ruth weiss (beat poet)

Weiss came from a climate of political turmoil. Born to a Jewish family in the tumultuous years of the rise of Nazism, her early childhood was spent fleeing her home with her parents. Their bid for survival took them from their home of Berlin to Vienna and eventually to the Netherlands, whereby weiss and her parents left for the United States. In 1939, they arrived in New York City and, from there, moved on to Chicago. She excelled academically at school in Chicago, graduating in the top 1% of her class. However, in 1946 the family moved back to Germany, this time not as German citizens but as American citizens, as her parents worked for the Army of Occupation. She went on to school in Switzerland and spent much time hitchhiking and writing - two skills that would prove pivotal to her future in the American Bohemian Beat scene.[2] In 1948, weiss and her parents moved back to the United States, resettling in Chicago.

Weiss left home in 1949, at first staying in Chicago where she moved into the Art Circle - a housing community for artists. It was in this community that she began experimenting with poetry and jazz. In 1950, she left Chicago and hitchhiked to Greenwich Village in New York City, then later in 1950 moved to the Old French Quarter in New Orleans.[3] In 1952 she decided to move to San Francisco, where she began jamming and reading poetry with street musicians. In 1956, her friends Jack Minger, Sonny Nelson and Wil Carlson, opened a club called The Cellar, in which she would hold poetry and jazz sessions every Wednesday night.[4] Eventually, weiss felt that she needed a break from city life and took off for California's Big Sur, a place made famous as a Beat center due to Jack Kerouac's novel of the same name. In Breaking the Rule of Cool: Interviewing and Reading Women Beat Writers, weiss details the events at The Cellar following her departure. In regards to the poetry-jazz sessions, she tells her interviewer, "...other well-known poets, whose names I'm not going to mention because everyone knows them, ended up doing the same thing. Only they were very smart. They recorded them and got records out of them. So nobody knows that I did this, innovate jazz and poetry in San Francisco in 1956 at The Cellar."[4] During this period in her life, she also began publishing proliferously in the magazine Beatitude, one of the first magazines for Beat writers.[5]

In 1952, weiss and Jack Kerouac had, in her words, a "fantastic connection on multiple levels."[6] It was two years after Kerouac had published his first novel, The Town and the City, though weiss did not yet know that he had written and published a book.[6] Instead, weiss and Kerouac engaged in a "haiku dialogue," spending hours over a bottle of wine writing haiku back and forth to one another. Occasionally Neal Cassady would drop in and the three of them would drive off, adventuring outwards in California at dangerous speeds up dangerous hills, thriving on the excitement of the ride and one another's presence.[6]

In 1957, weiss started a "salon kind of situation" in her apartment, creating a gathering space for poets and writers to read and discuss their works.[7] It was also in that year that she married her first husband, Mel Weitsman, who later became a Zen priest. Two years later in 1959, weiss published her poetry collection Gallery of Women, paying homage to the female poets whom she most admired by painting their portraits through her jazz-inspired poetry.[5]

In 1961, weiss finished her narrative poem "The Brink." Upon reviewing her poem, the painter Paul Beattie asked if weiss could turn it into a film script, a request which she willingly obliged. By 1961, weiss had finished her creation and filming of The Brink, incorporating "found objects" into her style and philosophy towards the film.[8]

However, Desert Journal is the work that weiss herself described as her masterpiece and her most significant work to-date. The piece is an exploration of a mind in a desert. The poem's subject spends 40 days and nights in a desert and each day of the desert is limited to a poem of five pages, each day being its own poem within the greater whole. Every day, the gender-warping subject of the poem has a new area of exploration and revelation, and the poem brings the reader through the highs and lows, the turmoil and peace, that the disembodied protagonist transverses. She began writing this poem in 1961 and spent seven years on it, not completing it until 1968. It was published in 1977.[9] She described this poem, like the bulk of her work, as a performance piece, a piece whose meaning she can fully express only through enacting it.[10]

She asserted that, during the 1960s, she began spelling her name solely in lower case as a symbolic protest against "law and order", since in her birthplace of Germany all nouns are spelled capitalized.[11]

In 1967, weiss met the artist Paul Blake (1945-2014), who became her longtime companion and collaborator.[12]

In 1990, weiss won the Bay Area poetry slam and consequently released recordings of her poetry performance, entitled Poetry & Allthatjazz. [13]

In 1996, weiss' film The Brink was screened at the Whitney Museum.[5]

She has published many poems and anthologies in recent years, including Full Circle/Ein Kreis vollendet sich (2002), a reflection on her escape from Nazi Germany. Her work also had a three-month exhibition at the San Francisco Public Library.[5]

She continued to perform live in North Beach and at many jazz and poetry festivals, including appearances at the San Francisco Beat Festival in 2016.

An award winning feature documentary has been made about her life story called "ruth weiss, the beat goddess" directed by Melody C. Miller and produced by Elisabeth P. Montgomery.[14][15] The film premiered at the Asolo Art Film Festival in Italy and won Best Documentary at the Peekskill Film Festival in New York.[16][17][18][19] She was awarded the 2020 Maverick Spirit Award from the Cinequest Film Festival.[20] This prestigious award is given to influential individuals who embody the independent and innovative mindset and has previously been awarded to Werner Herzog, Harrison Ford, Jackie Chan, and many more.[21]

On July 31, 2020, weiss died at her home in Albion, California.[22][23]

• Steps (1958)
• Gallery of Women (1959)
• South Pacific (1959)
• Blue in Green (1960)
• Light and Other Poems (1976)
• Desert Journal (1977, new edition 2012 by Trembling Pillow Press)
• Single Out (1978)
• 13 Haiku (1986)
• For These Women of the Beat (1997)
• A New View of Matter / Nový pohled na věc (1999)
• Full Circle / Ein Kreis vollendet sich (2002)
• Africa (2003)
• White is All Colors / Weiß ist alle Farben (2004)
• No Dancing Aloud / Lautes Tanzen nicht erlaubt (2006)
• Can't Stop the Beat: The Life and Words of a Beat Poet (2011)
• A Fool's Journey / Die Reise des Narren (2012)
• A Parallel Planet of People and Places (2012)
• Einen Schritt weiter im Westen ist die See [One More Step West is the Sea] (2012)
• The Snake Sez Yesssss / Die Schlange sagt Jetzzzzzt (2013)

• Beatitude Anthology (1960)
• Peace & Pieces. An Anthology of Contemporary American Poetry (1973)
• This is Women's Work. An Anthology of Prose and Poetry (1974)
• Contemporary Fiction: Today's Outstanding Writers (1976)
• 19+1: An Anthology of San Francisco Poetry (1978)
• Second Coming Anthology (1984)
• A Different Beat: Writings by Women of the Beat Generation (1997)
• The Outlaw Bible of American Poetry (1999)
• Beat Attitude: Antología de mujeres poetas de la generación beat (2015)
• Beat Attitude: Femmes poètes de la Beat Generation (2018)
• Austrian Beat (2018)

• The Brink (1961)
• The Liberation of the Mannique Mechanique (1967), dir. Steven Arnold
• Messages, Messages (1968), dir. Steven Arnold
• Various Incantations of a Tibetan Seamstress (1969), dir. Steven Arnold
• Luminous Procuress (1971), dir. Steven Arnold
• Las Cuevas de Albion (2001)
• Ibéria (2007), dir. Eddy Falconer

• The Brink (1961)

• Surprise Voyage (2001), dir. Paul Blake
• Breaking the Rules: Across American Counterculture (2006), dir. Marco Müller
• ruth weiss Meets Her Prometheus (2007), dir. Frederick Baker
• San Francisco's Wild History Groove: Underground Artists and Poets from the California Beat Era (2011), dir. Mary Kerr
• Steven Arnold: Heavenly Bodies (2019), dir. Vishnu Dass
• ruth weiss, the beat goddess (2019), dir. Melody C. Miller [27]