PDF Download The Typewriter Is Holy: The Complete, Uncensored History of the Beat Generation, by Bill Morgan
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The Typewriter Is Holy: The Complete, Uncensored History of the Beat Generation, by Bill Morgan
PDF Download The Typewriter Is Holy: The Complete, Uncensored History of the Beat Generation, by Bill Morgan
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From Publishers Weekly
The title of this not-so-rough guide to the mid-century social circle, of which Allen Ginsberg was the center, is taken from the poet's Footnote to Howl. For Morgan, Ginsberg was the locomotive for the group of journeyers, addicts, loiterers, and seekers that came to be known, in Jack Kerouac's term, as beats and who would act as catalyst for the late 1950s beatniks as well as the social movements of the 1960s. As Morgan points out, this was a boys' club—the combustible William Burroughs, murderer Lucien Carr, the charismatic bisexual Neal Cassady, the incorrigible Gregory Corso, Peter Orlovsky, Gary Snyder, and others more on the fringe, like Ken Kesey—and a white one at that. In part, such could be explained by the zeitgeist, in which even (largely gay) revolutionaries were unconscious participant-prisoners. The infamous and essential On the Road manuscript consisted of attached papers fed through Kerouac's typewriter like a roll of paper in an early word processor printer, and bravely promoted by agent Sterling Lord, represents for Morgan (in a bit of a stretch) how far ahead of their time the beats were. Although Ginsberg biographer Morgan cannot deliver a firsthand account of the beat history, readers do gain some immediacy regarding the legendary lives and loves of this motley crew that changed the world. (May 11) Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
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From Booklist
*Starred Review* Morgan brings a productive career of chronicling the mid-twentieth-century writers known as the Beats to a fine point with this thorough popular history that eschews criticism to concentrate on who was where, doing what, when. If you weren’t a friend of Allen Ginsberg’s, you weren’t a Beat, Morgan says, which means that the first Beat, Lucien Carr, was never a writer. Carr’s good looks attracted Columbia freshman Ginsberg, not yet a self-accepting homosexual, and his affability led him to introduce Ginsberg to William Burroughs and Jack Kerouac, the other essential Beats. The basic trio pulled other aspiring authors as well as artists, thieves, and con men into their ambit as, during 1944–59, all the trials, travels, and travail that eventuated in the three holy books of Beat—Ginsberg’s Howl and Other Poems, Kerouac’s On the Road, and Burroughs’ Naked Lunch—transpired, Gregory Corso and Gary Snyder became second-tier Beats (Snyder proved crucial because, while never involved in the others’ sexual and pharmaceutical adventures, he set the example for Ginsberg’s very influential later turns toward Buddhism and ecology), and Kerouac separated himself via the bottle. Kerouac’s 1969 death is often considered the end of the Beat generation, though his opinion was that that happened in 1949. Though by no means stylishly written, this must be regarded as the just-the-facts-ma’am basic text on the most important literary phenomenon of post-WWII America. --Ray Olson
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Product details
Hardcover: 320 pages
Publisher: Atria Books; 1st edition (May 11, 2010)
Language: English
ISBN-10: 1416592423
ISBN-13: 978-1416592426
Product Dimensions:
6.2 x 1.2 x 9.2 inches
Shipping Weight: 1.2 pounds (View shipping rates and policies)
Average Customer Review:
3.4 out of 5 stars
13 customer reviews
Amazon Best Sellers Rank:
#375,829 in Books (See Top 100 in Books)
The dynamics of the three main writers of the Beat Generation, Allen Ginsburg, William Burroughs and Jack Kerouac is explored in one of the best overall views of writers and artists that shaped America in the 1950's and 60's. The three are the main thrust of the book, but not the only perspectives in this book. I have read several biographies of the Beats and think this is a comprehensive book. It brings people like Lucien Carr and Diana Di Prima into a generation of writers. It is more a historical account of what transformed several friends into an art movement. Ginsburg emerges as the hero of the Beats. He is a catalyst in organizing and promoting, not just his writing, but several of the other writers. The journeys of Kerouac and Burroughs are lengthy, dark and well chronicled by Morgan. There is a telling tale at the end of the book and somewhat opinionated by the author that the three main writers were somewhat hypocritical and exceedingly self-centered, which is true, but what they contributed is documented in a good read.
Tremendous reading. Best beatnick book ever. A must read if one is a beat lover. Simple, enjoyable and thorough. A must read.
Details and actual flavor of the time and place. Oh yes!
I have read better books than this dealing with the same subject matter - and I have also read a good deal worse books. The thing I did find refreshing was calling the Beats out on their many peccadillos. And the dismissive way that the main members of the "Beat Generation" treated the women in their lives. Some of the material felt recycled by the end of the book. However, it's a great start for the novices.
Good book.
Ego-centric, Seinfeld-like characters: boring and lazy people. The book is a boring tale of the beginning of the "me" generation.
Any book on the beats is bound to generate strong opinions on every aspect of the movement, excluding only the most undeniable facts (yes, Burroughs shot his wife in Mexico while playing William Tell; yes, J. Edgar Hoover thought the beats to be "one of the three greatest threats to American security," along with communists and "eggheads.") When did the Beat movement end? Kerouac thought the late 40s; some think it's still going. Who are the beats? Synder? Some say absolutely not, others say absolutely yes. Who wrote well and who didn't? Norman Mailer and Truman Capote crossed swords over that one, and people have been fencing ever since. If you are of the generation which produced the beats, or the one immediately following (as I am), tempers may flare even stronger.This book is a very enjoyable overview of the movement, concentrating on basic biographical details and choice bits of literary gossip. Unlike the subtitle, the history is not complete (is a history ever?) nor is it particularly shocking, given lives and times that followed. Morgan is in a special position to write such a book, given his impressive credentials as editor and archivist. Certain topics may be of particular interest: the position of women in the movement, for example, or the tormented life and politics of the later Kerouac, whose seminal On the Road reached its 50th birthday a few years back, (or the depiction of the highly underrated artistic ferment of the 40s and 50s which led to so much later.)The book follows a year-by-year format, discussing the activities of each "beat" during that period. We follow the vicissitudes of Burroughs, Ginsberg, Corso, Snyder, Kerouac, and others as they experience everything from yage to strict zen training to Buckley's Firing Line. At times the chronology is a little hidden (now just which year was this?) but an attentive reading clears the matter up. Analysis and criticism are at a minimum; the overview would preclude any in-depth discussion of literary merits or dissections, all of which are found in abundance elsewhere. By its communal approach, the book takes a position on the group as a whole: yes, it was a closely knit circle and Ginsberg was the driving force. The reader may disagree on this and everything else, but the point of view is a well-documented one.I met Ginsberg at a book-signing session in Laguna Beach shortly after his Collected Poems was published. He was older than when I last saw him at the Human Be-In and no longer dressed in white. "What do you do to afford this book?" he asked as he drew a flower, stars, sun, and moon in my hardback copy. I told him about my career as a composer and teacher and mentioned my student days at Berkeley. He asked about Seymour Shifrin, the distinguished composer who had been a classmate of his at Columbia. I told him briefly about my life-long compositional struggles and he listened attentively. As I left he said, "one has to break out of those chains." That remark has stayed with me ever since.I recommend The Typewriter is Holy as an entertaining, brief survey of one of the more remarkable currents in American arts. If you want to know more about Burroughs as psychotherapist or the origin of the collaboration "And the Hippos Were Boiled in Their Tanks," this is the book for you.
Author Bill Morgan explains in the Introduction that his intent is to construct a chronology of the "Beats" following the model of Susan Cheever's American Bloomsbury: Louisa May Alcott, Ralph Waldo Emerson, Margaret Fuller, Nathaniel Hawthorne, and Henry David Thoreau: Their Lives, Their Loves, Their Work. The plan is to show that the Beats, like the Transendentalists, had a major impact in changes in society and American thought.The chronology of what they did, where they traveled and when their works were written/published shows Alan Ginsburg as central to the group. While Ginsburg's centrality may be a matter of opinion, the book shows him at the heart of intra-group communication; He is always writing, visiting and encouraging his circle of friends. Ginzburg is constantly promoting Beat poetry, prose and people and seems to be the only one (outside of Gary Snyder who is mostly hiking in the woods or in a monastery in Japan) sober enough to do so.Morgan clearly loves and admires the Beats. He credits them with leading everything from the post-war societal changes to the development of the video montage. While Morgan does a good job of piecing together Beat chronology and demonstrating the centrality of Ginsburg, he doesn't meet his goal of showing how society was changed by the Beats. He shows that Ginsburg was a father of free form poetry and that Kerouac was a pioneer of the narrator/conversational novel and that Lawrence Ferlinghetti took a big risk that resulted in a landmark ruling on behalf of free speech, but the Beats' role in the larger societal changes is not well drawn. The last chapter discusses the Beats as a catalyst, but the same can be said for many other forces or issues of the times.Ironically, another point the book does prove is a quote from Beats detractor Richard Kimball (p. xiii) "They were drug-abusing sexual predators and infantilized narcissists..." The behavior of Jack Kerouac and Neal Cassidy towards their respective spouses and children is appalling and pales only to that of William Burroughs. Only Gary Snyder seems to be somewhat drug/alcohol be free. The Beats seem to be living in a state of perpetual childhood. They either can't or won't have paying jobs and if they don't participate in theft, they seem to find it acceptable. While some of them made great art, by and large, they appear to be the ultimate free-loaders.I recently saw Howl, a 2010 film covering the poem, its obscenity trial and Ginsburg's early life. It would have been best to have read this before rather than after. The film treats Ginsburg's romantic relationships in a much different way than they are shown in this book.This is a good contribution to the study of the Beats and their work. It's author has an interesting background as something like a free lance archivist for artists which, in itself, earns my respect.
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