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The beat generation essay
The beat generation essay
The beat generation essay
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The beat generation is a generation started in the 1950's by American artists and writers who refused conformity to traditional American ways and spoke of starting their own alternative lifestyle. The beat lifestyle included the sought after liberation and rebellion from society hindering chains of established, accepted ways of life. Within Paul Lauter's book, 'The Heath Anthology of American Literature,' Ronna C. Johnson from Tufts University, writes an analysis of Troia: Mexican Memoirs as well as synopsis of Brenda's life. Also in Lauter's book is the original Frazer's work Troia. In addition, Brenda Knight, another authority of the beat culture, writes in her book 'Women of the Beat Generation' of Frazer's struggles.
Brenda Frazer had a life nothing short of beat. Born in 1939 in middle class Washington DC, Brenda attended Princeton High School. It has been said that, ?her parents, especially her mother, were unhappy in their marriage, which cast an uncomfortable sadness over the household. Brenda remembers struggling with disorientation and a feeling of not fitting anywhere during her teen years.? (Knight, 269). Personally knowing that uncomfortable sadness and the struggle with finding ones identity, I can see why Brenda, at first unintentionally and then with full purpose, sought after a beat life.
While still in college, Brenda met a beat poet named Ray Bremser and the two of them became infatuation with one another. They married 3 weeks later. Brenda says, ?I adored him, even his eccentricities, and justified my own existence by typing his poems. I identified with Fidel Castro. His patriotism, presented in a lawyer truth, moved me. His actions inspired me to quit school and give thought to a shameful corrupting infl...
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... of her life we see her long for the idea of love, yet denied the love of having a husband or being a mother. Brenda Frazer, gave that all up, for the love of creativity. Brenda speaks of this creativity when she says, ?I defined myself when I sat down to write. It was a rebellion against my most immediate authority figure, who was once again in jail. Writing was a therapy I could afford. It was exciting then and still is to give myself that freedom. Alone I evolved my personal story. There was no mentor or male muse to be an live-in example for me. I have more creativity now. Creativity is in the middle, at the turning point of gender, neither, either, nor.? (Knight, 271).
WORKS CITED
Books:
Knight, Brenda. ?Women In the Beat Generation.? Conari Press, 1997.
Lauter, Paul. ?The Heath Anthology of American Literature.? Houghton Mifflin Company, 2006.
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.
The Dominican Republic was not a very good place to live in during the 1950s. Dictator Rafael Leonid, better known as Trujillo made an effort to associate the country with white Americans in 1939. This caused a generation of Dominicans to hate the nearby Haitians. He banned many traditional rituals and deplored the Haitian people by rewriting history with Haitians being the villains. Eventually, in 1959, Trujillo blamed Cuban dictator Fidel Castro for the Dominican discontent and was assassinated (Bailey). Julia Alvarez’s poem “Exile” is about a girl and her father’s departure from the Dominican Republic to New York, most likely as a reaction to the political uproar in their home country. In “Exile”, Alvarez uses a flashback, characterization, and symbolism to show the internal conflict of a young girl experiencing the American dream while losing her old behaviors.
I have chosen to write about Virginia Woolf, a British novelist who wrote A Room of One’s Own, To the Lighthouse and Orlando, to name a few of her pieces of work. Virginia Woolf was my first introduction to feminist type books. I chose Woolf because she is a fantastic writer and one of my favorites as well. Her unique style of writing, which came to be known as stream-of-consciousness, was influenced by the symptoms she experienced through her bipolar disorder. Many people have heard the word "bipolar," but do not realize its full implications. People who know someone with this disorder might understand their irregular behavior as a character flaw, not realizing that people with bipolar mental illness do not have control over their moods. Virginia Woolf’s illness was not understood in her lifetime. She committed suicide in 1941.
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?
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
Ernesto Che Guevara (1928-1967) not only played a pivotal role in Cuba’s revolutionary movement’s seizure of power in 1959 but also in Cuba’s social revolution that elated the island nation into a communist state. He was the unifying and driving force behind the revolution playing a significant role as an unrelenting guerrilla soldier taking shelter under the giant Neotropical leaves and shrubbery of the unforgiving terrain of the Sierra Maestra Mountains and serving as a dedicated and loyal official in Fidel Castro’s victorious regime. But still today, the question of Che remains was he the good guy or the bad guy? A murderer and terrorist or a martyr and saint. Even today the young faces of Cuba pledge to be like the man whose face adorned the 3 peso note, women light candles and burn incense in remembrance of their sainted leader and his stern frugal gaze glares out at you from every grey city wall in Havana.
There is no doubt that the literary written by men and women is different. One source of difference is the sex. A woman is born a woman in the same sense as a man is born a man. Certainly one source of difference is biological, by virtue of which we are male and female. “A woman´s writing is always femenine” says Virginia Woolf
Throughout history society has been controlled by men, and because of this women were exposed to some very demanding expectations. A woman was expected to be a wife, a mother, a cook, a maid, and sexually obedient to men. As a form of patriarchal silencing any woman who deviated from these expectations was often a victim of physical, emotional, and social beatings. Creativity and individuality were dirty, sinful and very inappropriate for a respectful woman. By taking away women’s voices, men were able to remove any power that they might have had. In both Alice Walker’s “The Color Purple” and Kate Chopin’s “The Awakening”, we see that there are two types of women who arise from the demands of these expectations. The first is the obedient women, the one who has buckled and succumbed to become an empty emotionless shell. In men’s eyes this type of woman was a sort of “angel” perfect in that she did and acted exactly as what was expected of her. The second type of woman is the “rebel”, the woman who is willing to fight in order to keep her creativity and passion. Patriarchal silencing inspires a bond between those women who are forced into submission and/or those who are too submissive to maintain their individuality, and those women who are able and willing to fight for the ability to be unique.
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.
Tytell, John. Naked Angels: the Lives and Literature of the Beat Generation. New York: McGraw-Hill, 1976.
...talented female writers have died by their own hand, victims of their own contrary instincts. They have fallen prey to a madness that also plagued their literary sisters, a madness caused by a stifled passion, a passion that eventually finds its outlet through the means of a tragic and untimely death. By examining the lives and works attributed to Virginia Woolf, Anne Sexton, and Charlotte Perkins Gilman, it is easy to see the price a woman must pay from possessing a poet’s heart.
Weinrich, Regina. “The Beat Generation is About Everything”. College Literature, Winter 2000, v 27, pg 263.
Bennett, Robert. "Deconstructing and Reconstructing the Beats: New Directions in Beat Studies." College Literature 32.2 (2005): 177-184.
Weissman, Dick. (2010). Talkin’ ‘Bout A Revolution: Music and Social Change in America. Blackbeat Books: New York
Continuing her childhood preoccupation with books, Smith developed an infatuation with Arthur Rimbaud as an adolescent. Rimbaud, she thought, possessed an irreverent intelligence and held the keys to an esoteric language (Smith, 29). This language captivated her, although she did not thoroughly grasp it (Smith, 29). In Rimbaud’s writing, Smith found a chiseled imagery of Heaven that she fastened to (Smith, 30). Besides Rimbaud, another influences shaped Smith’s fate. The novels and authors Smith read affected her attitude and her rhetoric as a poet. Inspired by the unconventional tomboy writer Jo in Louisa May Alcott’s Little Women, Smith crafted her own stories (Smith, 16). During this season she hoped she might write a book one day (Smith, 16). During the following year, a rare trip to the Museum of Art in Philadelphia transformed Smith and altered the trajectory of her life (Smith, 16-17). On this trip, Smith realized human beings could create art, and that artists saw what others did not (Smith, 16-17). From that moment forward, Smith sought to become an artist, even though she did not know if she carried the capabilities of an artist (Smith,