Filled with anecdotes about her adventures in New York City, Diane di Prima's memoir shows her learning to "raise her rebellion into art," and making her way toward literary success. Memoirs of a Beatnik offers a fascinating narrative about the courage and triumphs of the imagination.

    Indeed, it is impossible to comprehend the sixties without first grasping the importance of the social ripples set in motion by the Beats a decade earlier.Although their prose and poetry varied in style and for the most part did not represent a genuine literary movement, the Beats, through their words and nonconformist lives, collectively posed a challenge to the staid and complacent America of the postwar years. They believed in free expression, opposing all censorship; they dabbled in free love; they practiced Eastern philosophy, leading to an embrace in America of alternative forms of spirituality; sooner than others, they watched with dismay the increasingly heavy hand of military and corporate culture in our national life; they embraced the aspirations, as well as the lingo, of urbanized black Americans. They believed in the liberating influence of hallucinogenic drugs.In short, the Beats were thoroughly American in their love of individual freedom. Perhaps it should come as no surprise that J. Edgar Hoover described them in 1960 as one of the three greatest threats to American security (after communism and intellectual "eggheads").The story that Bill Morgan tells has less to do with sociology than with social mingling. He traces the closely knit friendships of the Beat luminaries Allen Ginsberg, Jack Kerouac, William S. Burroughs, and the small army of other names. Although Kerouac, author of the much loved novel On the Road, was the most famous of the Beat writers, it was Ginsberg, Morgan contends, who resided at the center of the group and for more than two decades provided it with cohesion and a sense of direction.The Beats were not saints. They were sexually irresponsible, undependable in marriage (the movement could in fact fairly be described as misogynistic); they did too many drugs and consumed too much booze; the very quality that characterized their lives and writings—a fervent belief in spontaneity—destroyed some friendships. Indeed, Morgan’s story begins with a murder in New York’s Riverside Park in 1944.Bill Morgan has provided a sweeping, indispensable story about these discontented free spirits. We watch their peripatetic lives, their sexual misadventures, their ambivalent response to fame. We are reminded above all that while their personal lives may have not have been holy, their typewriters and their lasting words very much were.

    A charismatic, funny, articulate, and formidably intelligent man, Cassady was also a compulsive womanizer who lived life on the edge. His naturalistic, conversational writing style inspired Kerouac, who lifted a number of passages verbatim and uncredited from Cassady’s letters for significant episodes in On the Road. Drawing on a wealth of new research and with full cooperation from central figures in his life—including Carolyn Cassady and Ken Kesey—this account captures Cassady’s unique blend of inspired lunacy and deep spirituality.

    In 1948, at the age of 25, she married Neal Cassady. Less than ten years after their marriage, he had become a living legend, his wild spirit immortalized in the character of Dean Moriarty, the heroic traveller in Jack Kerouac's On The Road. Carolyn Cassady reveals how she had to compete for Neal's attention with his friends and lovers. Their marriage at first alienated poet Allen Ginsberg, who wanted Neal to himself. Even after the civil ceremony, Neal continued to see and test other women.

    Clark's biography reveals the essential Kerouac, often through his own words and writings.

    Phrases like "phone home" and the music score from Jaws are now part of our cultural script, appearing in commercials, comedy routines, and common conversation.Yet few scholars have devoted time to studying Spielberg's vast output of popular films despite the director's financial and aesthetic achievements. Spanning twenty-five years of Spielberg's career, Steven Spielberg: Interviews explores the issues, the themes, and the financial considerations surrounding his work. The blockbuster creator of E.T., Jaws, and Schindler's List talks about dreams and the almighty dollar."I'm not really interested in making money," he says. "That's always come as the result of success, but it's not been my goal, and I've had a tough time proving that to people."Ranging from Spielberg's twenties to his mid-fifties, the interviews chart his evolution from a brash young filmmaker trying to make his way in Hollywood, to his spectacular blockbuster triumphs, to his maturation as a director seeking to inspire the imagination with meaningful subjects.The Steven Spielberg who emerges in these talks is a complex mix of businessman and artist, of arrogance and insecurity, of shallowness and substance. Often interviewers will uncover the director's human side, noting how changes in Spielberg's personal life -- marriage, divorce, fatherhood, remarriage -- affect his movies. But always the interviewers find keys to the story-telling and filmmaking talent that have made Spielberg's characters and themes shape our times and inhabit our dreams."Every time I go to a movie, it's magic, no matter what the movie's about," he says. "Whether you watch eight hours of Shoah or whether it's Ghostbusters, when the lights go down in the theater and the movie fades in, it's magic."

    . . [Weaver] paints a romantic picture of Greenwich Village in the 1950s and '60s, when she worked in publishing and hung out with Allen Ginsberg and the poet Richard Howard and was wild and loose, getting high and falling into bed almost immediately with her crushes, including Lenny Bruce. . . . Her descriptions of the Village are evocative, recalling a time when she wore long skirts, Capezio ballet shoes and black stockings,' and used to sit in the Bagatelle and have sweet vermouth on the rocks with a twist of lemon.' Early on, she quotes Pasternak: You in others: this is your soul.' Kerouac's soul lives on through many people -- Joyce Johnson, for one -- but few have been as adept as Weaver at capturing both him and the New York bohemia of the time. He was lucky to have met her." --Tara McKelvey, The New York Times Book Review“There is a tendency for memoirs written by women about The Great Man to be self-abnegating exercises in a kind of inverted narcissism—the author seeking to prove her worth as muse, as consort, as chosen one. Not so with Helen Weaver’s beautiful, plainspoken elegy for her time spent with Jack Kerouac, who suddenly appeared at her door in the West Village one white, frosty morning with Allen Ginsberg, who knew Weaver’s roommate, in tow.”—New York Post“Helen Weaver’s book was a revelation to me! . . . This is the most graphic, honest, shameless, and moving documentary of what the newly liberated women in cities got up to—how they lived, loved, and created. Who knew? It is time they did! And here’s how.”—Carolyn Cassady“The book recounts her affair with Kerouac in 1956 during the period when he signed his literary contract for On the Road, but

    With elegance, humor, and sophistication, Gardner describes the life of a working novelist; warns what needs to be guarded against, both from within the writer and from without; and predicts what the writer can reasonably expect and what, in general, he or she cannot. "For a certain kind of person," Gardner writes, "nothing is more joyful or satisfying than the life of a novelist." But no other vocation, he is quick to add, is so fraught with professional and spiritual difficulties. Whether discussing the supposed value of writer's workshops, explaining the role of the novelist's agent and editor, or railing against the seductive fruits of literary elitism, On Becoming a Novelist is an indispensable, life-affirming handbook for anyone authentically called to the profession. "A miraculously detailed account of the creative process."—Anne Tyler, Baltimore Sun

    She believes you can too.

    Haunted by her fahter's legend, Kerouac travels to Oregon, Casablanca, Tangier, London, New York, California, and Mexico as she collects lovers and husbands, indulges in drugs and drink, spends time in odd jobs and jail cells, and keeps the Beat flame alive.

    But there is much more to the book than that. In Why Kerouac Matters, John Leland embarks on a wry, insightful, and playful discussion of the novel, arguing that it still matters because it lays out an alternative road map to growing up. Along the way, Leland overturns many misconceptions about On the Road as he examines the lessons that Kerouac's alter ego, Sal Paradise, absorbs and dispenses on his novelistic journey to manhood, and how those lessons, about work and money, love and sex, art and holiness, still reverberate today.He shows how On the Road is a primer for male friendship and the cultivation of traditional family values, and contends that the stereotype of the two wild and crazy guys obscures the novel's core themes of the search for atonement, redemption, and divine revelation. Why Kerouac Matters offers a new take on Kerouac's famous novel, overturning many misconceptions about it and making clear the themes Kerouac was trying to impart.

    Heinlein was sixty-six, at the height of his literary career; J. Neil Schulman was twenty and hadn't yet started his first novel. Because he was looking for a way to meet his idol, Schulman wangled an assignment from the New York Daily News--at the time the largest circulation newspaper in the U.S.--to interview Heinlein for its Sunday Book Supplement. The resulting taped interview lasted three-and-a-half hours. This turned out to be the longest interview Heinlein ever granted, and the only one in which he talked freely and extensively about his personal philosophy and ideology. "The Robert Heinlein Interview" contains Heinlein you won't find anywhere else--even in Heinlein's own "Expanded Universe." If you wnat to know what Heinlein had to say about UFO's, life after death, epistemology, or libertarianism, this interview is the only source available. Also included in this collection are articles, reviews, and letters that J. Neil Schulman wrote about Heinlein, including the original article written for The Daily News, about which the Heinleins wrote Schulman that it was, "The best article--in style, content, and accuracy--of the many, many written about him over the years." This book is must-reading for any serious student of Heinlein, or any reader seeking to know him better.

    This lively, visual biography highlights Kerouac's impact on the 1950s and 1960s and tracks his relentless devotion to his work, revealing the spirituality that was at its core. 150 color and b&w photos.

    Norrie Epstein - whose The Friendly Shakespeare was called "spirited, informative and provocative" by The New York Times - strips away the polite veneer of Victorian society to reveal Dickens's life and times in all their squalor and glory, from his childhood days toiling in a blacking factory while his father languished in debtor's prison, to his first visit to the United States, where he was hailed as the greatest living writer. The Friendly Dickens includes an illuminating guide to all of Dickens's works and lively appreciations of characters both major and minor, interviews with aficionados from Patrick Stewart to biographer Phyllis Rose, eye-catching illustrations, copious quotations, a highly opinionated filmography and informative sidebars on almost every page.

    The original edition cost seventy-five cents, but there was something priceless about its eponymous piece. Although it gave a voice to the new generation that came of age in the conservative years following World War II, the poem also conferred a strange, subversive power that continues to exert its influence to this day. Ginsberg went on to become one of the most eminent and celebrated writers of the second half of the twentieth century, and "Howl" became the critical axis of the worldwide literary, cultural, and political movement that would be known as the Beat generation.The year 2006 marks the fiftieth anniversary of the publication of "Howl," and The Poem That Changed America will celebrate and shed new light on this profound cultural work. With new essays by many of today's most distinguished writers, including Frank Bidart, Andrei Codrescu, Vivian Gornick, Phillip Lopate, Daphne Merkin, Rick Moody, Robert Pinsky, and Luc Sante, The Poem That Changed America reveals the pioneering influence of "Howl" down through the decades and its powerful resonance today.