I read this and I must say it's very thick. It's about the life of Julian Beck and The Living Theatre though the eyes of John Tytell. Although John tells the Biographical part of Beck's theatre, he doesn't go into too much detail about the actual performances. My guess would be is that you had to experience them for yourself. It's a very detailed about Beck's intentions, his view of theatre, and why he ripped away the conventions to bring the performers and their audience closer together. For those into theatre it is a must book to have.

As much time as John Tytell has spent with Beat writers and artists, it is understandable that he would return to the topic twenty years after first publishing Naked Angels. That book is one of the best early references on the lives and works of Ginsberg, Kerouac, and Burroughs--fully informed by Tytell's scholarly research and interviews with Beat figures. If there is one criticism of Naked Angels, it is that the book has begun to show its age as more and more important biographical and critical discoveries are made regarding the Beats (for instance, Kerouac's letters and journals--and the publication of Some of the Dharma). With Paradise Outlaws, Tytell has taken the opportunity to update--and in some cases expand on--his work in Naked Angels. The result is something of a companion to the first book, with the Kerouac-Ginsberg-Burroughs sections shortened substantially and the academic tone removed. Tytell compliments this approach with first-hand accounts of his relationships with Beat figures (accompanied by photographs by his wife, Mellon). By doing this, he has created a personal book, a "My Life With and Studying the Beats." It is a unique perspective that stands out in the current glut of Beat books.

Tytell's first-person, casual writing gives Paradise Outlaws the feel of a conversation more than a lecture. With this in mind, the book should not be read as a critical study of the Beats, rather as an oral history. (Tytell even recommends Jack's Book: an oral biography by Barry Gifford and Lawrence Lee to reinforce his approach.) While it seems, at times, that Tytell and Mellon tossed in photographs for no reason and tried to make them fit with the Beat theme, it's hard to find fault considering the book is based on Tytell's own experiences and opinions. Who's to argue if he thinks the "Rainbow Family" is a descendent of Beat culture?

Finally, Tytell concludes the book with a fantastic section on pedagogy. References to and recommendations of source material from a Beat student with the experience and knowledge of Tytell should be taken seriously. My only complaint is that his final section--the Beats influence on pop culture--is typically narrow. All the allusions to punk music reminded me of The Rolling Stone Book of the Beats. Tytell, of all people, should give the Beats more credit for their influence and dig a little deeper into the social fabric to find the true cultural legacy of the Beats. But this is a small criticism of a book that belongs on the shelf of any person who has found themselves captured by the humanity and personal nature of the Beats. Tytell's book would make his Beat friends proud.

The good thing about this book is that it's neither a thick boring pedantic tome, nor a fluffy coffeetable picture book. The photographs are personal and real like a family album with a great photographer in the house. And then there's the text which I liked because even though I'm pretty familiar with the subject matter, Tytell's one of those encyclopedic professor types that can retain all these different facts at once and then weave them in together. Like that Larry Rivers lived on West 21st, and would hear Bill Cannastra's parties on West 20th and go over, and that's where Rivers joined up with Jack and Allen for the first time - in the very apt. where Jack would soon write On The Road. There are all of these interesting little details sprinkled in with a friendly big picture take, coincidently framed by all the pictures Mellon took. There's Cherry Valley in the 70's, Boulder in 82, and NYC in the mid-to-late-90's that really gives you a great perspective on the gang growing up. Yeah - perspective - that's what this has - great perspective! Read on!

The Beats are usually regarded as a back-to-the-earth clan of literary geniuses, but somehow mystically detached from mainstream humanity. Most studies of the Beats treat them as a dying species, certainly on the endangered list, in the style of a distant scientific treatise. Because he knew them as friends, John Tytell has studied the Beats and written many intriguing books that attempt to capture their inner nature, as well as their literary impact. His latest work, "Paradise Outlaws: Remembering the Beats," continues the tradition, but his style is even more congenial that in his previous books, probably because has seen many of his friends pass on, touching a sense of nostalgia. John wife, the noted photographer Mellon, has added delightful selections from her extensive photographic portfolio of the Beats. Her photographs are as intimate and revealing of the inner human nature of the Beats as John's words, and together they portray the Beats as an unusual fraternity who relish living outside the mainstream, but who at the end of the day have their own set of simple human emotions, feelings, and drives. After reading "Paradise Outlaws," I felt I knew the Beats just a little better as tender people, not towering icons. Mellon's photographs painted real faces on those often gentle people, yet intense through their work. Her photographs, along with John's humane words, left me with fond remembrances of new friends--real people, not lifeless participants in a museum diorama.

Published over twenty years ago, Naked Angels still holds up as a thorough critical study of the works of Ginsberg, Burroughs, and Kerouac. The first section deals mainly in biography, but it seeks to explain why each of the writers explored certain topics and how their experiences shaped their styles. However, if you have studied these three in a biographical sense, the information presented here will not be new to you.

The second section covers the works of the three writers. While there is certainly a wealth of sources that give critical insights into Beat writing, this section brings them together into an often detailed, more often general study of Beat themes, styles, and voices. The Ginsberg section is particularly detailed in its analysis of Ginsberg's long lines and mysticism. Though Kerouac and Burroughs receive their share of treatment, the Burroughs section lacks the further illumination provided by Burroughs over the last twenty years of his life. And the Kerouac section hits only the high points, simply because it would be too difficult to cover every aspect of this prolific writer's work in a mere 70 pages.

This book is a solid overview of the core Beats and their seminal works. Its age shows at times, but it's worth a read as a well-written and well-thought treatment of Beat literature.

Tytell gives an excellent insight into the founding members of the Beat movement. He shows the backgrounds and the motivations of one of the most innovative literary movements in the 20th century. I would strongly recomend this for anyone , especially if they are just starting to explore this group of writers.

Tytell's book Naked Angels is divided into three sections, one each for Jack Kerouac, A. Ginsberg, and William Burroughs. Each section can be read independently of the others, for those just interested in one writer.

I was most interested in the chapter on Burroughs, and here is an appraisal:

A short introductory chapter on Burroughs gives biographical background. The Burroughs section of Naked Angels is entitled "The Black Beauty of William Burroughs," and is a 29-page exploration of Burroughs' writing, with useful comparisons to other writers, such as Poe, Baudelaire, and Nabokov. Tytell analyzes the work Burroughs published from 1953-1973, omitting or including only the slightest references to minor works. Early works which went unpublished for years, such as Queer and Interzone, are not discussed. The book has an index and bibliography. Tytell's book is not wholly given over to Burroughs, but as an introduction to the writer, it serves as well as any other.

If you have read the section on Naked Angels dealing with Burroughs, and you are eager for a more complete investigation of his life, turn to Ted Morgan's book LITERARY OUTLAW, which I believe to be the most thorough and fascinating biography of Burroughs.

ken32