The Beat Movement Analysis

The jazz created a myriad impression in the mind of the audience as listeners and in the mind of the readers as a serious literary form. The real happiness and essence of life can be achieved through music and prayer. Music gives wing to the mind and soul and in itself the great healing factor. Music has always been a universal phenomenon as it is loved, adored and appreciated by all. Moreover it is the biggest companion of loneliness. Music is a part of the lingua Franca for the world. Jazz is looking at the music as a narrative and as an art form. “ Develop an interest in life as you see it; the people, things, literature music. The world is so rich, simply throbbing with rich treasures, beautiful souls and interesting people” (Henry Miller)

Jazz continued to progress throughout the first half of the 20th century. Having overheard the term Beat by Negros, Kerouac coined the term Beat which literally meant to be crushed down or exhausted. He later used the term as “beatitude” with a positive connotation which meant supreme happiness or blessedness. The influence of the Beat Movement gave an aesthetic pleasure from the conventional and stereotyped norms of the society. Jack Kerouac, the American novelist with his work On the Road(1957) initiated the Beat Movement. The open discussion about eroticism stuff was considered to be a taboo, damaging the soul and spirit of mind. In literary world Beat stood as a healer in the early 20th century. The famous writers of the Beat generation were William Burroughs, Allen Ginsberg, Jack Kerouac.

The influence of the Jazz is also found in the poetry of Plilip Larkin. Larkin was also a Jazz reviewer /critic for almost about a decade between 1961 to 1971. Larkin contributed to a daily column in “Daily Telegraph”. Larkin authored a book named All What Jazz: A Record Daily. We can hardly understand the writers well like Langston Hughes, Toni Morrison, Nathaniel Mackey, August Wilson without the jazz

It adopted the syncopated rhythms of jazz music which was associated with the relaxation of social mores, including the consumption of illegal alcohol during prohibition, sexual promiscuity, and drug abuse. The music and the musicians mostly Afro-American were described by its critics as primitive, obscene, and overtly sexual. Many writers including Fitzgerald, Carl Van Vechten, and John Dos Passos, as well as writers of the Harlem Renaissance as Claude McKay, Countee Cullen, Zora Neale Hurston, Langston Hughes, Richard Wright, and Jean Toomer perceived the music as a liberating force against the racial, social, and sexual repression of the American society. These writers were inspired by the spirit of freedom which was the driving force of the prevailing music, the swinging rhythms of the era's Ragtime and Dixieland jazz styles were also freely incorporated into the their poetry and prose. “Protest literature consists of a variety of approaches, from the earliest literary efforts to contemporary times. These include articulating the plight of enslaved persons, challenging the larger white community to change its attitude toward those persons, and providing specific reference points for the nature of the complaints presented. In other words, the intention of protest literature was—and remains—to show inequalities among races and socio-economic groups in America and to