Editing Beat Generation (section)

===French surrealism===
In many ways, [[Surrealism]] was still considered a vital movement in the 1950s. [[Carl Solomon]] introduced the work of French author [[Antonin Artaud]] to Ginsberg, and the poetry of [[André Breton]] had direct influence on Ginsberg's poem ''[[Kaddish (poem)|Kaddish]].''{{Citation needed|date=November 2010}} Rexroth, Ferlinghetti, [[John Ashbery]] and [[Ron Padgett]] translated French poetry. Second-generation Beat [[Ted Joans]] was named "the only Afro-American Surrealist" by Breton.<ref>According to William Lawlor: "André Breton, the founder of surrealism and Joans's {{Sic}} mentor and friend, famously called Joans the 'only Afro-American surrealist' (qtd. by James Miller in _Dictionary of Literary Biography_ 16: 268)", p. 159, ''Beat culture: lifestyles, icons, and impact'', ABC-CLIO, 2005, {{ISBN|1-85109-400-8}}, {{ISBN|978-1-85109-400-4}}. Ted Joans said, "The late André Breton the founder of surrealism said that I was the only Afro-American surrealist and welcomed me to the exclusive surrealist group in Paris", p. 102, ''For Malcolm: poems on the life and the death of Malcolm X'', Dudley Randall and Margaret G. Burroughs, eds, Broadside Press, Detroit, 1967. There is some question about how familiar Breton was with Afro-American literature: "If it is true that the late André Breton, a founder of the surrealist movement, considered Ted Joans the only Afro-American surrealist, he had not read Kaufman; at any rate, Breton had much to learn about Afro-American poetry." Bernard W. Bell, "The Debt to Black Music", ''Black World/Negro Digest'' March 1973, p. 86.</ref>

[[Philip Lamantia]] introduced Surrealist poetry to the original Beats.<ref>Allen Ginsberg commented: "His interest in techniques of surreal composition notoriously antedates mine and surpasses my practice ... I authoritatively declare Lamantia an American original, soothsayer even as Poe, genius in the language of Whitman, native companion and teacher to myself." Allen Ginsberg, Bill Morgan, ''Deliberate Prose: Selected Essays 1952–1995'', p. 442, "Philip Lamantia, Lamantia As Forerunner", HarperCollins, 2001, {{ISBN|9780060930813}}.</ref> The poetry of [[Gregory Corso]] and [[Bob Kaufman]] shows the influence of Surrealist poetry with its dream-like images and its random juxtaposition of dissociated images, and this influence can also be seen in more subtle ways in Ginsberg's poetry. As the legend goes, when meeting French Surrealist [[Marcel Duchamp]], Ginsberg kissed his shoe and Corso cut off his tie.<ref name="Miles, Ginsberg">Miles (2001) ''Ginsberg''.</ref>{{Page needed|date=September 2010}} Other influential French poets for the Beats were [[Guillaume Apollinaire]], [[Arthur Rimbaud]] and [[Charles Baudelaire]].{{Citation needed|date=November 2010}}