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Like all bitter debates, the fight over the role of women in the Beat Generation seems lost in bullshit and rhetoric.
History tells us they stood on the sidelines and cheered their men on, and then presumably settled down into conformity.
For men, such humiliation resulted in being cut lose, thrown out of the family, forced to take the Beatnik kick on the road.
But for the women it meant mental hospitals, electro-shock treatment and being locked up at home and force fed conservative values. Perhaps there really weren’t that many great female poets in the movement.
Cassady headed for Los Angeles and a career in Hollywood costume design, but found herself briefly in San Francisco.
Neal appeared, having divorced Luanne, and on 31 March 1948, they were married.
Perhaps it is because the feminists that followed in the decades to come would deem women to be a valuable part of society, whereas the Beats, male and female, had little interest in playing any active role in society.
It looks as though Cassady was the 50s equivalent of the rich & famous trophy wives of today’s sports stars and musicians.
The feminists and advocates of female writers will tell us that the women were the inspiration behind the men’s work, and wrote the best works themselves.
As usual, the truth lies somewhere in between, and perhaps nowhere at all.
Although she was raised by a strict and overbearing family that envisioned her as the typical domesticated housewife, they also valued education and Cassady was allowed to learn, unlike many less fortunate women.
However, her interests lay more in the arts and creativity than any of which her parents would approve.
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One could not, for example, claim that the men were all brilliant writers and equally appreciated by the popular literary community. To seek truth, we must look at a few of the female writers, their lives and works, and analyse them as individuals, before considering judging their collective output and worth.