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…
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“When you look back over a year on the junk, it seems like no time at all”
— William Burroughs,
William Burroughs (1914-1997), the eccentric, the sardonic humoured, and the rebellious; he is a writer who took all traditional forms of literature and threw them into the garbage. Or rather, cut them into fragments, mixed them all around, and glued them back together in complete and utter random selections of prose. This is the technique in which he composed Naked Lunch, along with the help of Jack Kerouac (1922-1969) and Allen Ginsberg (1926-1997) in 1957, and published in 1959. Considered to be “literature of risk” (Charters 103), it tells the story of Burroughs’s alter ego, William Lee, as he narrates his narcotic-fueled life of chosen criminality. Street life and crime are common themes throughout these texts, along with other works ranging from novels, poems, and letters of correspondence that take the form of various mediums—novels, poems, audio lectures, short films, etc. These two correlative themes are represented through an array of eclectic personas. Judith Butler’s theory of performativity is useful in examining Burroughs’s work to underscore the performative acts that his characters, and himself, take on as a way of elucidating that identity is formed through bodily acts to suit the needs of a discursively constructed self. Continue Reading…
It’s been an exciting few years for fans of the Beat Generation. Since Beatdom was founded, we have seen the release of a number of high profile movie adaptations (including Howl and On the Road), the publication of previously unpublished Beat works like The Sea is My Brother, and various major anniversaries (including the fifty years that have passed since Howl and On the Road were published, as well as the centenary of the birth of William S. Burroughs). Perhaps as a result of these events we have witnessed a revival of interest in the Beats, and as such a plethora of new critical works on their lives and art. Beat studies is thriving and the Beats are gaining respect as an important part of literary and cultural history. Continue Reading…
We are delighted to announce that John Tytell’s book, The Beat Interviews, will be released on October 18th by Beatdom Books.
About the Author:
John Tytell (born May 17, 1939) is an American writer and academic, whose works on such literary figures as Jack Kerouac, Ezra Pound, Allen Ginsberg, Henry Miller, and William S. Burroughs, have made him both a leading scholar of the Beat Generation, and a respected name in literature in general. He has been a professor of English at Queens College, City University of New York since 1963. He was nominated for a Pulitzer Prize for his Ezra Pound: The Solitary Volcano (1987).
About the Book:
In The Beat Interviews, John Tytell speaks with Beat Generation luminaries Herbert Huncke, John Clellon Holmes, William S. Burroughs, Carl Solomon, and Allen Ginsberg about their lives and the lives of their contemporaries. These groundbreaking interviews were conducted in the 1970s and are collected here together for the first time. In addition, the author has gathered essays giving insight into the style and philosophy of the Beats, elucidating upon the interviews to provide a unique comprehensive overview of the Beat movement.
About the Publisher:
Beatdom Books was founded in 2007. This small, independent press has published books about the Beat Generation, such as Larry Beckett’s Beat Poetry (2012), David S. Wills’ Scientologist! William S. Burroughs and the ‘Weird Cult’, Philip Willey’s Naked Tea: The Burroughs Bits, and Marc Olmsted’s Don’t Hesitate: Knowing Allen Ginsberg ’72-’97. It also publishes a small number of fiction and poetry titles, as well as the internationally acclaimed Beatdom literary journal.
Tytell is a great companion. Here at the top of his form he celebrates the Beats with his all-encompassing sensitivity to the major writers. Tytell’s deep commitment and warm personal insights shine through The Beat Interviews.
– Ann Charters, author of Kerouac: A Biography, and editor of Kerouac: Selected Letters 1940-1956.
Just when we thought there was nothing more to say about the Beat Generation, John Tytell’s new book is refreshing. At the heart of the book are his interviews, conducted when the key figures were alive and talking. The straightforward Q and A format allows us to hear their distinctive voices before they were edited and tidied up as literary history. It is rare to be able to enjoy the oral voice so clearly.
– Steven Watson, author of The Birth of the Beat Generation.
In addition to being one of the country’s leading scholars in the field of Beat Studies, John Tytell was intimate with most of the era’s major literary figures. That fact alone makes these interviews indispensable. He has interspersed insightful essays throughout this exceptional collection of interviews, to reveal each writer as a truly unique individual. Nevertheless they somehow merged to form one of America’s greatest generations of authors. Tytell’s enlightened and unsurpassed approach makes for worthwhile reading and is a researcher’s dream.
– Bill Morgan, author of The Beat Generation in San Francisco: A Literary Guide and editor of Howl on Trial: The Battle for Free Expression.
It is wonderful to start the book with Huncke and so nice to also read and therefore be in the same room with Carl. And the second Chapter The COOL World sets up Holmes interview, and is really important stuff. And all the essays in the book are really well done and INTERESTING!! So if this new book can excite an 83 year old, imagine what a gift this book will be to younger folks!!
– David Amram, author of Offbeat: Collaborating with Kerouac.
If John Tytell’s new book were merely a re-visit to these stars of the Beat Generation from an earlier time, The Beat Interviews would be a valuable reminder of who they were to anyone interested in this unique counter cultural literati. But, this slim volume is so much more. Interwoven with the writers’ first hand accounts, Tytell’s sharp analysis, honed by decades-long scrutiny, updates the record and corrects the revisionism as time moves farther from the facts. The impulse to mythologize, inherent to the Beat movement, is busted here, and the truth is so much more exciting. Now that the beat writers have
entered history, this book is essential reading for understanding their lives and literature, from a critic who was there from the beginning.
– Regina Weinreich, author of Kerouac’s Spontaneous Poetics, editor of Kerouac’s Book of Haikus, and co-producer/director of the documentary, Paul Bowles: The Complete Outsider.
John Tytell’s The Beat Interviews, a rich collection of some of the raw material behind Professor Tytell’s considerable scholarship, offers a first-hand focus on significant Beat Generation figures Herbert Huncke, John Clellon Holmes, William S. Burroughs, Carl Solomon, and Allen Ginsberg. Though several of them have taken on a larger-than-life status, their interviews offer an inescapable sense of their personal presence: Huncke talks to us with his “midnight mouth,” Burroughs gives us his unadorned Factualist truths, and Ginsberg shares personal recollections and literary insight on Burroughs himself…. A sixth “interviewee” is John Tytell, whose commentaries on each author are so conversationally written we’re certain he too is seated close, talking to us.
– Gordon Ball, author of East Hill Farm: Seasons with Allen Ginsberg and Allen Verbatim: Lectures on Poetry, Politics, Consciousness.
John Tytell’s Beat interviews are particularly illuminating because he has always known the right questions to ask. Like all his valuable work on the Beats, starting with the ground-breaking Naked Angels, this book reflects a profound and informed understanding of their place in American literature, their cultural importance and the tumultuous lives they lived.
– Joyce Johnson, author of Minor Characters and The Voice is All.
Here at Beatdom we have always had a fondness for Peter Orlovsky, and were surprised and delighted to hear about this brand new – and overdue – publication, Peter Orlovsky: a a Life in Words.
Orlovsky is known as “Allen Ginsberg’s lover” or his husband, friend, life-partner, or whatever relationship is attributed to them by whatever scholar or journalist. But what we forget is that, while certainly no Ginsberg, he was a poet in his own right. He was a character but he was also a writer. He was not just a background to the Beat Generation, but part of it. And that this is the first major book about him is rather sad. But, better late than never.
And, also, what a cover. Two penises on one literary textbook cover. You have to admire that!
From the publishers (Paradigm):
“The Peter Orlovsky you will meet in this book has only a slight resemblance to the wacky kid immortalized in Kerouac’s sunny pages as ‘the greatest man in San Francisco’ or the silent companion in Ginsberg’s tender poetry. Here, for the first time, Bill Morgan has used Peter’s words to take us behind his handsome face. Orlovsky’s journals, letters, and poems offer us glimpses of his mind with and without Ginsberg.”
—from the Foreword by Ann Charters, editor of The Portable Beat Reader
Until now, the poet Peter Orlovsky, who was Allen Ginsberg’s lover for more than forty years, has been the neglected member of the Beat Generation. Because he lived in Ginsberg’s shadow, his achievements were seldom noted and his contributions to literature have not been fully recognized.
Now, this first collection of Orlovsky’s writings traces his fascinating life in his own words. It also tells, for the first time, the intimate story of his relationship with Ginsberg.
Drawn from previously unpublished journals, correspondence, photographs, and poems, Peter Ovlovsky, a Life in Words, begins just as Orlovsky is discharged from the Army, having declared that it was “an army without love.” The book follows the young man through years of self-doubt and details his first meeting with Ginsberg in San Francisco from his own perspective. During that same year, Peter, always acting as the caregiver in his relationships, adopted his teenage mentally impaired brother, and tried to help him make a life for himself.
In never-before-heard detail, Orlovsky describes his travels around the world with Ginsberg, Kerouac, Burroughs, and Corso—whose writings so often benefited from knowing the highly creative and inspiring Orlovsky.
Orlovsky’s story is a refreshing departure from the established history of the Beats as depicted by his more famous companions. The reader will discover why Jack Kerouac described him as the saintly figure of Simon Darlovsky in Desolation Angels and why the elder poet William Carlos Williams praised his poetry as “pure American.” His was a complicated life, this book shows, filled with contradictions. Best known as Ginsberg’s lover, Orlovsky was heterosexual and always longed to be with women. Always humble, he became a teacher at a Buddhist college and taught a class that he entitled “Poetry for Dumb Students.” His spirit was prescient of the flower children of the sixties, especially his inclinations toward devotion and love. In the end Orlovsky’s use of drugs took its toll on his body and mind and he slipped into his own hell of addiction and mental illness, silencing one of the most original and inspiring voices of his generation.
- This is the “Orlovsky Reader” (which Ginsberg always wanted to publish) offering poetry, prose, and journal entries, created by the man who was the muse of the Beat generation.
- Reveals the nature of the Ginsberg and Orlovsky sexual relationship, which hasn’t been fully revealed before; Peter was never gay and didn’t find men sexually attractive.
- Exhibits Orlovsky’s distinct style of writing, which wasn’t derived from the other writers living around him.
- Includes many previously unpublished poems.
We found this while doing some research on the Charters’ Book, “Brother-Souls:John Clellon Holmes, Jack Kerouac and the Beat Generation. It has only had 79 views so far, so enjoy something new!!!
Read a review of their book and learn about John Clellon Holmes and Jack Kerouac in Beatdom 12!!!
It is published on the University Press of Mississippi. Buy a copy on Amazon or at the usual outlets. It is one of the best Beat reads you will ever find!
Yes, friends, Beatdom Issue Twelve is on it’s way and today we unveil the cover, featuring the lovely Zeena Schreck – who was kind enough to contribute this wonderful photo for the cover, as well as a short monologue (meant for stage) which she wrote at about the same time the photo was taken.
“I thought they’d compliment each other in a film-noirish type way, for a crime-theme. I hope you like it,” she says and we hope that you enjoy her work, too. Zeena and Nikolas Schreck have been great contributors since they joined us, and we are always delighted with what they have to share with us.
Issue Twelve will be another jam-packed issue, featuring interviews with Patti Smith, Amiri Baraka and Joyce Johnson and a close look at the first person to publish a piece of Beat Literature, John Clellon Holmes. He is featured in a review of the great biography/period non-fiction book on University of Missisippi Press, Brother-Souls by Ann Charters and Samuel Charters.
There are plenty of other great contributions pouring in but there is still time for you to send something, if you have a Beat-tinged piece on crime, or even a Beat-related bit of work. We are happy to look at your submissions. Deadline is in two weeks on November 1.
Beatdom 12 should roll off the presses in the first weeks of December, so save some cash in that holiday budget of yours to get a nice present for yourself!
Cover photo: Max Kobal/Copyright: Zeena Schreck.
Graphic Design: Waylon Bacon
When we interviewed Ann Charters in our current issue, Beatdom Eleven, she brought up the relationship between Jack Kerouac and John Clellon Holmes and the importance of Holmes in the evolution of the seminal style, syntax and spirit of Beat Literature, as demonstrated by Kerouac’s daily digestion of each page as Holmes’ novel, Go.
Here is a slice of that interview…
Ann Charters – “I can understand (Alene) Lee’s anger at Kerouac after he appropriated her story in The Subterraneans (though at the request of Grove Press she signed a paper giving her consent). What he did to his friend John Clellon Holmes in that autobiographical novel was much worse: Kerouac portrayed Holmes as such a wimpy rival that the literary portrait trapped him for eternity as “the quiet Beat” just as a fly is trapped in amber. Sam and I tried to redress that wrong in our recent biography Brother-Souls: John Clellon Holmes, Jack Kerouac, and the Beat Generation. It was a difficult book to write, but one of its pleasures was the opportunity to give Holmes back his voice as a writer who was an enormous influence on Kerouac during the years 1948 to 1951, especially in Jack’s creation of the “scroll” version of On the Road.
I don’t think I should have written more about Alene Lee in my early biography (Kerouac, 1973), because she didn’t play a major role in Jack’s life. Much later when I found out from the English Beat scholar Oliver Harris that she had typed the manuscript of Burroughs and Ginsberg’s The Yage Letters, I included that information in Brother-Souls to give her credit.
But I wish I had known more about Holmes’ long friendship with Kerouac when I wrote the
biography, because Holmes was a major influence and he deserves much more credit for his role as a Beat novelist, poet, and historian. Certainly Holmes’ memoir Nothing More to Declare and his novel Go are major achievements in the Beat literary canon. Jack read every chapter of Go as it left John’s typewriter, and it helped break the emotional log-jam that prevented him from writing about his road trips with Neal Cassady.”
This caught our interest so we were very pleased at the arrival of Brother-Souls in the old Beat Mailbox. A full review of this terrific work will appear in the next issue of Beatdom…Issue Twelve, The Crime Issue.The thing is – the book is much more that what we expected, so we are reading slowly and savoring. Instead of a basic nuts-and-bolts account of the facts, this is a volume that reads with the excitement of any of the best Beat novels. Though more factually forward and to the point than the diamond-hard poetic styles of description which infused On The Road, Go, The Dharma Bums, etc., we still get the adventures, the substance of an era frozen in time, and all the usual suspects – and then some!
Before we even arrived at chapter one, the three page prologue dazzled us with an array of “Who’s Who In Hip”…we come across the names of the Velvet Underground, The Fugs, Bob Dylan, Allen Ginsberg, Ed Saunders, Diane di Prima, Andy Warhol, Charles Olson, Peter Orlovski, Anne Waldman, Timothy Leary…even W.H. Auden walks through to buy a newspaper…Will they all show up eventually? Perhaps not all of them but it certainly grabbed our interest immediately.
By force of habit, we opened the book to a random page to see what we found and, there on page 179, we have Neal Cassady sending Holmes, in the words of the former, “Wooooooooooooooooooooooooooooooooooooooooo-EEEE! A real whiz of a letter” in his typical ebullience! What more can you look for in a quick introduction to the text?
If you are reading this post you are probably on this site for a reason – to learn about, celebrate or simply enjoy that which is Beat Culture and Literature. To that end, we suggest you go out to a store, click on Amazon.com, break out the Kindle – however you prefer to do it – get yourself a copy of Brother-Souls and read it. When we went to our local library to see if we could get a copy, we couldn’t. Utilizing the inter-library loan service, we were shocked to find that not a single public library in the State of Pennsylvania had a copy.
That is just pathetic.
So, if you are used to getting reading materials and books at the local branch and they do not have it, or are not aware of it here is all the information they need to order a copy…
Give them the information and don’t cut them any slack if they argue!
Brother-Souls: John Clellon Holmes, Jack Kerouac, and the Beat Generation
By Ann Charters and Samuel Charters
University Press of Mississippi
ISBN 978-1-60473-579-6, hardback, $35
Email – www.upress.state.ms.us/book/1303
If they can afford multiple copies of that Fifty Shades of Grey trilogy, let them know they can get something besides that sort of drivel for your tax dollar. This is literary history and it belongs in any and every self-respecting library!
Before Issue Twelve appears with the full review, we will post a short version of Brother-Souls on this site. We would love to open up a discussion and have you send us your comments. If you already read it, please post a comment and start a forum here. For the fun of it, please include the city and country you are writing from.
If you have to give the clerk at Barnes and Noble a hard time to get your copy, tell us about that, too! Let’s all read a great book together and have some fun doing it. If you like, we can have discussions on other books in the future.
What do you say?
Be there or be square!!!
We certainly hope that you like to look at pictures – because this is about as many as we think we can squeeze into a single post. ***in June, 2016, all photos were wiped from our website
The idea is to show that, while the ebook and kindle formats are handy, Beatdom is still fun to have your own personal copy of, like in the old days of the literary journal, when you stuck it in your pocket or bag and pulled it out to read while on the bus, at the doctor’s office or in a crowded movie theater while some delinquent threw JuJubes in your hair.
While we all know you can’t judge a book by it’s cover, anybody who is familiar with French poet Arthur Rimbaud and the poem, ‘After The Deluge,’ from his earth-shattering collection ‘Illuminations,’ will spot him right away, That is thanks to the keen handiwork of multi-faceted artist Waylon Bacon, who graced the front cover of this issue with his brilliant dexterity and use of color.
It is a treat to get to see him do something for us in deep rich tones, since he has had to restrain himself to using black and white ever since we changed the format to that of the classic, standard old-style 6×9-inch black and white format, used by most literary journals.
In the following story by Katy Gurin, ‘Grizzly Bear,’ you can see more of Waylon’s work, only in the b/w format. This is still another excellent short story by Katy, about what can happen when people commune a little too closely with nature. This tale showcases her usual splendid imagination and wonderful gift for detail. Stuck in between there, shown on the back cover, since most people look at the front and back before opening it, is the advertisement for the next fiction release from Beatdom Books, ‘Egypt Cemetery,’ a memoir by Editor Michael Hendrick, which will be available soon at the usual outlets.
It is also worth noting that Katy will be publishing a full volume of her short stories with Beatdom Books, later this year. That volume will be illustrated by Waylon, since the two of them make such a great team for two people who have never even met each other. As Katy’s story continues the partygoers dressed as bears start to act more like bears just for the drunken fun of it.
Waylon not only provided the fine images you see here – but also managed to include some of his favorite monsters, like Frankenstein’s monster, his Bride, the Hunchback of Notre Dame, the Phantom of the Opera, and some weird looking what-cha-ma-callits, that only he sees when he closes his eyes at night.
Bears like to catch fish but fishtank owners are not always appreciative. As you can see, our half-drunk pseudo-bears wander out into the Halloween night and do all the things bears are wont to do, until they are confronted by a real bear. How Katy thinks this stuff up is a mystery to us but we have been lucky enough to have her writing such inventive stories with truly absorbing plots since she was kind enough to provide us with her very first and fabulous yarn, ‘Meat From Craigslist,’ back in Issue Number Nine.
Next we have a look at the life of William S. Burroughs during his days as a farmer, written by Editor David S. Wills. Burroughs didn’t do so well working the land but Mr. Wills has been farming up quite a bit of information on the pistol-happy author while lurking about the Burroughs Archives at the New York City Public Library lately. Watch for more!
Somehow, archaeologist, activist and Beatdom regular Robin Como managed to find time to write two more of her intoxicatingly exquisite poems for your pleasure and if she doesn’t run away, we hope to have her back with more in our next issue!
Michael Hendrick tracked down Shelton Hank Williams, aka Hank Williams III, aka Hank3, on Thanksgiving Day morning last year, forcing him to hold a copy of Beatdom Issue Nine and interviewing him on topics ranging from going to Hell, to how his grandfather wrote one of the first recorded rock songs before rock’n’roll was invented, to the Right to Bear Arms.
Taking time out from his extensive studies, returning writer Rory Feehan penned this account of still another famous sharp-shooter, Hunter S. Thompson and his ventures and misadventures while living a not so quiet existence at perhaps California’s favorite Beat retreat, Big Sur.
While everybody was awaiting the release of the film version of Jack Kerouac’s ‘On The Road,’ Mr. Wills tracked down the last remaining live male character depicted in the movie, Al Hinkle, who Kerouac called Ed Dunkel in the book. Mr. Hinkle is delighted to appear here.
Assistant Editor Kat Hollister, who labored intensively to help put this issue together marked her first appearance in Beatdom with the poem you see below; her efforts were rewarded by the dubious distinction of having it placed across from a poem by returning Beat literate Chuck Taylor, on the dodgy subject of his erection. Mr. Taylor dug up the old form of ‘doggerel’ to justify it, along with the fact that we are the only journal who would risk publishing it.
Where have you seen this face before? On the cover, it’s Arthur Rimbaud again, next to an essay by poet Larry Beckett, who takes apart the aforementioned poem, ‘After The Deluge.’ It is an insightful look at one of Rimbaud’s best know works, and also gives us a glimpse at the fantastic style of literary critique to be found in Mr. Beckett’s upcoming offering from Beatdom Books, ‘Beat Poetry.’
Matthew Levi Stevens is a new name to Beatdom readers and here he presents us with a review of the latest collection of letters written by William S. Burroughs when he was still living as an expatriate.
Kat Hollister, following the indignity of having her poem placed facing Mr. Taylor’s doggerel, was happy to find a spot next to this wonderful photograph, ‘wetlands in march no.2,’ by well-known nature photographer, g. thompson higgins.
Artist/Photographer/Musician and Writer, Zeena Schreck returned again this issue, with this touching and enlightening article. She writes of how she and multi-talented husband, Nikolas Schreck, stepped up and acted to save the lives of eighty wolves, diverting their carriage to safe habitat as they were being sent to an otherwise slow and cruel death.
Ann Charters, a name familiar to everybody in the world of Beat Literature and Literary History spoke with Mr. Hendrick, on working with Kerouac, the beginnings of Beat, her meeting with Alene Lee and the importance of John Clellon Holmes to the Beat Generation.
Internationally renowned poet Michael Shorb, a strong voice on environmental issues, was kind enough to grace our pages with this, his first appearance in Beatdom.
Reaching past Rimbaud to William Blake, Mr. Wills weighs in with a quick word on the literary influence of one of the most visionary of voices and his influence on the Beats.
When we think of Beat we think of the road and it is hard to think of a band who pounded the pavement harder than the Ramones. Richie Ramone, the fastest of the fast, spoke with Mr. Hendrick about life on the road, his forays into the Big Band sounds of the Drum Gods and his activism on behalf of pooches in peril in Los Angeles.
As usual, Waylon won’t go back into his cage until he gets one last bite on the hand the doesn’t feed him, so we leave you with him and his now traditional ‘last page, last word.’ This one, Waylon aptly titled ‘Sometimes Eye Gets Crazy!’