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FERNANDA PIVANO INTERVIEW ABOUT THE BEAT GENERATION

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FERNANDA PIVANO INTERVIEW ABOUT THE BEAT GENERATION

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Fernanda Pivano talks about her friendship with Jack Kerouac and the Beat Generation. Thanks to her traductions we know this authors works in Italy.

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The Beat Generation was a literary movement started by a group of authors whose work explored and influenced american culture. The bulk of their work was published and popularized throughout the 1950s. The central elements of Beat culture are the rejection of standard narrative values, making a spiritual quest, the exploration of American and Eastern religions, the rejection of economic materialism, explicit portrayals of the human condition, experimentation with psychedelic drugs, and sexual liberation and exploration

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The Beat Generation was a literary movement started by a group of authors whose work explored and influenced American culture and politics in the post-war era. The bulk of their work was published and popularized throughout the 1950s. The central elements of Beat culture are the rejection of standard narrative values, making a spiritual quest, the exploration of American and Eastern religions, the rejection of economic materialism, explicit portrayals of the human condition, experimentation with psychedelic drugs, and sexual liberation and exploration.

Allen Ginsberg's (1956), William S. Burroughs' Naked Lunch (1959), and Jack Kerouac's (1957) are among the best known examples of Beat literature. Both Howl and Naked Lunch were the focus of obscenity trials that ultimately helped to liberalize publishing in the United States. The members of the Beat Generation developed a reputation as new bohemian hedonists, who celebrated non-conformity and spontaneous creativity.

The core group of Beat Generation authors- Herbert Huncke, Ginsberg, Burroughs, Lucien Carr, and Kerouac-met in 1944 in and around the Columbia University campus in New York City. Later, in the mid-1950s, the central figures, with the exception of Burroughs and Carr, ended up together in San Francisco, where they met and became friends of figures associated with the San Francisco Renaissance.

In the 1950s, a Beatnik subculture formed around the literary movement, although this was often viewed critically by major authors of the Beat movement. In the 1960s, elements of the expanding Beat movement were incorporated into the hippie and larger counterculture movements. Neal Cassady, as the driver for Ken Kesey's bus , was the primary bridge between these two generations. Ginsberg's work also became an integral element of early 1960s hippie culture.

Kerouac introduced the phrase "Beat Generation" in 1948 to characterize a perceived underground, anti-conformist youth movement in New York. The name arose in a conversation with writer John Clellon Holmes. Kerouac allows that it was Huncke, a street hustler, who originally used the phrase "beat", in an earlier discussion with him. The adjective "beat" could colloquially mean "tired" or "beaten down" within the African-American community of the period and had developed out of the image "beat to his socks", but Kerouac appropriated the image and altered the meaning to include the connotations "upbeat", "beatific", and the musical association of being "on the beat", and "the Beat to keep" from the Beat Generation poem.

The origins of the Beat Generation can be traced to Columbia University and the meeting of Kerouac, Ginsberg, Carr, Hal Chase and others. Kerouac attended Columbia on a football scholarship. Though the beats are usually regarded as anti-academic, many of their ideas were formed in response to professors like Lionel Trilling and Mark Van Doren. Classmates Carr and Ginsberg discussed the need for a "New Vision" (a term borrowed from W. B. Yeats), to counteract what they perceived as their teachers' conservative, formalistic literary ideals.

Times Square "underworld"

Burroughs had an interest in criminal behavior and got involved in dealing stolen goods and narcotics. He was soon addicted to opiates. Burroughs' guide to the criminal underworld (centered in particular around New York's Times Square) was Huncke, a small-time criminal and drug-addict. The Beats were drawn to Huncke, who later started to write himself, in order to share a vital worldly knowledge unavailable to them from their largely middle-class upbringings.

Ginsberg was arrested in 1949. The police attempted to stop Ginsberg while he was driving with Huncke, his car filled with stolen items that Huncke planned to fence. Ginsberg crashed the car while trying to flee and escaped on foot, but left incriminating notebooks behind. He was given the option to plead insanity to avoid a jail term, and was committed for 90 days to Bellevue Hospital, where he met Carl Solomon.

Solomon was arguably more eccentric than psychotic. A fan of Antonin Artaud, he indulged in self-consciously "crazy" behavior, like throwing potato salad at a college lecturer on Dadaism. Solomon was given shock treatments at Bellevue; this became one of the main themes of Ginsberg's "Howl", which was dedicated to Solomon. Solomon later became the publishing contact who agreed to publish Burroughs' first novel, , in 1953.

Beat writers and artists flocked to Greenwich Village in New York City in the late 1950s because of low rent and the "small town" element of the scene. Folksongs, readings and discussions often took place in Washington Square Park. Allen Ginsberg was a big part of the scene in the Village, as was Burroughs, who lived at 69 Bedford Street.

Burroughs, Ginsberg, Kerouac, and other poets frequented many bars in the area, including the San Remo Cafe at 93 MacDougal Street on the northwest corner of Bleecker, Chumley's, and Minetta Tavern. Jackson Pollock, Willem de Kooning, Franz Kline, and other abstract expressionists were also frequent visitors of and collaborators with the Beats. Cultural critics have written about the transition of Beat culture in the Village into the Bohemian hippie culture of the 1960s.

In 1960, a presidential election year, the Beats formed a political party, the "Beat Party," and held a mock nominating convention to announce a presidential candidate: the African-American street poet Big Brown, won a majority of votes on the first ballot but fell short of the eventual nomination. The Associated Press reported, "Big Brown's lead startled the convention. Big, as the husky African American is called by his friends, wasn't the favorite son of any delegation, but he had one tactic that apparently earned him votes. In a chatterbox convention, only once did he speak at length, and that was to read his poetry."

Ginsberg had visited Neal and Carolyn Cassady in San Jose, California in 1954 and moved to San Francisco in August. He fell in love with Peter Orlovsky at the end of 1954 and began writing Howl. Lawrence Ferlinghetti, of the new City Lights Bookstore, started to publish the City Lights Pocket Poets Series in 1955.

Kenneth Rexroth's apartment became a Friday night literary salon (Ginsberg's mentor William Carlos Williams, an old friend of Rexroth, had given him an introductory letter). When asked by Wally Hedrick to organize the Six Gallery reading, Ginsberg wanted Rexroth to serve as master of ceremonies, in a sense to bridge generations.

Philip Lamantia, Michael McClure, Philip Whalen, Ginsberg and Gary Snyder read on October 7, 1955, before 100 people (including Kerouac, up from Mexico City). Lamantia read poems of his late friend John Hoffman. At his first public reading Ginsberg performed the just finished first part of Howl. It was a success and the evening led to many more readings by the now locally famous Six Gallery poets.

It was also a marker of the beginning of the Beat movement, since the 1956 publication of Howl ( City Lights Pocket Poets, no. 4) and its obscenity trial in 1957 brought it to nationwide attention.

The Six Gallery reading informs the second chapter of Kerouac's 1958 novel The Dharma Bums, whose chief protagonist is "Japhy Ryder", a character who is actually based on Gary Snyder. Kerouac was impressed with Snyder and they were close for a number of years. In the spring of 1955 they lived together in Snyder's cabin in Mill Valley, California. Most Beats were urbanites and they found Snyder almost exotic, with his rural background and wilderness experience, as well as his education in cultural anthropology and Oriental languages. Lawrence Ferlinghetti called him "the Thoreau of the Beat Generation."

As documented in the conclusion of The Dharma Bums, Snyder moved to Japan in 1955, in large measure in order to intensively practice and study Zen Buddhism. He would spend most of the next 10 years there. Buddhism is one of the primary subjects of The Dharma Bums, and the book undoubtedly helped to popularize Buddhism in the West and remains one of Kerouac's most widely read books.

The Beats also spent time in the Northern Pacific Northwest including Washington and Oregon. Kerouac wrote about sojourns to Washington's North Cascades in The Dharma Bums and On the Road.

Reed College in Portland, Oregon was also a locale for some of the Beat poets. Gary Snyder studied anthropology there, Philip Whalen attended Reed, and Allen Ginsberg held multiple readings on the campus around 1955 and 1956. Gary Snyder and Philip Whalen were students in Reed's calligraphy class taught by Lloyd J. Reynolds.

Burroughs was introduced to the group by David Kammerer. Carr had befriended Ginsberg and introduced him to Kammerer and Burroughs. Carr also knew Kerouac's girlfriend Edie Parker, through whom Burroughs met Kerouac in 1944.

On August 13, 1944, Carr killed Kammerer with a Boy Scout knife in Riverside Park in what he claimed later was self-defense. He waited, then dumped the body in the Hudson River, later seeking advice from Burroughs, who suggested he turn himself in. He then went to Kerouac, who helped him dispose of the weapon.

Carr turned himself in the following morning and later pleaded guilty to manslaughter. Kerouac was charged as an accessory, and Burroughs as a material witness, but neither was prosecuted. Kerouac wrote about this incident twice in his own works: once in his first novel, The Town and the City, and again in one of his last, Vanity of Duluoz. He wrote a collaboration novel with Burroughs, And the Hippos Were Boiled in Their Tanks, concerning the murder.

Poet Gary Snyder was an important member of the beat movement and is widely regarded as a member of the Beat Generation circle of writers. He was one of the poets who read at the famous Six Gallery reading, and he was written about in one of Kerouac's most popular novels, The Dharma Bums. Some critics argue that Snyder's connection with the Beats is exaggerated and that he might better be regarded as a member of the West Coast group the San Francisco Renaissance, which developed independently.

Neal Cassady was introduced to the group in 1947, providing inspiration to several of the Beat authors. He became something of a muse to Ginsberg; they had a romantic affair, and Ginsberg became Cassady's personal writing-tutor. Kerouac's road trips with Cassady in the late 1940s became the focus of his second novel, . Cassady's verbal style is one of the sources of the spontaneous, jazz-inspired rapping that later became associated with " beatniks". Cassady impressed the group with the free-flowing style of his letters, and Kerouac cited them as a key influence on his spontaneous prose style.

Beat Generation women who have been published include Edie Parker; Joyce Johnson; Carolyn Cassady; Hettie Jones; Joanne Kyger; Harriet Sohmers Zwerling; Diane DiPrima; and Ruth Weiss, who also made films. Carolyn Cassady wrote her own detailed account about life with husband Neal Cassady which also included details about her affair with Jack Kerouac. She titled it Off the Road, and it was published in 1990. Poet Elise Cowen took her own life in 1963. Poet Anne Waldman was less influenced by the Beats than by Allen Ginsberg's later turn to Buddhism. Later, female poets emerged who claimed to be strongly influenced by the Beats, including Janine Pommy Vega in the 1960s, Patti Smith in the 1970s, and Hedwig Gorski in the 1980s.

Although African Americans were not widely represented in the Beat Generation, the presence of some black writers in this movement did contribute to the movement's progression. While many of the Beats briefly discusses issues of race and sexuality, they spoke from their own perspectives-most being white. However, black people added a counterbalance to this; their work supplied readers with alternative views of occurrences in the world. In particular, the African-American Beat writers, Robert "Bob" Kaufman and LeRoi Jones (Amiri Baraka), shared through their writings as well as their daily lives active pursuit of the change they wrote about. Poet Bob Kaufman wrote about a number of his experiences. Following his time in the military, he had trouble with police officers and the criminal justice system. Like many of the Beats, Kaufman was also a fan of Jazz and incorporated it into his work to describe relationships with others. LeRoi Jones ( Amiri Baraka) married Beat writer, Hettie Cohen, who became Hettie Jones, in 1958. They worked together with Diane di Prima, to develop magazine. Mr. and Mrs. Jones were associated with a number of Beats ( Jack Kerouac, Allen Ginsberg, and Gregory Corso). That is, until the assassination of the Civil Rights leader, Malcolm X. During this time, LeRoi Jones branched off from the other Beat writers, including his wife, to find his identity among the African-American and Islamic communities. The change in his social setting along with awakening influenced his writing and brought about the development of many of his most notable works, like Somebody Blew Up America, in which he reflected on the attacks of 9/11 and America's reaction to this incident in relation to other occurrences in America.

One of the key beliefs and practices of the Beat Generation was free love and sexual liberation, which strayed from the Christian ideals of American culture at the time. Some Beat writers were openly gay or bisexual, including two of the most prominent (Ginsberg and Burroughs). However, the first novel does show Cassady as frankly promiscuous. Kerouac's novels feature an interracial love affair (The Subterraneans), and group sex (The Dharma Bums). The relationships among men in Kerouac's novels are predominately homosocial.

The original members of the Beat Generation used a number of different drugs, including alcohol, marijuana, benzedrine, morphine, and later psychedelic drugs such as peyote, Ayahuasca, and LSD. They often approached drugs experimentally, initially being unfamiliar with their effects. Their drug use was broadly inspired by intellectual interest, and many Beat writers thought that their drug experiences enhanced creativity, insight, or productivity. The use of drugs was a key influence on many of the social events of the time that were personal to the Beat generation.

Gregory Corso considered English Romantic poet Percy Bysshe Shelley a hero, and he was buried at the foot of Shelley's grave in the Protestant Cemetery, Rome. Ginsberg mentions Shelley's poem at the beginning of his poem and cites it as a major influence on the composition of one of his most important poems. Michael McClure compared Ginsberg's to Shelley's breakthrough poem

Ginsberg's main Romantic influence was William Blake, and studied him throughout his life. Blake was the subject of Ginsberg's self-defining auditory hallucination and revelation in 1948. Romantic poet John Keats was also cited as an influence.

Writers of the Beat Generation were heavily influenced by Jazz artists like Billie Holiday and the stories told through Jazz music. Writers like Jack Kerouac ( On the Road), Bob Kaufman ("Round About Midnight," "Jazz Chick," and "O-Jazz-O"), and Frank O'Hara ("The Day Lady Died") incorporated the emotions they felt toward Jazz. They used their pieces to discuss feelings, people, and objects they associate with Jazz music, as well as life experiences that reminded them of this style of music. Kaufman's pieces listed above "were intended to be freely improvisational when read with Jazz accompaniment" (Charters 327). He and other writers found inspiration in this genre and allowed it to help fuel the Beat movement.

The Beats were inspired by early American figures such as Henry David Thoreau, Ralph Waldo Emerson, Herman Melville and especially Walt Whitman, who is addressed as the subject of one of Ginsberg's most famous poems, A Supermarket in California. Edgar Allan Poe was occasionally acknowledged, and Ginsberg saw Emily Dickinson as having an influence on Beat poetry. The 1926 novel You Can't Win by outlaw author Jack Black was cited as having a strong influence on Burroughs.

In many ways, Surrealism was still considered a vital movement in the 1950s. Carl Solomon introduced the work of French author Antonin Artaud to Ginsberg, and the poetry of André Breton had direct influence on Ginsberg's poem Rexroth, Ferlinghetti, John Ashbery and Ron Padgett translated French poetry. Second-generation Beat Ted Joans was named "the only Afro-American Surrealist" by Breton.

Philip Lamantia introduced Surrealist poetry to the original Beats. The poetry of Gregory Corso and Bob Kaufman shows the influence of Surrealist poetry with its dream-like images and its random juxtaposition of dissociated images, and this influence can also be seen in more subtle ways in Ginsberg's poetry. As the legend goes, when meeting French Surrealist Marcel Duchamp, Ginsberg kissed his shoe and Corso cut off his tie. Other influential French poets for the Beats were Guillaume Apollinaire, Arthur Rimbaud and Charles Baudelaire.

Gertrude Stein was the subject of a book-length study by Lew Welch. Admitted influences for Kerouac include Marcel Proust, Ernest Hemingway and Thomas Wolfe.

Gary Snyder defined wild as "whose order has grown from within and is maintained by the force of consensus and custom rather than explicit legislation". "The wild is not brute savagery, but a healthy balance, a self-regulating system.". Snyder attributed wild to Buddhism and Daoism, the interests of some Beats. "Snyder's synthesis uses Buddhist thought to encourage American social activism, relying on both the concept of impermanence and the classically American imperative toward freedom."

While many authors claim to be directly influenced by the Beats, the Beat Generation phenomenon itself has had an influence on American culture leading more broadly to the hippie movements of the 1960s.

In 1982, Ginsberg published a summary of "the essential effects" of the Beat Generation:

Spiritual liberation, sexual "revolution" or "liberation," i.e., gay liberation, somewhat catalyzing women's liberation, black liberation, Gray Panther activism.

Liberation of the world from censorship.

Demystification and/or decriminalization of cannabis and other drugs.

The evolution of rhythm and blues into rock and roll as a high art form, as evidenced by the Beatles, Bob Dylan, Janis Joplin, and other popular musicians influenced in the later fifties and sixties by Beat generation poets' and writers' works.

The spread of ecological consciousness, emphasized early by Gary Snyder and Michael McClure, the notion of a "Fresh Planet."

Opposition to the military-industrial machine civilization, as emphasized in writings of Burroughs, Huncke, Ginsberg, and Kerouac.

Attention to what Kerouac called (after Spengler) a "second religiousness" developing within an advanced civilization.

Return to an appreciation of idiosyncrasy vs. state regimentation.

Respect for land and indigenous peoples and creatures, as proclaimed by Kerouac in his slogan from On the Road: "The Earth is an Indian thing."

The term " Beatnik" was coined by Herb Caen of the San Francisco Chronicle on April 2, 1958, blending the name of the recent Russian satellite Sputnik and Beat Generation. This suggested that beatniks were (1) "far out of the mainstream of society" and (2) "possibly pro-Communist." Caen's term stuck and became the popular label associated with a new stereotype-the man with a goatee and beret reciting nonsensical poetry and playing bongo drums while free-spirited women wearing black leotards dance.

An early example of the "beatnik stereotype" occurred in Vesuvio's (a bar in North Beach, San Francisco) which employed the artist Wally Hedrick to sit in the window dressed in full beard, turtleneck, and sandals, creating improvisational drawings and paintings. By 1958 tourists who came to San Francisco could take bus tours to view the North Beach Beat scene, prophetically anticipating similar tours of the Haight-Ashbury district ten years later.

A variety of other small businesses also sprang up exploiting (and/or satirizing) the new craze. In 1959, Fred McDarrah started a "Rent-a-Beatnik" service in New York, taking out ads in The Village Voice and sending Ted Joans and friends out on calls to read poetry.

"Beatniks" appeared in many cartoons, movies, and TV shows of the time, perhaps the most famous being the character Maynard G. Krebs in The Many Loves of Dobie Gillis (1959-1963).

While some of the original Beats embraced the beatniks, or at least found the parodies humorous (Ginsberg, for example, appreciated the parody in the comic strip ) others criticized the beatniks as inauthentic poseurs. Jack Kerouac feared that the spiritual aspect of his message had been lost and that many were using the Beat Generation as an excuse to be senselessly wild.

During the 1960s, aspects of the Beat movement metamorphosed into the counterculture of the 1960s, accompanied by a shift in terminology from " beatnik" to " hippie". Many of the original Beats remained active participants, notably Allen Ginsberg, who became a fixture of the anti-war movement. Notably, however, Jack Kerouac broke with Ginsberg and criticized the 1960s politically radical protest movements as an excuse to be "spiteful".

There were stylistic differences between beatniks and hippies-somber colors, dark sunglasses, and goatees gave way to colorful psychedelic clothing and long hair. The Beats were known for "playing it cool" (keeping a low profile).

Beyond style, there were changes in substance: The Beats tended to be essentially apolitical, but the hippies became actively engaged with the civil rights movement and the anti-war movement.

Among the emerging novelists of the 1960s and 1970s, a few were closely connected with Beat writers, most notably Ken Kesey (One Flew Over the Cuckoo's Nest). Though they had no direct connection, other writers considered the Beats to be a major influence, including Thomas Pynchon (Gravity's Rainbow) and Tom Robbins (Even Cowgirls Get the Blues).

William S. Burroughs is considered a forefather of postmodern literature; he also inspired the cyberpunk genre.

One-time Beat writer LeRoi Jones/Amiri Baraka helped initiate the Black Arts movement.

As there was focus on live performance among the Beats, many Slam poets have claimed to be influenced by the Beats. Saul Williams, for example, cites Allen Ginsberg, Amiri Baraka, and Bob Kaufman as major influences.

The Postbeat Poets are direct descendants of the Beat Generation. Their association with or tutelage under Ginsberg at The Naropa University's Jack Kerouac School of Disembodied Poetics and later at Brooklyn College stressed the social-activist legacy of the Beats and created its own body of literature. Known authors are Anne Waldman, Antler, Andy Clausen, David Cope, Eileen Myles, Eliot Katz, Paul Beatty, Sapphire, Lesléa Newman, Jim Cohn, Thomas R. Peters, Jr. (poet and owner of beat book shop), Sharon Mesmer, Randy Roark, Josh Smith, David Evans.

The Beats had a pervasive influence on rock and roll and popular music, including the Beatles, Bob Dylan and Jim Morrison. The Beatles spelled their name with an "a" partly as a Beat Generation reference, and John Lennon was a fan of Jack Kerouac. The Beatles even put Beat writer William S. Burroughs on the cover of their album Sgt. Pepper's Lonely Hearts Club Band. Ginsberg later met and became friends of members of the Beatles, and Paul McCartney played guitar on Ginsberg's album Ballad of the Skeletons.

Ginsberg was a close friend of Bob Dylan and toured with him on the Rolling Thunder Revue in 1975. Dylan cites Ginsberg and Kerouac as major influences.

Jim Morrison cites Kerouac as one of his biggest influences, and fellow Doors member Ray Manzarek has said "We wanted to be beatniks." In his book Light My Fire: My Life with The Doors, Manzarek also writes "I suppose if Jack Kerouac had never written On the Road, The Doors would never have existed." Michael McClure was also a friend of members of The Doors, at one point touring with Manzarek.

Ginsberg was a friend of Ken Kesey's Merry Pranksters, a group of which Neal Cassady was a member, which also included members of the Grateful Dead. In the 1970s, Burroughs was a friend of Mick Jagger, Lou Reed, David Bowie, and Patti Smith.

The musical group Steely Dan is named after a steam-powered dildo in Burroughs' Naked Lunch. British progressive rock band Soft Machine is named after Burroughs' novel The Soft Machine.

Singer-songwriter Tom Waits, a Beat fan, wrote "Jack and Neal" about Kerouac and Cassady, and recorded "On the Road" (a song written by Kerouac after finishing the novel) with Primus. He later collaborated with Burroughs on the theatrical work The Black Rider.

Jazz musician/film composer Robert Kraft (not to be confused with NFL Team owner Robert Kraft) wrote and released a contemporary homage to Jack Kerouac and Beat Generation aesthetics entitled "Beat Generation" on the 1988 album Quake City.

Musician Mark Sandman, who was the bass guitarist, lead vocalist and a former member of the alternative jazz rock band Morphine, was interested in the Beat Generation and wrote a song called "Kerouac" as a tribute to Jack Kerouac and his personal philosophy and way of life.

The band Aztec Two-Step recorded "The Persecution & Restoration of Dean Moriarty (On the Road)" in 1972.

There was a resurgence of interest in the beats among bands in the 1980s. Ginsberg worked with the Clash and Burroughs worked with Sonic Youth, R.E.M., Kurt Cobain, and Ministry, among others. Bono of U2 cites Burroughs as a major influence, and Burroughs appeared briefly in a U2 video in 1997. Post-punk band Joy Division named a song "Interzone" after a collection of stories by Burroughs. Laurie Anderson featured Burroughs on her 1984 album Mister Heartbreak and in her 1986 concert film, Home of the Brave. The band King Crimson produced the album inspired by the Beat Generation.

More recently, American artist Lana Del Rey references the Beat movement and Beat poetry in her 2014 song " Brooklyn Baby".

The Beat Generation was met with scrutiny and assigned many stereotypes. Several magazines, including and depicted members of the Beat Generation as nihilists and as unintellectual. This criticism was largely due to the ideological differences between American culture at the time and the Beat Generation, including their Buddhist-inspired beliefs.

Norman Podhoretz, a student at Columbia with Kerouac and Ginsberg, later became a critic of the Beats. His 1958 Partisan Review article "The Know-Nothing Bohemians" was a vehement critique primarily of Kerouac's On the Road and The Subterraneans, as well as Ginsberg's Howl. His central criticism is that the Beat embrace of spontaneity is bound up in an anti-intellectual worship of the "primitive" that can easily turn toward mindlessness and violence. Podhoretz asserted that there was a link between the Beats and criminal delinquents.

Ginsberg responded in a 1958 interview with The Village Voice, specifically addressing the charge that the Beats destroyed "the distinction between life and literature". In the interview, he stated that "the bit about anti-intellectualism is a piece of vanity, we had the same education, went to the same school, you know there are 'Intellectuals' and there are intellectuals. Podhoretz is just out of touch with twentieth-century literature, he's writing for the eighteenth-century mind. We have a personal literature now- Proust, Wolfe, Faulkner, Joyce."

In a 1974 interview, Gary Snyder comments on the subject of "casualties" of the Beat Generation:

Kerouac was a casualty too. And there were many other casualties that most people have never heard of, but were genuine casualties. Just as, in the 60s, when Allen and I for a period there were almost publicly recommending people to take acid. When I look back on that now I realize there were many casualties, responsibilities to bear.

Three writers do not a generation make.

Nobody knows whether we were catalysts or invented something, or just the froth riding on a wave of its own. We were all three, I suppose.

Charters, Ann (ed.) (1992) The Portable Beat Reader. Penguin Books. ISBN 0-670-83885-3 (hc); ISBN 0-14-015102-8 (pbk). The table of contents is online.

Charters, Ann (ed.) (2001) Beat Down to Your Soul: What Was the Beat Generation? NY: Penguin, 2001. ISBN 0-14-100151-8

Morgan, Ted (1983) Literary Outlaw The Life and Times of William S. Burroughs. ISBN 0-380-70882-5, first printing, trade paperback edition Avon, NY, NY

Starer, Jacqueline. Les écrivains de la Beat Generation éditions d'écarts Dol de Bretagne France. 1SBN 978-2-919121-02-1

Weidner, Chad. The Green Ghost: William Burroughs and the Ecological Mind. Carbondale, IL: Southern Illinois University Press, 2016. 1SBN 978-0809334865

Chandarlapaty, Raj. Seeing the Beat Generation. Jefferson, NC: McFarland & Company, 2019. ISBN 978-1476675756

Collins, Ronald & Skover, David. Mania: The Story of the Outraged & Outrageous Lives that Launched a Cultural Revolution (Top-Five Books, March 2013)

Gorski, Hedwig. * [2] Robert Creeley 1982 TV Interview with Hedwig Gorski transcript included in special Robert Creeley Issue, Journal of American Studies of Turkey (JAST), No. 27, Spring 2008.

Hrebeniak, Michael. Action Writing: Jack Kerouac's Wild Form, Carbondale, IL: Southern Illinois University Press, 2006.

Sargeant, Jack. Naked Lens: Beat Cinema. NY: Soft Skull, 2009 (third edition)

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The Beat Generation was a literary movement started by a group of authors whose work explored and influenced American culture and politics in the post-war era. The bulk of their work was published and popularized throughout the 1950s.

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Despite we have videos of Kerouac himself reading his own novel, also the famous actor Johnny Depp read his "on the road" .

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The map of Sal Paradise and his friends trips across America in "on the road"

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Jack Kerouac, interviewed by William F. Buckley Jr. from a documentary on the soul of the Beat Generation. Beat, (a)politics, (non)hippies, drunkenness and television.. ”Everything is going to the beat — It’s the beat generation, it be-at, it’s the beat to keep, it’s the beat of the heart, it’s being beat and down in the world and like old-time lowdown and like in ancient civilizations the slave boatmen rowing galleys to a beat and servants spinning pottery to a beat…” Jack Kerouac – Desolation Angels

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Jack Kerouac, Interview (doc, subtitled in italian)

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An interesting documentary about Kerouac's best-known novel "on the road", where almost everything that is narrated in the book really happened to the author

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This is the trailer of the 2012 film version of the famous Fitzgerald's novel. The movie adaptation is perfect because it really shows the Jazz-Age's generation and their search for the "American dream" of wealth and happiness.

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and her main works

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Summary and analysis

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A Farewell to Arms is a novel by Ernest Hemingway set during the Italian campaign of World War I.
The novel, set against the backdrop of World War I, describes a love affair between the expatriate Henry and an English nurse, Catherine Barkley. Its publication ensured Hemingway's place as a modern American writer of considerable stature.

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Fernanda Pivano, one of Hemingway's closest friend, talks about this great man and his influence through her life

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© RAI TVTrasmesso da RAI Storia il 02/07/2012

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An interesting documentary about Hemingway's life, his experience with war, women and fascism and his main works

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and his main works

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and his main woks

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and his main works

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Trailer “Midnight’s children“ 2012 film version 

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Trailer “Midnight’s children“ 2012 film version 

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A novel by Salman Rushdie. It is characterized by a comical allegory of Indian history and and ironical and satirical tone

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Midnight's Children TRAILER 1 (2012) - Satya Bhabha Drama HD

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This is Kipling’s best novel, where he describes India through his eyes, fascinated by his sights, sounds, nature and crowded life of its cities

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Trailer “A passage to India” 1984 film version 

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Trailer “A passage to India” 1984 film version 

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A passage to India is Edward Forsters’ novel, regarded as his masterpiece. It’s a portrait of Indian colonial life during pre-war conditions.

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A scene from "A passage to India" by Forster

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A scene from "A passage to India" by Forster

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1984 film adaptation

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and his main works

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and his most famous work "Leaves of grass"

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Oscar Wilde begins his prison meditation, De Profundis, with an aphorism, not the light and witty kind for which his plays are famous, but one which resonates with bleak experience: "Suffering is one very long moment." Having reached the turning point in his despair, the disgraced writer goes on to set out his plan for transforming that experience into a different kind of art and a new kind of life, borrowing Dante's title La Vita Nuova for his own projected resurrection. The Ballad of Reading Gaol, this week's choice, is the fulfilment of that plan.

Wilde wrote the poem in 1898. He was now free, but a broken man, and a broke one. Besides two letters, he produced nothing else of literary significance before his death. It was first published simply under his prisoner identification number, C.3-3.

The poem is dedicated to the memory of the "sometime" Royal Horse Guards trooper, Charles Thomas Wooldridge, and the central incident is Wooldridge's execution for the murder of his wife. Around this narrative core, whose genre might be described as gothic realism, Wilde builds a meditation on the paradoxes of morality. The Ballad is an indictment of the death penalty and the whole penal system, but it is much more than a protest poem. It is a revelation, and its structure is part of that revelation.

Everyone can quote the refrain: "For each man kills the thing he loves." Poetically, it's unquestionably powerful, and, intellectually, it's powerfully questionable. What does Wilde mean? Perhaps he is saying that love itself corrupts or alters its object. That would certainly seem to have been true of his relationship with "Bosie", Lord Alfred Douglas, seemingly a spoiled brat further spoiled by Wilde's adulation. Judas, of course, is on his mind: the poem refers to the kiss of Caiaphas, the latter being the priest who participated in Christ's betrayal.

Wilde loved paradox, and he found some essential symbol of it in the man who murdered his wife. Perhaps he found another in the hypocrisy of the prison system itself, destroying the souls and bodies of those it would reform. The ballad form, as he adapts it, encases paradox and story in a tight, encircling ring. It is both a Dante-esque circle of hell and the deadly routine of prison life. It represents the whole cycle of crime and punishment. It is inescapable, like the "iron gin" mentioned in line 173, a symbol of confinement and possibly also an actual machine.

In the plodding iambic tetrameter and the extensive use of refrain and parallelism, we can feel at a physical level the grinding relentlessness of prison work. The tasks Victorian prisoners were set were part of their punishment. They would pedal a treadmill with their feet, for example, and though some prison treadmills were geared to grind corn or raise water, others had no use but to enslave. Then there was the nasty business of oakum picking, a task of unravelling the twine of old tarred ropes salvaged from ships. Wilde had worked at this until his fingers bled.

In De Profundis he depicts Christ as a poet, with "an intense and flame-like imagination", and describes Christian morality as "all sympathy". The sincerity of Wilde's drama of self-regeneration has sometimes been questioned and there is no doubt a certain posturing: if Christ is poet-like, this suffering poet, he seems to hint, is Christ-like. But the central charge of the Ballad is sympathy, sympathy with the condemned man and his fellow inmates. One tiny revision tells us a lot. The last two lines of stanza 41 originally read: "And I trembled as I groped my way/ Into my numbered tomb." In the second version, the shift from first to third person indicates that effort of sympathy.

Sympathy enables Wilde to remember vivid details and evoke collective feelings. The poem's hellish truthfulness raises it beyond its occasional rhetorical flaws, its purple passages. Suffering is not guaranteed to produce great art, or great humanity. However, there is no doubt that Wilde, the self-dubbed "lord of language", turns his awful humiliation to triumph in the Ballad, and attains a new poetic and moral stature.

There's only room for a short extract, but you can read the whole poem here:

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Poem of the week: The Ballad of Reading Gaol

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Oscar Wilde begins his prison meditation, De Profundis, with an aphorism, not the light and witty kind for which his plays are famous, but one which resonates with bleak experience: "Suffering is one very long moment."

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from "the Ballad of Reading Gaol"

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"Experience is the name everyone gives to their mistakes"
I choose this aphorism because I think that "you can learn from your mistakes and from experience" is just a way to justify yourself if you make a mistake, to avoid admitting you are wrong and face reality

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The soul of man through Oscar Wilde's aphorisms

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Always forgive your enemies - nothing annoys them so much. A cynic is a man who knows the price of everything and the value of nothing. ...

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By Oscar Wilde

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THE HAPPY PRINCE by Oscar Wilde read by Stephen Fry FULL UNABRIDGED

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Socialite, playwright and poor timekeeper, here's 5 facts on Oscar Wilde.For more historical facts and features, visit http://www.historyanswers.co.uk/Or pur...

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Wilde’s famous monologue on “love that dare not speak its name” during the trial, taken from the movie Wilde (1997) starring Stephen Frye. 

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Wilde’s famous monologue on “love that dare not speak its name” during the trial, taken from the movie Wilde (1997) starring Stephen Frye. 

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It is that deep, spiritual affection that is as pure as it is perfect. It dictates and pervades great works of art like those of Shakespeare and Michelangelo, and those two letters of mine, such as they are. It is in this century misunderstood, so much misunderstood that it may be described as the “Love that dare not speak its name,” and on account of it I am placed where I am now. It is beautiful, it is fine, it is the noblest form of affection. There is nothing unnatural about it. It is intellectual, and it repeatedly exists between an elder and a younger man, when the elder man has intellect, and the younger man has all the joy, hope and glamour of life before him. That it should be so, the world does not understand. The world mocks at it and sometimes puts one in the pillory for it.”

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Wilde (1997) - Stephen Fry as Oscar Wilde - Trial - The love that dare not speak its name

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by Charles Dickens

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Learn English - A Christmas Carol - by Charles Dickens - English story at Christmas - Scrooge

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I met a traveller from an antique land
Who said: ‘Two vast and trunkless legs of stone,
Stand in the desert. Near them, on the sand,
Half sunk, a shattered visage lies, whose frown,
And wrinkled lip, and sneer of cold command,
Tell that its sculptor well those passions read,
Which yet survive, stamped on these lifeless things,
The hand that mocked them and the heart that fed.
- And on the pedestal these words appear:
"My name is Ozymandias, King of Kings:
Look on my works, ye Mighty, and despair!"
Nothing beside remains. Round the decay
Of that colossal wreck, boundless and bare
The lone and level sands stretch far away.”

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by John Keats

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John Keats Ode to a Nightingale final poem in Bright Star

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Written and directed by Academy Award winner Jane Campion, Bright Star is a riveting drama based on the three-year romance between 19th century poet John Kea...

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Movie Bright Star tells the story of the love of poet John Keats and Fanny Brawne. Music from the soundtrackby Mark Bradshaw:Negative CapabilityConvulsionYea...

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Fanny's reaction to John Keats' death

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Bright Star - Fanny's reaction to John Keats' death (I do not own the rights to this movie)

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6 November, 2009. Shot in the UK. NOT MY WORKI DO NOT OWN THE RIGHTS TO THIS MOVIE! See below for Directors, crew member, cast and production companies.It is...

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Ending scene by the 2009 film version

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Bright star,
would I were steadfast as thou art
Not in Ione splendor hung aloft the night
And watching, with eternal lids apart
Like nature's patient, sleepless Eremite
The moving waters at their priestlike task
Of pure ablution round earth's human shores
Or gazing on the new soft fallen masque
Of snow upon the mountains and the moors
No, yet still steadfast, still unchangeable
PiIIow'd upon my fair Love's ripening breast
To feel for ever its soft swell and fall
Awake for ever
in a sweet unrest
Still, still to hear her tender-taken breath
And so Live ever, or else swoon to Death.

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"Bright star, would I were stedfast as thou art"... | Poetry Foundation

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Bright star, would I were stedfast as thou art-

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Daffodils by Willaim Wordsworth, readed by Jeremy Irons

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What are the qualities that made Wordsworth's poems rise to prominence?

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What are the qualities that made Wordsworth's poems rise to prominence?

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What are the qualities that made Wordsworth's poems rise to prominence?

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Romanticism is a historical movement that still hugely colours how we tend to feel and look at the world: it’s responsible for the way we approach love, nature, business and children. This is its history.

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Wuthering Heights "Why did you betray your own heart, Cathy?"

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Wuthering Heights "Why did you betray your own heart, Cathy?"

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Catherine Earnshaw, may you not rest as long as I am living,
You said i killed you, haunt me then!
Be with me always, take any form, drive me mad!
Only do not leave me in this abyss where i cannot find you!

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Wuthering Heights(1992)-Why did you betray your own heart,Cathy?

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'My great miseries in this world have been Heathcliff's miseries, and I watched and felt each from the beginning: my great thought in living is himself. If all else perished, and he remained, I should still continue to be; and if all else remained, and he were annihilated, the universe would turn to a mighty stranger: I should not seem a part of it.—My love for Linton is like the foliage in the woods: time will change it, I'm well aware, as winter changes the trees. My love for Heathcliff resembles the eternal rocks beneath: a source of little visible delight, but necessary. Nelly, I am Heathcliff! He's always, always in my mind: not as a pleasure, any more than I am always a pleasure to myself, but as my own being...

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Pride and Prejudice, Chapter XI of Volume I (Chap. 11)

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Pride and Prejudice, Chapter XI of Volume I (Chap. 11)

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Here are the words Austen wrote:
"Mr. Darcy is not to be laughed at!" cried Elizabeth. "That is an uncommon advantage, and uncommon I hope it will continue, for it would be a great loss to me to have many such acquaintance. I dearly love a laugh."

"Miss Bingley," said he, "has given me credit for more than can be. The wisest and the best of men, nay, the wisest and best of their actions, may be rendered ridiculous by a person whose first object in life is a joke."

"Certainly," replied Elizabeth—"there are such people, but I hope I am not one of them. I hope I never ridicule what is wise or good. Follies and nonsense, whims and inconsistencies do divert me, I own, and I laugh at them whenever I can.—But these, I suppose, are precisely what you are without."

"Perhaps that is not possible for any one. But it has been the study of my life to avoid those weaknesses which often expose a strong understanding to ridicule."

"Such as vanity and pride."

"Yes, vanity is a weakness indeed. But pride—where there is a real superiority of mind, pride will be always under good regulation."

Elizabeth turned away to hide a smile.

"Your examination of Mr. Darcy is over, I presume," said Miss Bingley;—"and pray what is the result?"

"I am perfectly convinced by it that Mr. Darcy has no defect. He owns it himself without disguise."

"No"—said Darcy, "I have made no such pretension. I have faults enough, but they are not, I hope, of understanding. My temper I dare not vouch for.—It is I believe too little yielding—certainly too little for the convenience of the world. I cannot forget the follies and vices of others so soon as I ought, nor their offences against myself. My feelings are not puffed about with every attempt to move them. My temper would perhaps be called resentful.—My good opinion once lost is lost for ever."

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Austen in Bakewell

It is believed that Jane Austen may have based her idea of Pemberley on Chatsworth House and written the novel while in Bakewell.
"The eye was instantly caught by Pemberley House, situated on the opposite side of the valley into which the road into some abruptness wound.""It was a large, handsome, stone building standing well on rising ground, and backed by a ridge of high woody hills; and in front, a stream of some natural importance was swelled into greater, but without any artificial appearance. Its banks were neither formal, nor falsely adorned."
Chatsworth was also mentioned in the novel as one of the estates Elizabeth Bennet visits before arriving at Pemberley.

Locations

On your visit, you may recognise the grand staircase and ceiling of the Painted Hall where Lizzie and the Gardiners start their tour of Pemberley. The Sculpture Gallery was used in the scene where Lizzie Bennet sees the bust of Mr Darcy, and his housekeeper describes his many good qualities.

On your visit you will also recognise the beautiful veiled Vestal Virgin sculpture from the same scene. The scene in the Sculpture Gallery was originally set to be in a gallery of paintings, but the scene was changed to make use of Chatsworth's collection.

Mr Darcy at Chatsworth

As a souvenir from the filming, we still have the bust of Mr Darcy, played by Matthew Macfadyen. The bust is made of resin mixed with marble dust and was created by Nick Dutton in 2004 as a prop for the film. It can be found in the Orangery shop, through the Sculpture Gallery.

Chatsworth has been used as a setting for other Pride and Prejudice themed outings, from fans coming to see the locations and enjoy 'Pemberley', to themed photography, such as our Pride and Prejudice themed photo shoot.

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It is believed that Jane Austen may have based her idea of Pemberley on Chatsworth House and written the novel while in Bakewell. "The eye was instantly caught by Pemberley House, situated on the opposite side of the valley into which the road into some abruptness wound."

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Mr. Darcy residence in "Pride and Prejudice" by Jane Austen

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Our hotels in the splendour of the countryside offer the perfect escape to the everyday. Set in thousands of acres of spectacular surroundings, you can social distance with ease, and at our hotels and inns, you can rest assured of the very best health and safety measures allowing you to relax and enjoy your stay.

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Our hotels in the splendour of the countryside offer the perfect escape to the everyday. Set in thousands of acres of spectacular surroundings, you can social distance with ease, and at our hotels and inns, you can rest assured of the very best health and safety measures allowing you to relax and enjoy your stay.

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"So we'll go no more a roving" by Lord Byron

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"So we'll go no more a roving" by Lord Byron

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This sonnet expresses one of the main topics of Lord Byron's poetry, which is a more pessimist phase where he understood the ending of his young life.

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So We'll Go No More A-Roving - Joan Baez

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Faixa 10 do álbum Joan Baez 5 (de 1964). A letra da música é o poema de mesmo nome de Lord Byron. http://en.wikipedia.org/wiki/So,_we'll_go_no_more_a_rovingO...

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Most Romantic tendencies had been anticipated in the second half of the 18th century, when poets began to describe natural country scenes in simple language, often with a pervading sadness.

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"Elegy written in a country churchyard" by Thomas Gray

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"Elegy written in a country churchyard" by Thomas Gray

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The curfew tolls the knell of parting day,

The lowing herd wind slowly o'er the lea,

The plowman homeward plods his weary way,

And leaves the world to darkness and to me.

Beneath those rugged elms, that yew-tree's shade,

Where heaves the turf in many a mould'ring heap,

Each in his narrow cell for ever laid,

The rude forefathers of the hamlet sleep.

Let not Ambition mock their useful toil,

Their homely joys, and destiny obscure;

Nor Grandeur hear with a disdainful smile

The short and simple annals of the poor.

Some village-Hampden, that with dauntless breast

The little tyrant of his fields withstood;

Some mute inglorious Milton here may rest,

Some Cromwell guiltless of his country's blood.

Far from the madding crowd's ignoble strife,

Their sober wishes never learn'd to stray;

Along the cool sequester'd vale of life

They kept the noiseless tenor of their way.

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say why..

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Everything you need to know about Frankenstein

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Everything you need to know about Frankenstein

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In the eighteenth century, a young pregnant girl who had recently eloped with an older married man sat down to write one of the greatest literary masterpieces. Smart, daring and dogged by tragedy, Mary Shelley is a fascinating figure (particularly in an era dominated by men). Learn more about the author at "Mary Shelley Lived a Life as Dark as her Books."
To learn more about Mary's subversive genealogy check out this article on her mother, the "mother of feminism"

In Frankenstein, different strands of thought about art, myth science and family are woven together. And it all started with the bang of a volcano! To learn more about the "Year without a Summer," watch the TED-Ed lesson on Mount Tambora: The colossal consequences of supervolcanoes. To learn more about the Romantics and their pursuit of the sublime, visit this site for a timeline and definitions. If you're intrigued by the critical reading of Frankenstein as a "birth myth", you can read Ellen Moer's article on the " Female Gothic."

In an eerie real-life parallel to her masterpiece, Mary was born during a thunderstorm (in the book, the monster is electrocuted to life). At the time of her writing, the concept of Galvanism would have been well-known. Galvanism studies the electrical patterns in the body, and its founder Luigi Galvani embarked on many experiments that electrified animals in order to reanimate them. This bears marked resemblance to Dr. Frankenstein's reanimation of dead matter, and indicates Shelley's engagement with popular scientific theories in her creation of what is now considered one of the first works of science fiction. Read more about her relationship to science here, and here.

How many forms do we see Frankenstein's monster crop up in adaptation and popular culture? Some of the most interesting examples are discussed in this article.

You can check out more work from the sound design team here.

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Everything you need to know to read "Frankenstein" - Iseult Gillespie

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In 1815, Lord Byron proposed a challenge to a few literary guests he had gathered in his house on Lake Geneva: Who could write the most chilling ghost story? This question sparked an idea in eighteen-year-old Mary Shelley who, over the next few months, crafted the story of "Frankenstein."

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MARY SHELLEY Official Trailer (2018) Elle Fanning, Maisie Williams Movie HD

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Video SparkNotes: Mary Shelley's Frankenstein summary

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Frankenstein: The Modern Prometheus - Extra Sci Fi - #1

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A video preview of the Frankenstein Google Lit Trip developed by Mr. Gregory Greenleaf and his 2012-2013 Advanced Placement English class at Greely High School in Cumberland Maine.

Google Lit Trips...
because literary reading brings the wisdom of the ages to the information age
http://www.GoogleLitTrips.com

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Victor Frankenstein | Official Trailer [HD] | 20th Century FOX

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That's my favourite movie version of the Frankenstein's story, because I really like Tim Burton movies, because they show a different and funnier way to tell a movie story. I've already watched the original film when I was a child, and despite I didn't know Frankestein's story, I really enjoyed the movie so I will recommend to everyone to watch it.

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FRANKENWEENIE Trailer 2012 Movie - Official [HD]

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Mind Mapping Online - Bubbl.us - Brainstorming Made Simple!

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Mind map and brainstorm online with Bubbl.us! Create colorful mind maps to print or share with others. Millions of people are using Bubbl.us worldwide to generate ideas, map out processes and create presentations.

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Mind map and brainstorm online with Bubbl.us! Create colorful mind maps to print or share with others. Millions of people are using Bubbl.us worldwide to generate ideas, map out processes and create presentations.

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Romeo sees Juliet for the first time.

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1968-Romeo Sees Juliet For The First Time

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SONNET 130 MY MISTRESS' EYES ARE NOTHING LIKE THE SUN

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SONNET 130 MY MISTRESS' EYES ARE NOTHING LIKE THE SUN

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WILLIAM SHAKESPEARE
My mistress' eyes are nothing like the sun;
Coral is far more red than her lips' red:
If snow be white, why then her breasts are dun;
If hairs be wires, black wires grow on her head.
I have seen roses damask'd, red and white,
But no such roses see I in her cheeks;
And in some perfumes is there more delight
Than in the breath that from my mistress reeks.
I love to hear her speak, yet well I know
That music hath a far more pleasing sound.
I grant I never saw a goddess go:
My mistress, when she walks, treads on the ground.
And yet, by heaven, I think my love as rare
As any she belied with false compare.

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My Mistress' Eyes Are Nothing Like The Sun; Read by Alan Rickman

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Just as the title says.Enjoy ;)I own nothing.

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For me literature is the art of telling everyone your deep fellings only using words. It’s a way to express yourself and to let that other people know what you think, what you like, what you don’t like and your impressions, sensations and emotions. We study literature to learn what past men thought about the life they lived, to know something about their epoches and to create our personal thought starting from important poets. My expectations from this literature course are to improve my English, to learn about past poets, to improve my vocabulary and also, at the end of the year, to have my own thought about everything that surrounds me.

Sofia calarco

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I am a liaison between Wake Forest University and the This page is my tribute to the New Globe and my chance to share the Globe Space with the rest of the WWW. Feel free to use the images on these pages, but I'd appreciate a link to this page or to my Globe Theatre in London, England. This, obviously, is a dream come true. Wake Forest has loaned the Globe ThinkPad computers so they can participate in various projects with us. As a life-long Shakespeare lover, I am totally head over heels for the new Globe. Shakespeare Resources page in return! I have spent a lot of time compiling these links and hope they are useful to others.

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I am a liaison between Wake Forest University and the This page is my tribute to the New Globe and my chance to share the Globe Space with the rest of the WWW. Feel free to use the images on these pages, but I'd appreciate a link to this page or to my Globe Theatre in London, England.

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welcome