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• List of illustrations
• Preface
• Ch.
• 1: Origins and essences
• Ch.
• 2: Beats, beatniks, bohemians, and all that jazz
• Ch.
• 3: The writers and the books
• Ch.
• 4: The Beats and popular culture
• Ch.
• 5: The Beat legacy
• References
• Further reading
• Index.
• (source: Nielsen Book Data)

In the late 1950s and early 1960s, the Beat Generation writers revolutionized American literature with their iconoclastic approach to language and their angry assault on the conformity and conservatism of postwar society. They and their followers took aim at the hypocrisy and taboos of their time-particularly those involving sex, race, and class - in such provocative works as Jack Kerouac's On the Road (1957), Allen Ginsberg's Howl (1956), and William S. Burroughs's Naked Lunch (1959). This volume offers a concise overview of the social, cultural, and aesthetic sensibilities of the Beats, bringing out the similarities that connected them and also the many differences that made them a loosely knit collective rather than an organized movement. Principal figures in the saga include Neal Cassady, Gregory Corso, Lawrence Ferlinghetti, John Clellon Holmes, Carolyn Cassady, and Gary Snyder; locations range from Greenwich Village and San Francisco to Mexico, western Europe, and North Africa; topics include Beat approaches to literature, drugs, sexuality, art, music, and religion. Members of the Beat Generation hoped that their radical rejection of materialism, consumerism, and regimentation would inspire others to purify their lives and souls as well; yet they urged the remaking of consciousness on a profoundly inward-looking basis, cultivating "the unspeakable visions of the individual, " in Kerouac's phrase. The idea was to revolutionize society by revolutionizing thought, not the other way around. This book explains how the Beats used their drastic visions and radical styles to challenge dominant values, fending off absorption into mainstream culture while preparing ground for the larger, more explosive social upheavals of the 1960s. More than half a century later, the Beats' impact can still be felt in literature, cinema, music, theater, and the visual arts. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.
(source: Nielsen Book Data)

Poetry was at the center of Jack Kerouac's sense of mission as a writer. This landmark edition brings together for the first time all Kerouac's major poetic works--Mexico City Blues, The Scripture of the Golden Eternity, Book of Blues, Poems All Sizes, Old Angel Midnight, Book of Haikus--along with a rich assortment of his uncollected poems, six published here for the first time. He wrote poetry in every period of his life, in forms as diverse as the classical Japanese haiku, the Buddhist sutra, the spontaneous prose poetry of Old Angel Midnight, and the poetic "blues" he developed in Mexico City Blues and other serial works, seeing himself as "a jazz poet blowing a long blues in an afternoon jam session on Sunday." Many poets found Kerouac a liberating influence on their work: Robert Creeley called him "a genius at the register of the speaking voice"; for Allen Ginsberg he was "a poetic influence over the entire planet"; and Bob Dylan said that Mexico City Blues was crucial to his own artistic development.

**A San Francisco Chronicle Best Book of 2012** Lew Welch was a brilliant and troubled poet, legendary among his Beat peers. Ring of Bone collects poems, songs, and even a few drawings, documenting the full sweep of his creative output, from his early years until just before his death. This new edition includes a biographic timeline and a statement of poetics gleaned from Welch's own writing. Welch entered Reed College in 1948, and the following year moved into a house with Gary Snyder; they were soon joined by Philip Whalen. With the emergence of the Beat movement, Welch's friends began receiving national attention and his desire to devote himself completely to his poetry was galvanized. He soon became a part of the San Francisco poetry scene. Legendary editor Donald Allen included Welch's poetry in The New American Poetry -- the seminal anthology published in 1960. That same year Welch's first book, Wobbly Rock, was released. He continued to write extensively, and in 1965 published three books. Despite his burgeoning success, Welch suffered from bouts with depression, and on May 23, 1971, Gary Snyder went up to Welch's campsite in the Sierra Nevada mountains and found a suicide note. Despite an extensive search, Welch's body was never recovered. "Lew Welch writes lyrical poems of clarity, humor, and dark probings ...jazz musical phrasings of American speech is one of Welch's clearest contributions." --Gary Snyder "...Music permeates his poems, which range from scored lyrics to epistolary correspondence to formal villanelles...It's fascinating to trace the evolution of this artist, from his early, lax, exultant style to his later, less jubilant work, characterized by benedictions, invocations, and requests. This is a necessary read for anyone interested in the greater Beat movement and its progenitors."--Booklist "His luminous poems feel as vibrant today as when they first burst from the wellsprings of creativity in his own head...A postmodern Walt Whitman..."--San Francisco Chronicle "In the poet's own words, [Ring of Bone] is a spiritual autobiography ...no better description of him exists than that which came in his own vision, deep in the wilds of the Klamath Mountains, the poem after which the collection is titled. ..These 40 years later, Lew, you are missed."--The Rumpus "Ring of Bone: Collected Poems is Welch's major work. Exuberant, funny, dark, hypnotic, Welch's poems are as infused with nature as [Gary] Snyder's and as spiritually alive as [Philip] Whalen's. They're technically brilliant, grounded in form and wildly experimental..."--The Oregonion.
(source: Nielsen Book Data)

Based on Morris' 2008-2009 blog. Consists chiefly of the complete text of On the road with minor edits.

The legendary 1951 scroll draft of On the Road, published word for word as Kerouac originally composed it Though Jack Kerouac began thinking about the novel that was to become On the Road as early as 1947, it was not until three weeks in April 1951, in an apartment on West Twentieth Street in Manhattan, that he wrote the first full draft that was satisfactory to him. Typed out as one long, single-spaced paragraph on eight long sheets of tracing paper that he later taped together to form a 120 foot scroll, this document is among the most significant, celebrated, and provocative artifacts in contemporary American literary history. It represents the first full expression of Kerouac's revolutionary aesthetic, the identifiable point at which his thematic vision and narrative voice came together in a sustained burst of creative energy. It was also part of a wider vital experimentation in the American literary, musical, and visual arts in the post-World War II period. It was not until more than six years later, and several new drafts, that Viking published, in 1957, the novel known to us today. On the occasion of the fiftieth anniversary of On the Road, Viking will publish the 1951 scroll in a standard book format. The differences between the two versions are principally ones of significant detail and altered emphasis. The scroll is slightly longer and has a heightened linguistic virtuosity and a more sexually frenetic tone. It also uses the real names of Kerouac's friends instead of the fictional names he later invented for them. The transcription of the scroll was done by Howard Cunnell who, along with Joshua Kupetz, George Mouratidis, and Penny Vlagopoulos, provides a critical introduction that explains the fascinating compositional and publication history of On the Road and anchors the text in its historical, political, and social context.
(source: Nielsen Book Data)

Beat Generation is a play about tension, about friendship, and about karma what it is and how you get it. It begins one fine morning with a few friends, honest laborers some of them, some close to being down-and-out, passing around a bottle of wine. It ends with a kind of satori-like reaffirmation of the power of friendship, of doing good through not doing, and the intrinsic worth of the throw-away little exchanges that make up our lives. Written in 1957, the same year that On the Road was first published, and set in 1953, Beat Generation portrays an authentic and alternate 1950s America. Kerouac's characters are working-class men and women a step away from vagrants, but not a big step. Their dialogue positively sings, suggesting jazz riffs in their rhythm and content, and Kerouac, like a master composer, arranges it to magical effect. Here is the heart and soul of the beat mentality, the zeitgeist that blossomed over the decades and eventually culminated in the counter-culture of 1960s America. It's a spirit that still lives.
(source: Nielsen Book Data)

During the late 1950s, David Meltzer was an active poet in the San Francisco North Beach scene often reading with jazz musicians at various bars and coffeehouses. Beat Thing is part poetry and part expose, both tribute to the down in the street wildness and rant against the romantic commodification which surrounds the Beat Generation. Invoking real people as real history, Meltzer takes aim at the fantasy which Beat has become and juxtaposes simultaneously its still-needed legacy. He brings forth the original spirit of Beat in an encyclopedic cascade of details whose dense, deep, fierce, funny, raucous, free-associative jazz energy infuses every line. This is a grizzled hipster vision looking back at a period where the beast of war from Auschwitz to H-bomb to Joe McCarthy prevailed side-by-side with a cultural complacency while a wide-ranging constellation of writers and artists refused its numbing protocol. Beat Thing rises up as an ecstatic chant of defiance and celebration.
(source: Nielsen Book Data)

"Old Angel Midnight" (1959) was one result of Kerouac's automatic writing experiments in which he would spill his chemically inspired thoughts onto paper to see what came out. Though Kerouac was initially denounced by literary critics as an oddball, his spontaneous twistings and turnings of language rate well with those of Joyce and Stein, and time has proven him to be an important and enduringly popular American writer.-"Library Review".
(source: Nielsen Book Data)

• Returning to an old love
• The Kenyon Review and other matters
• A moment.

• Introduction: unraveling the Fifties
• Roots of a dissatisfied mind
• On the road without knowing it
• The last of some marvelous dying
• Afterword: leftover life to live.