Here it is, folks! The next Beatdom cover - drawn once again by the wonderful and weird Waylon Bacon!
Charles Bukowski never considered himself part of the Beat Generation; in fact, he frequently disparaged the idea. He wasn’t a joiner, he didn’t like drugs (except booze), and while the Beats haunted San Francisco or New York’s Greenwich Village, Bukowski clung proudly – often on wobbly drunken legs – to his hometown, Hollywood, California.
So Bukowski prowled Hollywood, its dive bars and run-down rooming houses, writing about it exclusively. And if we can accept that, say, Ernest Hemingway was the Clark Gable of American letters – handsome, dashing, muymacho, an outdoorsman and globe-trotter – then Bukowski was akin to Humphrey Bogart.
“His special knowledge was of the jungle of the city at night,” film historian Richard Schickel wrote of Bogart in his 1962 book, The Stars. “Which clubs the syndicate ran, which one-arm restaurants served good coffee, which hotels a whore could use, which streets were safe to walk upon after midnight.” Those words fit Bukowski like a comfortable old jacket. Hollywood, the dark underbelly of it, not the glittering bastion of the Entertainment Capital of the World, was his town.
Home for Bukowski was almost Baltimore; that’s where he and his father and mother landed from Andernach, Germany when little Heinrich was nearly three years old, in 1923. Baltimore had a strong German-speaking working class (it still has), but Henry the Elder, an American soldier who’d served in World War I and decided to stay on in Germany at war’s end, was born and raised in Pasadena. His parents still lived there, so he moved his family West, to what was then the sleepy, dusty village of Los Angeles. In the twenties, the place had more in common with the Mexican pueblos from which it sprang than the undulating, traffic-stuffed, neon-lighted metropolis it would become over the next three decades.
The family settled in at 2122 Longwood Avenue, in South Los Angeles. Mother and son proceeded to become Americanized: Katrina was known as Kate and the boy, Heinrich Karl, was thereafter called Henry Jr., or Hank (his middle name became Charles). It was also the scene of Bukowski’s horrific childhood, with regular beatings from his father meeting only indifference from his mother. The foundation for life as a drunken loner was laid early.
This article came out in 1959, just after the Beats started filming the first ever Beat movie, Pull My Daisy. Later that year, MGM released the ridiculous Beatsploitation movie, The Beat Generation.
In 1957, Jack Kerouac wrote to Marlon Brando:
I’m praying that you’ll buy ON THE ROAD and make a movie of it. Don’t worry about the structure, I know to compress and re-arrange the plot a bit to give a perfectly acceptable movie-type structure: making it into one all-inclusive trip instead of the several voyages coast-to-coast in the book, one vast round trip from New York to Denver to Frisco to Mexico to New Orleans to New York again. I visualize the beautiful shots could be made with the camera on the front seat of the car showing the road (day and night) unwinding into the windshield, as Sal and Dean yak. I wanted you to play the part because Dean (as you know) is no dopey hotrodder but a real intelligent (in fact Jesuit) Irishman. You play Dean and I’ll play Sal (Warner Bros. mentioned I play Sal) and I’ll show you how Dean acts in real life.
The above picture is a sneak peak from Beatdom #14 - the MOVIE issue - and was drawn by Isaac Bonan.
There’s a little over 24 hours left to get your submissions in for Beatdom #14. I realize in the past we’ve often gone over deadline, but this time we’re on schedule and late submissions will not be accepted - unless by prior agreement with the editor.
Just as a refresher: The topic of this issue is “movies”. We’re on the look out for anything connecting the Beat Generation with movies, so please share this with people who might be interested.
- short stories
- and more
Details can be found on the website:
Fear and Loathing in Las Vegas: A Savage Journey to the Heart of the American Dream is now generally considered a work of fiction. It is the work for which Hunter S Thompson is best known, for which he receives the greatest praise and parody, and about which the most debate exists. It’s the book that inspired a generation of wannabe Gonzo writers, sent idiots armed with quotations to hassle Thompson wherever he went, and made the author a public enemy and the biographer of modern America. It was his On the Road. None of his other books contained such excess, madness and brilliance. He incriminates himself, sends each and every reader into shock and fits of uncontrollable laughter, and sums up the death of hope for the American Dream as eloquently as any great writer.
It bugged Thompson to see idiotic kids running about in Hawaiian shirts, sun hats, sunglasses, smoking cigarettes from long holders, pushing their poor imitations on MySpace forums and quoting passages from FLLV about bats and drugs… Suspiciously, only the quotes used in that unfairly derided movie starring Johnny Depp… It’s the book that hardcore Thompson fans pretend is their least favourite of his, but which was deservedly the book that earned Thompson his place in the canon of Twentieth Century American literature.
The creation of the book came with Thompson’s attempt to write an expose on the death of Ruben Salazar. In order to interview his source, attorney Oscar Zeta Acosta, the two escaped the racially heated tension of Los Angeles and went to Las Vegas to cover the Mint 400 for Sports Illustrated. The job was meant to be a simple process of writing copy to accompany a series of photos, but Thompson began writing notes for a book about the death of the American Dream. The Salazar piece was written for Rolling Stone, while Thompson wrote the manuscript for Fear and Loathing in his spare time. Sports Illustrated ‘aggressively rejected’ Thompson’s article on the Mint 400, which by the time he submitted it, had spiralled to ten times the desired word count.
a very young william s burroughs, 2nd from right in the back row.
An Associated Press article from the Waycross Journal-Herald, October 21st 1969, regarding the death of Jack Kerouac.