Titlebook: Reconstructing the Beats; Jennie Skerl Book 2004 Jennie Skerl 2004 21st century.America.American History.culture.essay.film.history.histor

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The Transnational Counterculture: Beat-Mexican Intersectionsllenged the psychological and metaphysical bases of America’s corporate-liberal social order (Belgrad 5-6). The Beats came to authorship in New York City during the war. In the jazz clubs and coffee houses, and even at Columbia University, they absorbed the ways of thinking and creating associated w

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“I Want to Be with My Own Kind”: Individual Resistance and Collective Action in the Beat Countercultof “writers who cannot write, painters who cannot paint” (119). Reporter Allen Brown agreed, concluding that the “week-end Bohemians” who came to North Beach looking for a “real, live poet” would be disappointed, because the “serious poets and authors of the Beat Generation are too busy creating to

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ruth weiss’s ,: A Modern-Beat-Pomo Performancesuch a sweep of twentieth-century aesthetic philosophies and practices. weiss, a contemporary of the first generation of Beat male writers and a self-identified Beat writer, is an artist whose poetic influences reside firmly in pre-and proto-Beat aesthetics that bridge and embrace the postmodern. Ov

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Joanne Kyger, Beat Generation Poet: “a porcupine traveling at the speed of light” major axes of American poetry and writing in the twentieth century. Now the author of fourteen published poetry and prose collections, Kyger first read and published her work during the early period of the Beat scene in San Francisco, and a look at her development as a poet takes one to the heart o