Beatdom was founded back in 2007 and released as a large, glossy magazine. We had a ebook version that did the rounds, too. By the time we were on Kindle, we’d shifted from big glossy books (which cost a small fortune) and were running smaller, black-and-white journals. That’s the Beatdom you know (and love) today. We’ve been black-and-white since about 2010. Continue Reading…
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It was about eight years ago that I founded Beatdom magazine. I don’t remember the exact date and I didn’t keep a journal back then, but a while ago I was able to trace the date down to about mid-to-late-May of 2007, and so every year at this time we celebrate our birthday.
Back then I was just about to graduate from university and I realized that the job market was pretty dire for people with an MA in Literature and no other real life experience. I started the literary journal as a way of cheating the system… It was, you could say, an odd choice. A more experienced person might have observed that literary journals seldom make the sort of money one could live on. Continue Reading…
*sale ends friday 18th july*
In anticipation of the release of Beatdom #15 – the WAR issue – we are offering our readers a special offer on a few previous issues of the magazine. Beatdoms 11-14 are now available on Amazon for the stupidly low price of $6.99. (They’re also on Kindle for $0.99, but we can’t go any lower than that, and that’s our usual price.)
Beatdom #15 will be released late next week, and so this sale will only last one week. Please see the links below. If the prices are higher than $6.99, it means that Amazon have not yet implemented our updates.
So Beatdom #14 (the movie issue) is now on sale. All your friends are talking about it. You’re seething with a jealous rage. You can’t check your Facebook, Twitter, or Tumblr because of all the talk about the sexy new issue of Beatdom….
Well, that means it’s about high time you took the leap and got yourself a copy of the world’s favorite Beat literary journal. Here’s how:
#1 – Buy it on Amazon. This is the link for a paper copy. Don’t forget to leave a review. It’s not easy to get your publication noticed as a small press, and reviews really make a difference.
#2 – Buy it for your Kindle. There’s no getting away from it – the paper copy looks better, but can you beat instant delivery for only $0.99? Also, Kindle saves trees.
#3 – Why not get both? If you buy the paper copy via Amazon, you are allowed to download the Kindle version for free! Now that’s a sweet deal, right?
#4 – Send $12 plus shipping ($2 us; $6 international) to davidwills258 [AT] hotmail [DOT] com or wills.david [AT] gmail [DOT] com via PayPal. Please remember to add your address so that we know where to ship the magazine. If you have any questions about your PayPal order, please e-mail editor [AT] beatdom [DOT] com.
Happy holidays, folks. Here at Beatdom we’ve been desperately battling technical problems in order to bring you the latest issue of our literary journal. While we had hoped to have it on the shelves prior to Christmas, we’re working hard to make sure that it’s on sale before the end of 2013. Please follow us on Facebook and Twitter to keep up to date with our progress.
It’s that time again. Time to get back to work on another issue of Beatdom. As usual, we have a theme, and this time it’s DRINKING. How did it take so long to get to here, you might well ask. Well, we’ve had a lot of fun exploring other topics, like music, drugs, and religion.
But now here we are, preparing for the DRINKING issue. We are therefore looking for essays, interviews, poems, short stories, and artwork that takes into consideration the relationship between the artist and the bottle. We have no agenda. We don’t want to imply that alcohol makes writers great, or that it necessary cripples them. We just want to explore the topic, as usual.
As always we give preference to essays and interviews. Topics make include (just for example): the role of booze in Kerouac’s fiction and poetry, or his life, or both; bars as a venue for literary discussion; the boozy surroundings when Burroughs shot his wife; and many, many others.
The deadline for submissions is May 1st. Please e-mail documents to editor [at] beatdom (dot) com.
For more information, please visit our submissions guidelines.
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!!!
By the end of 2012, assuming the world hasn’t come to an end thanks to William S. Burroughs’ favourite group of calendar-makers, the Mayans, Beatdom will have put out its twelfth issue. The theme for this one is CRIME. As always, we are open to essays exploring crime and literature, as well as short stories, poems, interviews, and artwork. More space is given to essays, so these are more likely to be accepted.
We will be reading submissions from now until November 1st. Please send them to the usual address: editor [at] beatdom [dot] com.
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.
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!’
The creation is almost done. He makes a few adjustments to his equipment, then fiddles with some gadgets. The air is static and the storm rages. Sparks fly and the energy is frightening. Ygor hides in the shadows, watching him and giggling maniacally at what is about to be set loose upon the unsuspecting world. Sweat rolls down his forehead, what appears to be a grimace is suddenly changed to a smile as the corners of his mouth turn, trembling upward into a demonic smile. Tension mounts. The lightning strikes. Sparks fly.
His eyes widen in a cross between dementia and joy.
“It’s alive,” he says softly.
“It’s alive,” he repeats, voice raising in horrific excitement.
“It’s alive!” he shouts, raising his fists, as if to challenge God in his demonic triumph!
Seen this before? Then you were probably in the studio of Waylon Bacon, Beatdom‘s own beloved illustrator who has helped bring issue after issue to life with his drawings, illustrations and the marvelous cover art he produced for the cover of our latest issue; the colorful image/interpretation of the classic Arthur Rimbaud poem, “After the Flood.” You thought we we referring to Colin Clive in Frankenstein, and we may just as well have been, given Waylon’s predisposition to horror, zombies, drooling ghouls and famous monsters of the film world.
Our talented Mr. Bacon is a true modern Renaissance Man. Besides his delightful work in Beatdom, he has established himself as a well-respected and renowned filmmaker; amazing his fans regularly with screenings at the San Francisco Underground Short Film Festival, the Berkeley Short Film Festival, the Comic Con International Film Festival, the B Movie Underground & Trash Film Festival in the Netherlands, and the Fright Night Horror Film Festival in Louisville, Kentucky. He is currently working on filming his first foray into the music video realm, which can be a horror in itself, and also is a regular monthly contributor to Cinesource Magazine, with cartoons on the subject of filmmaking.
Any true fan of the horror film genre is familiar with FANGORIA (the First in Fright since 1979) and the magazine’s David Pace interviewed Waylon last year. On the big screen, Waylon’s first notable effort was his storyboarding and conceptualization for the 2012 flick Excision, which not only went on to play at the prestigious Sundance Film Festival, but which also includes appearances by such well-known names as Traci Lords, Malcolm McDowell, Marlee Matlin and the most awesome John Waters…acting out scenes originally sketched by Waylon!
While we do not have any of his horror-related work on hand to show you, it can easily be found on his website, www.waylonbacon.com, which has a little misinformation about Beatdom on it, but we have to forgive him for that or else he may bite us in the neck! No one-trick-pony, his work is magificently detailed, as seen on the cover of our latest, Issue Eleven, where anybody familiar with classic French poetry can spot the image of Rimbaud from across a crowded room and identify the subject. Another example of his fine eye for detail is this terrific illustration of Lenny Bruce, which he produced for our Issue Ten.
Look at the fine detail. Note the covers of Lenny’s albums in the background, painstakingly copied to perfection by his coffee-stained fingers. It is a truly remarkable piece of art, and how could you expect anything less? We have paired him up with our short story writers, and in doing so, all readers, especially readers of the print edition where you can truly see the magnificence of his craft, get to experience images such as the one below.
From our talented Katy Gurin’s story, “Meat From Craigslist”:
Here is another from the same story…
Or this one, from “Forever Stung,” a short story by Beatdom Editor Michael Hendrick…
We could go on forever because his body of work is so voluminous for a man his age, but we highly recommend that you go to www.waylonbacon.com to view his short films there and look at his other work. View his films: Help Wanted, My Worst Nightmare, Bob and Poster Boy. Marvel at his work. As Bad Lit: The Journal of Underground Film said, “When it comes to creating sickening nightmares, it’s hard to top San Francisco-based filmmaker Waylon Bacon.”
And so we leave you with one final piece from Beatdom, where we have given Waylon the last page of every issue to do whatever he wants. It is a more serious piece from Issue Ten, the Religion Issue. We posted this to let you all know that Waylon is not the creepy, ghoulish, horrific, frightening, insanely maniacal, drunken drug addict that he appears to be – we set the record straight on that – he does NOT take drugs.
Beatdom wishes Waylon the best in all of his endeavors, but we like the ones he does for us the best!
AFTERWORD: Well, folks, when we wrote this post we did not have any of Waylon’s color work available. As you all know, Beatdom assumed the format of more traditional literary journals starting with Issue Nine, and these next couple images are from a short story by the esteemed educator, photographer and writer, Chuck Taylor. While the traditional format is handier and fits in a pocket or handbag, we do miss seeing the work of Waylon in color. While his art is incomparable and uniquely original, we like to think that his color work evokes the spirit of a demented Walt Disney channeling through R. Crumb…but the style is really 100% Waylon Bacon.
We offer these samples for your guaranteed enjoyment. They appeared in Beatdom Issue Eight, the Sex Issue, complimenting Mr. Taylor’s great story, “Whores Who Were My Friends.”
We trust you will dig these!
The first is titled Sex For Free and the second is Hundred Dollars.