Reading, Speaking, and Writing Beat
The following is a Beat story, not a poem. It is in the book "Beat Poetry of Nash Benedict: Lost In The Matrix" and was written as a story without the line breaks and transformed into a Beat story with a rhythm. Beat is a style of writing that can transform any story into a Beat, a rhythmic version of what is written.
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This story is transformed into an extreme rhythmic beat by using numerous line breaks. This has been done intentionally, to be used as a training tool, for the readers who are interested in reading and speaking Beat and for those who would like to learn how to write Beat. This will be used as a training tool in a paid course on Beat Poetry Composition. For now, you can read it for free and study this example of how to develop a rhythmic beat in your speaking and writing of Beat poetry and stories.
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As you read it, whether you read it silently or speak it aloud, pause after each line break and each punctuation mark. Remember that line breaks have a pause. Commas, periods, and dashes have a longer pause. You can detect a smooth rhythmic flow that will glide you along quickly from one break to another, and you will realize that it is very different from everyday reading and speaking. It has a rhythmic beat, thus it is a Beat story.
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Using the book "Beat Poetry of Nash Benedict: Lost In The Matrix" as a training tool will make your process of reciting and writing Beat poetry both easy and enjoyable. The more times you reread it and the more times you recite the poetry aloud, the easier it becomes to develop a rhythmic beat, and, in no time, you will become an experienced Beat poet with great finesse!
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There is obviously more to composing Beat poetry than reading and reciting it. The composition factor, creativity, developing ideas, grasping just the right words, learning how to make the words flow out of your pen to paper, will all be covered in a Beat poetry course to come at a future date. In the meantime, much thought and detail has been provided in the book, line by line, and break by break, to greatly assist the reader in helping them to begin to develop and achieve a good Beat poetry training experience. This book will be used as the major training tool in my future Beat poetry course.
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Use the example of the Beat story below as a beginning training tool to learn Beat.
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"Beat Poetry of Nash Benedict: Lost In The Matrix" can be purchased by pressing
here
ON MEETING HUEY
(a Beat story)
Traveling down
through Sausalito,
we had
our fill
of walking,
through Spanish missions,
to get
some atmosphere
for our
esoteric
philosophical
books
and speeches.
We stopped
to view
the WWII
warships.
​
Then we made
our way
south,
down the coast,
a long
but scenic
drive
to good old
Mexico.
We made
a pit stop
at a
small --
old --
broken-down --
Mexican restaurant.
​
Neither one of us
spoke
the language,
but the food
smelled great,
and we pointed
to some
of this
and some
of that,
and it was
all sent
to our
small --
round --
table --
with tequilas
and beers.
​
We ate
the best
Mex
food,
of our
lives.
​
And with each
gulp,
and each
burp,
we raised
our glasses
and toasted
to something.
Boozed up
and happy,
amid
our laughs
of drunkenness,
in walked
a tall
dark-haired
man
with a senorita
on his arm.
They
sat down
deep
in the dark
restaurant,
and we heard
the man
order
drinks.
He was definitely
a gringo,
like us.
Our eyes
were glued
on the woman’s
breasts,
which were
huge,
and deeply
cleavaged.
So,
we never
looked up
at the man’s
face,
for at least
a half-
hour.
We were still
feeling
our booze
and toasting
every --
last --
microbe --
in the world.
Finally,
my friend
Jack,
looked up
from his cleavage
vantage
point,
and took
a look
at the man’s
face,
half hidden
behind
the brim
of his hat.
​
"I swear,"
he said,
"I swear
that gringo
there,
looks
just --
like --
Huey."
I said,
"Yeh,
and you
and me
are the worms
in our
tequila.
Go rinse
your head
right off,
with
some strong
coffee."
I took
a long
hard look
at the gringo
too,
and lo
and behold,
the chap
did look
just --
like --
Huey.
​
"Just got
to be
his double,"
I said.
"Huh, yeh!"
The man
saw
us staring,
and now
a little
drunk,
he motioned
us over,
"Want to join us, guys?"
I said
to Jack,
"Don’t say
anything
about him
looking
just --
like --
Huey."
Jack said,
“What
if he is?”
I said,
" So then,
he is,
so what?
Come on,
let’s join him.”
We
walked over,
although,
not
in
a straight
line.
We
introduced
ourselves.
“Hi,
I’m Nash,
and this
is
my friend,
Jack.”
The gringo
introduced
himself
as John,
and his woman
Concetta
or
Conceptiona.
Well,
there goes
our Huey
fantasy,
but then
again,
I’m not
so sure.
I’ll wait
and decide
later.
“You guys
visiting?,”
he said.
"Just passing
through."
we said.
"Well maybe
visiting
for a while.
Depends
what happens.”
John ordered
more beers
for all
of us,
and we sat
and talked,
first
about
the weather,
about
the area,
then
about
each other.
Concetta
got up
and left
to work
in the kitchen,
as we learned
she was
the owner’s
daughter.
Jack revealed
his last
name
and that
he was
a writer,
along
with myself
revealing
my name
and that
I was
the same.
Then,
pay dirt
happened.
​
As we kept
having
the rounds
of tequila
and beer,
John
opened up,
and told us,
you guessed it,
that he --
was --
Huey.
​
He invited us
to stay
at a hacienda
he rented,
and we all
left
for a good
nights
sleep.
The hacienda
was unassuming,
and Hugh
said
he wanted it
that way,
to ward off
the inquisitive.
It was
the most
peaceful
place
I have ever
experienced.
Birds singing
in
the morning,
no cars
no people,
total
isolation
from it all.
​
Jack and I
had the best
night’s sleep
of our lives,
surely
a combination
of the beer
tequila
and the setting.
The next morning
we were greeted
by Huey.
​
We all
sat down
to the best
breakfast
we ever
had
in our lives,
prepared
by Concetta,
who Hughes
called in,
early
in the morning,
to come over
and whip
it up
for us.
What we didn’t
know
was that
Huey,
as he wanted
us
to call
him,
was a poet
in his own
right,
and the following
is his poetry,
after which
I admired
so greatly
as he
recited
it,
he copied
it down
for me
to take,
and here
it is...