The 1940s and 50s were difficult years to be non-conformist, and that was doubly true if you were a woman. The writers of the Beat Generation, as well as their friends and families, who lived bohemian lifestyles in a buttoned-up era, found that their very existence could be dangerous in those days. Whether they were driven to genuine mental illness by the shackles of a repressive society or deemed unfit for society because of their individualist life choices, many of those who fell under the Beat label ended up in the “nuthouse.” For some of them it was just a temporary stay that gave them inspiration for their art, but for others it was a deeply traumatic experience that irrevocably damaged their life. Continue Reading…
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From Beatdom #15 – Available now on Amazon as a print and Kindle publication:
The Beat Generation is often viewed as apolitical, apathetic, selfish, and borne out of the post-WWII era of prosperity. They are viewed as rich kids who chose a bohemian lifestyle as a matter of fashion, as part of a teenage rebellion that went on too long, and inspired too many imitators, and eventually morphing into the beatniks and hippies of the fifties and sixties. Getting to the heart of the Beat ethos isn’t easy, as this is a literary grouping of rather different individuals, over a long period of time, with entirely different philosophies and styles relating to their art. That “post-WWII era” label, then, is important in defining them. If we must group them together, we can define them by opposition to the oppressive society in which they lived. They supported sexual freedom, opposed big government, and pondered to what extent madness was a path to genius. Continue Reading…
By Kurt Kline
In the poetry of Bob Kaufman, the poet is the healer, journeying down into the underworld of the American psyche in order to heal the wounds of racism, capitalist exploitation, and war. If Kaufman is, as many critics have suggested, a shaman, it is perhaps most properly in the tradition of Hoodoo, which employs music as a mode of otherworldly transport or to facilitate trance states. If Kaufman recuperates the bizarre dreamscape and linguistic paradox of the ancient shaman’s song, however, these elements have now been transplanted to alien, perhaps even hostile, Western cultural climes. I examine George Romero’s The Night of the Living Dead to demonstrate more clearly Kaufman’s position as mispositioned shaman-healer of the postmodern age.
Although there is no single moment when modernism ended and postmodernism began, the period around WWII can be seen as a time of great transformation. The European avant-garde movement dispersed not only bodily to the far corners of the globe, but spiritually, as a functional vehicle of liberation. But after the war another generation arose. Allen Ginsberg seems to bridge the gaping chasm torn by the war in the middle of twentieth century American and European literature when he gives Ezra Pound a ritual spanking at St. Elizabeth’s hospital. The Beats represented a new way of configuring self, art, and world. The postmodern artist was no longer a priest of culture, but an actual enemy of the state. Ginsberg, Burroughs, and Lenny Bruce were brought to trial on obscenity charges; Carl Solomon was locked in a madhouse; Bob Kaufman was repeatedly jailed. Beat writers were fighting on the side of the imagination in a war that threatened to strip America of her soul. “The war that matters is the war against the imagination,” Diane Di Prima declares in her poem “Rant”: “All other wars are subsumed by it.” The artist became not a high priest but a culture worker, working within the mythos of the American legend to undermine its insistence on collective conformity, on homogenization of spiritual experience.
The Beats accomplish this in their poetry through the juxtaposition of elements of American mainstream popular culture (its film stars and political figures, its movies, popular myths, and songs) with elements which threatened to revolutionize and perhaps fundamentally undermine it: jazz, blues, Eastern and Western mysticism, Zen, and psychedelic drugs. When Bob Kaufman used the word Beat to describe the poetics that he and his friends were engaged in inventing, it may well have been in reference to the beat of the shaman’s drum, which propels its listeners into the Otherworld. Certainly the Beat poetics seems to recapitulate, within the changing landscape of American popular culture after WWII, the liminal poetics originating from the shaman’s song. Ginsberg writes of the madness and schizophrenia of the artist and of his country. Michael McClure’s Ghost Tantra poems GRRRR and GRRRARH their way through a secret language of the animals, filling up the dadaspace of emptiness with new possibilities of meaning. In Bob Kaufman’s art, the poet is the healer, journeying down into the underworld of the American psyche in order to discover the source of and cure to the homicidal madness that Poe, the father of American culture, had intuited as somehow an inherent part of our national consciousness.
Jewish and Black, sane and insane, Kaufman inhabits liminal space in many ways. In the eyes of mainstream 1950’s culture he is criminal, schizophrenic, the rebel, the outsider. But from the point of view of the poets, the musicians, the artists of North Beach and Paris, Kaufman is unbelievably inside, inside inside, showing the workings of the creative mind as it contorts to adapt itself to the restraints imposed by consensus consciousness. Taking into account the ancient poetics of the shaman’s song we are in an excellent position to understand the precise relationship between the poetry of this “screamer on lonely poet corners” and modern culture.
There is in the first place an inherent connection between the shaman’s song and jazz. Jazz grows out of a cultural aesthetic which places a different valuation on shamanic experience than does the European model. The African slaves brought to the new world were only recently and perhaps dubiously converted to Christianity. They preserved their old gods and shamanic customs in folktales, music and art, and, as blues musician and author, Julio Finn observes, “the Priest or Medicine Man was the chief surviving institution that the African slaves brought with them.” Elements of the Yoruba religion survived in Hoodoo and Voodoo on the bayou and elsewhere as the African witch doctor became the Root Doctor, Obi, Vodun, Wangaleur, the Hootchie-Cootchie Man or Woman. Although Kaufman did not, to the best of my knowledge, receive formal shamanic initiation at the crossroads, as perhaps was the case, as Finn demonstrates, with blues great Robert Johnson, the poet would nevertheless have been quite aware of the Hoodoo tradition, being raised in Louisiana and the environs of New Orleans. In the Hoodoo tradition, music is a key element of spirituality, and opens a channel of communication between man and loa. Kaufman writes about, as I fancy, his younger days in New Orleans, and some of the music that he heard there in the following terms:
Orleans… New Orleans… the bend in the river cleaves to the sky…
…the flowers are still up there on that wall, stem, petal, all,
Their roots playing the silences, between
Feeding pongee petals to soft breezes, flying in darting wonder.
Olatunji Babatunde is the Nigerian drummer whose 1960 album Drums of Passion was so influential on John Coltrane. “Babatunde’s drumbeats” are in clear reference to the African tribal tradition in which rhythm is the soul of life, the source of all human and universal action. Kaufman’s poetry grows out of be-bop, which is integrally linked to this intuition as well as to the struggle of African-Americans for individual and political liberation and the recovery of authentic spiritual experience. Kaufman’s improvisatory, spontaneous, oral poetics, like be-bop, is rooted in spiritual insights deriving from African tribal traditions.
…I DREAMED I DREAMED AN AFRICAN DREAM, MY HEAD WAS A
BONY GUITAR, STRUNG WITH TONGUES, & PLUCKED BY GOLD
FEATHERED WINGLESS MOONDRIPPED RITUALS UNDER A MIDNIGHT SUN, DRUMMING HUMAN BEATS FROM THE HEART OF AN EBONY GODDESS, HUMMING THE MELODIES OF BEING FROM STONE TO BONE AND FROM SAND ETERNAL…
Kaufman’s jazz rhythms set to words hurl the listener into the Otherworld even as does the shaman’s drum. His poetry is truly “Beat” in the sense that it is concerned with and expressive of the shaman’s primal rhythm.
In Kaufman’s poetry will be recognized features of the shaman’s song. The poet’s surrealistic juxtapositions of imagery call to mind the illogical, unnatural images of the shaman, expressive of the bizarre dreamscape of the shamanic Otherworld, a realm of impossible existences, of linguistic paradoxes. To express the liminal reality of the Otherworld the shaman employs a secret animal or nonsense language. Kaufman expresses the inexpressible through linguistic paradox and through the secret language of jazz. Kaufman’s poet moves across “AN UNIMAGINARY LANDSCAPE THAT EXISTS IN A REAL, UNREAL WORLD,” populated by strange “UNBEINGS.” The location of this liminal reality is somewhere, as Kaufman has written,
…BETWEEN BETWEEN, BEHIND BEHIND, IN FRONT OF FRONT, BELOW BELOW, ABOVE ABOVE, INSIDE INSIDE, OUTSIDE OUTSIDE, CLOSE TO CLOSE, FAR FROM FAR, MUCH FARTHER THAN FAR, MUCH CLOSER THAN CLOSE, ANOTHER SIDE OF AN OTHER SIDE…
The shaman’s otherworldly journey is recapitulated by Kaufman both in terms of the underworld descent in “THE POET” and a flight into “crackling blueness” in “Ancient Rain.” Such shamanic visitations are common in Kaufman’s oeuvre. “I have walked on my walls each night/Through strange landscapes inside my head,” he writes in “Would You Wear My Eyes?” In “Slight Alterations” he writes:
I climb a red thread
To an unseen existence,
Broken free, somewhere,
Beyond the belts
The purpose of these otherworldly travels is always for Kaufman to redeem suffering through love. In “Plea” he enjoins the “Voyager, wanderer of the heart” to “Seek and find Hiroshima’s children/ Send them back, send them back.” The poet must retrieve the lost and mangled souls of the new atomic age. The poet is the shaman of the culture, who must remember the truth of the nearness of death to us all, and how interconnected our lives are with all the other beings on this planet.
Finally, Kaufman’s poetics conforms to that of the shaman’s song in situating itself as an instrument of healing. Kaufman sings the “song of the broken giraffe,” the “nail in the foot song,” to bring back as if from some quagmire of Hell America’s very soul, ripped from it by greed and warfare and held in thrall by a vast brainwashing apparatus. In “The Ancient Rain” Kaufman writes:
At the illusion world that has come into existence of world that exists secretly, as meanwhile the humorous Nazis on television will not be as laughable, but be replaced by silent and blank TV screens.
The poet exposes the hypocrisy around him and dispels the illusion that has been foisted on the populace, the false myth which asserts there is a single, unitary and unchanging truth. The Ancient Rain is coming to remind everyone of the necessity of change. “The Ancient Rain splits nations that have died in the Ancient Rain…so that they can see the culture of the living dead they have become.” But if everything falls apart it also comes back together again in the Ancient Rain. It falls like balm from the sky, and brings retribution.
The Ancient Rain wets my face and I am freed from hatreds of me that disguise themselves with racist bouquets. The Ancient Rain has moved me to another world, where the people stand still and the streets moved me to destination. I look down on the earth and I see myself wandering in the Ancient Rain, ecstatic, aware that the death I see around me is in the hands of the Ancient Rain and those who plan death for me and dreams are known to the Ancient Rain…silent, humming raindrops of the Ancient Rain.
Kaufman is a visionary in the sense implied by Jonathan Swift when he writes, “Vision is the art of seeing things invisible.” But if Kaufman has a faith in his vision’s veracity and sagacity that rivals Blake’s, he nevertheless experiences vision in every bit the problematic manner of tortured Sioux shaman Black Elk. There is a burden to seeing for Kaufman, even as there was for the Sioux visionary. “I see the death some cannot see, because I am a poet, spread-eagled on the bone of the world.” In “African Dream” he experiences as a sort of racial memory the pain of seeing the slave ships that ripped Africans from their homes. As he sees it, he lives through the horror of it: “Green screams enfold my night.” The source of the poet’s purity, his legacy, is his suffering. He sees more deeply because he has to. Suffering is transmuted through the magic of poetry into a medicine or sacred herb. In this, Kaufman closely follows Rimbaud’s seer in seeking alchemical refinement of the soul and distillation of a universal balm such as that sought by the Rosicrucians. Kaufman hails Rimbaud as “brilliant maniac,” and “desert turtle” – in an apparent reference to the hexagonal patterned tortoise backs upon which the I Ching is based – and describes the two writers – himself and the French seer-poet –as
Remnants of neo-classical witch doctors
hurling jagged missives of flame-sheeted bone,
affecting space cures, on curved people…
Implicit in seeing for Kaufman is a deeply rooted social conscience. The grim tattoo of the beat-walker’s nightstick on Kaufman’s body becomes a watchword for seekers of life’s mystery everywhere.
Perhaps the most comprehensive, touching and absurd rendering of Kaufman’s poetic is his “Abomunist Manifesto.” In his Abomunist writings, Kaufman launches a humorous but at the same time radical critique of the mainstream American culture. Distorted scenes of American life as filtered through the media weave through Kaufman’s “Abomnewscast…On the Hour…”
America collides with iceberg piloted by Lindbergh baby… Aimee Semple Macpherson, former dictator of California, discovered in voodoo nunnery disguised as Moby Dick… New hit sweeping the country, the Leopold & Loeb Cha-cha-cha…
This is the real news, “sponsored by your friendly neighborhood Abomunist,” a collaging of media items which reveals the absurdity and yet the morbidity of American life. “Remember your national emergency signal, when you see one small mushroom cloud and three large ones, it is not a drill, turn the TV set off and get under it,” Kaufman’s Abomnewscaster advises us, juxtaposing the traditional healing, transformative, shamanic symbol of the mushroom with the destructive mushroom cloud of the atomic bomb. Standing counter to the Puritan work ethic, the beatnik poet cultivates a Zen-inspired uselessness. “In times of national peril, Abomunists, as reality Americans, stand ready to drink themselves to death for their country,” Kaufman declares, only half-jokingly. In other words, the Abomunist opts out. “The only office Abomunists run for is the unemployment office.” They will have nothing to do with the system. “Abomunists vote against everyone by not voting for anyone.” The Abomunist philosophy is essentially rejectionary. “Abomunists reject everything except snowmen,” Kaufman writes, meaning presumably that the Beats reject a puritanical mindset that subjugates everything to the degree to which it can be exploited. The Abomunist refuses to grow up, to conform to societal expectations, and privileges a child’s sense of play which is painfully at odds with the suffering he sees around him. The Abomunist is further linked by pun to the Abominable Snowman, a dubious creature inhabiting precisely the liminal region between known and unknown, between the possible and the impossible. The fusing of wonder and horror, miracle and sham, are perfectly captured in the monster Yeti. The Abomunist suggests the possibility of seeing the sham and stepping away from the brainwashing machine at the same time as staying attuned to the miraculous. But here is the difficulty. The poet has seen too much of the world’s suffering. “Long forgotten Indian tribes fight battles” on his chest. As reportedly did the Buddha when he attained enlightenment, the poet feels the cut earthworm’s pain as his own. Like the shaman, the poet has journeyed to the source of the pain in order to affect a cure. But will he make it back in one piece?
In “Still Further Notes Dis- & Re- Garding Abomunism” Kaufman presents us with a curious document, supposedly a translation of the Live Sea Scrolls, “one of the oldest Abomunist documents yet discovered.” Kaufman’s story of a beatnik Jesus is perhaps, as Damon suggests, inspired by the Lord Buckley routine “The Naz.” For all its humor, however, its characterization of Jesus seems analogous to the Jesus in Gnostic workings of the Jesus myth found in Nag Hammadi Library. In “The Dialogue of the Savior,” for instance, Jesus says:
Already the time has come, brothers, for us to abandon our labor and stand at rest. For whoever stands at rest will rest forever. And I say to you be always above…time…
Like Kaufman’s Abomunist poet, Jesus is telling his disciples to opt out of the system. The Gnostic Jesus is more rebellious and more paradoxical than the Jesus presented in the canonized gospels. He’s more the rogue and scoundrel of Bruno’s estimation. Kaufman’s Jesus reports:
Nazareth getting too hot, fuzz broke up two of my poetry readings last night. Beat vagrancy charge by carrying my toolbox to court–carpenters O.K. Splitting to Jeru. as soon as I get wheels.
Kaufman’s satire of the last few days of Christ’s life imagines Christ as a poet at odds with the conventions of society. In identifying the poet with Christ, Kaufman demonstrates the shamanic impulse in the postmodern era. Christ is the archetypal symbol of the shaman, the healer of physical and spiritual pain, the mediator between worlds. Although Christ’s image is valorized, however, the actual point of his message is often lost, and many who claim to believe in him would still consider his philosophy and actions impractical. But the Abomunist is the very master of impracticality. The drag of the thing is if one wants to be Jesus, one sooner or later must get crucified. And so our beatnik poet does – but it’s out of the pain of this crucifixion that a beatification of the poetry occurs.
Kaufman continues the lineage of shaman-Gnostic visionaries we have been tracing. Gnostic philosophy is embedded in his work. The poet is nailed to the bone of the world – imprisoned in matter. He “HIDES IN A JUNGLE OF WRECKED CLOCKS” and asks, “What time is it going to be?” He rejects time altogether and lives instead among “days and weeks/ That cannot be found on any calendar” and “hours and minutes unknown to the clock.” The Gnostic call for freedom from the Demiurge and his minions becomes in Kaufman’s oeuvre a call for liberation for all sentient beings from the retrogressive spiritual, mental and political forces that bind them.
A significant feature of postmodernism, as Marjorie Perloff has observed, is its pastiche of and commentary upon the mediated world – the texts and sounds and pictures that make up the mythological life of our culture. But although Kaufman joins the offices of poet/culture worker with that of entertainer à la Lord Buckley or Lenny Bruce, his attitude toward film has less the zaniness of John Ashbery’s “Daffy Duck in Hollywood,” or the celebratory irony of Frank O’Hara’s “To the Film Industry in Crisis,” but more of a problem that comes out of Kaufman’s understanding of the role of seeing for the poet. Although many of his poems make mention of movie stars and filmic characters, ranging from Charlie Chaplin to Shirley Temple to the Wizard of Oz, Kaufman salutes Hollywood as the “artistic cancer of the universe” and holds the movie industry culpable for the brainwashing of America, to whom war is made a possibility and all record of genocide erased. On the other hand, he uses cinematic motifs and structures to re-write the brainwashing script, to reveal, by exaggerating the lie, the truth that lies behind it..
Kaufman’s filmic genre of preference seems to be the horror movie. He writes humorously of Dracula star Bela Lugosi and describes his Carl Chessman film script as “a horror movie to be shot with eyes.” That the horror movie has played such a pre-eminent role in defining the American cultural landscape says a lot about a tension that is held between us and the natural realm, especially as this is accessed through shamanic praxis. The lycanthropy and vampirism that are mainstays of horror cinema can be looked at as remnants – twisted recuperations – of the transformation into animals undergone by shamans in the séance setting. Dr. Frankenstein employs the theories of Mesmer –themselves thinly disguised recuperations of shamanic wisdom – to reanimate the dead. Poe invented American culture when he invented the horror story, the horror-madness of guilt over having gotten away with it. We got away with it. We slaughtered the American Indians. We enslaved Africans. We decimated Hiroshima. We conquered Afghanistan and Iraq. And we’ve wreaked evo-havoc on the Black Lagoon in which, in sunnier days, that strange amphibious creature used to play – before a seemingly oblivious John Agar poisoned him, set him on fire, shot at, speared, and caged him before blowing up his lagoon entirely. But now we have the dues to pay, and we’re afraid, very, very afraid. What is the horror movie if not this primal fear – the fear of some lurking remnant of ourselves, still unresolved, that might intrude itself in all its hideousness upon our pleasantly numbed state? The murdered dead don’t stay buried, but have a way of turning into zombies, or ghosts, or ghouls.
In “THE POET” Kaufman describes his underworld journey as a passage through “THE NIGHT OF THE LIVING/DEAD” – an ironic reference both to the dark night of the soul of St. John of the Cross, as Damon suggests, but also to the 1968 George Romero horror film in which a hapless band of humans battle a horde of flesh eating ghouls. Romero’s lampoon of racism and conventionality is quite an appropriate allusion for Kaufman to employ. The poet too, is holding out against hordes of mindless zombies, agents of lifelessness, shambling shades inhabiting this particular version of Hell.
In Romero’s film, the protagonist, Ben, is a young black man and this single fact ironically seems both his power and his curse. Like Kaufman, Ben comes from a culture more connected to tribal shamanic praxis than that of the white folks with whom he is unhappily marooned. Only he knows how to fight the ghouls, which he does, in fact, with the conventional tool of the shaman, fire. With fire he puts the ghouls to rout before taking a fortified position in a house, which now becomes a sort of shamanic tree, an axis between worlds, between the basement and attic, between the living and the dead. He prepares a safe retreat into the underworld of the cellar, but only withdraws there when there is absolutely no hope that any of his fellow humans will be able to extricate themselves.
In the final scene of the film, the zombies have been defeated by sheriff’s deputies armed with flame throwers and shotguns. Ben emerges cautiously from his subterranean retreat, and carefully climbs the stairs of the house, only to be shot in an upstairs window by a white deputy sheriff who mistakes him for one of the remaining walking dead. Who doesn’t see him. Who renders him invisible in order to kill him. Romero makes a sly comment here – reflected in the films stark black-and-white coloration – on the culture’s condemnation of shamanic praxis and its linkage to the blindness of racism.
Kaufman’s “THE POET” shows us the Hell that is imposed on us by our own symbology. The poem is “about” how this hell is created, and what role the poet plays in its creation. The poet is the master of the process of creation. He creates the poem, the world, life itself, albeit in a strangely mutated form. The poet and the poem are each described as “A FISH WITH FROG’S/ EYES.” This forms a haunting refrain:
A FISH WITH FROG’S
CREATION IS PERFECT.
The poet appears here as half-fish, half-amphibian. A frog is a more complex organism than a fish. It is a sort of super-fish able to do everything a fish does but much more. A fish can only see within its underwater domain, but an amphibian is master of water and surface realms. A fish sees what falls into the pond but no more. The fish has no communication with or effect upon the surface world. From its lily pad, the frog can observe and interact with what from the fish’s viewpoint are the sensible and super-sensible realms. A fish with frog’s eyes has a sort of super-vision that allows it to see what other fish would dismiss as beyond the spectrum of their finny experience.
Kaufman’s “FISH WITH FROG’S/EYES” is very much an image of the atomic age. Kaufman felt the Hiroshima bombing as a terrible psychic rift. This horrible power and the war machine which produced it were sanitized by the popular media, but Kaufman sees the glimmer of murder in the cold eye of conformity. He writes with fierce sarcasm:
Silence the drums, that we may hear the burning
Of Japanese in atomic colorcinemascope,
And remember the stereophonic screaming
He wants America to realize what it has done. But meanwhile the Hollywood propaganda machine tries to make a killing at the box office with heroic portraits of men in uniform and their plucky women waiting at home. Even radioactivity was valorized in a special way.
The possibilities of mutation due to exposure to radioactivity were romanticized in science-fiction movies and comic books of the late ‘50s and early ‘60s. A strange radioactive mist causes the Incredible Shrinking Man (in the film of the same title) to shrink down into the very microcosm of the atom. In Romero’s Night of the Living Dead it’s a “mysterious high-level radiation” causing a mutation that reactivates the corpses’ brains. A fish with frog’s eyes, an atomic mutant, is the perfect symbol for the poet’s alchemical transformation of the stuff of the post-atomic world.
Kaufman’s poet must write what he sees. He must “WRITE THE TRUTH/EVEN IF HE IS/KILLED FOR IT,” and then he will be killed for it. The poem is that which cannot be denied and which cannot be explained. The poem is life. When death removes its cape from him, the poet understands what he has lived through, and he has no regrets. Although he has been “NAILED TO THE/BONE OF THE WORLD” the poet has at least lived. Like Rimbaud’s seer he will at least have seen. His poem, like Lorca’s, is “WOVEN INTO THE DEEPS/ OF LIFE.” Suffering is the poet’s legacy, but it is a suffering that has been transformed, redeemed. Meanwhile,
THE POET LIVES IN THE
MIDST OF DEATH
AND SEEKS THE MYSTERY OF
It is significant that the poet seeks not the answer to life’s mystery, but the mystery itself. The mystery is the enigma, the incertitude, the paradox, that is creation, that is the poem, that is “PERFECT.”
Damon, Maria. “‘Unmeaning Jargon’/Uncanonized Beatitude: Bob Kaufman, Poet.
”An Anthology of New Poetics. Ed. Christopher Beach. Tuscaloosa, AL: University of Alabama Press, 1998. Print.
Di Prima, Diane. Pieces of a Song. San Francisco: City Lights, 1990. Print.
Finn, Julio. The Bluesman. London: Quarter Books, 1986. Print.
Kaufman, Bob. The Ancient Rain. New York: New Directions, 1981. Print.
—Golden Sardine. 1967. San Francisco: City Lights, 1976. Print.
—Solitudes Crowded With Loneliness. New York: New Directions, 1965. Print.
Romero, George, Dir. Night of the Living Dead. 1968. DVD.
On October 2nd, Lawrence Ferlinghetti and his Beat bookstore and publisher, City Lights, will receive Litquake’s 2010 Barbary Award at Herbst Theater.
The celebration will be attended by Tom Waits, Patti Smith, Lenny Kaye, Winona Ryder, Michael McClure and Eric Drooker. Continue Reading…
More so than any other literary movement, the Beats have influenced the world of travel and have helped shape our perceptions of the world around us. From obvious influences on hitch-hiking to more serious questions relating to the environment, Beat Generation literature and history has played a major role influencing people over the past fifty years.
We often look to Jack Kerouac as the great backpacker, whose On the Road is credited with sending thousands of readers literally on the road… but he certainly wasn’t the perpetual traveller many think, and the other members of the Beat Generation – whom are less well known for their journeys – travelled far more.
It is strange that when one thinks about the Beat Generation one invariably thinks of New York or San Francisco, because between there lay thousands of miles that they all travelled, and beyond them lay a near infinite abyss that many sought to explore. But these were mere catchments for the meeting of minds; where the young writers and artists of their day met and exchanged knowledge – knowledge that lead them on the road, and was informed by their own personal adventures.
Hitch hiked a thousand miles and brought you wine.
JK, Book of Haikus
Kerouac is the logical starting point for an essay about the Beat Generation and travel. On the Road is undoubtedly the most famous Beat text, and concerned – as the title suggests – travelling. The book detailed Kerouac’s journeys across North America, and inspired subsequent generations of readers, writers and artists to take to the road for spiritual (or non-spiritual) journeys of their own.
Interestingly, Kerouac was not always fond of hitchhiking, although he has had a huge impact upon hitchhikers. He didn’t really do as much travelling as people seem to think, either. Kerouac grew up in Lowell, Massachusetts and stayed there until he went to Horace Mann Prep School in New York at seventeen years old. A year later he went to Columbia University on a football scholarship, but broke his leg and eventually signed up for the merchant marines during World War II. He sailed on the S.S. Dorchester to Greenland.
At twenty-five, Kerouac took his first cross-country road trip, and a year later he took his first trip with Neal Cassady. These journeys took Kerouac from one end of America to another, and eventually found their way into the American road classic, On the Road.
On the Road is one book that has changed America. Whether you’ve read it or not, it has had some impact upon your life. Kerouac’s masterpiece has inspired people ever since, and is still as relevant as ever.
“The road is life,” is one oft-quoted phrase from On the Road. It is one that resonates in American society – a country of immigrants, whose classics include Mark Twain, Jack London, Jack Kerouac and Bob Dylan. The road has always meant something to America; their histories are irrevocably linked.
The idea of the wilderness and self-reliance has been entangled in American literary history since the beginning, and was most notably explored in the works of Emerson and Thoreau. Kerouac also believed that it was important, saying in Lonesome Traveler:
No man should go through life without once experiencing healthy, even bored solitude in the wilderness, finding himself depending solely on himself and thereby learning his true and hidden strength.
But mostly it was the idea of non-conformity that appealed to people fifty years ago, and which has inspired readers ever since. Kerouac’s call to “mad” people came at a time when people needed to rebel, and his wild kicks on the roads of America were a wake-up call for millions. The idea of rebelling then became tied to that of travelling – of gaining freedom and independence through running away and exploring the world, and to hell with society’s expectations.
Kerouac explained in The Dharma Bums:
Colleges [are] nothing but grooming schools for the middleclass non-identity which usually finds its perfect expression on the outskirts of the campus in rows of well-to-do houses with lawns and television sets in each living room with everybody looking at the same thing and thinking the same thing at the same time while the Japhies of the world go prowling in the wilderness.
In both Japhy Ryder and Dean Moriarty Kerouac portrayed an attractive outsider that stood against everything society demanded. He presented romantic depictions of these footloose individuals that etched in the consciousness of his readers a desire to be that free soul.
Japhy Ryder was based on Zen poet Gary Snyder, whom Kerouac met in San Francisco, after travelling across America with a backpack full of manuscripts. His Buddhist wisdom inspired Kerouac to attempt communing with nature, as depicted in The Dharma Bums.
Perhaps his Book of Sketches is a better example of Kerouac’s travel-writing. He details a nearly three thousand mile hitch-hiking journey from 1952, as he travelled from North Carolina to California, by way of Tennessee, Arkansas, Oklahoma, Kansas, Colorado, Utah and Nevada. In the book he describes every town he visits and every ride he took in travelling across America.
In 1957 Kerouac travelled to Tangier, Morocco, with Allen Ginsberg and Peter Orlovsky. He didn’t enjoy his time there, but helped Burroughs with the concept and title of what would later become Naked Lunch. This journey was recorded in Desolation Angels – which also details his musings on life as he wanders across North America and Europe. The chapter titles in this book include: “Passing Through Mexico,” “Passing Through New York,” “Passing Through Tangiers, France and London” and “Passing Through America Again.”
Later, suffering from his inability to deal with fame and his disappointment at not being taken seriously by critics (as they viewed the Beats as a mere fad), Kerouac attempted to heal himself by escaping to Big Sur, as described in the novel of the same name.
After Big Sur, Kerouac returned to his mother in Long Island and didn’t stray far from her for the rest of his life. They moved together first to Lowell, Massachusetts, and then to St. Petersburg, Florida.
William S. Burroughs
Burroughs doesn’t exactly strike the same image in the minds of travellers as Kerouac, but certainly travelled more than the author of On the Road. His books are hardly odes to nature or travel, but in his life Burroughs moved frequently, and saw much of the world.
Born in St. Louis, Missouri, Burroughs went to school in New Mexico, and then studied at Harvard. With a healthy allowance from his parents, Burroughs travelled frequently from New York to Boston, and travelled around Europe after studying in Vienna. He returned and enlisted in the army, but was soon discharged and moved to Chicago, where he met Lucian Carr.
Carr took Burroughs to New York, where he met Allen Ginsberg and Jack Kerouac. Whilst in New York he and Joan Vollmer Adams had a child. The family soon moved to Texas, and then New Orleans. Some of this was described in On the Road.
After being arrested on account of incriminating letters between him and Ginsberg, Burroughs was forced to flee to Mexico, where he famously shot and killed his wife in a game of William Tell.
In January 1953 Burroughs travelled to South America, maintaining a constant stream of correspondence with Allen Ginsberg that would later become The Yage Letters. “Yage” was the name of a drug with supposed telekinetic properties for which Burroughs was searching.
In Lima, Peru, he typed up his travel notes and then returned to Mexico, where he sent the final instalment of his journey to Ginsberg. This later became the ending of Queer.
In 2007, Ohio State University Press published Everything Lost: The Latin American Notebook of William S. Burroughs. The book details Burroughs’ journey through Ecuador, Columbia and Peru, and gives insight into his personal troubles.
When Burroughs’ legal problems made it impossible for him to live in the cities of his choice he moved to Palm Springs with his parents, and then New York to stay with Ginsberg. After Ginsberg reject his advances, Burroughs travelled to Rome to see Alan Ansen, and then to Tangier, Morocco, to meet Paul Bowles.
Over the next few years Burroughs stayed in Tangiers, working on something that would eventually become Naked Lunch. He was visited by Ginsberg and Kerouac in 1957, and they helped him with his writing.
In 1959, when looking for a publisher for Naked Lunch, Burroughs went to Paris to meet Ginsberg and talk to Olympia Press. Amid surrounding legal problems, the novel was published. In the months before and after the book’s publication, Burroughs stayed with Ginsberg, Gregory Corso, and Peter Orlovsky in the “Beat Hotel.” Ginsberg composed some of “Kaddish” there, while Corso composed “Bomb.”
After Paris, Burroughs spent six years in London, where he originally travelled for treatment for his heroin addiction. He returned to the US several times – including to cover the 1968 Democratic Convention in Chicago – before moving to New York in 1974. He took a teaching position and moved into the “Bunker,” a rent-controlled former YMCA gym.
Burroughs travelled around America from time to time, before moving to Lawrence, Kansas, where he spent his final years.
Clearly Burroughs possessed more of an instinct to travel the world than Kerouac. However, his writing rarely glorifies the act of travelling, unlike his friend, who celebrated the road.
In an unpublished essay that can be found in the New York Public Library’s Berg Collection, Burroughs writes,
As a young child I wanted to be a writer because writers were rich and famous. They lounged around Singapore and Rangoon smoking opium in a yellow ponge silk suit. They sniffed cocaine in Mayfair and they penetrated forbidden swamps with a faithful native boy and lived in the native quarter of Tangier smoking hashish and languidly caressing a pet gazelle. …
This isn’t exactly the sort of image that invokes pleasant thoughts for most readers, but it shows that Burroughs considered exotic locations and global travel as extremely important. He set these things as a goal for himself, even from a young age.
In his work one could argue Burroughs was more interested in the notion of time-travel than of terrestrial journeying. From actual references to time-travel to the cut-up techniques that carried readers across space and time, Burroughs seemed very interested in having everything in a constant state of flux.
In his essay, “Civilian Defence,” from the collection, The Adding Machine, Burroughs argues for space travel as the future of mankind. He seems to be suggesting that to change is to survive, that we need to move to develop.
Man is an artifact designed for space travel. He is not designed to remain in his present biologic state any more than a tadpole is designed to remain a tadpole.
From the Allen Ginsberg Trust:
Ginsberg might have been an American by birth, but through his extensive travel he developed a global consciousness that greatly affected his writings and viewpoint. He spent extended periods of time in Mexico, South America, Europe and India. He visited every continent in the world and every state in the United States and some of his finest work came about as a result of these travels.
Ginsberg spent his tumultuous youth in Paterson, New Jersey, before moving to Columbia University and meeting Kerouac and Burroughs. He met Neal Cassady there and took trips across America – to Denver and San Francisco. In 1947 he sailed to Dakar, Senegal, and wrote “Dakar Doldrums.”
Ginsberg returned to New York and attempted to “go straight,” but moved to San Francisco and became heavily involved in its poetry scene. In 1951 he took a trip to Mexico to meet Burroughs, but Burroughs had already left for Ecuador. In 1953 Ginsberg returned to explore ancient ruins and experiment with drugs, and in 1956 he visited Kerouac in Mexico City.
In 1955 he read “Howl” at the Six Gallery and became a Beat Generation icon. When Howl and Other Poems was published, City Lights Bookstore was charged with publishing indecent literature, and the trial helped made Ginsberg a celebrity.
During the trial Ginsberg moved to Paris with his partner, Peter Orlovsky. From there they travelled to Tangier to help Burroughs compose Naked Lunch. They returned through Spain to stay in the “Beat Hotel” and help Burroughs sell the book to Olympia Press. In a Parisian café, Ginsberg began writing “Kaddish.”
In 1960 Ginsberg travelled to Chile with Lawrence Ferlinghetti for a communist literary conference. He travelled through Bolivia to Lima, Peru, where he tried yage for the first time.
In 1961 Ginsberg and Orlovsky sailed on the SS America for Europe. They looked for Burroughs in Paris. From Paris he travelled through Greece to Israel, meeting Orlovsky, who’d taken a different route.
Together, Ginsberg and Orlovsky travelled down to East Africa, attending a rally in Nairobi. From Africa they travelled to India, first to Bombay and then Delhi, where they met Gary Snyder and Joanne Kryger. Ginsberg and Snyder travelled throughout India for fifteen months, consulting as many wise men as they could find.
After India, Ginsberg travelled on his own through Bangkok, Saigon and Cambodia, and then spent five weeks in Japan with Snyder and Kryger. He wrote “The Change” on a train from Kyoto to Tokyo.
In 1965 Ginsberg travelled to Cuba through Mexico, but was kicked out of the country for allegedly calling Raul Castro “gay” and Che Guevara “cute.” The authorities put him on a flight to Czechoslovakia. In Prague Ginsberg discovered his work had become very popular and used his royalties there to travel to Moscow. He travelled back through Warsaw and Auschwitz.
Back in Prague Ginsberg was elected “King of May” by the students of the city, and spent the following few days “running around with groups of students, acting in a spontaneous, improvised manner – making love.”
Eventually he was put on a flight to London after the authorities found his notebook – containing graphically sexual poems and politically charged statements. In London he partied with Bob Dylan and the Beatles, and organised a big poetry reading.
On his return to the US Ginsberg learned that his previously deactivated FBI file has been updated with the warning, “these persons are reported to be engaged in smuggling narcotics.” This was not helpful to someone as passionate about travel as Allen Ginsberg, and for two years he travelled around the US.
In 1967 he flew to Italy and was arrested for “use of certain words” in his poetry. He then travelled back to London and on to Wales, before returning to Italy to meet Ezra Pound.
In1971 a plane ticket to India and West Bengal was anonymously donated, and Ginsberg travelled to the flood and famine ravaged area.
Back in America, Ginsberg was always travelling – seeking wisdom and change. He moved around the country, participating in demonstrations and rallies. He trained with Buddhists, founded the Jack Kerouac School of Disembodied Poetics at Naropa, in Boulder, Colorado, and toured with Bob Dylan’s Rolling Thunder Review.
Ginsberg toured Europe again in 1979 – visiting Cambridge, Rotterdam, Amsterdam, Paris, Genoa, Rome and Tubingen, among other places. He was accompanied by Gregory Corso and Peter Orlovsky.
In the early eighties Ginsberg settled in Boulder, to play a more active role at Naropa, following a series of problems that had troubled the school. During this time he travelled to Nicaragua to work with other poets on stopping American interference in the politics of other nations. (He returned to Nicaragua for a poetry festival in 1986.)
He spent eight weeks in China following a 1984 poetry conference with Gary Snyder, and in 1985 travelled in the USSR for another poetry conference. In August and September of 1986 he travelled throughout Eastern Europe – performing in Budapest, Warsaw, Belgrade and Skopje. In January of 1988 he travelled to Israel to help bring peace to the Middle East. Later that year he returned to Japan to help protest nuclear weapons and airport developments.
After twenty five years, Ginsberg was re-crowned King of May upon his return to Prague in 1990. A few months later he travelled to Seoul, South Korea, to represent America in the 12th World Congress of Poets.
Continuing to travel right up until 1994, Ginsberg went to France in ’91 and ’92, and then toured Europe in ’93. His four month tour took him around most of Europe, including a ten day teaching job with Anne Waldman.
After selling his personal letters to Stanford University, Ginsberg bought a loft in New York, where he largely remained until his death in 1997.
Neal is, of course, the very soul of the voyage into pure, abstract meaningless motion. He is The Mover, compulsive, dedicated, ready to sacrifice family, friends, even his very car itself to the necessity of moving from one place to another.
William Burroughs, on Neal Cassady
His name may not be as famous as that of Kerouac, but Cassady is well known to any Beat enthusiast. He was portrayed as Dean Moriarty in On the Road: the man Sal Paradise followed on his cross-country trips.
Whilst he may remain most well known for inspiring Kerouac, Cassady influenced many people to enjoy their lives, and to break free of convention. John Clellon Holmes talked about him in Go, Ginsberg referenced him in “Howl” and Hunter S. Thompson mentioned him (unnamed) in Hell’s Angels. He was not only a hero of the Beats, but of many during the following psychedelic era.
It could be said that Cassady lived and died on the road. He was born in Salt Lake City, Utah, and raised by his alcoholic father in Denver, Colorado. He was a criminal from an early age, always in trouble with the law. He was frequently arrested for car theft, and known as an exhilarating driver.
After meeting Kerouac and Ginsberg in New York City, Kerouac and Cassady travelled across America and into Mexico. Kerouac was inspired by Cassady’s life and his letter-writing style, whilst the latter sought advice about novel-writing from Kerouac, who’d already published The Town and the City, a novel featuring a far more conventional style of writing than that for which Kerouac later became known.
Both the subject and style of On the Road owe their existence to Neal Cassady. His impact upon Kerouac cannot be understated.
Cassady settled with his wife, Carolyn, in San Jose, and worked for the Southern Pacific Railroad. He kept in touch with the rest of the Beats, although they all drifted apart philosophically.
In the sixties Kerouac withdrew into alcoholism and what seems like an early onset of middle-age, whilst Cassady took to the road again with Ken Kesey and the Merry Pranksters. In a bus called “Furthur” Cassady took the wheel and drove the Pranksters across America. It was a trip well documented in Tom Wolf’s Electric Kool-Aid Acid Test.
Cassady travelled to Mexico many times, and in 1968 he died on a railroad track, attempting to walk fifteen miles to the next town. Shortly before his death he told a friend, “Twenty years of fast living – there’s just not much left, and my kids are all screwed up. Don’t do what I have done.”
In his short life, Neal Cassady travelled back and forth across North America. His wild antics, footloose life and driving skills inspired many who met him to follow him where he went. He was immortalised in art and literature, and continues to be an inspiration today in sending people on the road.
Lawrence Ferlinghetti commented that if Allen Ginsberg was the Walt Whitman of the Beat Generation, then Gary Snyder was its Henry David Thoreau. Through his rugged individualism and Zen peacefulness the young poet made quite an impact upon his contemporaries, introducing the culture of Asia to the West Coast poetry scene.
Snyder was both interested in the teachings of Asian culture and the tough landscape of North America, and his relationship with both is most famously recounted in Kerouac’s Dharma Bums.
Growing up in the Pacific Northwest, Snyder quickly learned the importance of place. He spoke of a Salishan man who “knew better than anyone else I had ever met where I was.” The mountains and forests of his part of the world were dangerous and beautiful places, and respect and awareness of them were key to his development. Knowing himself inside and out was essential for Snyder’s growth and survival.
From a young age Snyder was fascinated with Asia. He grew up on the West Coast of the United States, revelling in the diversity of the cities.
The geographical significance of East Asia to the West coast was palpable, as I was growing up. Seattle had a Chinatown, the Seattle Art Museum had a big East Asian collection, one of my playmates was a Japanese boy whose father was a farmer, we all knew that the Indians were racially related to the East Asians and that they had got there via Alaska… There [was]… a constant sense of exchange.
After years of studying Asian culture and teaching himself to meditate, Snyder was offered a scholarship to study in Japan. His application for a passport was initially turned down after the State Department announced there had been allegations he was a communist. (This was shortly after the 1955 Six Gallery Reading, at which Snyder read “A Berry Feast.”)
Snyder studied and travelled in Japan, and eventually became a disciple of Miura Isshu. He mastered Japanese, worked on translations, learned about forestry and formally became a Buddhist.
His return to North America in 1958 took him through the Persian Gulf, Turkey and various Pacific Islands, whilst he worked as a crewman on an oil freighter.
Snyder returned to Japan in 1959 with Joanne Kyger, whom he married in February 1960. Over the next thirteen years he travelled back and forth between Japan and America, occasionally living as a monk, although without formally becoming a priest.
As mentioned in the “Allen Ginsberg” section of this essay, Snyder and Ginsberg travelled together throughout India, seeking advice from holy men.
Between 1967 and 1968 Snyder spent time living with “the Tribe” on a small island in the East China Sea, practicing back-to-the-land living. Shortly after, Snyder moved back to America and settled with his second wife – Masa Uehara – in the Sierra Nevada mountains, in Northern California. He maintained a strong interest in back-to-the-land living after returning.
Gary Snyder’s poetry often reflects his relationship with the natural world. Throughout his life he worked close to the land, and in his poems we see intimate portraits of the world around him. Issues of forestry and geomorphology are frequently addressed in his poems, as well as in his essays and interviews.
In 1974 Snyder’s Turtle Island won the Pulitzer Prize for poetry. “Turtle Island” is a Native American name for the North American continent, and Snyder believed that by referring to it as such, it was possible to change contemporary perceptions of the land to a more holistic, balanced viewpoint.
Mountains and Rivers Without End was published in 1996, and celebrates the inhabitation of certain places on our planet.
Today there is an incredible volume of work concerning the poetry of Gary Snyder, and it largely divides its focus between his interest in Asian culture and the environment. It is pretty much agreed, however, that the natural world and a strong sense of community have pervaded his works throughout his entire career.
The only member of the Beat Generation to have actually been born in Greenwich Village was Gregory Corso. He was the youngest of the Beats, and had an extremely tough childhood, growing up on the streets of New York without a mother and did time in both the Tombs and Clinton Correctional Facility.
He met Ginsberg in a lesbian bar in New York and was soon introduced to the rest of the Beats. In 1954 he moved to Boston and educated himself. His first book of poetry was released with the help of Harvard students.
Corso worked various jobs across America, and stayed for a while in San Francisco, performing with Kerouac and becoming a well known member of the Beats.
Between 1957 and 1958 Corso lived in Paris, where he wrote many of the poems that would make up Gasoline, which was published by City Lights. In October of 1958 he went to Rome to visit Percy Byssthe Shelley’s tomb. He travelled briefly to Tangier to meet Ginsberg and Orlovsky, and brought them back to Paris to live in the Beat Hotel. In 1961 he briefly visited Greece. In February 1963 he travelled to London.
It seems that Corso came to consider Europe his home, in spite of having been born in New York. His travels there inspired him, and he spent many years living in Paris. During a return to New York he said: “It dawns upon me that my maturing years were had in Europe – and lo, Europe seems my home and [New York], a strange land.”
Ferlinghetti claimed to have been a bohemian from another era, rather than a Beat. Indeed, he isn’t often viewed in the same light. He was the publisher of the Beats, more than a Beat Generation writer, and he lived a more stable life. While Ginsberg, Kerouac and co. were on the road, gaining inspiration and living their footloose lives, Ferlinghetti was mostly settled in San Francisco.
He travelled a little – going to Japan during World War II and studying in Paris after attending Columbia University. He lived in France between 1947 and 1951.
Politics and social justice were always important to Ferlinghetti, and he was active with Ginsberg in protesting and demonstrating for change. He read poetry across America, Europe and Latin America, and much of the inspiration for his work came from his travels through France, Italy, the Czech Republic, the Soviet Union, Cuba, Mexico, Chile and Nicaragua.
His poems are often political and social, but also celebrate the natural world.
McClure has never been renowned for his travelling or travel writing, but rather for his depictions of nature and animal consciousness. His poems are organised organically in line with his appreciation of the purity of nature. They carry the listener (as McClure’s delivery of his poems is fantastic, and often accompanied by music) to totally different place.
He first read his poetry aloud at the Six Gallery in San Francisco, and has since read at the Fillmore Ballroom, San Francisco’s Human Be-in, Airlift Africa, Yale University, the Smithsonian, and the Library of Congress. He even read to an audience of lions at San Francisco Zoo. He has read all around the world, including Rome, Paris, Tokyo, London and in a Mexico City bull ring.
His travels have carried him around North America, South America, Africa and much of Asia.
Kaufman was one of thirteen children, and at age thirteen he ran away from the chaos of his New Orleans home. He joined the Merchant Marine and spent twenty years travelling the world. It is said that in this time he circled the globe nine times.
He met Jack Kerouac and travelled to San Francisco to become a part of the poetry renaissance. He rarely wrote his poems down, preferring to read them aloud in coffee shops.
Kaufman was always more popular in France than in America, and consequently the bulk of his papers can be found in the Sorbonne, Paris. Today his written work is hard to find.
Norse was born in Brooklyn and attended New York University. After graduating in 1951 Norse spent the next fifteen years travelling around Europe and North Africa.
Between 1954 and 1959 he lived and wrote in Italy. He worked on translations and used street hustlers to decode the local dialects.
In 1960 Norse moved into the Beat Hotel in Paris, with William Burroughs, Allen Ginsberg and Gregory Corso. Whilst in Paris he wrote the experimental cut-up novel Beat Hotel.
Like many of the Beats, Norse travelled to Tangier after reading the work of Paul Bowles. He returned to America in 1968 to live in Los Angeles, befriending Charles Bukowski, before spending the rest of his life in San Francisco.
The 1960s are associated with what Frank calls ‘the big change, the birthplace of our own culture, the homeland of hip’, a period of various shifts that have shaped our current society. This hints at an underlying consensus that the 1960s were a time of high artistic endeavour, the centre of countercultural resistance, and some of the cultural ripples that are still being felt today.
by Jed Skinner
What factors influenced this period of time for this decade to be so prominent? The cluster of significant events that occurred in the late Sixties has led Gitlin to compare this time to ‘a cyclone in a wind tunnel’, and Rabinowitz argues that ‘the 1960s confound representation – or rather narrative – because words fail; image and sound […] are what remain’; events and figures that ‘stand out’ in these ways are those that are likely to receive the most attention. These two arguments enhance the point that, because there are many narratives of the Sixties, each one places emphasis on different aspects of the decade.
When one considers the notion of the Beat generation’s ideas of the Fifties contributing to aspects of the following decade’s culture, art and politics, it can be easy to focus solely on the prominent figures and events, and link them together. When this happens, an inevitable decision is being made: what is worthy of being called Beat, what is worthy of being called Sixties culture, and where such culture lies geographically as well as historically.
A linear narrative where there are, in Negus’ words, ‘distinct breaks involving beginnings and endings or births and deaths’ generates problems. This approach generally fails to acknowledge other perspectives, to account for the voices of people excluded from the narrative. A Vattimo argues, it is only from the ‘victors’ of history ‘that history is a unitary process in which there is consequentiality and rationality’ . What I would like to do in this essay is consider the notion put forward by Laibman, that ‘there was not one 1960s; there were many’. This is not to say that the Beats did not influence anything, and I do not wish to undermine or trivialise their work and its importance. It is also impossible to go into detail about every aspect of Beat culture. However, by looking generally at some of the areas where the Beats’ influence occurred, what it influenced, and to what extent, this will expose other voices and locations, which I hope will better inform the argument I wish to make.
It is important to consider the social contexts of the Fifties to be able to understand why the Beats’ work was considered to be so significant. One of the central themes in historical narratives of the Beats is a description of a prevailing climate of conformity in post-war America. Following the end of World War II, the ideas and ideologies that were driving factors during the conflict were seemingly discredited. Woods argues that, in America, intellectuals began to focus their attention onto ‘the roots of totalitarianism, dissecting evolving notions of democracy and republicanism’. What resulted from this was a more scientific, calculated approach of looking at how society should operate.
Herman argues that planners and policy makers had been convinced by their experiences during World War II that human beings could act very irrationally, because of a teaming, raw, unpredictable emotionality. The chaos that lived at the base of human personality could infect social institutions to the point where society itself would become sick.
It was therefore perceived necessary for American society, if it wished to avoid a repeat of the horrors of the war, to be controlled and contained to some extent from the factors that could lead to such chaos. In the late Forties and early Fifties, the US Congress’ House Un-American Activities Committee held hearings that, as Holton describes, were ‘aimed at persecuting those who did not agree with a narrow definition of political reality’: the most famous instance resulted in scores of Hollywood actors, directors, producers and screenwriters being ‘blacklisted’ from employment for alleged ‘subversive’ activities. What emerges from this climate is what Marcuse describes as ‘a pattern of one-dimensional thought’, whereby ‘ideas, aspirations and objectives that […] transcend the established universe of discourse and action are either repelled or reduced to terms of this universe’. This manifests itself through the pressure on individuals to behave as part of larger groups, to avoid any particular ‘individuality’. Riesman et al’s 1950 publication The Lonely Crowd describes the rise of the ‘other-directed man’, a new figure, entirely the product of America’s rising managerial class and prosperous post-war economy; a replacement of ‘the traditional “inner-directed”, self made American’. The other-directed man ‘suppressed his individuality, spurned conflict, and sought guidance and approval from the environment around him’. This sort of figure was an ideal target for advertisers using the new medium of television, which contributed to a large shift in the way people bought goods. Towards the end of the 1950s, the US economy had shifted from a ‘production economy’, based around meeting basic human needs, to a market-orientated, consumer economy, which emphasised status over class. This was a phenomenon that inspired Bell to proclaim in 1960 that Western society had reached ‘the end of ideology’, that ‘ideology, which was once a road to action, has come to a dead end’.
Allen Ginsberg’s famous poem Howl made its debut at a poetry reading in 1955, and, Holton argues, ‘seemed to offer the means to break out of the cultural enclosure […] and into a dimension unrecognized in Marcuse’s analysis’. Much has been written about this long poem, but the general consensus has been that Howl expressed a vocal frustration at a stifling, corporate, conforming America, with unrestrained fury and anger. Gitlin argues that Howl was ‘the first time in the American twentieth century’ that ‘poetry read aloud became a public act that changed lives’. In 1957, a year after publication, the work was the focus of an obscenity trial. Debates about the alleged ‘obscenity’ of the text in court helped to bring the poem to wider prominence among those who were outside of Ginsberg’s literary circle. The same year, Jack Kerouac’s On the Road was published, and the two works ‘vaulted from anonymity’ a small group of bohemians who would become known as the Beat Generation.
Why so? Gitlin argues that ‘if the true-blue Fifties was affluence, the Beats’ counter-Fifties was voluntary poverty’. This mindset is best displayed in Norman Mailer’s influential 1959 essay ‘The White Negro’. Here, Mailer holds up a new kind of figure as a solution to the ‘bleak scene’ of society: ‘the American existentialist – the hipster’, who ‘exists in the present, in that enormous present which is without past or future, memory or planned intention, the life where a man must go until he is beat’. In this new world, there are only two options available: rebellion or conformity. ‘One is Hip or one is Square’, he argues, ‘one is a frontiersmen in the Wild West of American night life, or else a Square cell, trapped in the totalitarian tissues of American society’. If one is white (and one must be, to be able to have the choice), the appeal of being hip lies in its existentialist appeal, in its abandonment of a traditional family-centred lifestyle, and the adoption of social mores from a dangerous, excluded Other: ‘the Negro’. This, in Mailer’s view, is where the source of hip lies, in Negro music (‘jazz’), Negro life choices (‘a life of constant humility or ever-threatening danger’), and Negro philosophy (‘he kept for his survival the art of the primitive, he lived in the enormous present’). Therefore the hipster is ‘a white Negro’, having ‘absorbed the existentialist synapses of the Negro’.
Although grossly laden with racial stereotypes of a pre-Civil rights era America, Frank argues that ‘The White Negro’ ‘managed to predict the basic dialectic around which the cultural politics of the next thirty-five years would be structured’. However, there is a difference between two different kinds of ‘Beat’ sensibilities that have been established: the literary type epitomised by Ginsberg and Kerouac on one side, and the ‘hipster’/’beatnik’ on the other. This is not to say that the ‘literary’ Beats did not have any of the ‘hipster’ qualities – far from it. Rather, as Starr argues, contemporary critics tended to argue that ‘true’ Beats such as Ginsberg and Kerouac made ‘literary creativity a focal point of their lives’, whereas others, who would qualify as ‘hipsters’ or ‘Beatniks’, merely attended jazz clubs and visited coffeehouses, and were insignificant. Furthermore, the prominent Beat figures, with a few exceptions (such as Bob Kaufman and Amiri Baraka), were white, and were overwhelmingly from middle-class families.
Consequently, Beats have generally been portrayed as a minority of generally white, literary articulate intellectuals; scholars ‘understand the Beat Generation in terms of a literary avant-garde and evaluate its historical significance accordingly’. The others – the Beatniks – were from differing socio-cultural and racial backgrounds, and were considerably larger in number than the ‘literary’ Beats. As Beat poet Diane di Prima recalls, that around the time of Howl’s publication, ‘there were only a small handful of us’. The traditional argument described by Starr – that Beats were ‘a small group of cultural radicals’ – generates a situation where ‘the broader parameters of the Beat Generation’ become ignored.
When considering the notion of ‘Beat ideas’, it is important to consider the ideas of those from outside the pantheon of literary figures. Although Ginsberg, Kerouac and the like were obviously important to the Beatniks, which should not be underestimated, it is also the case that the Beatniks were equally important as the literary figures in connecting notions of Beat ideas with others from outside the scene. Starr notes that repeated police visits of coffeehouses in New York, San Francisco and Los Angeles and allegations of police bribery against owners, had resulted in marches, pickets and sit-ins against police harassment during the late 1950s through to the early 1960s. As the Beats mobilized to defend themselves from police harassment, they ‘forged alliances with community leaders and civil liberties groups to defend their position within the urban landscape’ in the process. It could be argued that the ideas expressed in literary form by the Beat authors were in turn acted on by a wider circle of many groups, whose significance is crucial to the Beats’ continuing cultural standing. As these people gathered together in urban areas, ‘enclaves’ of Beat social networks began to be created, comprised of people with similar tastes and values.
The existence of a Beat enclave in North Beach, San Francisco, and a few years later, the large hippie community of Haight-Ashbury, can be constructed as a physical, direct line of influence from the Beats to the hippies – and therefore a demonstration of Beat influence on 1960s culture. I would argue that the Beats were influential in the culture of the Sixties, but their influence was predominantly on the construction of the ‘counterculture’. What the counterculture entails is complex: it is, in Marwick’s view, a term used ‘to refer to the many and varied activities and values which contrasted with, or were critical of, the conventional values and modes of established society’; however, ‘counterculture’ also means different things to different people, and as Marwick argues, ‘there was no unified, integrated counter-culture, totally and consistently in opposition to mainstream culture’. In addition, Marwick cites the first instance of the term in 1968 in the highbrow publication The Nation, whereas contemporary writer Thomas Albright uses ‘underground’ in a 1968 Rolling Stone article. What I mean by ‘counterculture’ is a rough amalgam of alternative ways of living, literary works, art, music and politics, but not a definable movement with a firm link to any ideology or political persuasion. Its origins lie in the Beat enclaves that were created by people moving to towns such as San Francisco and New York, where the Beat writers lived and worked. Certain areas, such as North Beach in San Francisco, Greenwich Village in New York, and Venice in Los Angeles, were home to an infrastructure of coffeehouses, theatres, bars and spaces founded and frequented by these people, who all resided there in pursuance of ‘alternative’ life choices, separated from the all-encompassing ‘mainstream’ culture.
The hippie scene, which began in San Francisco and is almost universally portrayed as the ‘image’ of the counterculture (if not the Sixties), can be considered to be heavily influenced by the Beats primarily for geographic reasons. As Puterbaugh notes, when Beatniks began to move to San Francisco, the housing of choice was the old Victorian mansions of the Haight-Ashbury area, which were available for low rent. The Beat poet Michael McClure notes that the geographic proximity of the Haight-Ashbury area to North Beach meant that there were ‘people overlapping each other from what had been a number of separate existences’, creating a ‘huge, fluid scene’ of people with similar tastes and interests. As Shank notes, such scenes can be an outlet for creativity to move beyond ‘locally significant cultural values’ towards ‘an interrogation of dominant structures of identification, and potential cultural transformation’, through the exploration of new identities and collective involvement. In this case, the large number of people moving to San Francisco in the 1960s made it possible for resident Beats, Beatniks and their values to mingle with those who were new to the counterculture scene and city. Albright argues that ‘certain major strands’ of Beat values became infused in the development of the new scene: the Beats’ self-conscious ethos of ‘dropping out’ of a perceived establishment lifestyle; the ‘intense and programmatic’ alienation of Beats from mainstream notions of society; a focus on Orientalism, Eastern mysticism and European existentialism; recreational drug use in pursuit of a ‘total experience’; a ‘worship of Art, in true romantic tradition’; and the elevation of music to an art form (jazz for the Beats, rock in the counterculture scene). These bohemian enclaves established by the Beats ensured that a sense of community was able to exist.
As Cohen notes, some of the factors which unite people in the ongoing development of a music scene are ‘age and gender, webs of interlinking social networks and a gossip grapevine’, all of which could be found in these enclaves. The San Francisco scene allowed musical developments such as acid rock to develop: a type of music spawned partly from Ken Kesey’s ‘Acid Tests’, where LSD-spiked Kool-Aid was freely distributed to people, often without their knowledge. (A direct beat connection lies in the fact that Kesey and his ‘Merry Pranksters’ travelled around the US on a ‘magic bus’, driven by Neal Cassady, the real life Dean Moriarty in Kerouac’s On the Road). Gitlin notes that ‘the Acid Tests evolved into Trips Festivals and scheduled concerts, with a new sound – spacy, unbounded whorls, not discrete songs: acid rock’. Acid rock bands that rose from this scene include the Grateful Dead, Quicksilver Messenger Service and others, all based in San Francisco. Fertile artistic grounds were also present in New York: three of the four Mamas and Papas met in Greenwich Village in the 1960s, and Bob Dylan resided there. However, the problem with reading the counterculture as Sixties culture is that its prime geographical locations and most fertile grounds were in these enclaves, in New York, San Francisco, Los Angeles and others; in the United States, in the Western hemisphere. ‘Sixties culture’ has various connotations depending on where one looks. A cultural ‘revolution’ in America is something very different to the Cultural Revolution that took place in China during the 1960s, where millions of people died. Even if one only looks at America, there are large differences in the late 1960s between the various areas of the country. The Civil Rights movement, with its figurehead Martin Luther King, fought against corrupt politicians, police and racists in the struggle for racial equality. There were no Beat enclaves in the Southern states of America, with segregation existing until (and even beyond) the Civil Rights Act of 1964, which outlawed it. Instead, to pursue a freer lifestyle, people were to travel away from the South, to escape to these other places, else be excluded from having a choice. The consequence has been that the influence of the Beats upon wider areas of society in America is actually quite varied. In particular, the extent to which Beats were politically active is of interest.
In 1952, Beat poet John Clellon Holmes wrote of the hipster, ‘there is no desire to shatter the ‘square’ society in which he lives, only to elude it. To get on a soapbox or write a manifesto would seem to him absurd’. Later, however, some Beats became more radicalised. Starr notes how Chester Anderson, editor of the Beat magazines Beatitude and Underhound, addressed a rally against police maltreatment in North Beach in 1960, advising the crowd to ‘sue’ the police and to ‘fight back in every legal way’ if treated unfairly. John Haag, owner of the Venice West Café in Los Angeles, was heavily involved with the Civil Rights movement in the mid-1960s, including the Congress of Racial Equality, the American Civil Liberties Union, and organizations fighting police harassment. However, it seems that because the enclaves were to some extent ‘removed’ from what could be considered the ‘mainstream’ of society, not all Beats actively pursued political involvement. The actual extent to which Beat ideas were able to shape aspects of society through politics was very much dependent on the individuals involved, and whether or not these ideas were taken up by others.
In the 1960s, student-led political organizations, comprised of people including Beats, were formed. These included the Student Non-Violent Co-ordinating Committee, founded in 1960, and Students for a Democratic Society (SDS). It is possible that as these organizations grew, those Beatniks that were most politically inclined became more involved with these and other such groups. As the Vietnam War escalated from the mid-1960s, the SDS attracted new members. Sale describes these people as non‑Jewish, nonintellectual, nonurban, from a nonprofessional class, and often without any family tradition of political involvement, much less radicalism. They tended to be not only ignorant of the history of the left and its current half‑life in New York City, but downright uninterested.
I do not wish to argue that SDS was ineffectual or apathetic, but as Miller argues, ‘many recruits were drawn to SDS not by left-wing ideology but by their opposition to the war and the draft […] and their attraction to the counterculture’. This is interesting, because one of the criticisms of the counterculture, as Frank argues, is that it ‘is said to have worked a revolution through lifestyle rather than politics […] through pleasure rather than power’. An example of such an argument is Puterbaugh’s claim that the Grateful Dead were ‘largely responsible for the spread of the counterculture and its perpetuation over time’. Why? Because they were ‘primarily associated with Ken Kesey and the Merry Pranksters, having provided an acid-blues soundtrack as the house band for the anarchic Acid Tests’. It can be deduced that the counterculture was primarily an artistic outlet: a leisure-based lifestyle choice. This is queried by Harrington, who 1972 wonders if ‘the mass counterculture may not be a reflection of the very hyped and video-taped world it professes to despise’. The counterculture ultimately became a ready-made market for advertisers: the central countercultural notion of ‘hip’ was the capital most sought after in connection with a brand. Perhaps the most notorious example was Columbia Records’ advertisement in a 1968 edition of Rolling Stone: its slogan was ‘The Man Can’t Bust Our Music’: some distance away from the Beat venerations of existentialism, voluntary poverty, personal and spiritual release.
Miller notes that, by 1967, liberal-leaning politicians ‘were giving friendly speeches at antiwar rallies, defining moderate opposition as an acceptable part of the political spectrum’. When the new capitalist incarnation of ‘hip consumerism’, Harrington argues that ‘bohemia could not survive the passing of its polar opposite and precondition, middle class morality’. Once this had disappeared, ‘bohemia was deprived of the stifling atmosphere without which it could not breathe’.
However, what is important to consider is that the influence of Beat ideas, at the most basic level, offered an alternative way of living in American post-war conventionality, stemming from a time, Jameson argues, where ‘no society has ever been so standardized’. As Starr notes, the Beat communities, through the utilization of public space in urban, bohemian enclaves, had challenged racial segregation, homophobia and ‘created a vibrant counterculture which facilitated individual liberation and collective political action’. These achievements have been built upon by countless activists who have progressively challenged such discrimination from the Fifties, through the Sixties to the present. The Beats’ valuation of personal freedom through artistic expression resulted in the founding of enclaves and artistic scenes where this expression could be explored at a remove from the more ‘mainstream’ ways of living. This legacy has influenced not just the Sixties, but those wishing to pursue alternative ways of living through to the present day.
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Negus, Keith, Popular Music Theory (Cambridge: Polity Press, 1996), p.136-7.
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Holly (ed.), The Rolling Stone Book of the Beats: The Beat Generation and the Counterculture (London: Bloomsbury, 1999), pp.357-363.
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Starr, Clinton R., ‘“I Want to Be with My Own Kind”: Individual Resistance and Collective
Action in the Beat Counterculture’, in Skerl, Jennie (ed.), Reconstructing the Beats (New York: Palgrave Macmillan, 2004), pp.41-54.
Vattimo, Gianni, ‘Dialettica, differenza, pensiero debole’, in Vattimo, G. and P. A. Rovatti
(eds), Il pensiero debole (Milan: Feltrinelli, 1983), in Iain Chambers, ‘Maps for the
Metropolis: A Possible Guide to the Present’, Cultural Studies 1(1) (1987), 1-21.
 Thomas Frank, The Conquest of Cool: Business Culture, Counterculture, and the Rise of Hip Consumerism (Chicago: The University of Chicago Press, 1997), p.1.
 Todd Gitlin, The Sixties: Years of Hope, Days of Rage (New York; London: Bantam, 1993), p.242.
 Paula Rabinowitz, ‘Medium Uncool: Women Shoot Back; Feminism, Film and 1968 – A Curious Documentary’, Science & Society, 65(1) (2001), 72-98, p.73.
 Keith Negus, Popular Music Theory (Cambridge: Polity Press, 1996), p.136-7.
 Gianni Vattimo, ‘Dialettica, differenza, pensiero debole’, in G. Vattimo and P. A. Rovatti (eds), Il pensiero debole (Milan: Feltrinelli, 1983), in Iain Chambers, ‘Maps for the Metropolis: A Possible Guide to the Present’, Cultural Studies 1(1) (1987), 1-21, p.19.
 David Laibman, ‘Editorial Perspectives: An Intense and Many-Textured Movement’, Science & Society, ibid., 3-4, p.3.
 Randall Bennett Woods, Quest for Identity: America Since 1945 (New York: Cambridge University Press, 2005), p.151.
 Ellen Herman, in The Century of the Self (dir. Adam Curtis), episode 2, broadcast 30.4.2002, BBC4.
 Robert Holton, ‘Beat Culture and the Folds of Heterogeneity’, in Jennie Skerl (ed.), Reconstructing the Beats (New York: Palgrave Macmillan, 2004), pp.11-26, p.12.
 Herbert Marcuse, One Dimensional Man (Boston, MA: Beacon, 1964), p.12.
 David Riesman, Nathan Glazer and Reul Denney, The Lonely Crowd (New Haven: Yale University Press, 1950), p.17.
 Woods, p.134.
 Ibid, p.127.
 Ibid., p.123.
 Ibid, p.151.
 Daniel Bell, The End of Ideology: On the Exhaustion of Political Ideas in the Fifties (Cambridge, MA: Harvard University Press, 2000 ).
 Ibid, p.393.
 Holton, p.17.
 Gitlin, p.45.
 Holton, p.11.
 Gitlin, p.46.
 Norman Mailer, ‘The White Negro: Superficial Reflections on the Hipster’, in Mailer (ed.), Advertisements for Myself (Cambridge, MA: Harvard University Press, 1992) pp.337-359, p.339.
 Ibid., p.341.
 Frank, p.246.
 Clinton R. Starr, ‘“I Want to Be with My Own Kind”: Individual Resistance and Collective Action in the Beat Counterculture’, in Reconstructing the Beats, pp.41-54, p.41.
 Ibid., p.47
 Ibid., p.43.
 Ibid., p.50.
 Arthur Marwick, The Sixties: Cultural Revolution in Britain, France, Italy and the United States, c.1958-c.1974 (Oxford: Oxford University Press, 1998), p.12.
 Ibid., p.11.
 Thomas Albright, ‘Visuals: How the Beats Begat the Freaks’, originally published in Rolling Stone, 9, April 27, 1968, in Holly George-Warren (ed.), The Rolling Stone Book of the Beats: The Beat Generation and the Counterculture (London: Bloomsbury, 1999), pp.351-356, p.351.
 Parke Puterbaugh, ‘The Beats and the Birth of the Counterculture’, in The Rolling Stone Book of the Beats, pp.357-363, p.357.
 Michael McClure, ref. in Puterbaugh, p.362.
 Barry Shank, Dissonant Identities: The Rock’n’Roll Scene in Austin, Texas (Hanover, NH: Wesleyan University Press, 1994), p.122.
 Albright, p.352-5.
 Sara Cohen, ‘Scenes’, in Bruce Horner and Thomas Swiss (eds.), Key Terms in Popular Music and Culture (Oxford: Blackwell, 1999), pp.239-250, p.241.
 Gitlin, p.207.
 John Clellon Holmes, ‘This is the Beat Generation’, New York Times Magazine, November 16th, 1952, ref. in Gitlin, p.51.
 Ibid, p.51.
 Starr, p.52.
 Jo Freeman, ‘On the Origins of Social Movements’, in Jo Freeman and Victoria Johnson (eds.), Waves of Protest: Social Movements since the Sixties (Oxford: Rowman & Littlefield, 1999), pp.7-24, p.8.
 Kirkpatrick Sale, SDS (New York: Random House, 1973), p.204-5.
 Frederick D. Miller, ‘SDS and Weatherman’, in Waves of Protest: Social Movements since the Sixties, pp.303-324, p.313.
 Frank, p.15.
 Puterbaugh, p.360.
 Michael Harrington, ‘We Few, We Happy Few, We Bohemians’, Esquire, August 1972, p.164.
 See < http://www.ibiblio.org/pub/electronic-publications/stay-free/archives/15/timeline2.html> [accessed 7th May 2009].
 Miller, p.312.
 Frank, p.26.
 Harrington, p.99.
 Frederic Jameson, The Seeds of Time (New York: Columbia University Press, 1994), p.17.
 Starr, p.53.