By Keith Alan Robinson
In the 1950s, most Americans were having a lot of children and living clean, boring lives in their Levittown style homes with white picket fences; their televisions tuned to family-style, feel-good entertainment. Children rebelled by listening to a semi-dangerous Chuck Berry sing Maybelline on the radio. But, there were a few radical intellectuals who began to see and feel another side of America — a side most people wanted to ignore. These Americans began to feel a nasty hangover from the celebration of winning World War II. This group of dissatisfied, smart and sassy young people began to speak up and write essays and poetry about the Cold War, the Atom Bomb, conforming consumerism, Communism, McCarthyism, blatant corporate sponsorship, censorship, homosexuality, Buddhism, Hinduism and Atheism. Some called these Americans the Beat Generation or the counter-culture. The media gave them the catchy name –‘Beatniks’– and it stuck. They were a decided minority, but one thing is for sure: the collection of poetry and writings of the Beatniks, in effect, became a ‘Declaration of Independence’ from America’s social and political status quo; and this declaration provided the impetus to a great cultural transformation, which changed literature, music, art, and moral values forever.
The Beatniks believed in being themselves and believed in their own amalgamated set of principles. Some of their complex philosophy is borrowed from eastern faiths, some from political history and some of the influence even came from long-dead writers like Walt Whitman and Henry David Thoreau. The Beat Generation was searching for a peaceful meaning to their lives, while stuck in an America with a very different viewpoint. The Beatniks seldom found the meaning they were looking for. However, they shouted and shouted loud, their dissatisfaction with a unique, aggressive style of writing.
If the Beatniks had a spiritual leader, a founder or C.E.O., it was Allen Ginsburg. His apocalyptic, perverted and very personal poem Howl turned a little start-up movement into an all out war in support of what polite society deemed inappropriate.
I saw the best minds of my generation destroyed by
madness, starving hysterical naked,
dragging themselves through the negro streets at dawn
looking for an angry fix
With these wide-eyed opening lines, Ginsberg began a long poetic story which bared all — about homosexuality, drug use and mental illness; and then he threw in line after line about the evils of American politics and culture. Much of the poem was confessional and he openly wrote about himself, family and friends. He hid nothing away, held back no feelings and freely used every word which came to his mind. He did not self edit; and what he wrote, was deemed by the law at that time, to be obscenity.
… with a belt of marijuana for New York,
who ate fire in paint hotels or drank turpentine in
Paradise alley, death, or purgatioried their
torsos night after night with dreams, with drugs, with waking nightmares,
with alcohol and cock and endless balls
The first reading of Howl took place at Six Gallery in San Francisco and on this night, a new age in poetry was ushered in. “I was really drunk,” Ginsburg recalls now, “and I gave a very wild, funny, tearful reading…. every time I finished a long line [people] would shout yeah! Or, so there! Or, correct! Or some little phrase… it was like a jam session” (cited in Kramer, 1969 p.48). By the end of the night, some of Ginsburg’s friends told him that this poem would soon make him famous nation-wide. “Thousands of young people responded to Howl as though they’d been waiting years to hear this voice speaking these words.” And they rushed to buy copies in little bookstores and made underground copies to pass to their friends. At the same time, however, “the literary establishment promptly vilified it” (Shinder, 2006 p. 8).
who balled in the morning in the evenings in rose
gardens and the grass of public parks and
cemeteries scattering their semen freely to
whomever come who may
Within a few months of its first printing, Howl’s publisher, Lawrence Ferlinghetti, was brought up on obscenity charges. Many writers were called upon to testify on behalf of the literary value of the poem. “In retrospect, the trial [which followed] can be seen as an opening shot in a culture war destined to throw long shadows across American life” (Shinder, 2006 p. 9).
Walt Whitman, with his non-rhyming and free-form work, Leaves of Grass, did what any literary classic does; it changed the language and made it new. Ginsburg’s poem did just that (Shinder, 2006 p.8). But now, this new piece of classic literature was still in trouble with the law. Police and customs agents were confiscating copies everywhere; but the sales of the little book called Howl and Other Poems was hotter than the crackdown could keep up with. Eventually, the obscenity trial ended with a verdict of not guilty. A Sunday school teaching, conservative judge declared: “I conclude the book does have some redeeming importance, and I find the book is not obscene” (cited in Campbell, 2008 p. 175). Although the trial was now over, the poem was still considered underground, outlawed poetry among young people. It was a book you hid from your parents. All of Ginsburg’s writing “made it seem as though it was cool to be a teen and that teens, not adults, knew what was cool” (Rankin, 2008 p. xi). Ginsburg’s Howl managed to break new ground in the poetry world. He broke the Beat movement into the national news and awareness through the obscenity charges. He paid tribute to Walt Whitman and the other transcendentalists of many years earlier. But, he also made the traditional forms of poetry “old fashioned” in a single moment, and by doing all of this, Ginsburg allowed his readers to get a little high while they read. “Even today, reading the poem yields a feeling of intoxication” (Raskin, 2008 p. 225). Many have heard the term “runners high”, but Allen Ginsburg may have coined the term “readers high.”
Ginsburg eventually took on the roll of Godfather for the Beatniks, but it was Jack Kerouac who was the movement’s Rock Star. Kerouac was good-looking and cool beyond cool. His writing was less offensive and more poetic to the masses, and his 127 foot long, poem-on-a-scroll, which he titled On the Road, brought the Beats into the cultural mainstream. Kerouac wrote with a spontaneity which resembled jazz. In the 40’s, Kerouac and his friends “went to the jazz clubs in Harlem” and many believe this influence showed in his writing (Miles, 1998 p. 55). The “so called” Beat Generation was a small collection of people who believed that society sucked. This small group of men and a very few women, became the writers and poets who expressed views which others may have supported, but were far too timid to embrace. Kerouac, meanwhile, gave a more positive spin to the Beat culture and made it popular. In his book, Why Kerouac Matters, John Leland identifies some of the success.
“Kerouac’s editors de-sexed a few scenes. This discretion may have appeased the censors, but hurt his literary aspirations. [But now,] with the legal threat of obscenity charges… out of the way, “On the Road” became a best seller, not a just a cause to rally behind” (Leland, 2007 p. 89).
In a way, Jack Kerouac became a life coach to the 50’s and 60’s counter-culture. Leland continues:
“Beneath its wild yea-saying, On the Road is a book about how to live your life. Its form is simple and episodic, charting a friendship across five journeys… Through the material came from Kerouac’s real life, he worked it with the license of a novelist” (Leland, 2007 p. 4).
Kerouac biographer, Barry Miles concurs. He feels that On the Road was not really a true memoir.
“This was the beginning of his hitch-hiking saga as recounted in On the Road, though it is impossible to ascertain how accurate the novel is. In a sense, it is a transitional book and many events and conversations are fictionalized… placing it somewhere between memoir and a novel” (Miles, 1998 p. 112).
Whether memoir or novel, On the Road was a voice of dissent and “it has long been considered subversive in its questioning of American’s booming post-war economy.” The most basic premise is an assault on the concept of time and work and how it relates to capitalism (Mortenson, 52). Throughout his book, Kerouac uses one of his main characters (Sal) to push his philosophy against upward mobility. Sal, knows the difference between “authentic work and the work people do so they can buy more stuff.” In much of his writing, Kerouac rejected the cycle of “work, produce, consume – work, produce, consume” (Leland, 2007 p. 68).
Kerouac did far more with On the Road than just give political and moral advice. He pushed the Beat Generation to get out and see the world around them. His life spent traveling around North America was envied and copied by many, and it set up the wandering Beatniks and later the traveling hippies with an inspirational roadmap. “If Kerouac did nothing more than inspire thousands of kids to get out on the road and explore the world themselves, he would still have his place in history” (Miles, 1998 p. viii). After On the Road was published, America’s youth spent the next two decades roaming the countryside between the two coasts in beat up cars and VW vans. Many more left college and set out for Europe with only a back pack. But Kerouac’s influence goes beyond seeing the world. For 20 years past his death in 1969, musicians continued to use his name in song titles and even more Rock and Roll stars wove his words into the lyrics of hit songs (Miles, 1998 p. xi). Kerouac was not one of those artists who become appreciated only in death. He was a star in his own time. With the publication of On the Road in September 1957, Jack soon became a public figure, the subject of curiosity as well as controversy, and the term the Beat Generation was born. By December he was “spouting point-blank verse” in the Village Vanguard, with the New Yorker dubbing him “life-in-the-raw novelist,” “knight of the open road” and “a litterateur with all kinds of things to get off his chest” (quotes cited in Lenrow, p. 1).
Kerouac appeared on college campuses to read his poetry and to soak in the life which he had created. It was the lifestyle of a rock star. When describing his love –hate relationship with the world, he said.
“I am well loved. Every single woman I’ve met in the past week (excepting dikes) has wanted to make love to me (married or not), at least secretly. I am well loved also by most men. It’s the SYSTEM that rejects me, and you, and all of us” (cited in Lenrow, 2007 p. 2).
Today, many Beat writers are studied and reviewed with praise, but it is Kerouac whose star still burns brightly. His masterpiece, On the Road, and his personal affects have become collector’s items. “Bob Dylan said he cherished it ‘like a bible’ in his youth.” Johnny Depp paid $15,000 for Kerouac’s raincoat. Jim Irsay, the owner of football’s Indianapolis Colts, won the original scroll manuscript at auction for $2.43 million. Even today, if you want to spot a rebellious character in a movie or TV show, you may be able to see a prop copy of On the Road on his desk or bookshelf (Leland, 2007 p. 5).
Despite bravery and determination, Beat women were often found in the shadows of the movement. It was a hurdle put up by society at large, really. During the 1950’s and 1960’s, the general population of young women were still strongly discouraged from leaving mom and dad’s home; except to get married or to enter the cloistered confines of a college dormitory. Indeed, even the Beatnik ladies were found mostly in roles as lovers, cooks, financial supporters or muses. However, a few women did make their mark, and with poems like “Rant” and “No Problem Party Poem” and a novel called Memoirs of a Beatnik; Diane di Prima emerged as the ‘Poet Priestess’ (Knight, 1987 p. 123). Di Prima was not only destined to be a great Beat poet, but she became a publisher as well. She co-founded a mimeographed newsletter called The Floating Bear and would later open The New York Poets Theater. At the time, her influence was felt far and wide, but it is her poetry and memoirs which last. In Memoirs of a Beatnik, di Prima writes about a summer spent in New York City. She is free of appointments and bosses and bill collectors. Her life is empty and dangerous by most standards, but her writing is rich and fulfilling.
Downtown the streets were filled with youngsters who had made their way to the Village over the summer months. You could hear their drumming blocks from Washington Square, and when you stepped into the crowd around the fountain, you saw the young men barefoot and naked to the waist, and the young women, their skirts held high, stomping and dancing together in the heavy night…. I spent the next few days casing the scene. The city was really crowded; there were, simply, no pads to be had, and rather than hassle I took to sleeping in the park…. By two o’clock in the morning Washington Square was usually clear of its usual crowd: folksingers, faggots, and little girls from New Jersey on the make, and I would stretch out on the steps by the fountain and sleep peacefully until just after dawn… (Cited in Knight, 1996 p. 138).
Di Prima was not just a writer, who leered around the corner, waiting for her opportunity to take a slice from the Beatnik pie. She truly lived the lifestyle.
It was di Prima’s stance, though, to live as though the revolution had already been accomplished – to separate sex from marriage and marriage from childrearing, and to improvise a quasi-familial supportive network. Once, such behavior was a disgrace. But now, the radical writers of the 1960’s have come to be recognized as citizens, taxpayers, and recipients of awards (Kirschenbaum, 1987 p. 54).
In “No Problem Party Poem,” di Prima gives us an insider’s glimpse into a weekend Beatnik house party. Passages of the poem are cited in (Knight, 1996 p. 134 and 135).
first glass broken on patio no problem
cops arriving to watch belly dancer no problem
We read the party poem and see and feel the laid back group having a good time.
wine on antique table cloth no problem
Marilyn vomiting in planter box no problem
There is no coma placed by di Prima at the end of each line or before the words no problem. A coma here would be correct punctuation, but she makes each line run together and take away any pause, which may be confused for weariness or exasperation by the writer at viewing these events. By using no punctuation at all, each line has the same feeling, the same monotone inflection – it is not just her words which give meaning, it is the structure of the poem too, which tells the reader that all these events are indeed, “no problem.”
getting it on in the wet grass no problem
running out of toilet paper no problem
thousands of Styrofoam cups no problem
giving it all up no problem
giving it all away no problem
Of all the beat poetry, Diane di Prima’s, “No Problem Party Poem,” may have explained or maybe just leaked out the plain truth and the daily emotions of the Beatniks more so than anything else from the generation.
Before Kerouac’s On the Road and Ginsburg’s Howl, Walt Whitman penned what many believe to be the first ‘Beat’ poem in “Song to Myself.” Its staccato and syncopated free-verse broke the mold of Victorian poetry. Ginsburg and others picked up where Whitman left off nearly a century earlier and used this Beat style to protest the shackled morals of post-war America. Eisenhower’s politics were not for everyone. Howdy-dowdy was not everyone’s cup-of-tea and certainly not everyone viewed Elvis as a transformational artist. The Beatniks helped break down the barriers to the sexual revolution and forced the notion and practice of free love onto a prudish society. They wrote words which shocked the world with their coming out-of-the-closet and in-your-face homosexuality. They shouted to America that it was OK not to aspire to be the married man in the grey flannel suit, who comes home to an unfulfilled housewife with 2.8 children. The Beatniks introduced much of the nation to the eastern religions as an alternate route to God, or for just feeling good, and started the practice of meditation and yoga on a path to acceptance. Their poems inspired the music of Bob Dylan, Jim Morrison and the Beatles. The Beat Generation or Beats, became known as the Beatniks, which later evolved into Hipsters — which was quickly changed to Hippies — and through all of these name changes, the founders of Beat writing continued to inspire, organize and lead the protests, the music, the drugs and the loving freedom which found a home in the next generation’s rebellion and attitudes as well. These many, many writings of the Beatniks did indeed become the ‘Declaration of Independence’ from America’s social and political status quo; and this declaration provided the impetus to a great cultural transformation, which changed literature, music, art, and moral values for the next 40 years. So, even if it was all underground and for just a little while, the Beatniks ruled the world.
References
Campbell, James (2008) Syncopations; Beats, New Yorkers and Writers in the Dark.
University of California Press.
Kirschenbaum, B. (1987) Diane di Prima: Extending La Famiglia
MELUS: Vol. 14, No. 3/4, (Autumn – Winter, 1987), pp. 53-67
The Society for the Study of the Multi-Ethnic Literature of the United States (MELUS)
Article Stable URL: http://www.jstor.org/stable/467402
Kramer, Jane (1969) Allen Ginsberg in America. Random House
Knight, Brenda (1996) Women of the Beat Generation: New York, Conari Press
Leland, John (2007) Why Kerouac Matters: The Lessons of ‘On the Road:’ Viking Press
Lenrow, Elbert (ND) Memoir: The Young Kerouac. Ohio State University Press Article Stable URL: http://www.jstor.org/stable/20107025
Miles, Barry (1998) Jack Kerouac; King of the Beats: A Portrait. Henry Holt and Company
Mortenson, Erik R. (ND) Beating Time: Configurations of Temporality in Jack Kerouac’s “On the Road.” College Literature Article Stable
URL: http://www.jstor.org/stable/25112602
Raskin, Jonah (2004) American Scream: Allen Ginsburg’s “Howl” and the making of the Beat Generation. University of California Press
Shinder, James (2006) “Howl,” Fifty Years Later; The Poem that changed America.
Farrar, Strauss and Giroux