and disconnected. Still it was a fascinating read and one I will hold onto. View all 3 comments. Apr 22, H. Hall rated it really liked it. Women of the Beat Generation is essential reading for anyone who is intrigued by Beat writing. Most of the material is a combination of biographical and creative work by the women who hung out with, made love to, served as muses for the male writers who have dominated Beat studies. The major exception to the Beats Women's Auxiliary Association contained in the book is Denise Levertov who is an outstanding writer independent of anyone she hung out with. There are other fine writers in the group: Women of the Beat Generation is essential reading for anyone who is intrigued by Beat writing. There are other fine writers in the group: Diane di Prima, , Hettie Jones, Anne Waldman and others, but most are known primarily by association with the male writers. This is an important book for anyone interested in either Beat or Women's Studies. Jul 15, Paula rated it it was amazing. To me, this book is an encyclopedia of the women in the last biggest creative scene in America. I loved reading about the predecessors of the Beat women, especially Madeleine Gleason. I was intrigued about the "Lost Generation". I'll probably look into this scene more later on. I could relate to many of the women in this book. I saw in their stories my own story. There are lots of cool photos and even samples of the writers' works! I particularly loved reading about Joan Vollmer Adams Burroughs, To me, this book is an encyclopedia of the women in the last biggest creative scene in America. I really loved reading about Jay DeFeo; I could relate to her tenacity as an artist. I found Joyce Johnson really boring, but that didn't stop me from reading her books to give her a fair shot. I don't think I'll ever part with this book; it's a cornerstone of my shelf Women of the Beat Generation, a compilation of short stories and poems written by women influenced by The Beat Generation. Some of the readings are by the authors themselves, while others are read by Deborah Winger. Produced by Audio Literature. These women were in the forefront of authors brave enough to write what was true for them and to live unconventional lives. Some were lesbians in lesbian relationships. One was a White woman married to a Black man which separated her from her family, and Women of the Beat Generation, a compilation of short stories and poems written by women influenced by The Beat Generation. One was a White woman married to a Black man which separated her from her family, and ultimately from her husband when he became influenced by the Black Panther movement. All of their writing was refreshing, although some of it was depressing as well. She only met him twice. She met him at age nine when she was involved in a paternity test to prove she was his child, and one other time when she visited him at age Jun 07, Steve rated it it was amazing Shelves: the-beat-generation. This book serves as a nice, strong introduction to the Beat movement, and especially the women of the beat movement-- tragic figures consumed by their artistic passions and ruined by either the men they loved or thought they loved or by their families that despised the idea that they did not conform to the Leave it to Beaver and Father Knows Best mentalities of the day. Be forewarned. The book is a collection of short biographies ranging from two to four pages long, with a small collection of th This book serves as a nice, strong introduction to the Beat movement, and especially the women of the beat movement--tragic figures consumed by their artistic passions and ruined by either the men they loved or thought they loved or by their families that despised the idea that they did not conform to the Leave it to Beaver and Father Knows Best mentalities of the day. The book is a collection of short biographies ranging from two to four pages long, with a small collection of the artist's poetry or prose afterward. It took me a few days to read through this. Biography after biography after biography can get tedious. If the book has a flaw, it is the lack of writing by the actual artists the book proclaims to hold in esteem; however, at the end there is a nice bibliography of works to allow you further exploration. Jul 18, Lauren rated it it was amazing Recommends it for: fans of beat literature. Shelves: contemporarynonfiction. This book tells of the Beat times from the perspectives of the women who a part of it, but were not as often heard-about. They were more than groupies, but talented writers in their own right. There were many more than that, but I can't think of all of them. The book is sort of retroactive feministic in that tells the reader how women contribute to any major movement, just as men do, only in different This book tells of the Beat times from the perspectives of the women who a part of it, but were not as often heard-about. The book is sort of retroactive feministic in that tells the reader how women contribute to any major movement, just as men do, only in different ways. Mar 09, Charmaine E. Pooh rated it it was amazing. Such a great collection of biographies and works of the women who comprised and inspired the Beat movement. Would highly recommend for any one who enjoys biographies, poetry, or feminist literature. Jun 17, J. A very good introduction to the many women Beat writers, all of whom deserve more attention. I wish there was more here, it's like a sample pack when there's plenty of samples but the samples are very small. The very important take-away from this book, is that the Beat generation are much more complex than outsiders think, and the women writers of the era deserve just as much praise as the men, if not more so. Oct 17, Georgia Roybal rated it really liked it. This book is a delightful treasure which profiles a group of fascinating women and their writings. They are not well-known but definitely worth knowing. As predecessors of the hippies, you will find lots of sex of many varieties , drugs again of many varieties , and jazz rather than rock and roll. There is also some crime not all drug related , alternative lifestyles, and courageous people. It is also a well-researched and very coherently organized book. Here are some of the writings I liked This book is a delightful treasure which profiles a group of fascinating women and their writings. Here are some of the writings I liked. There were many, but some would need to be printed in their entirety and are too long. Madeline Gleason in The Poet in the Wood And having attained self-peace Was under the illusion That the world was in order And the wicked no longer in collusion. I reached out for Bob Kaufman, the man and his poetry. And he made my life a shambles. It was not as though I didn't ask for it. I knew at a glance and after one night that this man could create my life or destroy it. The life I had known was in ashes, and like the Phoenix, my new life had begun. It was to be everything I had seen in the flash of an African Dream Suddenly wise, I did not fight the dream. Hettie Jones in Words I give you my word You pocket it and keep the change Here is a word on the tip of my tongue: love I hold it close though it dreams of leaving Hettie Jones in Teddy Bears the Highway I have always been at the same time woman enough to be moved to tears and man enough to drive my car in any direction Janine Pommy Vega in February Thaw but the green shoot thrusting through the ice is strongest the wind the snow the cold can slow her, can put her down but they cannot stop her Mary Norbert Korte in There's no Such Thing as an Ex-Catholic This Planet will survive only if All recognize a Common Mission The Common Mission is Mutual Respect Anne Waldman in I Am the Guard We throw away our last ancient forest for Happy Meal boxes https://static.s123-cdn-static.com/uploads/4636503/normal_601f19c2db51a.pdf https://static.s123-cdn-static.com/uploads/4637728/normal_6020dceb75d2c.pdf https://files8.webydo.com/9589836/UploadedFiles/6DA50540-3D75-E0D3-852E-D4AAD3C93985.pdf https://static.s123-cdn-static.com/uploads/4644844/normal_601f7e9ee5364.pdf https://static.s123-cdn-static.com/uploads/4641181/normal_601ee587b1648.pdf https://files8.webydo.com/9586950/UploadedFiles/4EB95D69-0261-BC64-530A-AAEF485B8839.pdf