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The beat generation conclusion
The beat generation conclusion
The beat generation conclusion
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During the 1950s to 1960s, a new cultural and literary movement staked its claim on America's national consciousness. The Beat Generation in sheer numbers was never a large movement, but in cultural status and influence, they were more visible than any other contending aesthetics. The years continuing after the Second World War the wholesale reappraisal of conventional structure of society began. During the time the postwar economic boom was taking place, students in universities were beginning to question the excessive materialism of their society. The product of this question was the Beat Generation. Allen Ginsberg, a founding member of the historical movement, like many saw runaway capitalism as destructive to the human spirit and antithetical …show more content…
In the world of literature and art, the Beats stood in opposition to the clean, almost antiseptic formalism of the early twentieth century Modernists, questioning if "Twenty years is more or less a literary generation,". They fashioned a literature that was more straightforward, bold, and suggestive than previous periods. Jazz, an underground music style was especially evocative for Beat writers, yet threatening and sinister to the establishment. Taboos about public discussion of sexualty were seen as damaging to the the psyche, shameful, and unhealthy. To many, the artistic productions of the Beats transgressed into pornography and therefore merited censorship. So, the Beats Generation’s literature was dismissed as mere provocation - a means to get attention, not serious art. However, time has proven the cultural impact was far from short lived, as the influence of their work continues to be …show more content…
Moloch is traditionally a term associated with a Middle Eastern god of sacrifice. In modern language, the name is often given derisively to anything that demands a high price or sacrifice. In Ginsberg's poetry, Moloch represents the facets of modern society that demand the high sacrifice of freedom and expression. Moloch is the modern industrial state which exacts low wages for its workers so that others might have more luxury. Moloch is the model nuclear family which sacrifices sexual freedom and pleasure for a sense of normalcy. Moloch is the modern security state, which sacrifices freedom for increased security from outside threats. The Beats believed their rejection of Molochs suppression, kept them educated, aware, rebellious, and most importantly, free. Portrayed as “an inner knowledge there’s no use flaunting on that level, the level of the ‘public’”. It is easy to see that Ginsberg views the government as one of the main problems in society; however, Moloch symbolizes much more than the government. Moloch is inside everyone, even Ginsberg, who says, "Moloch who entered my soul early! Moloch in whom I am a consciousness without a body!” (“Howl” Line 87). Moloch, who devoured children, represents the greed and jealousy devouring society and Ginsberg shows even himself,
Throughout the words and the lives of the Beat Generation, one theme is apparent: America, everywhere from Allen Ginsberg’s “America,” to Jack Kerouac’s love for Thomas Wolfe. Although the views of America differ, they all find some reason to focus in on this land. Ginsberg, in his poem “America,” makes a point that not many of us can see as obvious: “It occurs to me that I am America. I am talking to myself again.” Each and every one of us make up America, and when we complain about something that is wrong, we are complaining about ourselves. Being raised by his mother as a Communist, and being homosexual, Ginsberg found many things wrong with America, and he does his fare share of complaining, but at the end he decides, “America I’m putting my queer shoulder to the wheel.” Ginsberg didn’t want to sit and watch everything go wrong. He was going to do something, despite the fact that he was not the ideal American.
Homosexuality remained illegal in most parts of America until the 1960s, but Ginsberg refused to equate his Gay identity with criminality. He wrote about his homosexuality in almost every poem that he wrote, most specifically in ‘Many Loves’ (1956) and ‘Please Master’ (1968), his paeans to his errant lover Neal Cassady. Ginsberg’s poems are full of explicit sexual detail and scatological humour, but the inclusion of such details should not be interpreted as a childish attempt to incense the prudish and the square.
The ‘60s were the age of youth, as millions of children’s from post World War II became teenagers and rebelled against the conservative fifties. Denying civil rights to African-Americans and liberation to teenagers in previous decades and Vietnam War, created a vortexes which lead to massive rebellion against the status qua. Music of the 1960s was characteristic of the revolution that was going on during the decade. It was a time of rebellion and counter-culture in which the teenagers and college students were critical of government, business, religious institution and other various aspects of life. Era marked by civil rights movement, Vietnam War, environment of drug abuse and sexual freedom formed new music like: folk rock, soul and psychedelic rock. These genres starkly contrast the teen idol music of ‘50s pop mainstream. Writes John Covach; “World was exploding, and rock musicians were listening more closely than ever.”(Covach, 152) Such stark contrast in pop music directly relay to changing social culture in America, which further echo’s the relationship between music and culture.
A movement arose among the artists of 1950s America as a reaction to the time's prevailing conformity and affluence whose members attempted to extract all they could from life, often in a strikingly self-destructive way. Specifically, the Beat writers and jazz musicians of the era found escape from society in drugs and fast living. But what exactly led so many to this dangerous path? Why did they choose drugs and speed to implement their rebellion? A preliminary look at the contradictions that prevailed in 1950s American society may give some insight into these artists' world.
In 1961, previous to the outbreak of Occupy Wall Street, Greenwich Village’s Washington Square Park was filled with three–thousand young beatnik protestors. Playing instruments and singing folk music symbolized the starvation that these young folks wanted of freedom and equality for America. Protestors demonstrated mixed cultures, individualistic beliefs that went against the status quo of America after the post-war years. The Beatnik Riot involved young traditional Americans fighting not just for the musical crisis of that time, but for the social, racial, and cultural segregations that were brought on by the years of war. Acting as a catalytic reaction, the Beatnik Riot put in motion a new modernized America.
“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...
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
In the mid 1940’s a movement began, a generation of writers and poets would emerge; they were called the ‘Beat Generation’. The term was first used by Jack Kerouac while talking to fellow writer John C. Holmes, in 1948, Kerouac said to him, “So I guess you might say we’re the beat generation” (What’s Beat). The ‘Beat Generation’ was a movement that influenced the next generation of young rebellious minds of the 1950’s and ‘60’s through poets and writers who did not follow the rules of society. Growing up I have always liked the poets and writers of that time, the smooth cool way they talked, the slang they used, the goat-tees and black berets they wore and their cool and casual demeanor. The writers and poets of that generation were so passionate in what they wrote, and in their resistance to conformity. Not caring to be like everyone else, instead, they sought to be the individuals that they were, not bowing to what mainstream society thought they should be. Freedom of individuality was their passion. Although it wasn’t until I was older that I really understood what they meant and stood for, the movement had a deeper meaning; to be yourself.
Finally, as the budget gets tight and they are not able to pay for the car, the gas, the food and a bed, they will try to find meaningless jobs and even sometimes live in the street. These young writers represent the Beat Generation after the WW2.
"Burn, burn, burn," says Kerouac, and that is what the Beats were all about. From the all-night, smoke-filled jazz clubs of the Lower East Side of Manhattan, to the trendy bars of San Francisco, the artists known as the ‘Beats’ were interested in one thing, and only one thing: living. To them, life was a series of adventures to be lived. Going from one high to the next, in search of that thing that will, in the end, transform them into that "blue centerlight" about which everyone says "Awww!" But a few questions must be addressed regarding the Beats. Was theirs the correct choice? Was the fun they had worth the pain that they caused, and the pain that they had to endure? And ultimately, what impact did the Beats have on society as a whole, and was that impact, is that impact, positive or negative? Jack Kerouac, the most prominent of all Beat poets, and the gang hanging out at the famous 115th Street apartment helped to mold two generations of young Americans, and have made a permanent impression on the landscape of American culture through their literature, and most of all, through their lives, and their desire to live. This is the contribution of the Beats: a legacy of s...
In Kafka Was the Rage, Broyard described his life as a hipster. It was 1947, after the world war II. Brossard chose to live in Greenwich Village with Sherri Donatti, who was an abstract painter, rather than to live with his parents in Brooklyn. The Greenwich Village at that time presented the freedom and new ways of thinking, which was the world of artist and writers. There was peace and prosperity and a bright new world for the young. He insists that he is not the voice of the beat generation, however, his behavior can be regarded as the beat generation. He likes going to clubs and having sex with various girlfriends. “I say that sex used to be more individual, more personally marked, than it is now”(Broyard, p141). He thinks that the topic of sex is much different from the past and there is no shame to talk about the sex. Another hipster, Peggy Guggheim, has many common features with Broyard, since she admits that she has many sexual relation with many artists and writers. From my perspective, Broyard and Guggheim are beatnik since they both being free, believe the sexual liberation and being creative, which match the philosophy of beat generation which is conducting of oneself to reject white society, combining experimentation of using drugs and sexual liberation. Beat is the mindset of the beatnik subculture, which related each other. As Leland mentioned in the book, “The beats prescribed an ethos of lifestyle change”(Leland, p153). Beats generation changed a lot and even can easily tell from the clothing.They prefer to wear unusual or exotic dress. Social responsibility for them means nothing and they hate work and study. They disdain social order, against any stereotypes. Chasing freedom, using drugs and having sex is gradually becoming part of their life. Leland described them in this way, “The beats romanticized black life at the margins, imaging it as
...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.
Raskin Jonah, American Scream: Allen Ginsberg’s Howl and the Making of the Beat Generation Berkeley, CA: University of California Press, 2004.
Ginsberg says that Moloch is a “sphinx of cement and aluminum”, a “heavy judger of men”, and “whose soul is electricity and banks” (line 79-85). All these can point towards higher powers such as the Government. Such things like government buildings, the law makers, and the banks that control all the money in our cities and states. This means that our government can be the Moloch in our lives just like how they were to Ginsberg. Ginsberg says that it is “Moloch who frightened me out of my natural ecstasy” and that it is Moloch in which he “wakes up in”. The word play used confirms that he is suffering by the hands of “Moloch”, the ridged and unchangeable false god that we sacrifice our very lives
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.