An exploration of female Beat writers and their involvement with the second-wave feminist movement
By Lee McRae
‘American literature is male. Our literature neither leaves women alone nor allows them to participate… It is not surprising that in it the experience of being American is equated with the experience of being male.’
Judith Fetterley – The Resisting Reader (1978)
This introductory quote by Judith Fetterley has been chosen for its boldness and will hopefully set the pace for some of the topics I am going to cover in this article. Through much of the twentieth century, women – as academics, scholars, feminist theorists, leaders of political groups – have sought to challenge what it means to be female and to fundamentally confront the supposed innate and biological factions against those which are socially formed in a political spectrum that undervalues women as creative, artistic and intelligent members of the human race. So how do the women of the Beat Generation fit into this? Firstly, it has been suggested that women members of the Beat Generation lived an emancipated existence that found its routes within the Beat ideals themselves – the freedom of expression, the resistance to mundanity, the sexual freedom – all of which became adopted towards the end of the 1960s when the countercultural revolution and the feminist movement were in full-swing. Secondly, we can derive from the literature produced that the women Beats felt a strong sense of self, a sense of one’s own place within, what was mainly, a male-dominated, male-orientated body of commercial literature; as Ronna C. Johnson tells us; ‘all women Beat writers express a rebellious, anti-establishment critique of women’s assigned place and value in patriarchy, and this gendered emphasis is the radical distinction by which beat literature is amended by its female practitioners.’
Allen Ginsberg, on the topic of female writers within the Beat generation, was once quoted as saying, ‘Among the group of people we knew at the time, who were the [women] writers of such power as Kerouac or Burroughs? Were there any? I don’t think so.’ In this statement Ginsberg tells us how he failed to recognise the contribution of literature by women of the Beat generation that equalled in quality to that of its contemporaries. Much has been said about this quote. From a feminist-literary perspective this quote embodies what many women feel as patriarchal hegemony, meaning that within the forces of the industry and in culture generally, women are considered the subaltern – the undervalued. Later in this article I will discuss the writings of the women who contributed so greatly to the Beat Generation. But first I want to place feminism in its true historical context.
Being Beat and Being Woman
American feminism tends to be split into two categories; first-wave and second-wave movements. First wave, as Valarie Sanders tells us, began as early as 1848 with revolutionaries such as Elizabeth Cady Stanton (1815-1902). Early campaigns were an attempt mainly to change ‘divorce laws, married women’s property rights, and the vote.’ Despite motivated campaigns the ability to vote spread over several decades – firstly being lifted in Wyoming, in 1869, and then in Utah, in 1870. Almost five decades later, by the 1920s, most of the northern states had also abolished this out-dated exclusionary practice. The second- wave feminist movement, as Sue Thornham describes, is often associated with the 1960s countercultural revolutions. In 1966, Betty Friedan founded NOW (national organisation for women). This organisation arose out of the ineffectiveness of government bodies to promote equality within the work place. Also during this time the ‘Women’s Liberation Movement’ began; ‘Unlike NOW, these groups had no national organisation; instead they drew on the infrastructure of the radical community, the underground press, and the free universities.’ An action which is often synonymous with feminists of the 1960s – the burning of the bra – was in fact true to a certain extent, in that at some demonstrations a ‘Freedom Trash Can’ was set alight, where women could dispose of items which oppressed them as women – ‘dishcloths, high-heels, bras and girdles.’
The counterculture itself – a period usually coupled with freedom and liberation – is often criticized for its attitudes towards women. Rochelle Gatlin, in her book American Women Since 1945, tells us how she feels the counterculture was a male led movement; ‘Men were willing to become more “feminised” but they did not encourage women to assume traditional masculine characteristics.’ She goes on to say, ‘The model for sexual liberation was a masculine one.’ Many women felt that the removal of ‘sex’ from ‘feeling’ was advantageous to men in that it led to sexual promiscuity. The media at this time only seemed to re-enforce the notion of women as objects for male attraction; the magazine Cosmopolitan, started in 1965 by Helen Gurley Brown, was targeted commercially at the single girl, who took the pill and who lived alone. In the magazine emphasis was placed solely on fashion, beauty and sex serving only to place women into the category of ‘male-lust-objects’. In a similar way the magazine Seventeen, ‘designed for teenage girls, emphasised physical attractiveness. Advertising showed models in postures of sexual surrender to men and in competition with each other.’
The Beat Generation found itself in between the two periods of feminist discourse. The period prior to the second-wave movement is often termed ‘protofeminist’. Ronna C. Johnson tells us how female Beat writers were an integral element to this protofeminist period; their work tends to ‘challenge and interrogate assumptions about women, gender, and relations between the sexes, and asserts a corrected version.’ Sex for the Beats is commonly cited as one of the boundary-breaking taboos to which they discussed, admired and used in a multitude of ways (see: tantric sex). The idea was freedom and an expression of one’s true natural being (be it male or female); as Clinton Starr notes: ‘the Beat Generation was intricately intertwined, discursively but also materially, with sexuality, race relations, and gender roles in the post-war decades. The Beat lifestyle offered an escape from the sultry American role as homemaker; as Brenda Knight tells us; ‘Being beat was far more attractive than staying chained to a brand-new kitchen appliance.’ The conservatism of 1950s America aimed to instil a sense of national pride in a time fraught with cold-war panic, inadvertently placing women under the thumb of men and depicting them as either ‘wives…’ or ‘mothers…’ What is evident in the writing of female Beat writers is trueness to self and an accurate perception of the realities faced by women within the 1950s and 1960s. Beat poetess, Anne Waldman tells us how women were ‘driven, despite, fighting against the constraints of culture, family, education… often dwelling in the twilight of a “great” man’s personality or career.’
The Women of the Beat Generation
Anne Waldman, perhaps one of the most prolific of female beat writers, played a role in bringing the issues that women face into a public sphere – in both her essays and prose. The writings of Anne Waldman, as Ronna C. Johnson and Nancy M. Grace tell us, ‘not only incorporate beat perspectives but [also] extend through and beyond beat into a women-centred, countercultural idiom.’ On the recovery of women Beat writers Anne Waldman tells us how ‘it is necessary to bring the female persona, the feminine principle, feminist concerns, the sense of the women’s struggle as wives, lovers, mothers, artists, breadwinners… into the whole macrocosm that is the beat literary movement.’
The Waldman poem Fast Speaking Woman, from the collection of the same name, is a chant-based mantra that’s primary focus is to speak to everywoman; she states, ‘I had in my head that I would do a list-chant telling all the kinds of women there are to be.’ The poem begins with the citation, ‘“I is another “- Rimbaud. The poem itself is an impassioned monologue using mainly the prefix ‘I am the/a…’ used to denote the different characters of women; ‘I’m the abandoned woman… the absinthe women… I’m the girl under an old fashioned duress.’ The Beat life she led inevitably led to her realisation of the issues faced by women. In an interview Waldman speaks about the many ‘interesting creative women’ she knew ‘who become junkies for their boyfriends, who stole for their boyfriends, who concealed their poetry and artistic aspirations, who slept around to be popular, who had serious eating disorders, who concealed their unwanted pregnancies raising money for abortions.’
Beat author Diane Di Prima was heavily involved with the iconic Beat figures. She first moved to the lower east side, New York in 1953 where she began a relationship with Ezra Pound. In 1957 she first met Allen Ginsberg, Jack Kerouac, Peter Orlovsky and other of Beat’s iconic figures. Memoirs of a Beatnik is a biographical novelette depicting a seventeen-year old Di Prima’s coming of age in the midst of the 1950s Beat revolution. In this account, emphasis is placed on the ever relinquishing sexual oppression that was felt by American youth. Di Prima discusses both sexual encounters with men and women; chapter two, for example, details how she came to lose her virginity on a one-night-stand. The novelette is written with coarse, descriptive sexual imagery; ‘afterwards there was blood on his cock, and when I could move again I licked it off, swallowing my childhood, entering the world of the living… He was on me now, bucking and straining like an animal. A faun. But it was too much. My small tight cunt couldn’t take in his huge cock.’ She also makes reference to sexual promiscuity; ‘I had forgotten the name of the man whose hand was in my cunt.’ Further in, and she describes to us her experience of lesbianism; ‘Five or six girls had gathered in one room. One had been chosen and ritually stripped, and the rest, posted at different parts of her anatomy, sought to arouse her while she lay naked on the bed.’ Di Prima here is confronting, within a literary exercise, her experiences as a young woman who fought for self-realisation and freedom; allowing herself to express and fulfil her sexual desires without fear of social persecution from an American mainstream based on oppression.
It is also worth mentioning Hettie Jones and Joyce Johnson as two poets, who sought an ulterior existence in the Beat exterior; as Nancy M. Grace tells us, ‘As historians, Johnson and Jones embark on the formidable task of speaking as gendered beings, knowing full well that their lives in the Beat avant-garde broke many of the rules for “good girl” behaviour promulgated at mid-twentieth century.’ Johnson had a two year relationship with Kerouac. In her book Minor Characters, Johnson describes how she felt an otherness regarding her involvement in the Beat movement; ‘I ended up accidentally with Kerouac in the centre of the action, yet always felt myself on the periphery. I was much more of an observer than I wanted to be.’
The Power of the Pen
“When she is productive, active, she regains her transcendence; in her projects she concretely affirms her status as subject.’
Simone De Beauvoir – The Second Sex (1949)
Writing seemed to be somewhat of a catalyst for the second-wave feminist movement. This form of expression was paramount to the success of women’s rights; writing (particularly scholarly), allowed women to create concise and politically armed pieces of literature that could function as biblical rhetoric; as Cora Kaplan wrote, ‘defiance is a component of the act of writing for women.’ Simone De Beauvoir’s The Second Sex (1949) is certainly considered a canonical piece of writing; the book deals principally with the ‘cultural construction of women as the Other,’ in similar ways in which Edward Said talks of the cultural construction of the Orient by the West in his book Orientalism (1978). Other works of interest through the 1960s/70s include Betty Friedan’s The Feminist Mystique (1963), Kate Millett’s Sexual Politics (1970) and Shulamith Firestone’s The Dialectic of Sex (1970); (note: the publication of Diane Di Prima’s Memoirs of a Beatnik (1969)).
In the twentieth century much of the literary merit goes to the male writers. One possible reason for this, as Rita Felski points out, is the ‘many hurdles’ faced by women who wish to devote their lives to writing; ‘economic dependency, lack of time and space, the relentless intrusion of everyday life in the form of squalling infants or testy husbands [and] the disparagement faced by women who chose to remain single or childless.’ Women could not associate enough with the writings of men, and if they wished to read, they were expected to ‘read as men’. The problem was identity. A literature was required that related to women’s true sensibilities rather than those sensibilities being dramatised by male authors, as Judith Fetterley writes; ‘To be excluded from a literature that claims to define one’s identity is to experience a peculiar form of powerlessness.’
I feel that within the female Beat canon this sensibility is realised. By not only living but exhibiting – within their writing – their lives, these women could reach out to those disillusioned by American values, the American dream and misogyny. The ambition and drive these women had personified a message that was to become all too clear within the feminist movement that proceeded; as Anne Waldman petitioned, ‘We no longer have to be fetched up.’ Feminism is a movement with labyrinthine academic possibilities. In this article, I realise I have only scratched the dirt-sodden surface of women’s politics. Without further in-depth analysis of the role of the female Beats within the feminist movement, little in the way of a conclusion can be given. I would suggest, however, to anyone who has an appetite for Beat literature to visit (or revisit, as the case may be) the works of its female practitioners. It is in these works where we find true Emersonian-reliance upon the self; where we find a disparagement between media-representations of women and the lives of women; and most important of all, where we find intelligent, creative and articulate pieces of fiction and prose.
Is it possible that this book does not recognize Lyn Lifshin? Without reference to Lifshin, this book has NO credibility!!