今年经典译文之亚文化—垮掉的一代（３）_文学文化
beat generation
the beat generation was a group of american writers active during the 1950s. their most prominent works are jack kerouac's on the road (1957), allen ginsberg's howl (1956), and william s. burrough's naked lunch (1959).
kerouac introduced the phrase beat generation sometime around 1948 to describe his social circle to the novelist john clellon holmes (who published an early novel about the beat generation, titled go, in 1952, along with a manifesto of sorts in the new york times magazine: "this is the beat generation"). the adjective beat (introduced to the group by herbert huncke) had the connotations of "tired" or "down and out", but kerouac added the paradoxical connotations of upbeat, beatific, and the musical association of being "on the beat".
calling this relatively small group of struggling writers, students, hustlers, and drug addicts a "generation" was to make the claim that they were representative and important—the beginnings of a new trend, analogous to the influential lost generation. whether this claim was accurate when the term was coined might be debated, but as the influence of the beat writers spread the exaggeration seemed less extreme.
the members of the beat generation were new bohemian libertines, who engaged in a spontaneous, sometimes messy, creativity. the beat writers produced a body of written work controversial both for its advocacy of non-conformity and for its non-conforming style. followers of "beat literature" did not emerge until the late 1950s and early 1960s: kerouac's on the road (written in 1952), which heralded the beginning of "beat" popularity, was not published until 1957.
echoes of the beat generation run throughout all the forms of alternative/counter culture that have existed since then (e.g. "hippies", "punks", etc). the beat generation can be seen as the first modern subculture. see the "influences on western culture" section below. both howl and naked lunch became the focus of obscenity trials in the united states that helped to liberalize what could be legally published.
history
the canonical beat generation authors met in new york: jack kerouac, allen ginsberg, william burroughs, (in the 1940s) and later (in 1950) gregory corso. in the mid-1950s this group expanded to include figures associated with the san francisco renaissance such as kenneth rexroth, gary snyder, lawrence ferlinghetti, michael mcclure, philip whalen, harold norse, lew welch, and kirby doyle.
perhaps equally important were the less obviously creative members of the scene, who helped form their intellectual environment and provided the writers with much of their subject material: there was herbert huncke, a drug addict and petty thief met by burroughs in 1946; and hal chase, an anthropologist from denver who in 1947 introduced into the group neal cassady.
also important were the oft-neglected women in the original circle, including joan vollmer and edie parker. their apartment in the upper west side of manhattan often functioned as a salon (or as ted morgan puts it, a "pre-sixties commune") and joan vollmer in particular was a serious participant in the marathon discussion sessions.
the kammerer stabbing
william burroughs was born in st. louis, missouri in 1914; making him roughly ten years older than most of the other original beats. while still living in st. louis, burroughs met david kammerer, presumably an association based on their shared homosexual orientation and intellectual tendencies.
as a boys' youth-group leader in the mid-1930s, david kammerer became infatuated with the young lucien carr (with what encouragement, if any, it is difficult to say). kammerer formed a pattern of following carr around the country as he attended (and was expelled from) different colleges. in the fall of 1942, at the university of chicago, kammerer introduced 17-year-old lucien carr to william s. burroughs.
burroughs was a harvard-graduate who lived off a stipend from his relatively wealthy family. his grandfather had invented the burroughs adding machine, though the amount of wealth in the family is often exaggerated (kerouac remarked on "the burroughs millions", which didn't actually exist).
the three became good friends, whose sprees got burroughs kicked out of his rooming house and culminated in carr confined in a mental ward after an apparent attempted suicide with a gas oven (one version of the story holds that this was a way of avoiding military service).
in the spring of 1943, carr's family moved him to columbia university in new york, where kammerer, and then burroughs shortly followed. at columbia, carr met the freshman allen ginsberg, whom he introduced to burroughs and kammerer. edie parker, another member of the crowd, introduced carr to her boyfriend jack kerouac once he came back from his stint as a merchant marine. in 1944, carr introduced kerouac and burroughs.
kammerer's fixation was obvious to everyone in the circle, and he became jealous as carr developed a relationship with a young woman (celine young). in mid-august, 1944, lucien carr killed him with a boyscout knife in what may have been self-defense after an altercation in a park on the hudson river.
carr disposed of the body into the river. he first went to burroughs for advice, who recommended he get a lawyer and turn himself in with a claim of self-defense. instead, carr went to kerouac, who helped him dispose of the weapon.
carr turned himself in the next morning and kerouac and burroughs were both charged as accessories to the crime. burroughs quickly got the money for bail, but kerouac's parents refused to post it for him. edie parker and her family came through, with the condition that they be married immediately.