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essay about the beat generation
essay about the beat generation
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Introduction
The sub-head I’ve chosen might be a bit confusing at first, but it’s just a reference to HBO’s hit show “Sex and the City” that I find funny. After a brief introduction of the Beat “movement” and Allen Ginsberg’s life and work, in the main part of my paper I attempt to examine two topics related to Ginsberg: his relationship with his religious roots, Judaism, through some sections of his poem, “Kaddish”. Then, I introduce the book “Reality Sandwiches”, and his famous “relationship” with New York City, through his poem “To My Sad Self”. Since it’s a complex and meaningful poem, I’s also give a conclusion about some of the things he cared about, some of the things he found worth to examine, some of his thoughts about the world we are living in.
Beat Generation
The Beat Generation was a group of American post-war writers, ruling the literary areas in the 1950’s. However, “Beat” was not just a literary style, but a way of life and thinking. Central elements of "Beat" scene included experimentation with drugs and alternative forms of sexuality, interest in Eastern philosophy and religion, and strong rejection of materialism and capitalism. Since a lot of them was left-wing or even communist, the McCarthy-era handled them as ‘enemies of the state’. Most of the beatniks (as they called themselves) integrated into the Hippie Subculture in the 1960’s. The most significant works of the era includes Jack Kerouac’s novel “On the Road” (1957), William S. Burroughs’s “Naked Lunch” (1959) and Allen Ginsberg’s “Howl” (1956). One of the main contributors of the movement was Lawrence Ferlinghetti, who invented City Lights Publisher, which gave a good alternative to artist not finding proper and understanding publishers due to the e...
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...uncertainty about serious questions (death and life, origin of mankind, existence of God), this appears in the very last line, which is a reference back to line 22. In “My Sad Self”, NYC becomes the metaphor of these questions.
Conclusion
Ginsberg constantly tried to find answers for his questions, just like many of his contemporaries. In a social and political system that artificially generated happiness, and constantly does nowadays, this kind of “inquiring” is one of the most challenging tasks of Man, but at least leads to great literary works.
Works Cited
-BOLLOBÁS Enikő: Az Amerikai Irodalom Története
-DOCHERTY, Brian: On "Love Poem on a Theme by Whitman"
-GINSBERG, Allen: Selected Poems, 1947-1995
-GINSBERG, Allen: Spontaneous Mind: Selected Interviews 1958-1995
-MILES, Barry: Ginsberg: A Biography
-The American Poetry Review, July/August, 1997
Rosenthal, M.L. "Poet of the New Violence". On the Poetry of Allen Ginsberg. Ed. Lewis Hyde. Ann Arbor: University of Michigan Press, 1984. 29-31.
The innovative use of scientific themes and techniques Williams’ poetry were evidently instrumental in creating his unique - and frequently emulated - poetic voice. His influence on Ginsberg is intriguing, but somewhat expected; while Burroughs rebels against the acceptance that Williams attained by choosing to analyse the darker side of the scientific world in literature. However, all three writers share an analogous intrigue with the scientific world which, in my opinion, is applied effectively in their creative work.
Firstly, the group of friends and writers most commonly known as the Beats evolved dramatically in focal points such as Greenwich Village and Columbia University, and subsequently spread their political and cultural views to a wider audience. The three Beat figureheads William S. Burroughs, Allen Ginsberg and Jack Kerouac each perceived an agenda within American society to clamp down on those who were in some way different from the accepted ‘norm’, and in response deliberately flirted with the un-American practices of Buddhism, drug use, homosexuality and the avant-garde. Ginsberg courted danger by lending a voice to the homosexual subculture that had been marginalised by repressive social traditions and cultural patterns within the United States.
A very well known and unusual poet of the early 1960's Allen Ginsberg captured many supporters and friends with his literary works. Allen Ginsberg led a very atypical life, and his poems reflect his lifestyle and the lifestyle of those who influenced him. Allen's work is a reflection of his life experiences, the vast influences of his family and friends formed him into the superior poet he was.
America was built on rebellion. This was no different for the Beat Generation whom took Americans in the 20th century, into a new way of life. Middle class free spirited people who questioned the practices of everyday lifestyle and mainstream culture, the beats lived in disillusionment with society. The fifties being a time of conservative family morals encouraged the bohemian nature of the beats for their want to experience more. The nature of this rejection is expected but, why? And how does such rebellion begin to take place, what forms does it take, and does such rebellion provide a lasting change?
“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, Angel-headed hipsters burning for the ancient heavenly connection to the starry dynamo in the machinery of night.” The opening lines of Howl, by Allan Ginsberg, melodiously encapsulates the beat generation. The beats alluded to by the verbatim ,“The best minds”, are a group of idiosyncratic poets whom through the instrument of prose(driven by spontaneity and a primal lifestyle) , orchestrated a rebellion against the conservative beliefs and literary ideals of the 1950s. Howl, utilizing picturesque imagery, expounds holistically upon the instigator of the movement in culmination with personal experiences of beat members. Accordingly “Howl” evokes feelings of raw emotional intensity that reflects the mindset in which the poem was produced. The piece is structured into three stanzas, sacrificing temporal order for emphasis on emotional progression. The first sequence rambles of rampant drug forages and lewd sexual encounters, eliciting intonations of impetuous madness, one ostensibly hinging upon on a interminable need for satiation of hedonistic desires. Concordantly the following stanza elucidates upon the cause of the aforementioned impulsive madness (i.e corruption of the materialistic society motivated by capitalism), conveying an air of hostility coalesced with quizzical exasperation. Yet, the prose concludes by turning away from the previous negative sentiments. Furthermore, Ginsberg embraces the once condemned madness in a voice of jubilation, rhapsodizing about a clinically insane friend while ascertaining the beats are with him concerning this state of der...
Ginsberg’s words seemed to drag itself without the use of periods, giving his poem the effect of aggravation. His poetic expression using repetition maintained a rhythm throughout the poem, allowing him to keep that constant tone for the audience. With his illustrations, readers are capable of vividly capturing the image by using relatable and realistic examples. For instance, Moloch, being a nonrealistic object could be clearly seen as a machine that is powered by blood, money, and corruption. Considering the complexity of this piece, it gave me reason to believe that it was Ginsberg’s intention to allow us to seek our own meaning of the text. Ginsberg wanted us to bring out our “best minds” and comprehend the piece with our own thoughts rather than just getting the big picture. Richard Eberhart describes the poem as, “a howl against everything in our mechanistic civilization which kills the spirit… Its positive force and energy come from redemptive quality of love” (Poetry Foundation, par. 2). Ginsberg’s style of writing produced a strong argument in his case, with the use of emotion, imagery, and
The world was in 1950 at a point of multiple crossroads. After two World Wars an exemplary series of bad events followed, like the Cold War and the atomic menace. But it was also the beginning of some prosperity. People started again to gather material values. Nevertheless, the slow awakening from the fog of war was a process too complex to be generally accepted. In an apparently healing world there were still too many fears and too many left behind. On this ground of alienation, isolation and despair Allen Ginsberg’s “Howl” emerged together with the Beat movement. John Tytell observed that the “Beat begins with a sense of natural displacement and disaffiliation, a distrust of efficient truth, and an awareness that things are often not what
Michael Gray’s analysis of Dylan’s lyrics being a contrast between hackneyed expressions and “beautifully done” are exemplified in the song “Just Like a Woman.” Dylan’s lyrics “she aches just like a woman but she breaks just like a little girl” is given the harsh description of “maudlin platitude” and deemed to be a “non-statement.” If Dylan’s lyrics cannot uphold against meaningful music of the same category, how can they be expected to stand against literature written for a different field. John Lennon had his own critiques of Dylan’s works, calling out how the abstract nature of his lyrics, having loose definition, never achieved an actual point. Lennon’s definition of “poetry” referred to “stick[ing] a few images together” and “thread[ing] them” in order to create something meaningful. It once again boils down to the fact that Dylan’s music that was written and intended to be received as a live performance. The acknowledgement that “…you have to hear Dylan doing it” is a recognition of his composition’s failure to come across as a normal literary work. It’s all part of a “good game.” This in itself should disqualify Dylan as a possible candidate for the Nobel Prize.
At the end of the `Cold War', the early years of the 1950's represented all that was wholly good and traditional about family life. Women were homemakers, men lived up to the expected strong masculine role of the provider and a conventional family with children, was normality. Morality and values were of key importance and were inbuilt and represented through family life. Therefore it is imperative to examine the social history of post World War II America, to understand and emphasise the impact of the Beat Generation writers on this era at that time. It is then possible to see the acute disparity of style and attitude between the Beats and that of the 1950's "family values" epoch. Oliver Harris argues that the fundamental reason Beat culture "seized centre-stage in the theatre of early Cold War America...is because its major figures worked on a very particular range of margins." The contentious question, however is where does the margin of homosexuality stand in relation to Cold War ideology and Beat Cultural po...
...g with many individuals, are alienated and in turn, wish for extreme change and even another life. Ginsberg conveys a vital message that carries through to the year 2010 even more. Materialism does not make a person, it is insignificant. What is imperative is the natural world; beauty, individuality, and real human interactions as these are concepts that make an individual.
Morgan, Bill. The Beat Generation in San Francisco: A Literary Tour. San Francisco: City Lights, 2003. Print.
Firstly, the poets of the Beat Generation were the geniuses behind the success of the movement. Beat poetry began in the 1940's in New York, later blossoming in San Francisco during the 1950's. Post World War II left poets questioning modern politics and culture; they made the battle against social conformity and literary tradition their central focus (“Brief Guide to Beat Poets”). The three most prominent Beat writers were William S. Burroughs, Allen Ginsberg, and Jack Kerouac. Burroughs wrote his highly controversial book Naked Lunch while on vacation in Morocco; it was published in 1959, but later banned in 1965 due to its vulgarity. Years later Naked Lunch was included in Time Magazine's "100 Best English Language Novels." In 1957 U.S. customs seized over 500 copies of Ginsberg's novel Howl on grounds of obscenity. These c...
The 1950’s beatniks gather around coffeeshops, writing and grumbling about the unfairness of the government and society’s closed mind. Today, youth gather around their laptops and type away, despairing over the unfairness of the government and society’s closed mind. Allen Ginsberg’s poetry embodies those angry youth. His unique choices in diction, symbolism and imagery artfully conveys his criticism against the wrongdoings of Uncle Sam and his subjects. Through his poem America, Ginsberg reaches out to all generations of people and exposes the ethical mistakes that both the government and society as a whole make, and these mistakes are classic in the sense that it is always a mistake that everyone keeps repeating.
Much has been written about the Beat generation, especially about the hold its radical freedom has exerted on the American imagination. The Beats who stand out in most of our minds are men and the freedom they enjoyed--a freedom of movement, of creativity, of sexuality--is coded as a particularly male kind of freedom. My paper will suggest that in their autobiographical texts On the Road and The First Third Jack Kerouac and Neal Cassady construct a travelling masculinity in an attempt to escape bourgeois patriarchal structures without abandoning traditional patriarchal definitions of masculine power.