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.
The Beats are never viewed as coming out of World War II. They are the next generation, the post-war generation. For them it was all supposedly history, or at the very least so far removed from their own existences that it may as well have happened on Mars. Never mind that the core of the Beat group – Jack Kerouac, Allen Ginsberg, and William S. Burroughs – met during the war. Never mind that they all lived through it, that most of them had served to some extent in their nation’s military, that they had opinions and experiences, and that perhaps it was more important in their lives than they would admit. Unlike previous generations, the Beats never had a great war novel and never spoke passionately in favor of their country’s interests.
To be fair, they seldom addressed it in their literature. I asked Noah Cicero, author of The Human War, in an interview last year, what he thought defined the Beat Generation and, interestingly, he was quick to define them by their lack of interest in WWII:
All of my grandparents and their friends were born in the 1920s and what I noticed from personal experience is that …WW2 was very important in defining their mental attitudes about life. The war always seemed to define them – like their lives were pre- and post-war. You couldn’t talk about my neighbor without mentioning that he had shrapnel in him from WW2. Other writers from their generation all had famous war books: Norman Mailer, Saul Bellow, Joseph Heller, James Jones, Richard Yates, and even Kurt Vonnegut. Even John Rawls, who was the most influential philosopher of their generation, had fought in the war. But the Beats had not gone to war and they had not even considered it worth mentioning in their writing.
The Beats weren’t about the past; they wanted to define the future. To them the war was this dumb foolish thing humans had done to each other, and it had no real reason; maybe just some grumbling out of the darkness of our souls. But the future had come, the war was over, and it was time to look to the future. How do we make a world that doesn’t have giant wars and holocausts? That was their concern, making a new world.
The suggestion that the Beats had not gone to war isn’t actually true. Kerouac, Ginsberg, Carl Solomon, Gary Snyder, Herbert Huncke, and Bob Kaufman all served in the Merchant Marine, which although is not a fighting unit, certainly made a massive and dangerous contribution to the war effort. Burroughs, who was older than the others, attempted to join the air force, obtained seaman’s papers, and eventually got stuck in the army. Later, Peter Orlovsky (Ginsberg’s long-time partner) served in the Korean War. It’s true that they didn’t get shot at in the trenches of Europe or fight for an island in the Pacific, but they lived through the war, they served their country, and they decided, to paraphrase Cicero that “war sucks.”
Later, the Beats would become somewhat associated with the anti-war movement, but this was much further down the line, when it was even harder to define what exactly “Beat” meant. By the time the Vietnam War was being protested, it was twenty years since they were hanging around Columbia University, talking about the New Vision, and they were scattered around the world, involved in the murky business of literary fame, and associating with new movements. Ginsberg was leading the transformation of youth from beatnik to hippie, while Burroughs was fighting his own personal wars and trying to rile up the youth in order to fight the Control Systems. Meanwhile, Kerouac was busy drinking himself to death, muttering about the Vietnamese ploy to lure quality American jeeps into their otherwise impoverished country.
So while it is difficult to define the Beats satisfactorily, most definitions seem to remove war from the context, sidelining it as an interest of one or two people, like Ginsberg or Corso, who only became politically interested in the years after the Beats ceased to exist as a literary or cultural movement, when the predominate countercultural force of the day was a more political and activist movement to which they aligned themselves partly to stay relevant. But perhaps it is time to examine just how the war shaped their lives and influenced their craft.
“Wars don’t advance mankind except materially”
In 1942 Jack Kerouac was twenty-two years old and feeling both the urge to serve his country and support his family. He enlisted in the U.S. Marine Corps and explained his feelings in a letter to a girlfriend:
For one thing, I wish to take part in the war, not because I want to kill anyone, but for a reason directly opposed to killing—the Brotherhood. To be with my American brother, for that matter, my Russian brothers; for their danger to be my danger; to speak to them quietly, perhaps at dawn, in Arctic mists; to know them, and for them to know myself. . . I want to return to college with a feeling that I am a brother of the earth, to know that I am not snug and smug in my little universe.
However, Kerouac very quickly had a change of heart and decided, instead, to sign up for the Merchant Marine. He had recently met a Merchant Mariner called George Murray, who had given Kerouac a copy of Coleridge’s Rime of the Ancient Mariner, and explained the pay and benefits that came of traveling the dangerous Atlantic waters. Before Kerouac had even shipped out, the German Navy had launched a devastating campaign against the Merchant Marine and their Navy escorts, attempting to stop the Allied forces from getting support to Western Europe. In his Kerouac: The Definitive Biography, Paul Maher Jr. called Kerouac “either brave or naïve” for enlisting, as the statistics for Merchant Mariners were grim.
Rather, it seems Kerouac’s motivation stemmed from his literary ambitions. He saw life at sea, or in war, as valid material for future writing projects. After signing up for the SS Dorchester, he lay in bed pondering his place among “the ancients” (perhaps a reference to the Coleridge poem) and concluded that he would “write and write and write about the Merchant Marine.” He determined that the experience would make him “a great writer… That is why I think I shall come back.” Carl Solomon, when later asked about why so many of the Beats joined the Merchant Marine, offered the more prosaic explanation that it was because of movies like Action in the North Atlantic, which romanticized the experience.
The SS Dorchester’s task was to depart in late July for Greenland, where it would deploy almost six hundred construction workers to support building work in Allied bases. For Kerouac, the choice of crew on board the ship was perfect. Like Burroughs’ Tangiers, it was an assortment of misfits destined to be immortalized in literature. There were “drunks, Indians, Polocks, Guineas, Kikes, Micks, Puddlejumpers (Frogs, me), Svedes, Norvegians, Krauts and all the knuckleheads including Mongolian idiots and Moro sabermen and Filipinos and anything you want in a most fantastic crew.” Kerouac labored away at scrubbing pots and pans from the kitchen that fed the entire crew, and at night he filled his journals with notes about the bizarre people around him.
His stint in the Merchant Marine lasted three months. At the offset of his journey he noted in the eyes of his fellow sailors the “flowers of death,” and when he returned to Boston he decided to go back to college. The SS Dorchester sank on its next voyage. Of the 751 people on board, only 229 survived, and Kerouac counted several friends among the dead. As an incredibly empathetic person, particularly sensitive to the suffering of his fellow man, it is hard to imagine how devastating this must have been for Kerouac, and it certainly informed his views on war.
After only a month back at Columbia he decided to enlist in the US Naval Reserve. He signed up one year and then one day after the Japanese bombing of Pearl Harbor, for a four year stint. However, once again it was the romance of the experience that drew him; the potential literary material he would gain. In November, he wrote, “I believe I want to go back to sea… for the money, for the leisure and study, for the heart-rending romance, and for the pith of the moment.”
But, despite his apparent enthusiasm for the sea, prior to basic training Kerouac requested a transfer to the aviation department. He tested well in most regards, but was rejected as he didn’t appear to grasp the mechanics of flying, and ended up in basic training. In Vanity of Duluoz, he recalled the experience:
I entrain to Boston to the US Naval Air Force place and they roll me around in a chair and ask me if I’m dizzy. “I’m not daffy,” says I. But they catch me on the altitude measurement shot. “If you’re flying at eighteen thousand feet and the altitude level is on the so and such, what would you do?”
“How the screw should I know?”
So I’m washed out of my college education and assigned to have my hair shaved with the boots at Newport.
Kerouac’s military experience was to prove a tremendous failure. After only ten days in boot camp, he was assessed as so unfit for the environment that he was relocated to a military hospital for further examination. The last straw had been when he theatrically threw down his gun and refused to handle something explicitly designed to kill human beings. His files (which are extensive, at 150 pages) show that he was considered “abnormal,” and that a “neuropsychiatric examination disclosed auditory hallucinations, ideas of reference and suicide, and a rambling, grandiose, philosophical manner.” He was labeled as suffering from schizophrenia and further hospitalized.
In Vanity he described the experience:
Well, I didn’t mind the eighteen-year-old kids too much but I did mind the idea that I should be disciplined to death, not to smoke before breakfast, not to do this, that, or thatta . . . and this other business of the admiral and his Friggin Train walking around telling us that the deck should be so clean that we could fry an egg on it, if it was hot enough, just killed me.
[A]nd having to walk guard at night during phony air raids over Newport RI and with fussy lieutenants who were dentists telling you to shut up when you complained they were hurting your teeth. . . .
They came and got me with nets. . . . “You’re going to the nut house.” “Okay.” [S]o they ambulance me to the nut hatch.
On June 10th, 1943, the Navy told Kerouac that he was to be discharged “for reasons of unsuitability rather than physical or mental disability, and on the 30th his duty was officially terminated.
During this period, Kerouac managed to finally put his experiences at sea into writing, in a novel which was only published in 2011, called The Sea is my Brother. Unimpressed by his work, he called it “a crock as literature,” and didn’t bother trying to find a publisher for it. The manuscript was 158 pages, which makes it only slightly longer than his medical files from his time in the Navy.
Despite his experiences, Kerouac was eager to return to the sea, and in August, 1944, he boarded the SS George Weems bound for Liverpool, England. At sea he read a great deal, and in England he got drunk and wrote tirelessly. He returned to New York in October, marking the end of his career in the Merchant Marine. His involvement in the war had amounted to some construction work on the Pentagon and two trips at sea.
During WWII Kerouac had been torn between his mother’s pro-war sentiment and his father’s opposing views. In the end, despite the hold his mother had over him, Kerouac remained fairly anti-war for the duration of WWII, and lamented the senseless killing of men and women. This set him apart in a patriotic country determined to win the war, where pacifism was a dirty word. During the Korean War he was also uncertain:
“I believe in the people of America but I can’t get patriotic about fighting in Korea because I don’t see why we went there in the first place.” He later explained in a letter to Stella Sampas that he was steadfastly anti-war. Talking of her brother – and Kerouac’s close friend – he wrote:
“Ah I wish Sammy had lived – what a great man he would have been – Wars don’t advance mankind except materially – The loss of people like Sammy… makes the earth bleed…”
Yet Kerouac would not entirely maintain this pacifist stance. By the 1960s he was embittered and falling more under the influence of his mother. He was embarrassed by his association with “beatniks” and hippies, and also his friend, Allen Ginsberg, who was an icon of the anti-war movement. Kerouac said he was full of “pro-Castro bullshit,” meaning that Ginsberg was a Communist, which Kerouac now hated. He also despised the unpatriotic hippie “rabble.”
Kerouac is often described as being in support of the Vietnam War, but this is not necessarily true. While his political views and general outlook had soured and toughened, he was still at heart a sensitive soul, even if he was confused and angry on the surface. In the midst of the Cold War, despite having adopted his mother’s insidious conservatism, Kerouac saw on TV a newsreel of Nikita Khrushchev visiting the United States, and felt a great compassion for the Soviet leader. Khrushchev, as part of the childish Cold War mind games was forced to stand on a baking runway in the sweaty Washington, D.C. summer heat, and Kerouac wrote “I demand justice for this man Khrushchev.” As his friend, John Clellon Holmes, commented, Kerouac may have had his political views, but at heart he simply could not stand to see a human being suffer like that. By this stage he was again set apart – a patriot in a country sick of war – but while he supported the United States and despised the Communists, he was appalled by the killing of both Americans and Vietnamese.
“At Hiroshima all was lost.”
William S. Burroughs was born in February, 1914, making him the only member of the Beat Generation to have lived through both World Wars. He graduated from Harvard in 1936 and his parents paid for him to travel Europe, where he stayed for a period as he studied medicine in Vienna. Here he enjoyed the homosexual bohemianism that was soon to be crushed by the expansion of Nazi Germany. As Hitler pushed forward, Burroughs married a Jewish woman called Ilse Herzfeld Klapper in order to help her escape persecution. His time in Europe may well have informed his later distrust of governments and laws as, James Grauerholz describes, “he never forgot that everything Hitler had done was legal.” In fact, Burroughs’ uncle, Ivy Lee, was the publicist Hitler had hired to improve his image and this also informed Burroughs’ distrust of language itself, knowing all too well the difference between words and reality.
In 1940, Burroughs was lost, with his personal life an absolute mess, facing legal problems, and in therapy. World War II was raging in Europe, and only a year later the United States would join after the Pearl Harbor attack in December, 1941. Burroughs decided to enlist, as part of an attempt to straighten out his life. He obtained a pilot’s license and flew hundreds of hours of practice, but he was rejected by the Navy, the Glider Corp, and the American Field Service. He was turned down by all of them on account of poor eyesight, flat-footedness, and all-round poor health. After this, he attempted to sign up for the pre-cursor to the CIA, the OSS. Again, he was turned down. Throughout his life, Burroughs found it hard to fit in.
In wanting to be a pilot or a spy, Burroughs was ultimately seeking adventure. He wanted what he saw in the books of his childhood – daring missions over enemy lands and behind enemy lines. “I would have been into that whole espionage thing,” he later explained. He was not exactly enamored by war or particularly keen to fight for his country, however. When asked what he thought about the war in later years, he replied, “Nothing,” and when the interviewer pushed as to whether he was caught up in patriotic fervor, he said, “No…”
When America did enter the war, Burroughs was unexpectedly drafted into the infantry at Jefferson Barracks, near St. Louis. Like Kerouac, he found basic training to be intolerable. The reality of fighting hand-to-hand or living in the trenches was not as exciting as being a pilot or spy. He felt that he belonged among the officers, and he asked his mother to intervene. Laura Lee Burroughs pulled a few strings and soon the army was aware of Burroughs’ colorful background and his mental health issues, and he was given an honorable discharge in September, 1942. He had been in the army since May.
In 1944, World War II came to an end as the United States dropped atomic bombs over Japanese cities, targeting civilians and threatening to continue along this route unless Japan surrendered. While the rest of the country celebrated victory, Burroughs was horrified by the loss of life. In his youth he had studied at Los Alamos in New Mexico, which was later taken over by the U.S. government and used in the development of the Manhattan Project. He also felt a connection by way of the Missouri-born president that had issued the order to drop the bombs. For Burroughs this act was about the most important moment in human history – a point of no return. He began to fantasize about the past, realizing that now he was living in an era dominated by nuclear hysteria. For Burroughs, nuclear weaponry was far worse than conventional bombs, and not just in terms of the number of potential dead. Allen Ginsberg paraphrases him:
the problem with the atom bomb is that its temperature is so high that it’s a “killer of souls.” So human beings have arrived at a situation where they can be the Killer of Souls.
However, Burroughs was not exactly known for his empathy. To him war was a matter of practicality, and he showed little emotion when discussing it. He had strong ideas and ideals, but he didn’t seem to equate the suffering of others to the immense internal suffering he felt from the tragedies and troubles in his own life. Even in his disdain for the atomic bomb he was frighteningly practical. In 1961, he told Allen Ginsberg and Gregory Corso:
In the event of atomic war there is a tremendous biological advantage in the so-called undeveloped areas that have a high birth rate and high death rate because, man, they can plow under those mutations. The country with a low birth rate and low death rate will be hardest hit — and so the poor may indeed inherit the earth, because they’re healthier.
The Cold War, to Burroughs, was not about America and the Soviet Union. They were allies, as far as he was concerned, in the fight against humanity. It is a “pretext,” he says, “to conceal and monopolize research confining knowledge to official agencies.” Burroughs began thinking about war on a greater scale – it was no longer a matter of simple territory or loss of life, but a war into the mind. As the fifties moved into the sixties and then the seventies, his preoccupation with fighting involved more abstract forces than simple armies and governments. In his Nova Trilogy we have intergalactic war. A consortium of insects from Venus is attacking Earth, and it’s not a battle with guns. The weapons included orgones, engrams, and lasers.
Weapons that change consciousness could call the war game in question. All games are hostile. Basically there is only one game and that game is war. It’s the old army game from here to eternity. Mr. Hubbard says that Scientology is a game where everybody wins. There are no games where everybody wins. That’s what games are all about, winning and losing . . . The Versailles Treaty . . . Hitler dances the Occupation Jig . . . War criminals hang at Nuremberg . . . It is a rule of this game that there can be no final victory since this would mean the end of the war game. Yet every player must believe in final victory and strive for it with all his power. Faced by the nightmare of final defeat he has no alternative. So all existing technologies with escalating efficiency produce more and more total weapons until we have the atom bomb which could end the game by destroying all players. Now mock up a miracle. The so stupid players decide to save the game. They sit down around a big table and draw up a plan for the immediate deactivation and eventual destruction of all atomic weapons. Why stop there? Conventional bombs are unnecessarily destructive if nobody else has them hein. Let’s turn the war clock back to 1917.
Burroughs was obsessed with war and it is a major theme throughout his books. Yet, unlike the other Beats, Burroughs struggled with empathy. The reality of it eluded him. For him it was an existential battle. When asked about America’s war on Vietnam, he replied that he couldn’t understand the stupidity of it – not because men were being sent over to kill people and be killed, but because it was an unwinnable war, which, he observed, had been clearly documented during the French occupation of Indochina. For him, as a self-professed “factualist,” it was ludicrous to start a war that was doomed to be lost. He went on, however, to confirm Kerouac’s suspicion that “Wars don’t advance mankind except materially,” and that governments need to stay at war in order to balance their economies. One gets the impression that this would be just fine with him, if only he didn’t have such a distrust of governments.
In 1968 he attended the Chicago Democratic Convention with Jean Genet, Norman Mailer, and Allen Ginsberg. By this point Burroughs’ enemies were becoming more abstract than simply government or alien invaders, and his preferred method of fighting back was the tape recorder. Utilizing his literary cut-up technique, he would run around with the tape recorder, going back and forth along the tape and cutting sounds in randomly. He would use this method against a coffee shop his disliked, and against the Scientology headquarters in London, after going to war with them. His theory was that he could disrupt the flow of time by cutting it up. In Chicago he was trying to incite riots by playing riot sounds in the crowd of anti-war protestors.
Later in life he would become more interested in traditional weaponry. Although he had always maintained a soft-spot for guns, they would increasingly fascinate him, and even in his final days he would shoot around his home in Kansas and subscribe to gun magazines. Burroughs was somewhat of a libertarian and his paranoia dictated that he keep guns around just case his government tried any funny business. He is famously quoted as saying, “After a shooting spree, they always want to take the guns away from the people who didn’t do it. I sure as hell wouldn’t want to live in a society where the only people allowed guns are the police and the military.”
War and weaponry dominated his literary output, and in his final years he still maintained a fiery disposition, apparently viewing these things as an inevitable part of human – and even non-human – nature:
This is a war universe. War all the time. That is its nature. There may be other universes based on all sorts of other principles, but ours seems to be based on war and games. All games are basically hostile. Winners and losers. We see them all around us: the winners and the losers. The losers can oftentimes become winners, and the winners can very easily become losers.
“Go fuck yourself and your atom bomb”
When Pearl Harbor was bombed in late 1941, Allen Ginsberg was fifteen years old. However, raised in a household of intense political and philosophical debate, he was a frighteningly outspoken teenager, and wrote passionate letters about the war to the New York Times. The first, three weeks after the Pearl Harbor attack, show us his perceptive nature as he details the events, from almost the end of the First World War, leading to what he considered America’s inevitable entry to the Second.
Our stupidity has reaped its harvest and we have a bumper crop, since we sowed the world’s biggest blunder. The death toll in this war has been at least four million… There is no preventable catastrophe in recorded history paralleling this.
He goes on to lay the blame at the feet of U.S. congressmen, who have demonstrated “mental impotence and political infirmity.” It is a remarkable, if short, letter that shows the biting and inquisitive intelligence of Ginsberg even at such a young age.
In 1943, Ginsberg was seventeen years old and eager to impress his older brother, Eugene, who was serving in the army. At home they had engaged in political and intellectual debate, and this continued through their letters. Allen noted that Eugene appeared unhappy about life in the army, and teased his brother quite harshly about his former opinions, as Eugene had evidently changed his mind about the draft:
I would suggest that if you favored the Draft Act in 1940; that you approved the 18-45 draft ages; that you were an “interventionist.” If, then, you find yourself in the unhappy predicament, of being drafted and rather roughly handled by the army, you may have cause for sorrow or pained resignation, but not at all for bitterness and disgust.
Allen then suggested that Eugene attempt to write some poetry, but that if it didn’t work, he should attempt to “end the war or at least have your head shot off trying.”
After this rather cruel jibe, Allen continues his philosophical debate with Eugene, showing a surprisingly Burroughsian coldness and factualism in his arguments. He neatly answers his brother point-for-point on a number of topics, but it seems that they both agree with a sentiment that is echoed throughout Ginsberg’s later life, and also appears to have been grasped by both Burroughs and Kerouac, that war is never in the interests of the people, but rather a tool of the government and the elite.
There was never any real cause for a war; no war was really ever justified. Wars come about when the opposing forces, either one side or the other, or both, were sincere but wrong… [or] acts unintelligently… This war: one side or the other is acting unintelligently. We are, certainly in America and Britain and Russia. Of course (no knowing smiles now) the other side is acting even more unintelligently than we, and so we are justified. Dear Eugene, if you can only persuade Hitler to act understandingly and rationally… without persecution and conquest and brutality, why, then we will have removed the synthetic, the false cause of war.
It appears, putting aside Allen’s teasing and humor, that the two brothers largely agree with one another and are both decidedly against the war because it has little to do with the will of people, and everything to do with the greed and prejudice of a few powerful men.
Despite his pacifism, Ginsberg followed his friends and joined the Merchant Marine in the summer of 1945 (coincidentally, although they had not yet met, this was the same time Carl Solomon, to whom he would dedicate his most famous poem, joined the Merchant Marine and sailed to France). However, he soon came down with pneumonia and was confined to the hospital, where he read War and Peace. A few weeks after the bombing of Hiroshima and Nagasaki, and Japan’s surrender, he wrote to his old professor, Lionel Trilling from the U.S. Maritime Service Training Station in Sheepshead Bay, New York. However, rather than the end of the war, Ginsberg was looking to discuss poetry, and to defend his recently acquired hero, Arthur Rimbaud, whom Trilling disliked. Ginsberg wrote a long letter defending Rimbaud, and connecting him to what he hoped would become a vibrant post-War poetry scene. Later, in early 1946, Ginsberg continued to write Trilling, sending him poems inspired by his time in the Times Square underground. Although he mentions voyages around seas of the United States, it seems Ginsberg is more interested in poetry than politics at this stage, and Bill Morgan, who edited his letters, notes that, like Kerouac, Ginsberg took advantage of his time at sea to read and write extensively. His observations, too, seem similar to Kerouac’s, as Ginsberg found the misfits on board his ship to be a source of literary inspiration.
Strangely, although his first stint in the Merchant Marine was short and is given relatively little consideration in any of the books about his life, Ginsberg seems to list it as an important point in his development as an artist. In an autobiographical note that accompanied “Howl” and featured on a “business card” he made in 1966, he listed it as one of a few events in his life that had led to his success: “High School in Patterson til 17, Columbia College, merchant marine, Texas and Denver, copyboy, Times Square…”
For Ginsberg, as for other young men, the sea promised money and adventure. Ginsberg makes reference to the desire to work on ships throughout his letters, and in 1956, he returned to the sea. Even after success as a writer, without any real money coming in, the sea allowed him the freedom to put pen to paper, the opportunity to explore the world, and of course the means to pay his bills.
For Ginsberg, war was always a more abstract concept than it was for Kerouac, and less practical than Burroughs seemed to consider it. He was raised in a household where the reality extended about as far as the discussion, and although he craved experience, his experiences were somewhat limited. Ginsberg would continue to become more stringent in his pacifism, and more vociferous in his attacks on what he perceived to be the real cause of war. He later articulated his belief that America had been carefully manipulated into a violent warmongering monster in the years following WWII, and perhaps during the war itself. He blamed anti-Communist purges and secret interventionism. His early perceptions of war were colored by the terms “isolationist” and “interventionist,” and while he didn’t use these later, perhaps that is because isolationism effectively ceased to exist as the U.S. became gripped by McCarthyism and a hawkish military industrial complex began manipulating global events in the interests of a few wealthy Americans.
As the era of the beatniks transformed into that of the hippies, Ginsberg made the switch and continued to be a figurehead of this next counterculture. It began with his usual role of spokesperson and literary agent for his friends, and as an advocate of individual freedoms, but by the mid-sixties he was synonymous with the new anti-war movement that had gripped the United States.
In November, 1965, Ginsberg wrote a leaflet called “How to Make a March/Spectacle” that suggested a new approach to demonstrations against the Vietnam War. Rather than attempt to display their anger, effectively fighting against fighting, Ginsberg thought that the anti-war movement should use love to counter hate. Rather than being anti-war, the formerly disruptive and violent protests should become pro-peace. This stemmed from Ginsberg’s Buddhist leanings, which he had adopted in the 1950s. Although Ginsberg didn’t use the term “flower power” on the leaflet, he spoke of using “masses of flowers” in protest, and later the term “flower power” became attributed to him.
In 1966, while travelling across the United States, Ginsberg recorded on an Uher tape recorder what would become known as one of the greatest anti-war poems, “Wichita Vortex Sutra.” In phrasing that hardly seems dated, given the bloodlust of western governments in the twenty-first century, he juxtaposes images of the American continent with fragmentary news reports, at first using terms like “tactical bombing” and “limited objectives” and then moving into a more irate state, talking about the “human meat market.” His careful switching of phrases like “operation” and “death toll” to descriptions of people being hit with “six or seven bullets before they fell” brings home a jarring truth about the nature of war and its manipulation in popular media. His poem, which is perhaps as ambitious and effective as “Howl” or “Kaddish,” continues as it mixes advertisements with imagery from radio and television reports. He succeeds in what was the primary aim of the anti-war movement at the time – making the inhuman nature of war tangible without desensitization, so as to appall people as they should be appalled by the horrors of war which are so easily and commonly glorified.
It is hard to overstate the importance of Ginsberg’s role in the anti-war movement. He has become a symbol of peace. It is almost ironic that Ginsberg was so famous for leading the anti-war movement, as he was always at war with something. But Ginsberg’s war was always one of peace, one without bloodshed.
But the success of the hippies and of “flower power” in the sixties, however, perhaps doomed pacifism, as even Ginsberg struggled to relate the realities of war and expose the manipulation of people in subsequent decades. He continued to present injustices perpetrated by his country’s government well into the 1990s, but by this stage it had become passé. A poem like “Wichita Vortex Sutra” would have little effect on a generation that was paradoxically so aware of violence that it was blind to it, so used to corruption that it seemed normal, and so familiar with the idea of protest that protest seemed futile. Ginsberg worked to demonstrate the insidious creeping influence of organizations like the CIA, and was often proven correct in his assertions, but after the 1960s there was nothing more that could shock, and the government had already ensured, post-Watergate, that there was no real accountability, and no lasting repercussions.
This essay first appeared in Beatdom #17, which you can find on Amazon. As a child, All...
The world was a different place in post-war America. Suburbs were scant, malls were unhear...
The following is from an interview with Carl Solomon, conducted by John Tytell in 1973. Jo...
By Spencer Kansa In 1951, Jack Kerouac began work on a roman a clef whose breathless pr...
Note the message in the top right corner: Dear Mr. Wyn: I submit this as my idea of ...
Almost two years ago the world of Beat studies was rocked by the discovery of a seemingly ...