John Clellon Holmes’ Existentialist Dilemma

In her essay, “John Clellon Holmes and Existentialism”, Ann Charters leaves the reader with a question:  To the degree that Holmes’ thought was influenced by existentialism, was he closer to the position of Sartre or Kierkegaard?  The main theme of this essay is to answer the question we are left with after reading Charter’s discussion of Holmes’ existentialism. (1) Continue Reading…

Beatdom Goes to North Korea

In May we will release Beatdom #17 – the POLITICS issue. Although we have not yet finalized and announced the essays that will be included in the issue, the submissions received have been of an incredible high standard and we’re certain that this will be the best issue yet.

On the topic of politics, Beatdom editor, David S.Wills, recently visited North Korea and wrote a short essay on a) why we shouldn’t believe what we read in the media, and b) why we shouldn’t judge a country by its government. Read the full story here.

Kerouac Coming to Kindle

On March 22nd, 2016, six of Jack Kerouac’s books will be available as ebooks for the first time. These include his debut novel, The Town and the City. The aptly named Open Road Media has acquired the rights to digitally publish this and other books by the author, whose books were not previously available for ebook users. The Town and the City was originally published in 1950 by Harcourt Brace. The author was listed as “John Kerouac” and the story followed the life of young Peter Martin, based on Kerouac himself. Seven years later, Kerouac became a household name after his second novel, On the Road, was published. Continue Reading…

Here To Go & Back Again: The Lives & Arts of Brion Gysin

If Brion Gysin had not existed, it probably would have been necessary to invent him, as the saying goes. Pre-eminent multimedia psychedelic shaman of the latter-half of the Twentieth Century, Gysin was something of a jack-of-all-trades: Artist, Calligrapher, Entrepreneur, Kinetic Sculptor, Novelist, Performance Artist, Photographer, Poet, Raconteur, Restaurateur, and Traveller in This-and-Other Worlds. Brion did it All. And even a brief list of the names he crossed paths with sounds like a veritable Who’s Who: Laurie Anderson, Francis Bacon, David Bowie, Paul Bowles, Ira Cohen, Ornette Coleman, Max Ernst, Marianne Faithfull, Leonor Fini, Jean Genet, Keith Haring, Billie Holliday, Brian Jones, Timothy Leary, Iggy Pop, Genesis P-Orridge, Patti Smith, Gore Vidal – and, of course, his long-term friend and collaborator, William Burroughs – are among the friends, fellow-travellers and sometimes collaborators that have spoken of their admiration for the Man and his Work. As his biographer, John Geiger, wrote:

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Review: The Ugly Spirit, by Steven La Vey

Steven La Vey’s The Ugly Spirit begins with a quote from William S. Burroughs, who also coined the term that give the book its title, “the ugly spirit”: Continue Reading…

East Coast Beats vs. West Coast Beats

The Beats as we know them are a New York City phenomena and walk hand in hand with Abstract Expressionism as one of the great defining moments of art in the second half of the 20th century. Just like Jackson Pollock and William DeKooning were all about reinterpreting what painting meant, so the Beats were trying to redefine linguistics in a way that made poetry and prose contemporary, or at least brought it up to date from the days of the Lost Generation, who expatriated to Paris after World War I.  The Beats were the fallout of the existential crisis brought on by the nuclear bomb, and a seminal Beat poem by Gregory Corso called “Bomb” appeared on the page in the form of a mushroom cloud. The Beats were interested in writing from their wits and believed the concept of “first thought was the best thought,” even though they may not have lived by this credo it was a defining trait of their aesthetic stance. It was similar to an Abstract Expressionist looking for a perfect stroke on the canvas that somehow said everything about an internally troubled excited knowable state, even if he/she worked on the painting for weeks, months, or years. The goal of both movements, along with Be-Bop, was to express a moment of feeling without being restricted in time, even if this took years of practice. It might seem a quaint idea from a 2015 perspective but art was very tied to rules when the Beats wrote to the rhythm of their breath, or to the sounds of Charlie Parker’s alto sax, and it was a revolutionary act that scared a lot of critics and aesthetes into thinking the Beats were turning back the clock on poetry and were like modern day Neanderthals rather than the greatest minds of their generation. Yet that’s an image they would’ve been proud of in their inner circle, just like the Abstract Expressionists wanted to get back to primal thinking. The Beats were audacious but demanded to be taken seriously, which is probably why they earned the moniker of angry young men.

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“Telling All The Road”: Re-Reading On the Road as New Journalism

From On the Road’s initial publication in 1957 to the release of its original scroll manuscript in 2007, the most persistent issue critics have faced when discussing Kerouac’s most well-known novel has been first establishing it as something that’s worthy of criticism at all. In a 1974 essay, George Dardess cites Norman Mailer’s dismissal of Kerouac as a writer who lacks “discipline, intelligence, honesty, and a sense of the novel”. “Why do students still want to read Kerouac,” Joshua Kupetz quotes a colleague in another essay on the novel in 2007. The rebukes of On the Road – that it has no structure, no definitive ending, is incoherent, and only works as a pop-culture relic – have endured along with the work’s popularity. But perhaps most problems reading On the Road exist because this real-life tale, the story of Kerouac and his friend Neal Cassady, is not best served by seeing the work through a literary lens, but instead by embracing the idea that On the Road occupies a unique space between memoir and fiction. More accurately, On the Road is a story that fits into a literary genre that would eventually become New Journalism, a style of non-fiction writing that’s characterized by literary gymnastics and intense, immersive reporting delivered to the reader through the subjective prism of the author’s own point of view. Continue Reading…

Book Review: M Train, by Patti Smith

I work a solitary Burroughs-type job where I don’t do anything much but look out a window. I can’t read or write there, so the only thing I do is think, think about people, and pray, pray for another job. I think about the Beats because I read a great deal of Beat literature. I’ve read so much that I feel I know each personally. Being it was All Saints Day and then All Souls Day, and I had nothing else to do, I prayed for Kerouac, Ginsberg, and Burroughs. Continue Reading…

Call for Submissions: Beatdom #17

A few weeks ago we asked our readers for advice on the topic for Beatdom #17. Today, we are announcing that the topic will be politics. We believe that this will, like our previous areas of study, allow for a wide scope in terms of submissions. We hope that contributing writers can examine the Beats as political or apolitical in interesting and imaginative ways. Continue Reading…

Beaten White

The Beat Generation found itself mystified by the black culture of the time. This mystification granted them agency in manifesting their deepest desires of free-flowing sexuality in what they observed from the black people with which they surrounded themselves. Associating themselves with black people allowed them to further their performance as “The Hipster” or the “White Negro.” The very idea of being “beat” implies a white desire to be black and participate in black cultural norms, such as a wider acceptance of sexuality and jazz, instead of those set by white society, which was more mainstream. Jack Kerouac’s 1957 On the Road romanticizes black culture in this regard. However, Hettie Jones’ 1990 memoir How I Became Hettie Jones emphasizes different aspects of black life through her interracial relationship, which shows a new vision on the Beats’ desire to be black. How I Became Hettie Jones reinterprets Kerouac’s On the Road by demystifying the romanticization of his white desire to be “Negro.” Continue Reading…