scholarly journals Creative Environments: The Geo-Poetics of Allen Ginsberg

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):  
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).


Author(s):  
О.В. Бодров ◽  
А.В. Закиров

В 1960-е гг. в США шел процесс становления контркультуры, которую связывают с психоделической революцией, нонконформизмом, разрывом поколений, антивоенным движением, социальными экспериментами. Именно в этот период происходит процесс преобразования бит-поколения 1950-х гг. в субкультуру хиппи 1960-х гг. Одним из показательных событий этого процесса стал факт присоединения битника Нила Кэссиди к коммуне «Весёлые Проказники» во главе с писателем Кеном Кизи. Путешествие «Далше» летом 1964 г. стало катализатором в этой смене субкультур. In the 1960s, a counterculture was being formed in the United States, which was associated with the psychedelic revolution, nonconformism, the generation gap, the anti-war movement, and social experiments. It was during this period that the process of transforming the beat generation of the 1950s into a hippie subculture of the 1960s took place. One of the significant events of this process was the fact that beatnik Neil Cassidy joined the commune «Merry Pranksters» led by writer Ken Kesey. The «Further» trip in the summer of 1964 was a catalyst in this change of subcultures.


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.


2019 ◽  
Vol 5 (3) ◽  
pp. 11
Author(s):  
Jarosław Kuyath

One of the most expressive trends in American culture of the 1950s and 1960s, manifested by the treatment of travel as a motive of life in both the mental and creative spheres, can be confidently attributed to the Beat generation. Their consumption lifestyle, crazy undertakings, love and moral fights, in which they entered without any moderation, led them to living problems and, consequently, to being lost. This generation almost automatically brings to mind the portrait of young, vulnerable Americans, rebellious and lost, oppressed and radical, wanting freedom and falling into trouble. The myth of the Beat generation is one of the most distinct myths of American culture of the twentieth century. We know very little about Beat in Poland. Admittedly, there have been several studies concerning the literary output of Beat writers, but they do not fully reflect the complexity of the phenomenon and contexts in which they were shaped. We are constantly looking at them in terms of mythologized rebellion. Associated with beat, Charles Bukowski is the best example of a person whose work was inspired by his own experiences related to sex, alcohol, poverty and human weaknesses.


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):  
Amir Baradaran ◽  

Allen Ginsberg’s poems with their paradoxical language and syntax are a literary commentary on anger, hopelessness and frustration of the American society in the 1950s. His poems work on the binary concept of this culture versus counter-culture and try to portray a suitable diatribe on the cultural issues which were disgusting in Ginsberg’s mind. The present study looks for potentially malfunctioning sections of the language of his masterpiece “Howl” in order to argue that although attempted by the poet, there might be no organic unified without showing susceptibility to breakage and rupture. The study concludes that Ginsberg’s poetry strives hard to express a vehement lamentation in breath-length stanzas which often times decenters its own text and might raise multiple interpretations and provoke multiple lingual disorganizations. KEYWORDS: Allen Ginsberg, Deconstruction, Jacques Derrida, poem, binary opposition, rupture, analysis


2002 ◽  
Author(s):  
J. B. Kennedy
Keyword(s):  

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