The Word is Beat: Poetry, Jazz, Literature and the Beat Generation "It is the aspiration of much literature that it wants to change the way we look at the world, but few authors and poets have been as influential as the group of writers labeled the Beat Generation. They saw a lot that they did not like about American society in the fifties when they came of age, and they did their best to change it through their literature and a new practice of living."
Experimental Writing Seminar: Constraints & Collaborations. In addition to setting out a few dozen writing exercises, the online syllabus for an introductory course taught by Charles Bernstein (poet and co-editor of L=A=N=G=U=A=G=E) links to a variety of poems, poetry generators, and prose experiments on the web. [more inside]
"It was the greatest piece of writing I ever saw, better'n anybody in America, or at least enough to make Melville, Twain, Dreiser, Wolfe, I dunno who, spin in their graves." After reading Neal Cassady's 16,000 word letter, Jack Kerouac threw out his draft of On the Road and started over, in the style he's now famous for. Ginsberg took the letter and lost it. Kerouac thought it had fallen over the side of a house boat. But now the Joan Anderson letter has been found. [more inside]
Hart Crane was a poet, one who was known by and friends with other notable poets. The poet e. e. cummings claimed that "Crane’s mind was no bigger than a pin, but it didn’t matter; he was a born poet" (Google books preview). Tennessee Williams said he could "hardly understand a single line" but insisted he wanted to be buried at sea at the "point most nearly determined as the point at which Hart Crane gave himself back." Crane had his critics — Marianne Moore and Ezra Pound come to mind, and William Carlos Williams wrote "There is good there but it’s not for me" — but Jack Kerouac and Allen Ginsberg used to read "The Bridge" together, John Berryman wrote one of his famous elegies on Crane and heavyweight Robert Lowell included his “Words for Hart Crane” in "Life Studies." Science/Fiction author, James Tiptree, Jr. (Alice Sheldon) also wrote that "nobody seems to have noticed that Hart Crane really was the first space poet," quoting lines from his epic The Bridge in the story Mother in the Sky with Diamonds. Those are all words by other people, why not read a few from Crane? [more inside]
The lack of female road narratives and why it matters Whereas a man on the road might be seen as potentially dangerous, potentially adventurous, or potentially hapless, in all cases the discourse is one of potential. When a man steps onto the road, his journey begins. When a woman steps onto that same road, hers ends.
Pull my daisy, tip my cup, all my doors are open. Cut my thoughts for coconuts, all my eggs are broken.
Pull My Daisy Robert Frank, Alfred Leslie - 1959. Written and narrated by Jack Kerouac. Featuring Allen Ginsberg, Gregory Corso and Larry Rivers. An account of the making of: The Making (and Unmaking) of Pull My Daisy by Blaine Allan.
"Born Shigeyoshi Murao in 1926, he was universally known as Shig. His playful demeanor—not to mention his signature beard, Pendleton shirts, Royal Air Force exercise vest, horn-rimmed glasses, and bowler—rendered him unforgettable. But that did not make him easy to know. Shig, who died in 1999, is largely remembered for an event that occurred on June 3, 1957, when two undercover agents from the San Francisco Police Juvenile Squad showed up at City Lights to buy a seventy-five-cent book of poetry." [more inside]
On The Bro'd Every sentence of Jack Kerouac's On The Road, retold for bros.
And I say: That little ole lonely elevator girl looking up sighing in an elevator full of blurred demons, what’s her name & address?” [more inside]
Rest in peace, Simon Vinkenoog [Dutch blog w/English option], poet, friend of artists like Karel Appel, translator of Beat Generation figures like Allen Ginsberg and Jack Kerouac, psychedelic enthusiast and "weed ambassador" of Amsterdam, and author of such guides to hip living as How to Enjoy Reality. One of the European jazz-loving proto-hippies who made the '60s swing and mentored several generations of culture hackers, though he was never widely known in the US.
"The only people for me are the mad ones, the ones who are mad to live, mad to talk, mad to be saved" .... and mad enough to play fantasy baseball. In the new book Kerouac at Bat: Fantasy Sports and the King of the Beats, a NY Public Library archivist considers documents revealing the author's detailed obsession with the imaginary exploits of players like Pictorial Review Jackson and teams like the "Pontiacs, Nashes, and cellar-dwelling LaSalles" in his finely grained, fictional Summer League.
Gary Snyder, sublime and seminal poet of ecological awareness and activism [YouTube link], Zen appreciation of "ordinary mind" and American speech, shamanistic intimacy with the natural world, and surviving member of the Beat Generation (West Coast posse) at age 78, has won the $100,000 Ruth Lilly poetry prize. "Gary Snyder is in essence a contemporary devotional poet, though he is not devoted to any one god or way of being so much as to Being itself," said Poetry magazine editor Christian Wiman. "His poetry is a testament to the sacredness of the natural world and our relation to it, and a prophecy of what we stand to lose if we forget that relation.” Previous recipients of the Lilly prize include Adrienne Rich, John Ashbery, and W.S. Merwin. [Previously mentioned here.]
Book nerds everywhere will enjoy these scans of cover art from the works of Beat Generation authors William S. Burroughs, Jack Kerouac, Neal Cassady, and John Clellon Holmes. [more inside]
Kerouac's On The Road: The 50th Anniversary Of A Book I Had Not Read I can't be the only one whose impression of the book, from hearing about it but not actually reading it, was that it was about young, potent men, lost in a growing commercial society, two coiled springs ready to pop, looking for adventure-- America style. And this Road Trip that launched a thousand, other boring, useless road trips, was about young men looking to experience the world, really see, really live, really feel, free of the constraints of an artificial post war soulless society . . . That impression is wrong. You know what the book is really about? It's a primer on how to be a narcissist.
"SeaWorld bespeaks the essence of Orlando, a place whose specialty is detaching experience from context, extracting form from substance, and then selling tickets to it."
"All over Orlando you see forces at work that are changing America from Fairbanks to Little Rock. This, truly, is a 21st-century paradigm: It is growth built on consumption, not production; a society founded not on natural resources, but upon the dissipation of capital accumulated elsewhere; a place of infinite possibilities, somehow held together, to the extent it is held together at all, by a shared recognition of highway signs, brand names, TV shows, and personalities, rather than any shared history. Nowhere else is the juxtaposition of what America actually is and the conventional idea of what America should be more vivid and revealing."
"Welcome to the theme-park nation." [more inside]
"Welcome to the theme-park nation." [more inside]
Kerouac's essential On The Road is celebrating it's 50th year in publication next September. To commemorate, Viking Press plans to publish the raw, unedited "scroll version" that's been touring around the country. The hardcover -- due out somtime next year -- contains "some sections that had been cut from the novel because of references to sex or drugs" along with real names of characters, and "a different first sentence than the published novel, as well as a more abrupt ending."
First draft of 'On the Road' arrives in San Francisco. With pic of Jami and Carolyn Cassady viewing the scroll.
The Road Online is part of a collaborative project to gather ambient sounds from locations mentioned in Kerouac's "On the Road" in order to create a sonic portrait of the big cities, small towns, backwoods, deserts and mountains that Kerouac visited and wrote about. Feel free to record and contribute your own and become part of the musicircus. [via mefi projects]
"Without any particular training or background, this patient, just prior to his enlistment, enthusiastically embarked upon the writing of novels. He sees nothing unusual in this activity." Who was the patient? A 21-year-old seaman named Jack Kerouac, who would become the author of On the Road, The Dharma Bums, Dr. Sax, Visions of Cody and many other great novels that you should be reading instead of these gaddam websites. (The diagnosis from the Navy doctors, "schizoid personality," earned Kerouac a discharge.) A hilarious and poignant find from The Smoking Gun.
"Stray Prose" of Lee Ranaldo of Sonic Youth fame. Semicoherent Bob Dylan review, a paean to Kerouac, and an entertaining interview with William Burroughs. Pretentious, but, uh, you know, if you're into that sort of thing... There's some more stuff of his around his official site
Robert Creeley, one of the most exquisite and influential poets of our era, died this morning at age 78. I'd link to a story, but it's not in the news yet. This is a note from one of Robert's friends: "American poet Robert Creeley passed away this morning at 6:15 am in Odessa, Texas, where he was fulfilling a Residency at the Lannan Foundation. (Mr. Creeley was a recipient of the Lannan Foundation Lifetime Achievement Award.) His wife of twenty-eight years, Penelope, and son Will and daughter Hannah were at his side. The cause of death was complications from respiratory disease." Though a comrade and muse for Beat Generation writers like Allen Ginsberg and Jack Kerouac, Creeley was much less well-known, and had a style rather unlike theirs, distinguished by extreme economy of words and an understated approach toward emotion. Creeley was often cited as a pioneer by the so-called language poets, and his most creatively generative friendship was with another poet's poet, the late Charles Olson. Creeley's subtlety and balance will be missed.
Do you consider yourself a latter-day "beatnik"? Even young fans of Jack Kerouac and Allen Ginsberg proudly christen themselves with the tag beatnik these days, apparently unaware that word was originally coined as a term of ridicule by San Francisco columnist Herb Caen. "Beat" was indeed used by Kerouac to denote both "beaten down" and "beatitude" -- a state of revelation. He first heard the word spoken by a Times Square hustler and writer named Herbert Huncke; then another writer, John Clellon Holmes, popularized the term "Beat" in a New York Times article headlined "This is the Beat Generation." But the original Beats did not approve of the term "beatnik" -- combining "beat" with the Russian "Sputnik," as if to suggest that the Beat writers were both "out there" and vaguely Communist -- as this hilarious dialogue [note: MP3 link] between a very young Ginsberg, anthropologist Margaret Mead, and an excruciatingly square talk-radio host makes plain.
Ken Kesey's page, in which: He offers to burn copies of about two hundred minutes of recordings that he made of Neil Cassady, driving the Magic Bus, in 1964. Here's the kicker....no credit cards, no C.O.D.....you order them, they send them, they bill you, you pay them. Trust me, folks, if you're a fan of the Beats, this is amazing stuff. Hearing Kerouac's muse rant into the night while ballin' down the highway is a rare treat indeed.