Building the
Beat Canon
by David Cope
The Typewriter is
Holy: the complete uncensored
history of the Beat Generation. by
Bill Morgan. New York: Simon & Schuster, 2010.
Bill
Morgan’s The
Typewriter is Holy: the complete
uncensored history of the Beat Generation has been, for those of us who
knew them, a distinct pleasure.
One revisits a vast hoard of memories gleaned from the writers’ books,
from casual yakking with Allen, Gary, Joanne, Anne Waldman, Corso, Jack Micheline,
Peter, et al, from their books and from study of ancillary volumes ranging from
those by Ann Charters, Joyce Johnson, even such early books as Parkinson’s A Casebook on the
Beat or The
Beat Scene, ed. Wilentz. The
great virtue is that Bill has carefully placed them on a timeline which shows
the gradual process of their lives in great detail and in context.
While
reading, I also thought long and hard about how the book could provide a better
foundation for those who know little or nothing about the beat revolution, as
well as for those younger poets imitating the supposed mannerisms and ethos (to
the extent that they could grasp it) of being “hip.” Bill has done an admirable job of showing the agonies, the
confrontations with themselves and with a world gone mad which characterize the
writers’ journeys, and perhaps this will do something to raise the
consciousness of those who’ve confused a carefully constructed pose with the
harrowing journeys these poets and writers took.
Although
I’d take issue with the claim that the beats “did not represent a genuine
literary movement,” as stated in Simon & Schuster’s blurb for the book, I
appreciate the emphasis on their social networking as part of their development
as writers. As one who grew up in
that Postbeat group that began with Allen’s blessings, I myself know this
aspect of the writer’s life in thirty years of friendships borne of those early
meetings. I would thus caution
against any claim that “the beats were not a literary movement . . . but a
social group.” Just as with the
English dramatists and poets of the Elizabethan age, the romantics, American
transcendentalists, Pound and the high modernists or Williams and the objectivists,
all great movements in literature—including the beats—inevitably
involve a convergence of social friendships and the dialogues that lead to
changes in the art. Further, the
diversity of their styles and approaches to writing does not negate the genuine
quality of a literary movement:
who would ever mistake writings by Percy Shelley with those of Coleridge
or Wordsworth? Or Whitman for
Emerson, Thoreau, Margaret Fuller or Hawthorne?
Thankfully,
Bill has avoided this either/or in his book, emphasizing the personal struggles
—and the evolving nature—of their friendships while connecting
their interactions to changes in the work itself. I was particularly interested in the rift between Burroughs
and Allen re cutups vs. poetry, or Kerouac’s constant struggle to delineate his
methods even as he began the tragic pro-cess of withdrawal from the others.
Finally,
as an old Shakespearean, I am acutely aware that in preserving and canonizing
writers’ works for future generations, there must be new editions, quality
scholarly activity that presents new information, critiques a propos to the
time, as well as an ever-renewing dedicated readership for the
work—usually developed through the works’ presence in academic study,
publication or continued performance.
While there has been a resurgence of interest in the beats on many
levels, I credit Bill Morgan as a one-man canon maker for the ways he has
ferreted out biographical and critically important details for future scholars
and those who will want to know everything about the writers to whom they
dedicate their professional lives.
Just as the cultural and biographical essays at the front of Nicholas
Rowe’s 1709 edition of Shakespeare began the process that would eventually lead
to Malone’s magisterial work later in that century—the necessary
foundation for later critical
ventures dedicated to the bard—so too, Bill Morgan is doing much the same
thing for the beats. Thus, I
end with deepest gratitude for making these books available for those future
scholars and “adolescent farmboys opening book covers with ruddy hands” in
Kansas and elsewhere, who will find a light they had not previously seen in
their lives, as we did.
Note: “Building the Beat Canon” appeared in Napalm Health Spa Report 2010. Ed. Jim Cohn. http://www.poetspath.com/napalm/nhs10/index.html .