Explore the vast range of titles available.

The Grove Atlantic website features an especially rich list of her activities, including published poetry and books, interviews, readings, lectures, and workshops at colleges. At the prison, her workshop students included Kathy Boudin, a graduate of Bryn Mawr College, later a member of the SDS and The Weather Underground, and then, most notoriously, a Beford inmate convicted of felony murder [because she drove the getaway car]. To highlight its historic significance, she showed me a worn photograph of the Seventh Regiment assembled in front of the building during the Civil War. Writing for Hettie, as she elaborated, must be a voice that comes from the soul-and \"[a]ll you have to do is give it permission,\" she stated unequivocally (170).

While in high school together, the group experimented with many forms of art, including abstraction, collage, and even light machines, teaching and supporting each other through a blending of the arts. According to art critic Dore Ashton, the Art Institute was \"one of the few postwar art schools in which a spirit of rebellion infused both teachers and students... Despite this caveat, and perhaps in support of it, her story of the 6 Gallery affirms key elements that have made their way into literary history, such as (1) the fact that the space had been an old garage previously housing the King Ubu Gallery, operated by the poet Robert Duncan and his partner the artist Jess Collins, and (2) the fact that on the night that Allen Ginsberg read \"Howl,\" Kenneth Rexroth introduced the event and a collection was taken up for wine. [...]Frankenstein, along with journalist Herb Caen who created the term \"beatnik,\" periodically used their columns in the Chronicle to publicize exhibitions at the 6.

(Charters) When I removed into the country, it was to occupy an old-fashioned farmhouse, which had no piazza-a deficiency the more regretted, because not only did I like piazzas, as somehow combining the coziness of indoors with the freedom of outdoors, and it is so pleasant to inspect your thermometer there, but the country round was such a picture, that in berry time no boy climbs hill or crosses vale without coming upon easels planted...

Beat Film,\" an essay that conjoins discussion of Jonas Mekas's ground-breaking writing on experimental film with Kinney's analysis of Robert Frank and Alfred Leslie's Pull My Daisy, John Cassavetes's Shadows, Mekas's Guns of the Trees, and Shirley Clarke's The Connection. The essay stresses the various (and sometimes misleading) ways the term improvisational has been used, while elucidating the innovative efforts of these directors to defy Hollywood convention, especially through the casting of non-actors and African Americans. [...]of the COVID-19 pandemic, many of you have faced the disruption of your classrooms and the need to retool face-to-face teaching to online instruction; social isolation orders and obligatory quarantine; the postponement of primary elections; economic turmoil; and the fact that the nation was grossly misled regarding the severity of the virus.

Michael Amundsen on The Hip Sublime: Beat Writers and the Classical Tradition (The Ohio State University Press 2018), edited by Sheila Murnaghan and Ralph M. Rosen; Maria Damon on Mary Paniccia Carden's Women Writers of the Beat Era: Autobiography andIntertextuality (University of Virginia Press 2018); Douglas Field on The Routledge Handbook of International Beat Literature (Routledge 2018), edited by A. Robert Lee; Christopher Gair on The Spiritual Imagination of the Beats (Cambridge University Press 2017) by David Stephen Calonne; Allan Johnston on The Cambridge Companion to the Beats (Cambridge University Press 2017), edited by Steven Belletto; James Peacock on Kerouac on Record: A Literary Soundtrack (Bloomsbury Academic 2018), edited by Simon Warner and Jim Sampas; and John Whalen-Bridge on Mountains, Rivers, and the Great Earth: Reading Gary Snyder and Dogen in an Age of Ecological Crisis by Jason M. Wirth (State University of New York Press 2017). [...]we thank a number of individuals who provided us with invaluable assistance: Stephanie Hsu, associate director of Pace University Press, for her hard work, high standards, and generous spirit; Kelly Watt, assistant director of marketing and admissions, Naropa University; Amanda Koob, director for library and archives, Naropa University; Peter Hale, of the Allen Ginsberg Estate; Sean Thibodeau, coordinator of community planning, Pollard Memorial Library, Lowell, Massachusetts; Alison Zaya, reference librarian, Pollard Memorial Public Library, Lowell, Massachusetts; Kathie Clyde, transcriber, Wooster, Ohio; Mary Nieneber Gadd, research assistant, Columbus, Ohio; and Elsa Dorfman, photographer and memoirist from Cambridge, Massachusetts, whose vintage pictures of her friend Bobbie Louise Hawkins-as well as other writers of the Beat generation available in Elsa 's Housebook-gave the Beat Interview an inimitable personal vibe.