On the Holy Road: The Beat Movement as Spiritual Protest

1991 ◽  
Vol 84 (2) ◽  
pp. 205-222 ◽  
Author(s):  
Stephen Prothero

For the beat generation of the 1940s and 1950s, dissertation time is here. Magazine and newspaper critics have gotten in their jabs. Now scholars are starting to analyze the literature and legacy of the beat writers. In the last few years biographers have lined up to interpret the lives of Jack Kerouac, Allen Ginsberg, and William Burroughs, and publishers have rushed into print a host of beat journals, letters, memoirs, and anthologies. The most recent Dictionary of Literary Biography devotes two large volumes to sixty-seven beat writers, including Neal Cassady, Herbert Huncke, Gary Snyder, Gregory Corso, John Clellon Holmes, Lawrence Ferlinghetti, Philip Lamantia, Peter Orlovsky, Michael McClure, and Philip Whalen.

Author(s):  
Matt Theado

Irwin Allen Ginsberg (b. 1926–d. 1997) was born in Newark, New Jersey, to a high school teacher father who published poetry and a Russian-born mother who retained her communist roots. Both her sympathy for the labor class and her gradual mental decay deeply affected Ginsberg in his youth. Intending to study law, Ginsberg enrolled at Columbia University in 1943, but he soon turned to literature, taking classes from Mark Van Doren and Lionel Trilling. During his Columbia years, Ginsberg met Lucien Carr, William Burroughs, Jack Kerouac, John Clellon Holmes, and Neal Cassady, artistic influences and principal constituents of what came to be known as the Beat Generation. In 1948 Ginsberg claimed to have heard William Blake’s voice, and from then on Ginsberg emphasized the visionary aspects of his poetry. He experimented with drugs, sexuality, and meditation throughout his life. In 1949 he was arrested in connection with a series of robberies, though he did not take part. In lieu of jail, he was sent to a psychiatric institute, where he met Carl Solomon, a key figure in Ginsberg’s poem “Howl.” Ginsberg’s public breakthrough came in San Francisco, in 1955, when he read the first part of “Howl” before an audience as part of an event that launched the San Francisco Poetry Renaissance. The City Lights publisher, Lawrence Ferlinghetti, published Howl and Other Poems (1956), for which he was arrested by San Francisco police on charges of selling obscene material; the following trial, which resulted in an acquittal, catapulted Ginsberg to international notoriety. Although Howl and Other Poems remains Ginsberg’s best-known book, many readers consider Kaddish and Other Poems, 1958–1960 (1961), dedicated to the memory of his mother, to be his best work. His Collected Poems, 1947–1997 (2006) displays the scope of his writing career and exhibits the traits for which he is known: lines often based on breath rather than on metric forms, subject matter that ranges from intensely personal to overtly political, forthright candor, and a sometimes shocking frankness.


Author(s):  
Sarah Daw

Chapter Four develops the previous chapter’s investigation into the substantial influence of translated Chinese and Japanese philosophical writing on presentations of an ecological Nature in Cold War American literature. However, it differs in its countercultural focus, exploring the influence of Americanised translations of Chinese and Japanese literature and philosophy on the work of the Beat Generation writers Allen Ginsberg and Jack Kerouac. Ginsberg and Kerouac’s extensive correspondence reveals the two writers’ developing interest in Taoist and Zen Buddhist thought, and their co-development of their own Americanised and highly inauthentic ‘Beat Zen’, which was heavily influenced by Dwight Goddard’s A Buddhist Bible (1932). Taking these letters as its starting point, the chapter reveals that translated Taoism and Zen Buddhism informed each writer’s ecological depictions of the human relationship to Nature in some of their most famous contributions to Beat literature, including Kerouac’s The Dharma Bums (1958) and Ginsberg’s “Howl” (1956).


Humanities ◽  
2019 ◽  
Vol 8 (1) ◽  
pp. 3 ◽  
Author(s):  
Steven Belletto

This essay explores the relationship between the U.S.-based Beat literary movement and the Hungry Generation literary movement centered in and around Calcutta, India, in the early 1960s. It discusses a trip Allen Ginsberg and Peter Orlovsky took to India in 1962, where they met writers associated with the Hungry Generation. It further explains how Lawrence Ferlinghetti, owner of City Lights Books in San Francisco, was inspired to start a new literary magazine, City Lights Journal, by Ginsberg’s letters from India, which included work by Hungry Generation writers. The essay shows how City Lights Journal packaged the Hungry Generation writers as the Indian wing of the Beat movement, and focuses in particular on the work of Malay Roy Choudhury, the founder of the Hungry Generation who had been prosecuted for obscenity for his poem “Stark Electric Jesus”. The essay emphasizes in particular the close relationship between aesthetics and politics in Hungry Generation writing, and suggests that Ginsberg’s own mid-1960s turn to political activism via the imagination is reminiscent of strategies employed by Hungry Generation writers.


Author(s):  
David Stephen Calonne

Robert Crumb: Literature, Autobiography, and the Quest for Self is the first monograph to explore the intersection between Crumb’s love of literature, his search for the meaning of life and the ways he connects his own autobiography with the themes of the writers he has admired. Crumb’s comics from the beginning reflected the fact that he was a voracious reader from childhood and perused a variety of authors including Charles Dickens, J.D. Salinger, and, during his adolescence, Beat writers like Jack Kerouac. He was profoundly influenced by music, especially the blues, and the ecstatic power of music appears in his artwork throughout his career. The first chapter explores the ways Robert Crumb illustrates works by William S. Burroughs, Jack Kerouac, Allen Ginsberg, Gary Snyder, and Charles Bukowski. The book continues with individual chapters devoted to Crumb’s illustrations of biographies of blues musicians Jelly Roll Morton and Charley Patton; Philip K. Dick; Jean-Paul Sartre; Franz Kafka; and concludes with an exploration of Crumb’s illustrations to the book of Genesis. In all his drawings accompanying literary texts, Crumb returns to a number of key themes regarding his personal spiritual quest such as suffering and existential solitude; the search for romantic and sexual love; the impact of entheogens such as LSD on his quest for answers to his cosmic questions. We discover that Crumb gradually embraces a mysticism rooted in his studies of Gnosticism. In the final chapter on the book of Genesis, readers may observe the ways Crumb continues his critique of monotheistic religion in a variety of subtle ways. Robert Crumb: Literature, Autobiography, and the Quest for Self concludes with an Epilogue which discusses Crumb’s present-day life in France and the ways he has continued to engage with spiritual and philosophical themes in his later work.


Tradterm ◽  
2006 ◽  
Vol 12 ◽  
pp. 247
Author(s):  
Marco Antônio Margarido Costa

O objetivo do presente texto é analisar uma seleta da fortuna crítica de obras de Jack Kerouac (1922-1969) traduzidas no Brasil, na década de 1980. A saber: <em>On the road: pé na estrada, Os subterrâneos, Viajante solitário, O livro dos sonhos </em>e <em>Big Sur. </em>Resultado da pesquisa em fontes primárias, esta análise faz parte da nossa dissertação de mestrado, que, além de fornecer e analisar essa seleta, buscou mostrar o primeiro momento da recepção da obra de Jack Kerouac no Brasil, reconstituir a polêmica gerada acerca das publicações dos textos <em>beat</em> no Brasil e revelar alguns escritores brasileiros que foram influenciados pelos artistas da <em>beat generation</em>, movimento literário norte-americano ocorrido nos anos 1950, ao qual Jack Kerouac pertenceu. O presente artigo mostra, a partir de algumas críticas – ou da relação entre elas –, como Kerouac foi visto no Brasil via tradução, fornecendo assim um painel sobre sua recepção, avaliando o tratamento que lhe foi dado e reconstituindo uma visão do espaço que ocupou na imprensa brasileira.


Humanities ◽  
2018 ◽  
Vol 7 (4) ◽  
pp. 132 ◽  
Author(s):  
Estíbaliz Encarnación-Pinedo

The last three decades have witnessed a significant increase in the academic interest in the Beat Generation. No longer seen as “know-nothing bohemians” (Podhoretz 1958), scholars have extended the scope of Beat studies, either by generating renewed interest in canonical authors, by expanding the understanding of what Beat means, or by broadening the aesthetic or theoretical lens through which we read Beat writers and poets. Among these, the transnational perspective on Beat writing has sparked careful re-examinations of Beat authors and their works that seek to recognize, among other things, the impact that transnational cultures and literatures have had on Beat writers. Diane di Prima’s long poem Loba (Di Prima 1998), a feminist epic the poet started writing in the early 1970s, draws on a vast array of transnational texts and influences. Most notoriously, di Prima works with mythological and religious texts to revise and challenge the representation of women throughout history. This paper explores di Prima’s particular use of world narratives in light of a feminist poetics and politics of revision. Through the example of “Eve” and the “Virgin Mary”, two of the many female characters whose textual representation is challenged in Loba, the first part of the paper considers di Prima’s use of gnostic and Christian discourses and their impact on her feminist politics of revision. The second part of the paper situates Loba in the specific context of Second-Wave feminism and the rise of Goddess Movement feminist groups. Drawing from the previous analysis, this part reevaluates di Prima’s collection in light of the essentialist debate that analyzes the texts arising from this tradition as naïve and apolitical.


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