Abstract
Abstract The review-essay considers Capturing the Beat Moment: Cultural Politics and the Poetics of Presence, by Erik Mortenson, as a vehicle not only to assess Mortenson's text but also to explore the current state of the field of Beat studies. Specifically, this review-essay addresses the roles of graduate programs, the early reputation of Beat writers as nonacademic no-nothings, the quality of seminal studies of Beat literature, and the popular and academic publishing worlds—all of which have contributed to an erosion of scholarly standards in the field.
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