On The 60th Anniversary Of Jack Kerouac's "On The Road" (1957)-The Life And Times Of Beat Poet Extraordinaire Allen Ginsberg
A YouTube's film clip of Allen Ginsberg reading from "Howl".
DVD Review
The Life And Times Of Allen Ginsberg, Allen Ginsberg, his family, his lovers and his “beat” and hippie friends, New Yorker Films, 1994
Recently I have been in a “beat” generation literary frame of mind. It all started last summer when I happened to be in Lowell, Massachusetts on some personal business. Although I have more than a few old time connections with that now worn out mill town I had not been there for some time. While walking in the downtown area I found myself crossing a small park adjacent to the site of a well-known mill museum and restored textile factory space near the Merrimack River.
Needless to say, at least for any reader with a sense of literary history, at that park I found some very interesting memorial stones inscribed with excerpts from a number of his better known works dedicated to Lowell’s “bad boy”, the “king of the 1950s beat writers, Jack Kerouac. And, just as naturally, when one thinks of Kerouac then Allen Ginsberg, William Burroughs, Gregory Corso, Neal Cassady and a whole ragtag assortment of poets, hangers-on, groupies and genuine madmen and madwomen come to mind. So that is why today we labor under the sign of one Allen Ginsberg.
As I pointed out in recent review of a film documentary about the life of Jack Kerouac, “What Happened To Kerouac? (which I gave a five-star rating to, by the way) I was just a little too young to be directly influenced by the “beats”, and just a little too driven by the quest for political solutions for what ailed me and what I thought ailed this society. Nevertheless, as I recounted in that review entitled, “On The Road” And On The Sidelines”, after I came of political age I kind of crept back, like a million other members of the “Generation of ‘68” and re-evaluated that influence. In short then, starting with Kerouac’s “On The Road”, through William Burroughs “Naked Lunch” and on to Ginsberg’s madman-like, but provocative, “Howl” and sensitive “Kaddish” I devoured every “beat” thing I could get my hands on.
And that last sentence is a good place to start in reviewing this one and one half hour production about the trials and tribulations, the fight for literary recognition and the journey of discovery of one hell of a beat poet, Allen Ginsberg. The film speeds through the now rather familiar saga (for that generation that was born between World War I and II and formed the core of what is deemed “the greatest generation”) of a dysfunctional Jewish immigrant family, additionally burdened by a very overwrought and frequently institutionalized mother. The real story for our purposes, however, starts in the neon-driven glitter of 1940s New York where some very alienated youth like Ginsberg, Kerouac, Holmes, etc. and their mentors like Burroughs meet up and start a quest, literarily and physically, to ‘discover’ America. And they did it on their terms, at least for a while.
Along the way Ginsberg becomes very aware of his innate poetic skills, that unique beat in his head, his previously submerged sexual orientation and his almost surreal sense of the absurdities of living in post-war America, at least on the “squares” terms. Things begin to happen though in the 1950s . His classic “Howl” was premiered in San Francisco in 1956 to critical acclaim, Kerouac’s “On The Road” finally got published to rave reviews and suddenly in Eisenhower’s America it becomes almost a rite of passage for the young to show up at some poetry reading in some smoky café, or dress in the de rigueur black, or like black musician-driven jazz. And that is where my generation and I come in. That is where, if nothing else, we owe a debt to the beats- and to the king hell beat poet who, unlike Kerouac who couldn’t, or wouldn’t, make the transition, came over with us when we started pushing back against the monster.
And that is the positive side of the Ginsberg story, the ability to transition, as least partially, as the leftward cultural currents shifted. I would not, and I believe psychologically that I could not, go on that psychic consciousness-raising trip that led him to Buddhism for a while. Moreover, in viewing the film of his role in the 1968 Democratic Convention as a messenger of tranquility only brought the hard fact that that was not the way to fight the monster home. But, I was then as I am now very indulgent of our precious poetic spirits, the protest song singers, and the other cultural figures who “rage against the monster”, in a politically correct manner or not. What bothered me in this presentation more than anything though was Ginsberg’s fate in his later career when he was no longer front and center in the public eye. In one of the many informative Ginsberg interview segments that dot this documentary, which was produced in 1994 just a few years before he died he notes, I believe while he is reciting one of his poems that one of his life achievements that he was proud of was that he had become a 'distinguished professor' (I assume, of literature) at Brooklyn College. That is an unpardonable sin Brother Ginsberg, Where did you go wrong?
Note: One of the great things about this documentary were the great number of evocative photographs, including many taken by the closet “shutter-bug” Ginsberg himself, of various personalities of the “beat” generation that I had not seen before like the young Ginsberg, Burroughs (was he ever young?), Cassidy and Kerouac. Additionally, for poetry buffs, there are a number of segments included where Ginsberg read from his works (and with his poet father in join readings, as well). You do not know how really good and provocative “Howl” and “Kaddish” are as poems of rage and remembrance, respectively, until you hear his readings.
A YouTube's film clip of Allen Ginsberg reading from "Howl".
In Honor Of Jean Bon Kerouac On The 60th Anniversary Of “On The Road” (1957)
By Book Critic Zack James
To be honest I know about On The Road Jack Kerouac’s epic tale of his generation’s search for something, maybe the truth, maybe just for kicks, for stuff, important stuff that had happened down in the base of society where nobody in authority was looking or some such happening strictly second-hand. His generation’s search looking for a name, found what he, or someone associated with him, maybe the bandit poet Gregory Corso, king of the mean New York streets, mean, very mean indeed in a junkie-hang-out world around Times Square when that place was up to its neck in flea-bit hotels, all-night Joe and Nemo’s and the trail of the “fixer” man on every corner, con men coming out your ass too, called the “beat” generation. (Yes, I know that the actual term “beat” was first used by Kerouac writer friend John Clemmon Holmes in an article in some arcane journal but the “feel” had to have come from a less academic source so I will crown the bandit prince Corso as genesis) Beat, beat of the jazzed up drum line backing some sax player searching for the high white note, what somebody told me, maybe my older brother Alex they called “blowing to the China seas” out in West Coast jazz and blues circles, that high white note he heard achieved one skinny night by famed sax man Sonny Johns, dead beat, run out on money, women, life, leaving, and this is important no forwarding address for the desolate repo man to hang onto, dread beat, nine to five, 24/7/365 that you will get caught back up in the spire wind up like your freaking staid, stay at home parents, beaten down, ground down like dust puffed away just for being, hell, let’s just call it being, beatified beat like saintly and all high holy Catholic incense and a story goes with it about a young man caught up in a dream, like there were not ten thousand other religions in the world to feast on- you can take your pick of the meanings, beat time meanings. Hell, join the club they all did, the guys, and it was mostly guys who hung out on the mean streets of New York, Chi town, North Beach in Frisco town cadging twenty-five cents a night flea-bag sleeps, half stirred left on corner diners’ coffees and cigarette stubs when the Bull Durham ran out).
I was too young to have had anything but a vague passing reference to the thing, to that “beat” thing since I was probably just pulling out of diapers then, maybe a shade bit older but not much. I got my fill, my brim fill later through my oldest brother Alex. Alex, and his crowd, more about that in a minute, but even he was only washed clean by the “beat” experiment at a very low level, mostly through reading the book (need I say the book was On The Road) and having his mandatory two years of living on the road around the time of the Summer of Love, 1967 an event whose 50th anniversary is being commemorated this year as well and so very appropriate to mention since there were a million threads, fibers, connections between “beat” and “hippie” despite dour grandpa Jack’s attempts to trash those connection when they acolytes came calling looking for the “word.” So even Alex and his crowd were really too young to have been washed by the beat wave that crashed the continent toward the end of the 1950s on the wings of Allan Ginsburg’s Howl and Jack’s travel book of a different kind (not found on the AAA, Traveler’s Aid, Youth Hostel brochure circuit if you please although Jack and the crowd, my brother and his crowd later would use such services when up against it in let’s say a place like Winnemucca in the Nevadas or Neola in the heartlands). Literary stuff for sure but the kind of stuff that moves generations, or I like to think the best parts of those cohorts. These were the creation documents the latter of which would drive Alex west before he finally settled down to his career life as a high-road lawyer (and to my sorrow and anger never looked back).
Of course anytime you talk about books and poetry and then add my brother’s Alex name into the mix that automatically brings up memories of another name, the name of the late Peter Paul Markin. Markin, for whom Alex and the rest of the North Adamsville corner boys, Frankie, Jack, Jimmy, Si, Josh (he a separate story from up in Olde Saco, Maine), Bart, and a few others still alive recently had me put together a tribute book for in connection with that Summer of Love, 1967, their birthright event, just mentioned. Markin was the vanguard guy, the volunteer odd-ball unkempt mad monk seeker who got several of them off their asses and out to the West Coast to see what there was to see. To see some stuff that Markin had been speaking of for a number of years before (and which nobody in the crowd paid any attention to, or dismissed out of hand what they called “could give a rat’s ass” about in the local jargon which I also inherited in those cold, hungry bleak 1950s cultural days in America) and which can be indirectly attributed to the activities of Jack, Allen Ginsburg, Gregory Corso, that aforementioned bandit poet who ran wild on the mean streets among the hustlers, conmen and whores of the major towns of the continent, William Burroughs, the Harvard-trained junkie and a bunch of other guys who took a very different route for our parents who were of the same generation as them but of a very different world.
But it was above all Jack’s book, Jack’s book which had caused a big splash in 1957(after an incredible publishing travail since the story line actually related to events in the late 1940s and which would cause Jack no end of trauma when the kids showed up at his door looking to hitch a ride on the motherlode star, and had ripple effects into the early 1960s (and even now certain “hip” kids acknowledge the power of attraction that book had for their own developments, especially that living simple, fast and hard part). Made the young, some of them anyway, like I say I think the best part, have to spend some time thinking through the path of life ahead by hitting the vagrant dusty sweaty road. Maybe not hitchhiking, maybe not going high speed high through the ocean, plains, mountain desert night but staying unsettled for a while anyway.
Like I said above Alex was out on the road two years and other guys, other corner boys for whatever else you wanted to call them that was their niche back in those days and were recognized as such in the town not always to their benefit, from a few months to a few years. Markin started first back in the spring of 1967 but was interrupted by his fateful induction into the Army and service, if you can call it that, in Vietnam and then several more years upon his return before his untimely and semi-tragic end. With maybe this difference from today’s young who are seeking alternative roads away from what is frankly bourgeois society and was when Jack wrote although nobody except commies and pinkos called it that for fear of being tarred with those brushes. Alex, Frankie Riley the acknowledged leader, Jack Callahan and the rest, Markin included, were strictly “from hunger” working class kids who when they hung around Tonio Pizza Parlor were as likely to be thinking up ways to grab money fast any way they could or of getting into some hot chick’s pants any way they could as anything else. Down at the base of society when you don’t have enough of life’s goods or have to struggle too much to get even that little bit “from hunger” takes a big toll on your life. I can testify to that part because Alex was not the only one in the James family to go toe to toe with the law, it was a close thing for all us boys as it had been with Jack when all is said and done. But back then dough and sex after all was what was what for corner boys, maybe now too although you don’t see many guys hanging on forlorn Friday night corners anymore.
What made this tribe different, the Tonio Pizza Parlor corner boys, was mad monk Markin. Markin called by Frankie Riley the “Scribe” from the time he came to North Adamsville from across town in junior high school and that stuck all through high school. The name stuck because although Markin was as larcenous and lovesick as the rest of them he was also crazy for books and poetry. Christ according to Alex, Markin was the guy who planned most of the “midnight creeps” they called then. Although nobody in their right minds would have the inept Markin actually execute the plan. That was for smooth as silk Frankie now also a high-road lawyer to lead. That operational sense was why Frankie was the leader then (and maybe why he was a locally famous lawyer later who you definitely did not want to be on the other side against him). Markin was also the guy who all the girls for some strange reason would confide in and thus was the source of intelligence about who was who in the social pecking order, in other words, who was available, sexually or otherwise. That sexually much more important than otherwise. See Markin always had about ten billion facts running around his head in case anybody, boy or girl, asked him about anything so he was ready to do battle, for or against take your pick.
The books and the poetry is where Jack Kerouac and On The Road come into the corner boy life of the Tonio’s Pizza Parlor life. Markin was something like an antennae for anything that seemed like it might help create a jailbreak, help them get out from under. Later he would be the guy who introduced some of the guys to folk music when that was a big thing. (Alex never bought into that genre, still doesn’t, despite Markin’s desperate pleas for him to check it out. Hated whinny Bob Dylan above all else) Others too like Kerouac’s friend Allen Ginsburg and his wooly homo poem Howl from 1956 which Markin would read sections out loud from on lowdown dough-less, girl-less Friday nights. And drive the strictly hetero guys crazy when he insisted that they read the poem, read what he called a new breeze was coming down the road. They could, using that term from the times again, have given a rat’s ass about some fucking homo faggot poem from some whacko Jewish guy who belonged in a mental hospital. (That is a direct quote from Frankie Riley at the time via my brother Alex’s memory bank.)
Markin flipped out when he found out that Kerouac had grown up in Lowell, a working class town very much like North Adamsville, and that he had broken out of the mold that had been set for him and gave the world some grand literature and something to spark the imagination of guys down at the base of society like his crowd with little chance of grabbing the brass ring. So Markin force-marched the crowd to read the book, especially putting pressure on my brother who was his closest friend then. Alex read it, read it several times and left the dog- eared copy around which I picked up one day when I was having one of my high school summertime blues. Read it through without stopping almost like Jack wrote the final version of the thing on a damn newspaper scroll in about three weeks. So it was through Markin via Alex that I got the Kerouac bug. And now on the 60th anniversary I am passing on the bug to you.
DVD Review
The Life And Times Of Allen Ginsberg, Allen Ginsberg, his family, his lovers and his “beat” and hippie friends, New Yorker Films, 1994
Recently I have been in a “beat” generation literary frame of mind. It all started last summer when I happened to be in Lowell, Massachusetts on some personal business. Although I have more than a few old time connections with that now worn out mill town I had not been there for some time. While walking in the downtown area I found myself crossing a small park adjacent to the site of a well-known mill museum and restored textile factory space near the Merrimack River.
Needless to say, at least for any reader with a sense of literary history, at that park I found some very interesting memorial stones inscribed with excerpts from a number of his better known works dedicated to Lowell’s “bad boy”, the “king of the 1950s beat writers, Jack Kerouac. And, just as naturally, when one thinks of Kerouac then Allen Ginsberg, William Burroughs, Gregory Corso, Neal Cassady and a whole ragtag assortment of poets, hangers-on, groupies and genuine madmen and madwomen come to mind. So that is why today we labor under the sign of one Allen Ginsberg.
As I pointed out in recent review of a film documentary about the life of Jack Kerouac, “What Happened To Kerouac? (which I gave a five-star rating to, by the way) I was just a little too young to be directly influenced by the “beats”, and just a little too driven by the quest for political solutions for what ailed me and what I thought ailed this society. Nevertheless, as I recounted in that review entitled, “On The Road” And On The Sidelines”, after I came of political age I kind of crept back, like a million other members of the “Generation of ‘68” and re-evaluated that influence. In short then, starting with Kerouac’s “On The Road”, through William Burroughs “Naked Lunch” and on to Ginsberg’s madman-like, but provocative, “Howl” and sensitive “Kaddish” I devoured every “beat” thing I could get my hands on.
And that last sentence is a good place to start in reviewing this one and one half hour production about the trials and tribulations, the fight for literary recognition and the journey of discovery of one hell of a beat poet, Allen Ginsberg. The film speeds through the now rather familiar saga (for that generation that was born between World War I and II and formed the core of what is deemed “the greatest generation”) of a dysfunctional Jewish immigrant family, additionally burdened by a very overwrought and frequently institutionalized mother. The real story for our purposes, however, starts in the neon-driven glitter of 1940s New York where some very alienated youth like Ginsberg, Kerouac, Holmes, etc. and their mentors like Burroughs meet up and start a quest, literarily and physically, to ‘discover’ America. And they did it on their terms, at least for a while.
Along the way Ginsberg becomes very aware of his innate poetic skills, that unique beat in his head, his previously submerged sexual orientation and his almost surreal sense of the absurdities of living in post-war America, at least on the “squares” terms. Things begin to happen though in the 1950s . His classic “Howl” was premiered in San Francisco in 1956 to critical acclaim, Kerouac’s “On The Road” finally got published to rave reviews and suddenly in Eisenhower’s America it becomes almost a rite of passage for the young to show up at some poetry reading in some smoky café, or dress in the de rigueur black, or like black musician-driven jazz. And that is where my generation and I come in. That is where, if nothing else, we owe a debt to the beats- and to the king hell beat poet who, unlike Kerouac who couldn’t, or wouldn’t, make the transition, came over with us when we started pushing back against the monster.
And that is the positive side of the Ginsberg story, the ability to transition, as least partially, as the leftward cultural currents shifted. I would not, and I believe psychologically that I could not, go on that psychic consciousness-raising trip that led him to Buddhism for a while. Moreover, in viewing the film of his role in the 1968 Democratic Convention as a messenger of tranquility only brought the hard fact that that was not the way to fight the monster home. But, I was then as I am now very indulgent of our precious poetic spirits, the protest song singers, and the other cultural figures who “rage against the monster”, in a politically correct manner or not. What bothered me in this presentation more than anything though was Ginsberg’s fate in his later career when he was no longer front and center in the public eye. In one of the many informative Ginsberg interview segments that dot this documentary, which was produced in 1994 just a few years before he died he notes, I believe while he is reciting one of his poems that one of his life achievements that he was proud of was that he had become a 'distinguished professor' (I assume, of literature) at Brooklyn College. That is an unpardonable sin Brother Ginsberg, Where did you go wrong?
Note: One of the great things about this documentary were the great number of evocative photographs, including many taken by the closet “shutter-bug” Ginsberg himself, of various personalities of the “beat” generation that I had not seen before like the young Ginsberg, Burroughs (was he ever young?), Cassidy and Kerouac. Additionally, for poetry buffs, there are a number of segments included where Ginsberg read from his works (and with his poet father in join readings, as well). You do not know how really good and provocative “Howl” and “Kaddish” are as poems of rage and remembrance, respectively, until you hear his readings.
