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• W184693869 abstract "Capturing Beat Moment: Cultural Politics and Poetics of Presence. Erik Mortensen (Carbondale, IL: Southern Illinois University Press, 2011)Being as Now has been reinvented,I have devised a new nowEntering real NowAt lastWhich is now.- Allen Ginsberg, Bad PoemAccording to thirteenth-century Japanese Zen Master Dogen Zenji, founder of Soto lineage of Zen Buddhism, there are 6,400,099,180 moments in a single day. Each of these moments presents us with an opportunity to realize fleeting impermanence of time's true nature and to practice what Indian Buddhist philosopher-patriarch Nagarjuna calls flux of arising and decaying (Katagiri 3). Since late 1950s, Buddhism's discourse of radical presentism has become a commonplace in West, manifesting itself in a bewildering array of syncretic practices that cohere around ritualized and repetitive act of returning to the fact that we find ourselves, always, in a certain time, in a certain body, living a certain kind of (Cook 53). Increasingly too, postwar Anglo-American critical theory has turned to terrain of everyday, a realm at once familiar, mundane and so transparently obvious as to be scarcely worthy of comment and yet which, paradoxically, appears largely invisible to analytic tools of orthodox academic disciplines such as sociology and ethnography.1 Although traditions of life and Buddhism bring very different modalities to bear on this quotidian ground, both have emerged as powerful counter-narratives to spectacle of global capital's evermore intimate colonization of spaces and moments of our daily lives.All of which serves, I hope, as a useful introduction to central premise of Erik Mortensen's Capturing Beat Moment: Cultural Politics and Poetics of Presence, a theoretically savvy if often unsatisfying study of multiple and ambiguous relationships between Beat writers and their articulations of an evanescent present (1). For Mortensen, Beat project of capturing moment occupies a liminal middle ground between modernist conceits of a subject grounded by embodied experience (yet always trending towards fantasies of Utopian totality), and claims of a postmodern subject teetering on brink of a decentered and dispersed incoherence. In this view, Beats are early-postmodernists, riding the cusp of modern- postmodern split. They stake out a both/and positionality that incorporates modernist conceptions of language derived from corporeality and postmodern desire to transcend that corporeality in favor of new and experimental configurations of experience (8).Contemporary scholarship on Beats, Mortensen reminds us, tends to fall into one of three broad categories; single author study, broader thematic treatment such as Michael Davidson's The San Francisco Renaissance, and cross-disciplinary inquiry exemplified by studies such as Daniel Belgrad's The Culture of Spontaneity. Mortensen includes Capturing Beat Moment within second of these traditions, suggesting that it provides significant payoffs. One of these payoffs is that we get to understand a concept, current in culture at large, gets reworked by a specific group with specific interests (9). He asserts that his critical engagement with an expanded Beat canon represents a break from previous Beat scholarship, and boldly suggests that this approach not only promises to yield a better understanding of Beat moment and its place in postwar literary and cultural history but will likewise allow for a more fruitful conception of how Beat thinking on moment might be utilized for everyday lived existence (10).Each of Mortensen's five chapters revolves around representative thematic examples that are carefully framed within terms he establishes in his introduction. Beat writers exemplify an early-postmodern subjectivity in action and they share both modernist predilection for totalizing grand narratives and postmodern concern with subject-less undecidability and relativism. …" @default.
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• W184693869 date "2012-01-01" @default.
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• W184693869 title "Capturing the Beat Moment: Cultural Politics and the Poetics of Presence" @default.
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