On October 4th, Howl! Arts is holding a publication party for John Tytell’s new book, Beat Transnationalism. The event is from 7-9pm and the gallery is located at 6 East 1st Street, New York City.
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Next month, Beatdom Books will release John Tytell’s collection of essays and letters, Beat Transnationalism. It can be pre-ordered on Amazon as a paperback or Kindle title, or directly from us via the button at the bottom of this link. Here are what some leading Beat scholars have had to say after reading it: Continue Reading…
Later this month, Cambridge University Press is releasing The Cambridge Companion to the Beats, which features essays by Jonah Raskin, Regina Weinreich, Nancy Grace, Erik Mortenson, Kurt Hemmer, Oliver Harris, Brenda Knight, Hillary Holladay, Ronna Johnson, Polina MacKay, and others. From the Amazon listing:
Consummate innovators, the Beats had a profound effect not only on the direction of American literature, but also on models of socio-political critique that would become more widespread in the 1960s and beyond. Bringing together the most influential Beat scholars writing today, this Companion provides a comprehensive exploration of the Beat movement, asking critical questions about its associated figures and arguing for their importance to postwar American letters.
In Search of the Origin of Burroughs’ Mythical Trust Fund
From Beatdom #16
William S. Burroughs was always quick to observe that, thanks to the novels of Jack Kerouac, he had been saddled with the reputation of being a rather wealthy man. He once explained to an audience:
I have never been able to divest myself of the trust fund that [Kerouac] foisted upon me. I mean there isn’t any trust fund. There never was a trust fund. When I was not able to support myself… I was supported by an allowance from my family… my hard working parents who ran a gift and art shop in Palm Beach, Florida, called Cobblestone …
But you see Kerouac thought a trust fund was more interesting and more romantic. Let’s face it there was a very strong Sunday supplement streak in his mind. And he also saddled me with a Russian countess. Well, she was a bit easier to get rid of than the trust fund. And he nurtured the myth of the Burroughs millions. There are no Burroughs millions except in the company. And the family got nothing out of it… Continue Reading…
It’s been an exciting few years for fans of the Beat Generation. Since Beatdom was founded, we have seen the release of a number of high profile movie adaptations (including Howl and On the Road), the publication of previously unpublished Beat works like The Sea is My Brother, and various major anniversaries (including the fifty years that have passed since Howl and On the Road were published, as well as the centenary of the birth of William S. Burroughs). Perhaps as a result of these events we have witnessed a revival of interest in the Beats, and as such a plethora of new critical works on their lives and art. Beat studies is thriving and the Beats are gaining respect as an important part of literary and cultural history. Continue Reading…
The following is from an interview with Carl Solomon, conducted by John Tytell in 1973. John Tytell’s collected interviews (with Ginsberg, Burroughs, Corso, Solomon, and Holmes) and essays on the Beat Generation will be published by Beatdom Books in 2014. Tytell is also the author of Naked Angels (one of the first books that took the Beats seriously as a literary movement) and Paradise Outlaws. Continue Reading…
Marking the 100th anniversary of the birth of William S. Burroughs, Barry Miles – a friend of the late, great American author – has put together the definitive biography of the man’s life. In this video John Tytell, author of Naked Angels, one of the first books about the Beats, talks to Miles.
John Tytell: They are making a movie of The Great Gatsby.
William S. Burroughs: I’m sure it will be a real mess.
JT: But not at the box office.
WSB: I’m not even sure of that. Generally speaking they know what they’re doing, but they don’t always. They will go all out on these spectaculars that don’t work at all. I was just looking the book over myself with an idea of making a film, and there just is no film there — everything’s in the prose. You take that away and you’ve got wooden dialogue and creaky action… It isn’t cinematic.
William S. Burroughs talking about filming The Great Gatsby in 1974.