I Celebrate Myself: The Somewhat Private Life of Allen Ginsberg, and: American Scream: Allen Ginsberg’s Howl and the Making of the Beat Generation (review)

2009 ◽  
Vol 29 (1) ◽  
pp. 106-113
Author(s):  
Tony Trigilio
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.


Humanities ◽  
2020 ◽  
Vol 9 (3) ◽  
pp. 101
Author(s):  
Alexandre Ferrere

As was the case for other writers from the Beat Generation, geography is more than simply a setting for Allen Ginsberg’s work, as his poetry also bears the imprint of the influence of the landscapes through which he traveled in his mind and poetic practice. In the 1950s, the same decade which saw the composition of Ginsberg’s Howl, Guy Debord and his followers developed the concept of “psychogeography” and “dérive” to analyze the influence of landscapes on one’s mind. The Debordian concept of psychogeography implies then that an objective world can have unknown and subjective consequences. Inspired by Debord’s theories and through the analysis of key poems, this paper argues that a psychogeographical focus can shed new light on ecocritical studies of Ginsberg’s poetry. It can indeed unveil the complex construction of the poet’s own space-time poetics, from hauntological aspects to his specific composition process.


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.


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.


2012 ◽  
Author(s):  
Regina Kempen ◽  
Karsten Mueller ◽  
Tammo Straatmann ◽  
Kate Hattrup ◽  
Sven-Oliver Spiess
Keyword(s):  

2000 ◽  
pp. 60-67
Author(s):  
M. M. Nikitenko

The inclusion of Eastern Slavs in the sphere of religious and cultural influences of Byzantium was a tremendous event both in national and in world history. Since then, the main center of the culture of Kievan Rus, incorporating a complex of ideas and functions of the spiritual, public and private life of ancient Russian society, became the Eastern Christian temple in its local version


2020 ◽  
Vol 1 (2) ◽  
pp. 189-202
Author(s):  
Laura Marcus

This article discusses Billy Wilder's 1970 film The Private Life of Sherlock Holmes, which, though not enthusiastically received by audiences at the time, has subsequently become a work highly valued by critics and cineastes. Radically cut from its original four-part structure by the studio, it has come to be perceived as a film about loss. This relates both to its themes – suppressed love, the vanished world of Holmes and Watson – and to the history of the film itself, whose missing episodes exist only in fragmentary form. The first part of the essay looks at the ways in which the film constructs an image of Sherlock Holmes (played by Robert Stephen), with a focus on the question of his sexuality, while the second part turns to the ways in which the film became an ‘obsession’ for one writer in particular, the novelist Jonathan Coe.


Somatechnics ◽  
2019 ◽  
Vol 9 (1) ◽  
pp. 58-83
Author(s):  
Akkadia Ford

Cinema provides ‘privileged access’ ( Zubrycki 2011 ) into trans lives, recording and revealing private life experiences and moments that might never be seen, nor heard and after the time had passed, only present in memory and body for the individuals involved. Film, a temporal medium, creates theoretical issues, both in the presentation and representation of the trans body and for audiences in viewing the images. Specific narrative, stylistic and editing techniques including temporal disjunctions, may also give audiences a distorted view of trans bodily narratives that encompass a lifetime. Twenty first century cinema is simultaneously creating and erasing the somatechnical potentialities of trans. This article will explore temporal techniques in relation to recent trans cinema, comparing how three different filmmakers handle trans narratives. Drawing upon recent films including the Trans New Wave ( Ford 2014 , 2016a , 2016b ), such as the experimental animated autoethnographic short film Change Over Time (Ewan Duarte, United States, 2013), in tandem with the feature film 52 Tuesdays (Sophia Hyde, Australia, 2013), I will analyse the films as texts which show how filmmakers utilise temporality as a narrative and stylistic technique in cinematic trans narratives. These are texts where cinematic technologies converge with trans embodiment in ways that are constitutive of participants and audiences' understanding of trans lives. This analysis will be contrasted with the use of temporal displacement as a cinematic trope of negative affect, disembodiment and societal disjunction in the feature film Predestination (The Spierig Brothers, Australia, 2014), providing a further basis for scholarly critique of cinematic somatechnics in relation to the trans body.


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