This is the first book-length study to read women of the Beat Generation as feminist writers. The book shows how these Beat feminisms counteract the ways in which women have been undermined, possessed or silenced in countercultural spaces.
This is the first book-length study to read women of the Beat Generation as feminist writers. The book shows how these Beat feminisms counteract the ways in which women have been undermined, possessed or silenced in countercultural spaces.
Polina Mackay is an Associate Professor of English and Head of the Department of Languages and Literature at the University of Nicosia. She is the Vice President of the European Beat Studies Network and the co-editor of Global Beats, The Beat Generation and Europe, The Cambridge Companion to H.D., Kathy Acker and Transnationalism and Authorship in Context.
Inhaltsangabe
Preface Introduction: The Beat Aesthetic 1. Female Subjectivities in Beat Textuality by Male Authors 2. Narratives of Emergence: Diane di Prima's This Kind of Bird Flies Backward and Dinners and Nightmares 3. Clarity of Vision through Transformation in ruth weiss' Desert Journal 4. Feminist Revision in Diane di Prima's Loba 5. Radical Interventions: Laurie Anderson, Anne Waldman and Kathy Acker Do Burroughs 6. Activism, Gender and the Feminist Form in Anne Waldman: Fast Speaking Woman and The Iovis Trilogy
Preface Introduction: The Beat Aesthetic 1. Female Subjectivities in Beat Textuality by Male Authors 2. Narratives of Emergence: Diane di Prima's This Kind of Bird Flies Backward and Dinners and Nightmares 3. Clarity of Vision through Transformation in ruth weiss' Desert Journal 4. Feminist Revision in Diane di Prima's Loba 5. Radical Interventions: Laurie Anderson, Anne Waldman and Kathy Acker Do Burroughs 6. Activism, Gender and the Feminist Form in Anne Waldman: Fast Speaking Woman and The Iovis Trilogy
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