Criticism
Norman Podhoretz, a student at Columbia with Kerouac and Ginsberg, later became a critic of the Beats. His 1958 Partisan Review article "The Know-Nothing Bohemians," was a vehement critique primarily of Kerouac's On the Road and The Subterraneans, as well as Ginsberg's Howl. His central criticism is that the Beat embrace of spontaneity is bound up in an anti-intellectual worship of the "primitive" that can easily turn toward mindlessness and violence. Podhoretz asserted that there was a link between the Beats and criminal delinquents.
Ginsberg responded in a 1958 interview with The Village Voice, specifically addressing the charge that the Beats destroyed "the distinction between life and literature." "The bit about anti-intellectualism is a piece of vanity, we had the same education, went to the same school, you know there are 'Intellectuals' and there are intellectuals. Podhoretz is just out of touch with twentieth-century literature, he's writing for the eighteenth-century mind. We have a personal literature now—Proust, Wolfe, Faulkner, Joyce."
Read more about this topic: Beat Generation
Famous quotes containing the word criticism:
“It is ... pathetic to observe the complete lack of imagination on the part of certain employers and men and women of the upper-income levels, equally devoid of experience, equally glib with their criticism ... directed against workers, labor leaders, and other villains and personal devils who are the objects of their dart-throwing. Who doesn’t know the wealthy woman who fulminates against the “idle” workers who just won’t get out and hunt jobs?”
—Mary Barnett Gilson (1877–?)
“I am opposed to writing about the private lives of living authors and psychoanalyzing them while they are alive. Criticism is getting all mixed up with a combination of the Junior F.B.I.- men, discards from Freud and Jung and a sort of Columnist peep- hole and missing laundry list school.... Every young English professor sees gold in them dirty sheets now. Imagine what they can do with the soiled sheets of four legal beds by the same writer and you can see why their tongues are slavering.”
—Ernest Hemingway (1899–1961)
“The critic lives at second hand. He writes about. The poem, the novel, or the play must be given to him; criticism exists by the grace of other men’s genius. By virtue of style, criticism can itself become literature. But usually this occurs only when the writer is acting as critic of his own work or as outrider to his own poetics, when the criticism of Coleridge is work in progress or that of T.S. Eliot propaganda.”
—George Steiner (b. 1929)