WOMEN WRITERS OF THE BEAT ERA : AUTOBIOGRAPHY AND INTERTEXTUALITY
By Mary Pannicia Carden
Reviewed by Jim Burns
The title of this book is tricky. It doesn’t say that the women to
be dealt with are “Beat writers”, though the inference is there. The
difficulty is that “Beat” has become almost a catch-all term that
can include any number of poets and prose writers who happened to be
around during the “Beat Era” (another term that isn’t always easy to
pin down) and perhaps appeared in magazines and anthologies that may
have applied a flexible definition to the idea of Beat. I don’t want
to spend too much time on this subject, but have a look at a couple
of popular anthologies that appeared in 1960 –
The Beat Scene and
The Beats – and it’s easy
to see that many of the writers in them were definitely not Beat, no
matter how far you stretch the description of what constitutes Beat.
Mary Pannicia Carden quotes Diane di Prima as saying, “I don’t think
women are ever going to be identified as Beat”, to which some people
might ask, “Why would they want to be?” Di Prima, for example,
always struck me as a talented-enough writer to succeed without the
prop of being associated with a movement. But, to be fair, I suppose
it does help if one is linked to a group that has some sort of
status or notoriety. Editors compiling anthologies find it useful,
and journalists do like to deal with writers they can slot into
categories. It’s also a fact that there is now something of a
mini-industry in Beat studies, and being identified with the group
might be handy in terms of
encouraging academics to look at one’s work. So, let’s accept
that there was a Beat movement and that some women were an integral
part of it.
If we go back to what might be called the origins of the Beat
Generation in
I don’t think the situation changed radically once what might be
termed the publicised Beat Era got under way. I’m thinking of the
years following the publication of
Howl and particularly
On the Road, when
would-be writers, both male and female, flocked to Greenwich Village
and San Francisco to “join the dance”, to use part of the title of
one of Joyce Johnson’s novels. It’s true that there were more women
writers around, but I think it’s also accurate to say that they
still weren’t accorded the respect and serious attention that men
might have expected. The Beat image tended to be one of a “boy’s
club”, with its members either criss-crossing the country in search
of “kicks”, or crowding the bars in big cities while their female
companions sat quietly and listened to whatever words of wisdom, if
any, that the men might come up with. Joyce Johnson described it all
wonderfully in her Minor
Characters:
“As a female, she’s not quite part of the convergence. A fact she
ignores, sitting by in her excitement as the voices of the men,
always the men, passionately rise and fall and their beer glasses
collect and the smoke of their cigarettes rises towards the ceiling
and the dead culture is surely being awakened”.
Diane di Prima had turned up in
It was published by Maurice Girodias’s Olympia Press, and anyone
familiar with his
Carden also has her doubts about
Recollections of My Life as a
Woman, and uses a couple of coined
words – “truthy” and “truthiness” (both seem clumsy to me) -
to describe how di Prima’s accounts of what happened might
not always bear close scrutiny. It isn’t that she tells lies, but
rather that there is the impulse to point to her not being as much
of a victim of male dominance as other women were at the time. She
naturally wants to correct the record and show how she was just as
important to the publication and distribution of
The Floating Bear as
Leroi Jones, who tended to get all the credit for its existence. She
likewise felt aggrieved about being overlooked when the influential
The New American Poetry
1945-1960 anthology appeared in 1960. I suppose it could be
asked if she would have had sufficient work of quality at that time
to warrant inclusion? And there were probably more than a few male
poets who also thought they ought to be there.
Hettie Jones was another woman who was involved with Leroi Jones and
became his wife, as her name implies. She assisted her husband with
the magazine, Yugen, one
of the key publications of the period, and with Totem Press, which
published books by Paul Blackburn, Diane di Prima, Max Finstein, and
others. It’s perhaps significant that di Prima seems to be one of
the few women in the series, and that she’s one of the handful to
appear in Yugen. Others
were Rochelle Owens, Barbara Guest, and Barbara Moraff. The rather
quaintly-titled Four Young
Lady Poets, published by Totem, featured Owens and Moraff, along
with Carol Bergé and Diane Wakoski.
The fact is, however, that
Yugen was dominated by male contributors. I had a look at the
copies I have and the presence of only a few females in the contents
lists is noticeable. I don’t think Carden sufficiently explores the
reasons for this. Were their sufficient women poets of any
consequence in the Beat community at that time? Did women submit
work for consideration, only to be rejected? If there were women
poets who saw the magazine were they writing the kind of poetry its
editor was likely to be interested in? Anyone who has edited a
little magazine will know that a lot of the material sent to it
simply isn’t suitable, and rejecting it has nothing to do with the
gender of the poet.
It’s a fact that Hettie Jones didn’t get credit for her work with
Yugen. And Leroi Jones
often tended to take off on trips here and there, have affairs, and
generally do what he wanted. She, on the other hand, was
“increasingly overwhelmed by caretaking duties” connected to their
home, child, and the magazine and press. When Leroi Jones published
The Autobiography of Leroi
Jones/Amiri Baraka, he painted “a trivialising portrait of her”,
and by that time, of course, had abandoned his previous commitments
to Beat poetry, along with his marriage to Hettie, and moved to a
radical role in the Black Power movement. It perhaps seemed
essential to him that he reject the past by playing down parts of
it. He even re-named Hettie, calling her Nellie Kohn, whereas other
people are given their real names. Was it a way of belittling her?
Or done for legal reasons?
The fact that Diane di Prima and Hettie Jones went on to assert
themselves as writers is in contrast to Bonnie Bremser, whose
Troia: Mexican Memoirs
(later retitled, For Love of
Ray) was the only book she published, though excerpts from
another she was working on, but which doesn’t appear to have been
completed, or at least published, were printed in magazines and
anthologies. From the account Carden provides, it would seem that
For Love of Ray was
shaped into its published form by Michael Perkins who took Bonnie
Bremser’s letters and edited and re-organised them to construct a
narrative flow, What it amounts to is essentially the story of how
she almost enslaved herself to her husband, Ray Bremser, a one-time
criminal, and a minor poet on the Beat scene.
He persuaded her to turn to prostitution to get the money they
needed to survive, and that he mostly spent, and didn’t think twice
about leaving her stranded in
Possibly the best-known of the women who have written about their
involvement with the Beat movement, and its predominantly male
writers, is Joyce Johnson, whose
Minor Characters I’ve
already referred to. I think she would have established herself as a
successful author regardless of the Beat connection, but it is a
fact that she had an affair with Jack Kerouac. Like any writer, she
then used the experience to create literature. Aside from the memoir
mentioned, she wrote several
novels, including Come
Join the Dance and In the
Night Café. And she
produced a book called Door
Wide Open: Jack Kerouac and Joyce Johnson: A Beat Love Affair in
Letters, 1957-58, which is a valuable contribution to
understanding the atmosphere of the time, and not just the
relationship between the two protagonists.
Reading Johnson I never
have the feeling that she suffered deeply, or had her talents
overwhelmed by the presence of Kerouac in her life. She was fully
aware of her “secondary (at best) status in the Beat pantheon”, but
still managed to survive and create a life of her own and a career
as a writer. It’s perhaps typical of the sound common-sense that
enabled her to come out on top of her experiences that she could
question the male inclination to go “on the road” in search of
“visions”: “It’s strange to go looking for visions. It seems more in
the nature of visions to come upon you, seizing you unawares”. She
also recognised that Kerouac’s ties to his mother “were like iron in
his soul”.
Carden deals with some other Beat-associated women writers, in
particular ruth weiss and Joanne Kyger. Jt may be that weiss is best
seen in a broad bohemian context rather than just a Beat one. She
had been around bohemian communities for some time before settling
in
Joanne Kyger often felt that she was, in many ways, overshadowed by
her husband, Gary Snyder, and that, during her time in
Carolyn Cassady, the ill-fated Elise Cowen, and Denise Levertov are
other women writers who are
mentioned, though they’re not dealt with in any detail. I
doubt that Levertov can be described as Beat, either in terms of her
life-style or her poetry. Elise Cowan was a tragic figure on the
bohemian scene and what I’ve seen of her work, which tends to the
fragmentary, doesn’t convince me that she had a great deal to offer.
But we can never know for sure when someone commits suicide just
what they may have achieved if the circumstances had been different.
Carolyn Cassady’s Off the
Road: Twenty Years with Cassady, Kerouac and Ginsberg is a
well-written account of their relationship. I got to know her when
she lived in
Women Writers of the Beat Era
is a valuable survey of its subject, and a useful addition to the
library of works by and about women and their involvements with Beat
men and the Beat literary movement. It seems a long time since I
wrote an article called “Beat Women” which attempted to provide some
sort of a guide to the subject (see
Beat Scene 16, 1993 and
Beats, Bohemians and
Intellectuals, Trent Books, 2000) and my efforts have long since
been outstripped by various biographies, histories, and anthologies,
not to mention numerous magazine articles. Mary Pannicia Carden’s
book can be added to the list.
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