This book revives questions of religious and political authority in poetic prophecy. It argues that modern prophecy operates within a dynamic of continuity and estrangement that combines immanent and transcendent modes of representation, creating a poetry that revises the very tradition that authorizes it.
A thoughtful exploration of male poets' contributions to the literature of motherhood In the late 1950s the notion of a "mother poem" emerged during a confessional literary movement that freed poets to use personal, psychosexual material about intimate topics such as parents, childhood, failed marriages, children, infidelity, and mental illness. In Male Poets and the Agon of the Mother, Hannah Baker Saltmarsh argues that male poets have contributed to what we think of as the literature of motherhood—that confessional and postconfessional modes have been formative in the way male poets have grappled with the stories of their mothers and how those stories reflect on the writers and their artistic identities. Through careful readings of formative elegies and homages written by male poets of this time, Saltmarsh explores how they engaged with femininity and feminine voices in the 1950s and 60s and sheds light on the inheritance of confessional motifs of gender and language as demonstrated by postconfessional writers responding to the rich subject matter of motherhood within the contexts of history, myth, and literature. A foreword is provided by Jo Gill, professor of twentieth-century and American literature in the Department of English and associate dean for education at the University of Exeter.
The Beats and the Academy marks the first sustained effort to train a scholarly eye on the dynamics of the relationship between Beat writers and the academic institutions in which they taught. Rather than assuming the relationship between Beat writers and institutions of higher education was only a hostile one, The Beats and the Academy begins with the premise that influence between the two flows in both directions. Beat writers' suspicion of established institutions was a significant aspect of their postwar countercultural allure. Their anti-establishment aesthetic and countercultural stance led Beat writers to be critical of postwar academic institutions that tended to dismiss them as a passing social phenomenon. Even today, Beat writing still meets resistance in an academy that questions the relevance of their writing and ideas. But this picture, like any generalization, is far too easy. The Beat relationship to the academy is one of negotiation, rather than negation. Many Beats strove for academic recognition, and quite a few received it. And despite hostility to their work both in the postwar era and today, Beat works have made it into syllabi, conference resentations, journal articles, and monographs. The Beats and the Academy deepens our understanding of this relationship by emphasizing how institutional friction between the Beats and institutions of higher education has shaped our understanding of Beat Generation literature and culture—and what this relationship between Beat writers and the academy might suggest about their legacy for future scholars.
A revelatory look at how poet Allen Ginsberg transformed experiences of mental illness and madness into some of the most powerful and widely read poems of the twentieth century. Allen Ginsberg’s 1956 poem “Howl” opens with one of the most resonant phrases in modern poetry: “I saw the best minds of my generation destroyed by madness.” Thirty years later, Ginsberg entrusted a Columbia University medical student with materials not shared with anyone else, including psychiatric records that documented how he and his mother, Naomi Ginsberg, struggled with mental illness. In Best Minds, psychiatrist, researcher, and scholar Stevan M. Weine, M.D., who was that medical student, examines how Allen Ginsberg took his visions and psychiatric hospitalization, his mother’s devastating illness, confinement, and lobotomy, and the social upheavals of the postwar world and imaginatively transformed them. Though madness is often linked with hardship and suffering, Ginsberg’s showed how it could also lead to profound and redemptive aesthetic, spiritual, and social changes. Through his revolutionary poetry and social advocacy, Ginsberg dedicated himself to leading others toward new ways of being human and easing pain. Throughout his celebrated career Ginsberg made us feel as though we knew everything there was to know about him. However, much has been left out about his experiences growing up with a mentally ill mother, his visions, and his psychiatric hospitalization. In Best Minds, with a forty-year career studying and addressing trauma, Weine provides a groundbreaking exploration of the poet and his creative process especially in relation to madness. Best Minds examines the complex relationships between mental illness, psychiatry, trauma, poetry, and prophecy—using the access Ginsberg generously shared to offer new, lively, and indispensable insights into an American icon. Weine also provides new understandings of the paternalism, treatment failures, ethical lapses, and limitations of American psychiatry in the 1940s and 1950s. In light of these new discoveries, the challenges Ginsberg faced appear starker and his achievements, both as a poet and an advocate, even more remarkable.
The Beat Movement was one of the most radical and innovative literary and arts movements of the 20th century, and the history of the Beat Movement is still being written in the early years of the 21st century. Unlike other kinds of literary and artistic movements, the Beat Movement is self-perpetuating. After the 1950s generation, headlined by Jack Kerouac, Allen Ginsberg, and William S. Burroughs, a new generation arose in the 1960s led by writers such as Diane Wakoski, Anne Waldman, and poets from the East Side Scene. In the 1970s and 1980s writers from the Poetry Project at St. Mark's Church and contributors to World magazine continued the movement. The 1980s and 1990s Language Movement saw itself as an outgrowth and progression of previous Beat aesthetics. Today poets and writers in San Francisco still gather at City Lights Bookstore and in Boulder at the Jack Kerouac School of Disembodied Poetics and continue the movement. It is now a postmodern movement and probably would be unrecognizable to the earliest Beats. It may even be in the process of finally shedding the name Beat. But the Movement continues. The Historical Dictionary of the Beat Movement covers the movement's history through a chronology, an introductory essay, and an extensive bibliography. The dictionary section has over 700 cross-referenced entries on significant people, themes, critical issues, and the most significant novels, poems, and volumes of poetry and prose that have formed the Beat canon. This book is an excellent access point for students, researchers, and anyone wanting to know more about the Beat Movement.