Beat Generation Materials at Wilson Special Collections Library: Secondary Sources for Individual Writers

Diane di Prima: Visionary Poetics and the Hidden Religions reveals how central di Prima was in the discovery, articulation and dissemination of the major themes of the Beat and hippie countercultures from the fifties to the present. Di Prima (1934--) was at the center of literary, artistic, and musical culture in New York City. She also was at the energetic fulcrum of the Beat movement and, with Leroi Jones (Amiri Baraka), edited The Floating Bear (1961-69), a central publication of the period to which William S. Burroughs, Jack Kerouac, Allen Ginsberg, Charles Olson, and Frank O'Hara contributed. Di Prima was also a pioneer in her challenges to conventional assumptions regarding love, sexuality, marriage, and the role of women. David Stephen Calonne charts the life work of di Prima through close readings of her poetry, prose, and autobiographical writings, exploring her thorough immersion in world spiritual traditions and how these studies informed both the form and content of her oeuvre. Di Prima's engagement in what she would call "the hidden religions" can be divided into several phases: her years at Swarthmore College and in New York; her move to San Francisco and immersion in Zen; her researches into the I Ching, Paracelsus, John Dee, Heinrich Cornelius Agrippa, alchemy, Tarot, and Kabbalah of the mid-sixties; and her later interest in Tibetan Buddhism. Diane di Prima: Visionary Poetics and the Hidden Religions is the first monograph devoted to a writer of genius whose prolific work is notable for its stylistic variety, wit and humor, struggle for social justice, and philosophical depth.

""My earliest sense of what it means to be a woman was learned from my grandmother, Antoinette Mallozzi, and at her knee.... She smelled of lemons and olive oil, garlic and waxes and mysterious herbs. I loved to touch her skin."" "So begins Diane di Prima's memoir, in which she explores the first three decades of her life and how she came to define herself as a woman. She grew up in Brooklyn in the 1930s and '40s in an Italian American family, and only by heroic effort was she able to break away and follow through on a lifelong commitment to become a poet, first made when she was in high school."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

Biographical information on Di Prima and illustrations of her work.

Article from Beat Scene, 2004. No. 46 (Autumn, 2004).

This is the first critical study to come to grips with the work of Ferlinghetti, a man who eludes classification because he practices most forms of art, because he is both educated (doctorate from the Sorbonne) and streetwise, and because for more than 25 years he has followed the expansive and dangerous tradition of the poet who boldly seeks Rimbaud s goal to change life through his art. Explaining his method, Smith notes that By approaching Lawrence Ferlinghetti as the contemporary poet-prophet of engagement and wonder we can more truly understand both his methods and his multi-achievement as: oral poet, poet of the streets, super realist, actualist of the public nightmare, political poet, poetry-and-jazz poet, bohemian poet, painter-poet, absurd expressionist dramatist, avant-garde novelist, anti-Art poet, and, finally, visionary poet of consciousness. "

Fabulous letters from the vagabond Beat poet to his friendsamong them Allen Ginsberg and Lawrence Ferlinghetti. For all his charm and intelligence poet Gregory Corso lived a vagabond life. He never held down a regular job. He rarely stayed very long under the same roof. He spent long stretchessome as long as four or five yearsabroad. Many of his letters came from EuropeFrance, England, Germany, Italy, Sweden, Greeceas he kept in touch with his circle of friendsamong them his best friend Allen Ginsberg and a steady supporter, Lawrence Ferlinghetti. He left (or was left by) a number of girlfriends and he fathered five children along the way. He was apt to raise a bit of a ruckus at poetry readings and other public events. No one could be sure what he might do next except that he would write poetry and get it published and that it would be widely read. When the idea of a book of selected letters was first proposed, Gregory had some reservations about it. Would the book reveal too much of his private life? But then with typical hubris he said the equivalent of "let it all hang out" and "all" does hang out in An Accidental Autobiography. The book is indeed the next thing to an unplanned self-portrait and gives a lively sense of the life Gregory Corso led, marching to his own drummer and leaving in his wake such marvelous books of Beat poetry as The Happy Birthday of Death, Elegiac Feelings American, Long Live Man, and Herald of the Autochthonic Spirit. Bill Morgan, who is extremely conversant with the Beats, has done an admirable job collecting letters from libraries and various individuals across the country and then selecting and organizing them in a progression that spans Corso's lifetime. In addition to Morgan's introduction and commentary, the book includes a special foreword by poet and rock star Patti Smith as well as a number of photographs.

Brilliant Flame! Amiri Baraka is an intergenerational collection of writing from poets, dramatists, musicians, educators, historians and cultural workers and theorists examining the work and influence of Amiri Baraka. The dramatist, novelist and poet, Amiri Baraka is one of the most respected and widely published African-American writers. With the beginning of Black Civil Rights Movements during the sixties, Baraka explored the anger of African-Americans and used his writings as a weapon against racism. Also, he advocated scientific socialism with his revolutionary inclined poems and aimed at creating aesthetic through them. Amiri Baraka's writing career spans over nearly fifty years and has mostly focused on the subjects of Black Liberation and White Racism. Often recognized as a key founder of the Black Arts Movement, Amiri Baraka was a prolific writer and world-renowned poet. While this book provides its contributors a forum in which to examine his poetic and artistic aesthetics, Brilliant Flame! will more importantly bring to the forefront Baraka's reach as political activist, historian and cultural visionary.

This important look at CAP combines historical research and analysis with the author's first-hand experience with the organization, providing the first historical narrative of a consequential player in the Black Power Movement.

Poet and playwright Amiri Baraka is best known as one of the African American writers who helped ignite the Black Arts Movement. This book examines Baraka's cultural approach to Black Power politics and explores his role in the phenomenal spread of black nationalism in the urban centers of late-twentieth-century America, including his part in the election of black public officials, his leadership in the Modern Black Convention Movement, and his work in housing and community development. Komozi Woodard traces Baraka's transformation from poet to political activist, as the rise of the Black Arts Movement pulled him from political obscurity in the Beat circles of Greenwich Village, swept him into the center of the Black Power Movement, and ultimately propelled him into the ranks of black national political leadership. Moving outward from Baraka's personal story, Woodard illuminates the dynamics and remarkable rise of black cultural nationalism with an eye toward the movement's broader context, including the impact of black migrations on urban ethos, the importance of increasing population concentrations of African Americans in the cities, and the effect of the 1965 Voting Rights Act on the nature of black political mobilization.

Allen Ginsberg's epic poem "Howl," written in 1955, is one of the defining works of the Beat Generation, despite having been labeled obscene when it was first published. A harsh denunciation of American capitalism and conformity, the poem drew scenes, characters, and situations from Ginsberg's life, a life reexamined here by Ginsberg's former editor and researcher, Steve Finbow. In this new biography, Finbow considers the poetry and politics of the poet and activist and discusses his position in American letters and culture.   Moving from Ginsberg's childhood--with his poet father and schizophrenic mother--to his meeting with Jack Kerouac and William S. Burroughs in the late 1940s, Finbow explores Ginsberg's obsessive need to travel and experiment with writing, altered states of consciousness, and sexuality. He follows the poet to Mexico, India, and back to America, where he considers Ginsberg's role in the counterculture movement of the sixties and New York's seventies punk scene, and observes his slow absorption into academia while remaining a champion of the disenfranchised. With appearances by Peter Orlovsky, Kerouac, Burroughs, and other leading figures of twentieth-century literature, art, filmmaking, and politics, Allen Ginsberg brims with insight into this vital cultural figure.

Avant-garde poet and popular culture icon, Allen Ginsberg has been one of the world's most important writers for over 40 years. This comprehensive bibliography, covering the years 1941 to 1994, was prepared with the cooperation of the poet himself. All books, periodicals, photographs, recordings, films, and miscellaneous appearances are listed here. Entries are grouped in chapters according to type of work, and each entry provides full descriptive bibliographic information. Allen Ginsberg is perhaps the most famous poet of our time, as well as one of our most prolific writers. His subjects range from Buddhist studies to drug research to gay rights to political issues of every description from Vietnam to censorship. Ginsberg gave the author access to personal files and, as a result, every appearance of Ginsberg's writings in the English language is noted. This bibliography is a comprehensive, descriptive record of all of Ginsberg's works. The volume contains descriptive annotations of every book, pamphlet, and broadside by Ginsberg. It also contains complete descriptions of every contribution by Ginsberg to the works of others. In addition, all periodical contributions, recordings, films, and miscellaneous publications are listed. Due to Ginsberg's recent acceptance as a photographer of note, a special section identifies all of his published photographs. Entries are arranged in chapters according to the type of work, to facilitate ease of use. As a result, this book presents a history of Ginsberg's works and traces the evolution of his writings over a period of publications and revisions.

Allen Ginsberg (1926#150;1997) was one of twentieth-century literature’s most prolific letter-writers. This definitive volume showcases his correspondence with some of the most original and interesting artists of his time, including Jack Kerouac, William S. Burroughs, Gregory Corso, Neal Cassady, Lionel Trilling, Charles Olson, Lawrence Ferlinghetti, Philip Whalen, Peter Orlovsky, Philip Glass, Arthur Miller, Ken Kesey, and hundreds of others. Through his letter writing, Ginsberg coordinated the efforts of his literary circle and kept everyone informed about what everyone else was doing. He also preached the gospel of the Beat movement by addressing political and social issues in countless letters to publishers, editors, and the news media, devising an entirely new way to educate readers and disseminate information. Drawing from numerous sources, this collection is both a riveting life in letters and an intimate guide to understanding an entire creative generation.

From relative obscurity, even at the time of his death in 1969, Jack Kerouac has risen to icon status with invigorated interest at all levels of scholarship and readership. This biography serves an important purpose in cutting through both the hagiography and the critical backlash that still surrounds the figure most closely identified with the Beat movement. Using the same structure--the events of his life-- that Kerouac himself utilized in writing his roman a clef novels such as On the Road, this biography provides an accessible alternative to current studies that will help readers, particularly students understand the creative legacy left by Kerouac. Readers will be able to draw their own insights and conclusions from this well drawn account that traces the historical and personal events that moved his career along uncharted paths. Sixteen chapters piece together his troubled ties with family, friends, lovers, and the literary establishment. This study carefully examines the philosophy of the writer and the psychology of the man with his many contradictions and complexities. Interest in Kerouac's life has never been stronger. This concise biography draws on both new and established research on Kerouac to lay out the facts and distinguish the man from the myth. A Timeline of Events will help readers understand the important occurrences in Kerouac's life, his travels, his writings, involvement in the Beat movement, and the larger context of literary and political events of his time. A complete bibliography of works by Kerouac includes important posthumous publications. A select bibliography of biographical and critical works, including electronic sources, will guide readers with further personal interests or research projects on Kerouac.

No devotee of Jack Kerouac should be without this biography, fully illustrated with over 120 magnificent photographs. Kerouac epitomized the "Beat Generation" writers of the 1950s, and his most famous novel, On the Road, provided a textbook for the bohemian lifestyle that has attracted disenchanted youth ever since. Dubbed "the James Dean of the typewriter, " his own life was as colorful as his books. Featuring a foreword by Carolyn Cassady, Kerouac's lover, wife of Nell

From painters' lofts and bohemian haunts in the Greenwich Village of the 1950s to funky clubs and Bowery bars like the Five Spot, jazz musician David Amram retraces in this engaging memoir the creative paths he followed through restless days and long, exhilarating nights with his collaborator and friend Jack Kerouac. With candor and humor, Amram re-creates the moments that shaped a mutually stimulating relationship--like the jazz-poetry reading, the first ever in New York, he performed with Kerouac, whose On the Road had recently made him an overnight literary success; or like the 1959 film, Pull My Daisy, they hilariously made with fellow Beats Allen Ginsberg, Gregory Corso, Peter Orlovsky, and Larry Rivers. Amram illuminates the private side of Kerouac, too, his extraordinary intellect and his ardent pursuit of music and literature long after the critics had turned on him and many of his old friends had abandoned him. Among the last of a generation that altered the style and substance of the arts in its time, Amram also celebrates in this at once wise and affecting book the renascence of interest in Kerouac's work three decades after his death. For the beat indeed goes on. And so does the collaboration.

Now that Kerouac's major novel, On the Road is accepted as an American classic, academic critics are slowly beginning to catch up with his experimental literary methods and examine the dozen books comprising what he called 'the legend of Duluoz.' Nearly all of his books have been in print internationally since his death in 1969, and his writing has been discovered and enjoyed by new readers throughout the world. Kerouac's view of the promise of America, the seductive and lovely vision of thebeckoning open spaces of our continent, has never been expressed better by subsequent writers, perhaps because Kerouac was our last writer to believe in America's promise--and essential innocence--as the legacy he would explore in his autobiographical fiction.

"We had finally found the magic land at the end of the road and we never dreamed the extent of the magic." Mexico, an escape route, inspiration, and ecstatic terminus of the celebrated novel On the Road, was crucial to Jack Kerouac's creative development. In this dramatic and highly compelling account, Jorge García-Robles, leading authority on the Beats in Mexico, re-creates both the actual events and the literary imaginings of Kerouac in what became the writer's revelatory terrain. Providing Kerouac an immediate spiritual freshness that contrasted with the staid society of the United States, Mexico was perhaps the single most important country in his life. Sourcing material from the Beat author's vast output and revealing correspondence, García-Robles vividly describes the milieu and people that influenced him while sojourning there and the circumstances between his myriad arrivals and departures. From the writer's initial euphoria upon encountering Mexico and its fascinating tableau of humanity to his tortured relationship with a Mexican prostitute who inspired his novella Tristessa, this volume chronicles Kerouac's often illusory view of the country while realistically detailing the incidents and individuals that found their way into his poetry and prose. In juxtaposing Kerouac's idyllic image of Mexico with his actual experiences of being extorted, assaulted, and harassed, García-Robles offers the essential Mexican perspective. Finding there the spiritual nourishment he was starved for in the United States, Kerouac held fast to his idealized notion of the country, even as the stories he recounts were as much literary as real.

An exploration of Kerouac's fiction, poetry, religious writing, journals, and correspondence. It encompasses his fictional rewriting of his personal life, his life-long quest for spiritual enlightenment, and his resolute belief in the blending of popular and academic cultural artifacts to create voices and forms to speak of and to a new age.

"Action Writing: Jack Kerouac s Wild Form" connects the personal and creative development of the Beat generation s famous icon with societal changes in postwar America. Michael Hrebeniak asserts that Jack Kerouac s wild form writing that is free of literary, grammatical, and syntactical conventions moves within an experimental continuum across the arts to generate a Dionysian sense of writing as raw process. "Action Writing" highlights how Kerouac made concrete his 1952 intimation of something beyond the novel by assembling ideas from Beat America, modernist poetics, action painting, bebop, and subterranean oral traditions. Hrebeniak further explores how the Cold War provided political potency for Kerouac s assertion of the Blake-Whitman lineage of poet as seer and chronicler, by which language itself becomes the instrument of revelation. "Action Writing" identifies the artistic resources, American bohemianism, and protest traditions at the foreground of Kerouac s creative emergence, culturally framed as an ongoing existential regeneration within a deteriorating environment. Hrebeniak surveys Kerouac s early shifts in narrative organization and performative writing, examines the limitless multiplicity of Neal Cassady in "Visions of Cody" to forge what Charles Olson would call a projective model of the novel, and addresses the question of interpretative methodologies for the convergence of fictive techniques. This study also traces Kerouac s personal trajectory from confident radicalism to conservative entrenchment, assesses his spontaneous prose within the intersection of orality and notation, and locates Kerouac s phenomenological approach to consciousness and memory in relation to open forms of literary modernism and the New York School. Geared to scholars and students of American literature, Beat studies, and creative writing, the volume places Kerouac s writing within the context of the American art scene at mid-century. Effectively reframing the work of Kerouac and the Beat generation within the experimental modernist/postmodernist literary tradition, this probing inquiry offers a direct engagement with the social and cultural history at the foreground of Kerouac s career from the 1940s to the late 1960s. "

Now a classic, Kerouac's Crooked Road was one of the first critical works on the legendary Beat writer to analyze his work as serious literary art, placing it in the broader American literary tradition with canonical writers like Herman Melville and Mark Twain. Author Tim Hunt explores Kerouac's creative process and puts his work in conversation with classic American literature and with critical theory.             This edition includes a new preface by the author, which takes a discerning look at the implications of the 2007 publication of the original typewriter scroll version of On the Road for the understanding of Kerouac and his novel. Although some critics see the scroll version of the novel as embodying Kerouac's true artistic vision and the 1957 Viking edition as a commercialized compromise of that vision, Hunt argues that the two versions should not be viewed as antithetical but rather as discrete perspectives of a writer deeply immersed in writing as both performance and evolving process. Hunt moves beyond the mythos surrounding the "spontaneous creation" of On the Road, which upholds Kerouac's reputation as a cultural icon, to look more closely at an innovative writer who wanted to bridge the gap between the luscious, talk-filled world of real life and the sterilized version of that world circumscribed by overly intellectualized, literary texts, through the use of written language driven by effusive passion rather than sober reflection. With close, erudite readings of Kerouac's major and minor works, from On the Road to Visions of Cody,Hunt draws on Kerouac's letters, novels, poetry, and experimental drafts to position Kerouac in both historical and literary contexts, emphasizing the influence of writers such as Emerson, Melville, Wolfe, and Hemingway on his provocative work.

Tim Hunt's The Textuality of Soulwork: Jack Kerouac's Quest for Spontaneous Proseexamines Kerouac's work from a new critical perspective with a focus on the author's unique methods of creating and working with text. Additionally, The Textuality of Soulwork delineates Kerouac's development of "Spontaneous Prose" to differentiate the preliminary experiment of On the Road from the more radical experiment of Visions of Cody, and to demonstrate Kerouac's transition from working within the textual paradigm of modern print to the textual paradigm of secondary orality. From these perspectives, Tim Hunt crafts a new critical approach to Beat poetics and textual theory, marking an important contribution to the current revival of Kerouac and Beat studies underway at universities in the U.S. and abroad, as reflected by a growing number of conferences, courses, and a renewal in scholarship.

A groundbreaking portrait of Kerouac as a young artist--from the award-winning author of Minor Characters In The Voice is All, Joyce Johnson, author of her classic memoir, Door Wide Open, about her relationship with Jack Kerouac, brilliantly peels away layers of the Kerouac legend to show how, caught between two cultures and two languages, he forged a voice to contain his dualities.  Looking more deeply than previous biographers into how Kerouac's French Canadian background enriched his prose and gave him a unique outsider's vision of America, she  tracks his development from boyhood through the phenomenal breakthroughs of 1951 that resulted in the composition of On the Road, followed by Visions of Cody. By illuminating Kerouac's early choice to sacrifice everything to his work, The Voice Is All deals with him on his own terms and puts the tragic contradictions of his nature and his complex relationships into perspective.

This is the authoritative biography of legendary writer, poet, and Beat Generation icon Jack Kerouac (1922-1969), whose novel On the Road catapulted him to the forefront of the literary world and influenced budding writers for generation to come. Here, Paul Maher offers not a linear study of Kerouac's life, but an integrated pastiche of his life and work. He investigates the key relationships that affected his development as an artist, including his three wives, numerous girlfriends, and beloved mother. He also provided insight into Kerouac's spontaneous prose, with its echoes of jazz, in The Subterraneans, The Dharma Bums, Big Sur, Desolation Angels as well as some of his lesser known works.

Given Jack Kerouac's enduring reputation for heaving words onto paper, it might surprise some readers to see his name coupled with the word "poetics." But as a native speaker of French, he embarked on his famous "spontaneous prose" only after years of seeking techniques to overcome the restrictions he encountered in writing in a single language, English. The result was an elaborate poetics that cannot be fully understood without accounting for his bilingual thinking and practice. Of the more than twenty-five biographies of Kerouac, few have seriously examined his relationship to the French language and the reason for his bilingualism, the Québec Diaspora. Although this background has long been recognized in French-language treatments, it is a new dimension in Anglophone studies of his writing. In a theoretically informed discussion, Hassan Melehy explores how Kerouac's poetics of exile involves meditations on moving between territories and languages. Far from being a naïve pursuit, Kerouac's writing practice not only responded but contributed to some of the major aesthetic and philosophical currents of the twentieth century in which notions such as otherness and nomadism took shape. Kerouac: Language, Poetics, and Territory offers a major reassessment of a writer who, despite a readership that extends over much of the globe, remains poorly appreciated at home.

In 1969 Jack Kerouac died a premature death. While his legendary lifestyle and unique creative talent made him a hero in his lifetime, his literary influence has grown steadily since. With "Memory Babe (a childhood nickname honoring Kerouac's feats of memory), Gerald Nicosia gives us a complete biography of Jack Kerouac--an honest, discriminating and, above all, compassionate assessment. This edition is enhanced by many rare photographs never before published.

He was the leading light of the Beat Generation writers and the most dynamic author of his time, but Jack Kerouac also had a lifelong passion for music, particularly the mid-century jazz of New York City, the development of which he witnessed first-hand during the 1940s with Charlie Parker, Dizzy Gillespie and Thelonious Monk to the fore. The novelist, most famous for his 1957 book On the Road, admired the sounds of bebop and attempted to bring something of their original energy to his own writing, a torrent of semi-autobiographical stories he published between 1950 and his early death in 1969. Yet he was also drawn to American popular music of all kinds o from the blues to Broadway ballads o and when he came to record albums under his own name, he married his unique spoken word style with some of the most talented musicians on the scene. Kerouac's musical legacy goes well beyond the studio recordings he made himself- his influence infused generations of music makers who followed in his work o from singer-songwriters to rock bands. Some of the greatest transatlantic names o Bob Dylan and the Grateful Dead, Van Morrison and David Bowie, Janis Joplin and Tom Waits, Sonic Youth and Death Cab for Cutie, and many more o credited Kerouac's impact on their output. In Kerouac on Record, we consider how the writer brought his passion for jazz to his prose and poetry, his own record releases, the ways his legacy has been sustained by numerous more recent talents, those rock tributes that have kept his memory alive and some of the scores that have featured in Hollywood adaptations of the adventures he brought to the printed page.

Regina Weinreich explores Kerouac s place in American literature by establishing the total design of his work. She contends that he thought of his works as one vast book (a Divine Comedy of Buddha ) he called the Legend of Duluoz. Weinreich finds that Kerouac s linguistic experimentation leads to a poetic unity rather than the linear unity commonly associated with legends. She discusses the nature of his spontaneous bop prosody, relating it to the work of Thomas Wolfe and Henry Miller. In addition to explaining Kerouac s method, Weinreich seeks to define the unity of his works, from "The Town and the City, On the Road, "and "Visions of Cody "to "Desolation Angels "and "Vanity of Duluoz, "which she argues brings the legend full circle. Weinreich feels the autobiographical nature of Kerouac s oeuvre links him to other twentieth-century American writers, following a distinctly Whitmanesque tradition."

Along with Jack Kerouac and Allen Ginsberg, William S. Burroughs (1914--97) is an iconic figure of the Beat generation. In William S. Burroughs, Phil Baker investigates this cult writer's life and work--from small-town Kansas to New York in the '40s, Mexico and the South American jungle, to Tangier and the writing of Naked Lunch, to Paris and the Beat Hotel, and '60s London--alongside Burrough's self-portrayal as an explorer of inner space, reporting back from the frontiers of experience. After accidentally shooting his wife in 1951, Burroughs felt his destiny as a writer was bound up with a struggle to come to terms with the "Ugly Spirit" that had possessed him. In this fascinating biography, Baker explores how Burroughs's early absorption in psychoanalysis shifted through Scientology, demonology, and Native American mysticism, eventually leading Burroughs to believe that he lived in an increasingly magical universe, where he sent curses and operated a "wishing machine." His lifelong preoccupation with freedom and its opposites--forms of control or addiction--coupled with the globally paranoid vision of his work can be seen to evolve into a larger ecological concern, exemplified in his idea of a divide between decent people or "Johnsons" and those who impose themselves upon others, wrecking the planet in the process. Drawing on newly available material, and rooted in Burroughs's vulnerable emotional life and seminal friendships, this insightful and revealing study provides a powerful and lucid account of his career and significance.

William S. Burroughs arrived in Mexico City in 1949, having slipped out of New Orleans while awaiting trial on drug and weapons charges that would almost certainly have resulted in a lengthy prison sentence. Still uncertain about being a writer, he had left behind a series of failed business ventures--including a scheme to grow marijuana in Texas and sell it in New York--and an already long history of drug use and arrests. He would remain in Mexico for three years, a period that culminated in the defining incident of his life: Burroughs shot his common-law wife, Joan Vollmer, while playing William Tell with a loaded pistol. (He would be tried and convicted of murder in absentia after fleeing Mexico.) First published in 1995 in Mexico, where it received the Malcolm Lowry literary essay award, The Stray Bullet is an imaginative and riveting account of Burroughs's formative experiences in Mexico, his fascination with Mexico City's demimonde, his acquaintances and friendships there, and his contradictory attitudes toward the country and its culture. Mexico, Jorge García-Robles makes clear, was the place in which Burroughs embarked on his "fatal vocation as a writer." Through meticulous research and interviews with those who knew Burroughs and his circle in Mexico City, García-Robles brilliantly portrays a time in Burroughs's life that has been overshadowed by the tragedy of Joan Vollmer's death. He re-creates the bohemian Roma neighborhood where Burroughs resided with Joan and their children, the streets of postwar Mexico City that Burroughs explored, and such infamous figures as Lola la Chata, queen of the city's drug trade. This compelling book also offers a contribution by Burroughs himself--an evocative sketch of his shady Mexican attorney, Bernabé Jurado.

Naked Lunch was banned, castigated, and recognized as a work of genius on its first publication in 1959, and fifty years later it has lost nothing of its power to astonish, shock, and inspire. A lacerating satire, an exorcism of demons, a grotesque cabinet of horrors, it is the Black Book of the Beat Generation, the forerunner of the psychedelic counterculture, and a progenitor of postmodernism and the digital age. A work of excoriating laughter, linguistic derangement, and transcendent beauty, it remains both influential and inimitable.  This is the first book devoted in its entirety to William Burroughs’ masterpiece, bringing together an international array of scholars, artists, musicians, and academics from many fields to explore the origins, writing, reception, and complex meanings of Naked Lunch. Tracking the legendary book from Texas and Mexico to New York, Tangier, and Paris, Naked Lunch@50 significantly advances our understanding and appreciation of this most elusive and uncanny of texts.             Contributors: Contributors: Keith Albarn Eric Andersen Gail-Nina Anderson Théophile Aries Jed Birmingham Shaun de Waal Richard Doyle Loren Glass Oliver Harris Kurt Hemmer Allen Hibbard Rob Holton Andrew Hussey Rob Johnson Jean-Jacques Lebel Ian MacFadyen Polina Mackay Jonas Mekas Barry Miles R. B. Morris Timothy S. Murphy Jurgen Ploog Davis Schneiderman Jennie Skerl DJ Spooky Philip Taaffe              

This definitive book on Burroughs' decades-long cut-up project and its relevance to the American twentieth century, including previously unpublished works. William S. Burroughs's Nova Trilogy (The Soft Machine, Nova Express, and The Ticket That Exploded) remains the best-known of his textual cut-up creations, but he committed more than a decade of his life to searching out multimedia for use in works of collage. By cutting up, folding in, and splicing together newspapers, magazines, letters, book reviews, classical literature, audio recordings, photographs, and films, Burroughs created an eclectic and wide-ranging countercultural archive. This collection includes previously unpublished work by Burroughs such as cut-ups of work written by his son, cut-ups of critical responses to his own work, collages on the Vietnam War and the Watergate scandal, excerpts from his dream journals, and some of the few diary entries that Burroughs wrote about his wife, Joan. William S. Burroughs Cutting Up the Century also features original essays, interviews, and discussions by established Burroughs scholars, respected artists, and people who encountered Burroughs. The essays consider Burroughs from a range of perspectives--literary studies, media studies, popular culture, gender studies, post-colonialism, history, and geography. "A landmark in scholarship." --Choice

Until now, much scholarly work on Burroughs has focused on the sensational aspects of his life and on his innovative writing.  The Green Ghost, by Chad Weidner, uncovers the ecological context of literary texts by William Burroughs. By rereading canonical and ignored texts while pushing the boundaries of ecocritical theory and practice, Weidner provides a fresh perspective on Burroughs and suggests new theoretical and methodological approaches to understanding the work of other Beat writers. Using an ecocritical lens, Weidner explores the toxicity in Naked Lunch while at the same time teasing out latent ecological questions embedded in Burroughs' later works. The author's analysis of unknown and miniature "cut-ups," texts that have been disassembled and rearranged to create new passages, provides a novel understanding of these cryptic forms. Weidner also examines in detail books by Burroughs that have been virtually ignored by critics, exposing the deep ecology of the Beat writer's vision.  In calling attention to Burroughs's narrative strategies that link him to an environmental political position, The Green Ghost demonstrates that the work of the Beat writer is a ripe source for ecocritical dialogue.