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This collection maps the Beat Generation movement, exploring American Beat writers alongside parallel movements in other countries that shared a critique of global capitalism. Ranging from the immediate post-World War II period and continuing into the 1990s, the essays illustrate Beat participation in the global circulation of a poetics of dissent.
This fascinating book explores Beat Generation writing from a transnational perspective, using the concept of worlding to place Beat literature in conversation with a far-reaching network of cultural and political formations. Countering the charge that the Beats abroad were at best na•ve tourists seeking exoticism for exoticism's sake, World Beats finds that these writers propelled a highly politicized agenda that sought to use the tools of the earlier avant-garde to undermine Cold War and postcolonial ideologies and offer a new vision of engaged literature. With fresh interpretations of central Beat authors Jack Kerouac, Allen Ginsberg, and William Burroughs - as well as usually marginalized writers like Philip Lamantia, Ted Joans, and Brion Gysin - World Beats moves beyond national, continental, or hemispheric frames to show that embedded within Beat writing is an essential universality that brought America to the world and the world to American literature. This book presents an original treatment that will attract a broad spectrum of scholars.
Dissonant Voices uncovers the interracial collaboration at the heart of the postwar avant-garde. While previous studies have explored the writings of individual authors and groups, this work is among the first to trace the cross-cultural debate that inspired and energized midcentury literature in America and beyond. By reading a range of poets in the full context of the friendships and romantic relationships that animated their writing, this study offers new perspectives on key textual moments in the foundation and development of postmodern literature in the U.S. Ultimately, these readings aim to integrate our understanding of New American Poetry, the Black Arts Movement, and the various contemporary approaches to poetry and poetics that have been inspired by their examples.
Reopening the canons of the Beat Generation, Blows Like a Horn traces the creative counterculture movement as it cooked in the heat of Bay Area streets and exploded into spectacles, such as the scandal of the Howl trial and the pop culture joke of beatnik caricatures. Preston Whaley shows Beat artists riding the glossy exteriors of late modernism like a wave. Participants such as Lawrence Lipton, Lawrence Ferlinghetti, and at great personal cost, even Jack Kerouac, defied the traditional pride of avant-garde anonymity. They were ambitious to change the culture and used mass-mediated scandal, fame, and distortion to attract knowing consumers to their poetry and prose. Blows Like a Horn follows the Beats as they tweaked the volume of excluded American voices. It watches vernacular energies marching through Beat texts on their migration from shadowy urban corners and rural backwoods to a fertile, new hyper-reality, where they warped into stereotypes. Some audiences were fooled. Others discovered truths and were changed. Mirroring the music of the era, the book breaks new ground in showing how jazz, much more than an ambient soundtrack, shaped the very structures of Beat art and social life. Jazz, an American hybrid--shot through with an earned-in-the-woodshed, African American style of spontaneous intelligence--also gave Beat poetry its velocity and charisma. Blows Like a Horn plumbs the actions and the art of celebrated and arcane Beat writers, from Allen Ginsberg to ruth weiss. The poetry, the music, the style--all of these helped transform U.S. culture in ways that are still with us. Table of Contents: Introduction: Opening Measures 1. Horn of Fame 2. On the Brink 3. Celluloid Beatniks 4. Ready for Breakfast 5. Howl of Love Conclusion: The Horn Keeps Blowing Notes Credits Index Mr. Whaley, in this book, takes an academic approach to a subject that is just now beginning to attract scholarly interest. He thoroughly fleshes out a range of sources that span the artistic spectrum in order to give balance and objectivity to his treatment of American culture during the bebop and beat eras. The 1960s, with the Civil Rights Movement, the advent of hippie culture, and the protests against the Vietnam War, has long garnered attention from scholars, writers, musical historians, and filmmakers alike. In the popular conception of pop culture, the 1950s are often labeled boring or drab by comparison. Preston Whaley's analysis, however, will go a long way toward identifying the cultural movements of the 1940s and 1950s as part of a linear whole, a direct predecessor of the cultural revolution of the late 1960s. --Douglas Brinkley, author of World War II: the Axis Assault, 1939-1942 This book has a nice exuberance and conviction, a consistent vision and a persuasively engaging tone. It has a winsome, masculinist, optimistic, expansive style that is reminiscent of beat literature itself. --Maria Damon, author of The Dark End of the Street: Margins in American Vanguard Poetry Whaley's Blows Like a Horn made me want to read ruth weiss, see The Subterraneans, reread Visions of Cody and well, I already listen to Coltrane and read Howl all the time .. but these are signs to me of a very effective book. Whaley wants to find a new way of talking about the Beats and post-Beat culture, one that doesn't fall into the rhetoric of liberation and resistance that is so common in the analyses of this genre, or to the cultural studies critiques of the beats that have pointed out the movement's appropriation by the hegemonic structures of Western, white, patriarchal, hetero capitalism and left it there. Whaley looks for a hitherto ignored space in Beat culture in which the aspirations, experiments and prejudices of the Beats can be directly related to precisely the kind of struggles that cultural studies itself is engaged in as a field. The Beats may not solve all problems, but they are aware of many of them, to varying degrees. There's a subtle, improvisatory quality to Whaley's writing that mirrors the kind of in situ politics and aesthetics that he's trying to evoke in Beat culture. He moves between high and low, personal and theoretical as the situation needs. He talks to the reader directly. There's a refreshing directness here, a willingness to address fundamental human situations. --Marcus Boon, author of The Road of Excess: A History of Writers on Drugs

Fair Play for Cuba Committee

United States. Congress. Senate. Committee on the Judiciary. Subcommittee to Investigate the Administration of the Internal Security Act and Other Internal Security Laws

Published: 1961

Total Pages: 1010


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This collection documents the extensive participation of people of African descent in the international surrealist movement over the past 75 years.
Founded in 1943, Negro Digest (later “Black World”) was the publication that launched Johnson Publishing. During the most turbulent years of the civil rights movement, Negro Digest/Black World served as a critical vehicle for political thought for supporters of the movement.
'[This] survey of the many little magazines carrying the Beat message is impressive in its coverage, drawing attention to the importance of their paratextual content in providing valuable socio-political context. [...] The collection contains a range of insightful close readings, astute contextualizing, and inventive lateral pedagogical thinking, charting the transformation of the Beat scene from its free-wheeling, self-help, heady revolutionary 1960’s days to its contemporary position as an increasingly respectable component of the curriculum. [...] The Beats: A Teaching Companion is successful on a number of levels; it is a noteworthy contribution to the ever expanding field of Beat studies and, more broadly, cultural studies; and it is a collection that at its best gives hope that in referring to its ideas the inspired teacher may still be able to enlarge the lives of their students.' John Shapcott, Keele University