Richard Hell, Genesis: Grasp , and the Blank Generation: From Poetry to Punk in New York's Lower East Side

Richard Hell, Genesis: Grasp , and the Blank Generation: From Poetry to Punk in New York's Lower... DANIEL KANE s we read through various interviews with punk rock icon Richard Hell and Hell's own published work as a poet and novelist, we might very well be struck by the way writers including Gerard de Ner´ val, Arthur Rimbaud, Antonin Artaud, Dylan Thomas, and Ted Berrigan appear alongside references to 1960s garage bands like the Count Five or proto-punk groups like the New York Dolls. Such diversity of reference suggests that there might be a connection between Hell's roles in the late sixties and early seventies as a small-magazine publisher and poet and his later contribution to punk in New York, despite Hell's refusal at times to conflate two ostensibly generically distinct art forms.1 As I will argue The unpublished works of Richard Meyers and Richard Hell are quoted here by permission of Richard Hell. 1. As others have noted, Hell "positioned himself on the art/pop boundary. Hell stressed the influence on him `by the twisted French aestheticism of the late 19th century like Rimbaud, Verlaine, Huysmans, Baudelaire.' He even gave an artistic spin to his torn shirt and cropped hair look, soon to be imported to England as the emblem of punk. `There were some http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Contemporary Literature University of Wisconsin Press

Richard Hell, Genesis: Grasp , and the Blank Generation: From Poetry to Punk in New York's Lower East Side

Contemporary Literature, Volume 52 (2) – Sep 4, 2011

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University of Wisconsin Press
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Copyright © University of Wisconsin Press
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1548-9949
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Abstract

DANIEL KANE s we read through various interviews with punk rock icon Richard Hell and Hell's own published work as a poet and novelist, we might very well be struck by the way writers including Gerard de Ner´ val, Arthur Rimbaud, Antonin Artaud, Dylan Thomas, and Ted Berrigan appear alongside references to 1960s garage bands like the Count Five or proto-punk groups like the New York Dolls. Such diversity of reference suggests that there might be a connection between Hell's roles in the late sixties and early seventies as a small-magazine publisher and poet and his later contribution to punk in New York, despite Hell's refusal at times to conflate two ostensibly generically distinct art forms.1 As I will argue The unpublished works of Richard Meyers and Richard Hell are quoted here by permission of Richard Hell. 1. As others have noted, Hell "positioned himself on the art/pop boundary. Hell stressed the influence on him `by the twisted French aestheticism of the late 19th century like Rimbaud, Verlaine, Huysmans, Baudelaire.' He even gave an artistic spin to his torn shirt and cropped hair look, soon to be imported to England as the emblem of punk. `There were some

Journal

Contemporary LiteratureUniversity of Wisconsin Press

Published: Sep 4, 2011

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