Fred Master

Title:
Pre-reading Activity for On the Road Utilizing the History of the Beat Generation
Prior Academic Learning:
Students have no prior academic learning on the subject of the Beat Generation or the novel On the Road.
They have had experience utilizing non-fiction informative texts in order to gain background information for
further reading.
Misconceptions:
Misconceptions that could occur would be students not properly applying the word Beat correctly in
congruence with the Beat Generation. Additionally, the characteristics of the time and the people can be
mixed up by the students when applying what they have learned to later assignments and the reading.
Linkages among prior knowledge, current lesson, and future lessons:
This lesson links to students prior knowledge by channeling students ability to read informational texts to
learn about a subject and apply it to further reading and assignments. This lesson serves to teach the students
about the context of the times in which the novel was written and the influences for the novel. Additionally, it
provides background knowledge on the types of characters depicted within the novel. For future lessons, this
will provide context for the students as they continue to read the novel and understand the dynamics of
people and the communities in which they are a part of. This aids in allowing the students to apply what they
know about people, their communities, and their influences when they engage in their final projects.
Objectives:
By the end of this lesson students will have a thorough understanding of the who, what, when, where, and
why of the Beat Generation.
By the end of this lesson students will have developed a working definition of the word Beat to accompany
their reading of On the Road.
Key Vocabulary:
Beat Generation, Beat, Experience
Academic Language:
Analysis, Determined, Support, Discuss, Impacted, Influenced
Materials:
Article on the Beat Generation, Who? What? When? Where? Why? Worksheet, YouTube jazz video, blank
sheet of paper, writing utensil.
Preparation:
Have copies of the article and worksheet ready to be distributed, have the word Beat written on the board,
and have YouTube jazz video queued on computer.
Procedures:
1) Students come in and I direct them to take out a sheet of paper. (2 min)
2) I will direct students to look at the board where I have written the word Beat and I will then ask them to
write down every meaning of the word that they can think of. (3 min)

3) Students will then have the opportunity to share their meanings and I will write them on the board as they
tell them to me. (5 min)
4) I will then present the question so if this is what we think Beat means, then what is the Beat
Generation?; we will have a small discussion where we work as class to try and answer the question based on
their provided meanings. (3 min)
5) I then introduce the note-taking aid worksheet Who? What? When? Where? Why?, as well as the article
that they will read and analyze in conjunction with the worksheet. (2 min)
6) I begin reading the first paragraph of the article and model process of stopping and utilizing the note-taking
worksheet. Students finish analyzing rest of article on their own. (Playing jazz in the background as they do so)
(15 min)
7) After students finish reading and filling out their worksheet, I will then ask them to team up with a partner
to go through the worksheet and share one item that they learned about the Beat Generation for each
question. (10 min)
8) As time is beginning to run out, I will transition the students back to their individual work areas. I will ask
them to take out the same sheet of paper that they started with at the beginning of class and look at their
prior meanings for Beat. After, I will have the students write a short paragraph (at least 6 sentences) on
what they think Beat means now and providing their reasoning based on their analysis of the article and
discussion with their peers. (9 min)
9) Papers and note-taking worksheets are collected and I will check for completion, but return back to the
students so they can see if their definitions and understandings will develop or change over the course of the
unit. (1 min)
Discussion Ideas
What are different definitions for Beat that you have? Why?
What is the significance of the word Beat?
What influenced the start of the Beat Generation?
Planned Instructional Supports:
Personal/cultural/community assets:
This lesson is differentiated to suit the needs of my students based on their personal strengths of
learning; I have provided individual, whole-class, and partner work that speaks to all types of learning within
the classroom. Students may not have been exposed to this part of history and culture, but there are certain
aspects that they can relate to that these writers and artists did, i.e. their love for music, comradery, and need
for adventure. Additionally, students have a way to exercise their skills sufficiently by having a balanced
amount of reading, writing, and speaking.
Grouping strategies:
Since there are 29 students in the classroom, when it comes time to pair up there will be 13 groups of
two and one group of three. I allow the students to choose who they want to work with to ensure that every
student has the least amount of stressors that will deter them from working well; although, I do hold them to
respect the privilege of being able to choose their partners and if they choose to abuse the privilege I would
begin to assign partners. The students will rely on one another to aid the other if someone is struggling, but I
will also be available to aid if needed.
Overview of instructional support language & special education accommodations:
To support my students who are ELL Spanish speakers and my students who utilize mainly AfricanAmerican Vernacular English (AAVE) I will allow them to converse within their groups in the form that allows
for them to express their ideas most clearly to their peers. Additionally, for the writing portions of the lesson,
the students will not be graded for grammar or accuracy; I want them to express their ideas as freely as
possible without being restricted because of language barriers. For my student who is on the Autism
spectrum, he will have a partner picked out before the class begins that he feels most comfortable working

with and to reduce the stress of having to find a partner when it is time to transition. His group will also have
the option of conversing in alternate ways, such as silent written conversations if he feels more inclined to
participate in this way.
Language Accommodations:
I will not require students who utilize AAVE to alter their language within group discussions by avoiding
gentrified and structured English. This will allow them to conceptualize the material better and understand
the context of the information through their own lens of understanding and perspective. It is important to
note, as Alim does, that many well-meaning teachers and scholarsare under the assumption that BL is a
monostyle, i.e., that BL can be described as one style of speaking that is identifiably black (Alim). Students
are aware of style shifting and know that certain language is more appropriate. If I allow my students to think
and organize in their own language, then they will more easily be able to put the finished product in standard
English later on.
The ELL Spanish speaking students will be allowed to use the language that feels most comfortable for them
during group work in order to allow them to express their ideas most thoroughly. It is important to hear these
students voices as well, because they bring their own viewpoints and experiences to the classroom. This is
elaborated in Guidelines for ELA Instructional Materials Development from Stanford University: they do
bring a range of linguistic resourcesthat can be used to engage deeply with the kinds of instruction called
forEffective instruction for ELLs capitalizes on students resources in order to facilitate access to the
standardspromotes the continued expansion of ELLs linguistic repertoires (Guidelines for ELA
Instructional Materials Development). This implementation will help the ELL students practice and expand
their command on the language, while helping the non-ELL expand their experience with cultures other than
their own. They will be challenged and encourage to practice using English, but slight deviations in dialect and
language will never be held against them. Additionally, their writing will not be graded for grammar or
spelling at this time.
Special Education Accommodations:
For my student with Autism, I will first consult with his IEP to determine specifically what is required for him
within the classroom. After consulting his IEP I would also refer to standard practices that are often followed
when working with students who have Autism, as suggested by Colorado State Universitys Dr. Temple
Grandin. Dr. Grandin suggests limiting verbal instructions as the student can have issues remember the
sequence. To combat this I can provide a visual schedule of what we are doing that particular day in class. It is
also important to limit stressors, such as loud noises and quick shifts from activity to activity. Familiarity is
also important to maintain for the student. By having a partner selected before class, the transition into group
work will flow much more fluidly. If an aid is available for the student, I will work with them to ensure the best
strategies for the student are followed. (Grandin)
Assessments:
Alignment with each objective:
The completion of the note-taking worksheet Who? What? When? Where? Why? will act as a formal
assessment of measuring my students understanding of the Beat Generation. This would be assessed for
both completion and accuracy based on support from the article. The paper with their definitions will be
collected and assessed for completion and effort based on how their definitions developed with new
information that they have garnered through the lesson. I will also informally assess their conversations with
peers in their small groups.
Evidence of student understanding:
Student understanding will be exhibited in their answers on the note-taking worksheet by having
coherent answers that utilize the information found in the article to provide backing evidence. Additionally,

by informally assessing students as I walk around the room listening to their conversations within small
groups. If they are able to express the key points of the article in their own words, then I can ensure thorough
understanding. A developed definition of the word Beat in paragraph form at the end class will demonstrate
critical thinking and changing ideas based on newly gained knowledge.
Student feedback:
Students will receive immediate feedback during whole-class discussions, which includes positive
reinforcement and encouragement to further develop thoughts. Additionally, students will receive feedback
on the work they submit that follows the guidelines of positive reinforcement and encouragement for
improvement or development.
Extension Ideas:
This lesson could be extended, if time allowed, by having students share their new definitions of Beat after
working to read the Beat Generation article and complete the note-taking worksheet. We could then discuss
and provide counter arguments or suggestions that lead to more dynamic thoughts on the subject.
References:
Alim, H. Samy. "Hearing What's Not Said and Missing What Is: Black Language in White Public
Space." Intercultural Discourse and Communication: The Essential Readings. Ed. Scott Kiesling and
Christina Paulson. Malden, MA: Blackwell Pub., 2005. 194. Print.
Grandin, Temple. "Teaching Tips for Children and Adults with Autism." Indiana Institute on Disability and
Community. Indiana University, Dec. 2002. Web. 04 Dec. 2014.
<http://www.iidc.indiana.edu/?pageId=601>.
Guidelines for ELA Instructional Materials Development. Rep. Stanford University, 24 Nov.
2012. Web. 15
Sept. 2014.
<http://ell.stanford.edu/sites/default/files/Guidelines%20for%20ELA%20Instructional%20Materials%2
0Development.pdf>.
Illinois Professional Teaching Standards
Knowledge Indicator:
The competent teacher understands principles and techniques, along with advantages and limitations,
associated with a wide range of evidence-based instructional practices. This standard is exemplified in my
lesson plan by differentiating instruction for my students by integrating discussion and the reading of a nonfiction article to base discussion around. Through discussion my students are able to discern which
components of the article are useful to our study and which are not.
Performance Indicator:
The competent teacher uses multiple teaching strategies, including adjusted pacing and flexible
grouping, to engage students in active learning opportunities that promote the development of critical and
creative thinking, problem-solving, and performance capabilities. This standard is exemplified in my lesson
plan by the utilization of reading, writing, and discussion, both in small group and whole class scenarios. The
differentiation of activities allows for students to excel and practice what they have learned in the way that is
most beneficial to them in allowing them to express what they have learned.
Common Core English Language Arts Standards:
CC.9-10.SL.1 Comprehension and Collaboration: Initiate and participate effectively in a range of collaborative
discussions (one-on-one, in groups, and teacher-led) with diverse partners on grades 910 topics, texts, and
issues, building on others ideas and expressing their own clearly and persuasively. This standard is

represented in my lesson plan by having my students participate in discussions that include the whole class
and small groups. In these discussions they will use their own prior knowledge and experience the knowledge
they attain from the reading of the Beat Generation article.
CC.9-10.L.4.a Vocabulary Acquisition and Use: Use context (e.g., the overall meaning of a sentence, paragraph,
or text; a words position or function in a sentence) as a clue to the meaning of a word or phrase. This
standard is represented in my lesson plan by having students utilize the history of the Beat Generation to
generate their own definition of the word Beat. By utilizing the descriptive words of the article students can
begin to develop a sense of what the word Beat means and how it was utilized to describe this group.

Name:__________________________________________
The Beat Generation: Who? What? When? Where? Why?

Who was part of the Beat Generation?

What was the Beat Generation?

When was the Beat Generation?

Where did the Beat Generation function?

Why was there a Beat Generation?

The Beat Generation

online-literature.com /periods/beat.php
In American in the 1950s, a new cultural and literary movement staked its claim on the nations consciousness.
The Beat Generation was never a large movement in terms of sheer numbers, but in influence and cultural status
they were more visible than any other competing aesthetic. The years immediately after the Second World War
saw a wholesale reappraisal of the conventional structures of society. Just as the postwar economic boom was
taking hold, students in universities were beginning to question the rampant materialism of their society. The Beat
Generation was a product of this questioning. They saw runaway capitalism as destructive to the human spirit
and antithetical to social equality. In addition to their dissatisfaction with consumer culture, the Beats railed
against the stifling prudery of their parents generation. The taboos against frank discussions of sexuality were
seen as unhealthy and possibly damaging to the psyche. In the world of literature and art, the Beats stood in
opposition to the clean, almost antiseptic formalism of the early twentieth century Modernists. They fashioned a
literature that was more bold, straightforward, and expressive than anything that had come before. Underground
music styles like jazz were especially evocative for Beat writers, while threatening and sinister to the
establishment. To many, the artistic productions of the Beats crossed the line into pornography and therefore
merited censorship. Some dismissed the Beat Generations literature as mere provocation a means to get
attention, not serious art. Time has proven that the cultural impact of the Beat writers was far from short-lived, as
the influence of their work continues to be widespread.
The founders of the Beat Generation met at Columbia University in the early 1940s. Jack Kerouac and Allen
Ginsberg formed the core of this initial group, and they would remain bulwarks of the Beat sensibility for years to
come. Lucien Carr, John Clellon Holmes, and Neal Cassidy were also original members of this coterie, though
their clout was somewhat less than the others. Gregory Corso was a first wave Beat poet who Ginsberg met a
bar. For the Beat Generation, the shadowy underside of society could harbor every bit as much creative genius as
the gilded halls of the academy. Despite their anti-establishment and anti- academy pretentions, the Beats were
all well-educated and generally from middle class backgrounds. It was Kerouac who coined the term Beat
Generation, and the name stuck. William S. Burroughs was another original Beat writer, though slightly older and
more experienced than his contemporaries. Burroughs was found unfit to serve in the Army during World War II,
and had spent several years wandering and doing odd jobs. It was pure serendipity that he and Kerouac and
Ginsberg would enter each others orbit, for their creative interchanges marked the true beginning of Beat
literature.
The Beat Generation pulled from a variety of source materials to construct their particular vision of literature and
culture. Several of the originators claim Romantic poets as major influences on their work. Percy Bysshe Shelley
and William Blake are often cited as especially influential on the development of the Beat aesthetic. Interspersed
with their Romantic influences were surrealist and absurdist tendencies. At the same time, the American
Transcendental Movement of the nineteenth century was a powerful inspiration for the confrontational politics of
the Beats. Henry David Thoreau was particularly revered as a symbol of protest. It was the Beats, in fact, who
played a large role in rehabilitating Thoreaus reputation and elevating Walden to the status that it holds today.
Conversely, the artistic production of the American Modernists was in many ways reviled by the Beats. The neoclassical formalism of T. S. Eliot was rejected as too much removed from real life and experience. Eliot embraced
his status as an academic, while to the Beat Generation he was simply one more elitist with pretentions of
grandeur.
The elder statesman of the Beat Generation was the poet Lawrence Ferlinghetti. A son of immigrants, Ferlinghetti
was a Navy veteran who worked with resistance movements during World War II. He settled in

San Francisco after the war, where he opened the City Lights Bookstore. City Lights quickly become a hub of
Beat Generation literati. Around the same time, Ferlinghetti also entered the publishing industry, bringing both
lesser-known and established poets to the mainstream. In his own poetry, Ferlinghetti displayed a jazz-inspired
rhythm and improvisational spirit. Much like the work of E. E. Cummings, his lines seemed almost thrown on the
page, though underneath the seeming disorganization was careful planning and a deliberate effect. Ferlinghetti
was known for his combination of humor and darkness, a perfect reflection of the state of America and the world
at mid-century. He saw the decadence and prudery of American culture, and the destructive potential of
capitalism gone awry, but his first response was to laugh at the absurdity of it all. Ferlinghettis poetry, therefore, is
less firmly rooted in the Beat aesthetic from which it sprang. His humor and humanity make his art more timeless,
not as weighed down by the historical moment.
The publication of Allen Ginsbergs Howl in 1956 marks a turning point in the history of Beat literature, not to
mention American literature in general. The long-form poem is intended to be read aloud, almost chanted, a sort
of return to an oral tradition that had been neglected in literature for a long time. The content of the poem raised
eyebrows, and sparked an obscenity trial which challenged the definition of pornography in America. Ginsberg
won, and the judgment more or less ensured that poetry and fiction would from then on be immune to the kind of
censorship that still plagued other genres of art. With Howl, Ginsberg takes the reader/listener on a tour of the
underside of America. There are drug-addicts, drifters, prostitutes, and swindlers. There is a visceral rage against
the system that requires conformity and selling- out. Foul language and slang are common throughout the work,
as well as drug use and criminality. All of these things were shocking to the 1950s establishment. But for
Ginsberg, he was simply following the path of his inspiration. He cited Walt Whitman as one of his greatest
influences, and one can certainly hear echoes of Whitmans primitivism throughout Ginsbergs corpus of work.
As the frantic exuberance of the 1950s gave way to the chaos of the 1960s, Allen Ginsberg moderated his
poetics a great deal. His work was always an expression of his inner turmoil and quest for meaning. As his life
came more into focus, the energies that fueled a production like Howl were no longer there. No one has
suggested that Ginsberg lost his edge, but rather that his work became more mature, less explosive. He spent
much of his time from the sixties onward as a visiting scholar at numerous universities. The very establishment
that he turned his back on welcomed him into the fold with open arms an ironic twist that led some to question
his integrity. However, one of Ginsbergs pleasures in life was to be an instructor and mentor to others. On the
advice of several spiritual gurus, he left drug experimentation behind and instead looked to other people for
fulfillment. Instilling the next generation with his passion and belief in the human spirit was for Ginsberg the best
way to be an effective prophet-poet in the tradition of his idol, Walt Whitman.
No Beat Generation novelist garnered more attention and adulation than Jack Kerouac, and none of their
personal lives were more filled with conflict, confusion and crippling depression. Eventually dying from his
alcoholism, Kerouac was never happy with the position that he attained as the de facto spokesperson for his
generation. He was reportedly quite shy, and had a difficult time with the rejection that he faced early in his
career. His single greatest success was On the Road, a philosophical travel narrative which blends stream of
consciousness, drug visions, and profound observations into a generational statement that resonates to this day.
The book made him immediately famous. Even his Beat Generation cohorts were rather taken aback with the
creativity and passion which emanated from the quiet Kerouac. In addition to novels and philosophy, he wrote a
great deal about the craft of fiction, or at least his version of that craft. Kerouacs half-brilliant, halfincomprehensible meditations on the work of making literature are windows into the Beat consciousness. Inside,
one finds great potential often hampered by disarray, and an unquenchable idealism which crashes hard against
the bitter reality of American consumer culture. In a sense, Jack Kerouac was the most fragile of all the Beat
Generation writers. He succumbed to the pressure of fame and attention. While Ginsberg deflected the weight of
expectation, Kerouac carried it

on his shoulders, and it eventually crushed him.

If William S. Burroughs had produced nothing else of note besides Naked Lunch, he would still be considered one
of the preeminent Beat writers. Perhaps more than his contemporaries, Burroughs embodied the spirit of reckless
abandon for which the Beat Generation was known. In Mexico City, on a drunken spree, Burroughs accidentally
shot his first wife Jane Vollmer in the head. The only reason he was in Mexico was to avoid possible
imprisonment in the United States. The near savagery of his life would naturally carry over into his artistic efforts.
His greatest contribution to literary technique was what he called the cut-up, a form which borrowed more from
collage and cubism than traditional linear narrative. The blatant disregard for narrative effectively mirrored
Burroughs mental state, as he forever struggled with alcohol and drug addictions. Naked Lunch is a difficult and
sometimes terrifying novel to engage with, though readers continue to be drawn to in for its style, use of
language, and innovation.
Criticism of the Beat Generations aesthetics and behavior came from many corners of society. The academic
community derided the Beats as anti-intellectual and unrefined. Mainstream America was horrified by their
supposed sexual deviancy and illicit drug use. Established poets and novelists looked down upon the
freewheeling abandon of Beat literature. Politicians such as Joseph McCarthy identified elements of Beat ideology
as Communist and a threat to the nations security. The Beat Generation effectively absorbed all of these barbs
without disintegrating. However, their relatively short time in the spotlight of literature and culture could be
attributed to the amount of scorn heaped upon them. The original coinage of Beat was meant to imply a people
beaten down and walked over, and in the early 1950s that interpretation was very apt.
The Beat Generation made a lasting impact on the structure of modern American society. With Ginsbergs Howl,
the notion of what was acceptable literature was broadened immensely. Censorship as a force for modulating
public discourse, in the realm of literature at least, came to an end. Perhaps more importantly, the Beats
propelled discussions of ecology and environmentalism into the mainstream. Before the 1950s, environmentalism
as it is understood today did not really exist. The Beat Generations infatuation with Native American and Eastern
philosophies contributed to the genesis of modern environmental ethics, at least as a byproduct. Modern poetry
underwent a relaxation of structure and style that basically allowed for anyone to express themselves in whatever
fashion they chose. Experimentation became an expectation, as the stuffy formalism of the Moderns was wholly
subverted.
The Beat Generation faded from view as quickly as it appeared. Quickly stepping into the void were the beatniks.
Despite the similar sounding names, the beatniks had very little in common with the Beats. Instead of a
movement and an ideology, the beatniks represented little more than a fashion. Specifically, the beatnik was the
laid-back, poetry reading goateed man, usually dressed in black. It is possible that this fashion was the result of
societys consumption and regurgitation of the Beat Generation aesthetic. If thats the case, then the Beat writers
were consumed and commodified by the very culture they sought to undermine. The hippie movement of the
1960s also owes a great debt to the Beats, though probably the Beats would not be quick to own that claim. The
counterculture hippies generally lacked the intellectual backing that the Beats earned in the 1940s. In order to
rebel and change a system, one must have some knowledge of the inner workings of that system. The Beat
Generation was more educated and sophisticated than they seemed at first glance. Their artistic rebellion was
calculated, and informed with an understanding of what came before them.
This article is copyrighted &copy 2011 by Jalic Inc. Do not reprint it without permission. Written by Josh Rahn.
Josh holds a Masters degree in English Literature from Morehead State University, and a Masters degree in
Library Science from the University of Kentucky.

Major Writers of the Beat Generation

Ginsberg, Allen (1926-197)

Kerouac, Jack (1922-1969) Burroughs, William S. (19141997) Corso, Gregory (1930-2001)
Ferlinghetti, Lawrence (1919-)
Cassady, Neal (1926-1968)
Solomon, Carl (1928-1993) Holmes, John Clellon (19261988) Johnson, Joyce (1935-)
Kesey, Ken (1935-2001)
Brautigan, Richard (1935-1984)
Snyder, Gary (1930-)