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Beat literature? Have not the great canonical names long grown familiar? Ginsberg, Kerouac, Burroughs. Likewise the frontline texts, still controversial in some quarters, assume their place in modern American literary history. On the Road serves as Homeric journey epic. "Howl" amounts to Beat anthem, confessional outcry against materialism and war. Naked Lunch, with its dark satiric laughter, envisions a dystopian world of power and word virus. But if these are all essentially America-centered, Beat has also had quite other literary exhalations and which invite far more than mere reception study. These are voices from across the Americas of Canada and Mexico, the Anglophone world of England, Scotland or Australia, the Europe of France or Italy and from the Mediterranean of Greece and the Maghreb, and from Scandinavia and Russia, together with the Asia of Japan and China. This anthology of essays maps relevant other kinds of Beat voice, names, texts. The scope is hemispheric, Atlantic and Pacific, West and East. It gives recognition to the Beat inscribed in languages other than English and reflective of different cultural histories. Likewise the majority of contributors come from origins or affiliations beyond the US, whether in a different English or languages spanning Spanish, Danish, Turkish, Greek, or Chinese. The aim is to recognize an enlarged Beat literary map, its creative internationalism.
Beat literature? Have not the great canonical names long grown familiar? Ginsberg, Kerouac, Burroughs. Likewise the frontline texts, still controversial in some quarters, assume their place in modern American literary history. On the Road serves as Homeric journey epic. "Howl" amounts to Beat anthem, confessional outcry against materialism and war. Naked Lunch, with its dark satiric laughter, envisions a dystopian world of power and word virus. But if these are all essentially America-centered, Beat has also had quite other literary exhalations and which invite far more than mere reception study. These are voices from across the Americas of Canada and Mexico, the Anglophone world of England, Scotland or Australia, the Europe of France or Italy and from the Mediterranean of Greece and the Maghreb, and from Scandinavia and Russia, together with the Asia of Japan and China. This anthology of essays maps relevant other kinds of Beat voice, names, texts. The scope is hemispheric, Atlantic and Pacific, West and East. It gives recognition to the Beat inscribed in languages other than English and reflective of different cultural histories. Likewise the majority of contributors come from origins or affiliations beyond the US, whether in a different English or languages spanning Spanish, Danish, Turkish, Greek, or Chinese. The aim is to recognize an enlarged Beat literary map, its creative internationalism.
Notes on Contributors
Acknowledgments
Introduction
A. ROBERT LEE
PART I. Canada and Mexico
1 Canada Beats: A Complex Legacy
KATHARINE STREIP
2 The Beat Presence in Mexican Literature
ALBERTO ESCOBAR DE LA GARMA
PART II. The English-Speaking World
3 Beat Britain: Poetic Vision and Division in Albion’s "Underground"
LUKE WALKER
4 Cosmopolitan Scum: A Genealogy of Beat in Subaltern Scottish
Literature
FIONA PATON
5 Beat Australia: Hydra to Balmain
NICHOLAS BIRNS
PART III. Western Europe
6 Êtes-vous Beat? Contemporary French Beat Writing
PEGGY PACINI
7 Children of Anarchy: Shoulder to Shoulder with the Italian Beats
MARIA ANITA STEFANELLI
8 Beat Influences in Dutch and Flemish Literature
JAAP VAN DER BENT9 Transmuting Beat Energies in the Belgian Francophone Matrix:
MaelstrÖm ReEvolution or the Brussels Reincarnation of the Beat Spirit
FRANCA BELLARSI
10 German Beats: Friendship and Collaboration
ALEXANDER GREIFFENSTERN
11 Beat Authorship and Beat Influences in Austrian Literature
THOMAS ANTONIC
12 Beat Affinities in Spanish Poetry
ESTÍBALIZ ENCARNACIÓN-PINEDO
13 Activists and Stuntmen: Envisioning Polish Beat
ANDRZEJ PIETRASZ and TOMASZ SAWCZUK
PART IV. Northern Europe
14 Russian Beat: Wilderness of Mirrors
THOMAS EPSTEIN
15 Denmark’s To Beat or Not to Beat: Turèll, Ulrich, Laugesen
LARS MOVIN
16 Norwegian Beat Culture: Reading Beat and Being Beat in Oslo in the
1950s
FRIDA FORSGREN
17 Swedish Beat: Sture Darlstöm, Ulf Lundrell and the Influence of
the Beat Generation on Modern Swedish Literature
LISA AVDIC ÖST
18 Beat Poetry in Finland in the 1960s
HARRI VEIVO
PART V. The Mediterranean
19 The Beat Generation and Contemporary Greek Poetry
POLINA MACKAY
20 Beat Turkey: A Belated Influence
ERIK MORTENSON
21 Moroccan Beat Writers: Mrabet, Choukri, Layachi
EL HABIB LOUAI
PART VI. The East
22 Beat Japan: Shiraishi’s Jazz Scroll and Sakaki’s Foot Trail
A. ROBERT LEE
23 The Beats on China and Chinese "Beats": Cross Cultural Influences,
Impact and Legacy
BENJAMIN J. HEAL
Index
A. Robert Lee, formerly of the University of Kent, UK, was Professor of American Literature at Nihon University, Tokyo, 1997-2011. His writing includes Multicultural American Literature: Comparative Black, Native, Latino/a and Asian American Fictions (2003), which won the 2004 American Book Award, and Modern American Counter Writing: Beats, Outriders, Ethnics (2010).
The Routledge Handbook of International Beat Literatureis a survey of the non-American Beat writers, written by multiple specialists, divided by country. Many of the specialists are natives of these countries and understand their subjects from the inside.While writers sometimes closely analyse a poem and passage of prose, the essays are jargon-free, light on theory and highly readable. Quotations are necessarily restricted in length but even so one encounters some striking excerpts.-Alexander Adams
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