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Lucien Carr (March 1, 1925 – January 28, 2005) was a key member of the original New York City circle of the Beat Generation in the 1940s and also a convicted manslaughterer. He later worked for many years as an editor for United Press International. Early life Carr was born in New York City; his parents, Marion Howland (née Gratz) and Russell Carr, were both offspring of socially prominent St. Louis families. His maternal grandfather was Benjamin Gratz, a St. Louis capitalist who was engaged in the rope making business and was descended from Michael Gratz, who was among the first Jewish settlers of Philadelphia and was prominent in Philadelphia's social life. After his parents separated in 1930, young Lucien and his mother moved back to St. Louis; Carr spent the rest of his childhood there. At the age of 12, Carr met David Kammerer (b. 1911), a man who would have a profound influence on the course of his life. Kammerer was a teacher of English and a physical education instructor at Washington University in St. Louis. Kammerer was a childhood friend of William S. Burroughs, another scion of St. Louis wealth who knew the Carr family. Burroughs and Kammerer had gone to primary school together, and as young men they traveled together and explored Paris's nightlife: Burroughs said Kammerer "was always very funny, the veritable life of the party, and completely without any middle-class morality." Kammerer met Carr when he was leading a Boy Scout Troop of which Carr was a member, and quickly became infatuated with the child. Over the next five years, Kammerer pursued Carr, showing up wherever the young man was enrolled at school. Carr would later insist, as would his friends and family, that Kammerer had been hounding Carr sexually with a predatory persistence that would today be considered stalking. Whether the attentions of a man fourteen years his senior were frightening or flattering to the underage Carr is now a matter of some debate among those who chronicle the history of the Beat Generation. What is not in dispute is that Carr moved quickly from school to school: from the Phillips Academy in Andover, Massachusetts, to Bowdoin College in Brunswick, Maine, to the University of Chicago, and that Kammerer followed him to each one. The two of them socialized on occasion. Carr always insisted, and Burroughs believed, that he never had sex with Kammerer; Jack Kerouac biographer Dennis McNally wrote that Kammerer "was a Doppelgänger whose sexual desires Lucien would not gratify; their connection was an intertwined mass of frustration that hinted ominously of trouble." Carr's University of Chicago career abruptly ended after he put his head into a gas oven. He explained away this act as a "work of art," but the apparent suicide attempt, which Carr's family believed was catalyzed by Kammerer, led to a two-week stay in the psychiatric ward at Cook County hospital. Carr's mother, who had moved to New York City, brought her son there and enrolled him at Columbia University, close to her home. If Marion Carr had sought to distance her son from David Kammerer, she did not succeed. He soon quit his job and followed Carr to New York, moving into an apartment on Morton Street in the West Village, one block from William Burroughs' residence; the two older men remained friends. Columbia and the Beats As a freshman at Columbia, Carr was recognized as an exceptional student with a quick, roving mind. A fellow student from Lionel Trilling's humanities class described him as "stunningly brilliant. ... It seemed as if he and Trilling were having a private conversation." He joined the campus literary and debate group, the Philolexian Society. It was also at Columbia that Carr befriended Allen Ginsberg in the Union Theological Seminary dormitory on West 122nd Street (an overflow residence for Columbia at the time), when Ginsberg knocked on the door to find out who was playing a recording of a Brahms trio. Soon after, a young woman Carr had befriended, Edie Parker, introduced Carr to her boyfriend, Jack Kerouac, then twenty-two and nearing the end of his short career as a sailor. Carr, in turn, introduced Ginsberg and Kerouac to one another – and both of them to his older friend with more first-hand experience at decadence: William Burroughs. The core of the New York Beat scene had formed, with Carr at the center. As Ginsberg put it, "Lou was the glue." Carr, Kerouac, Ginsberg and Burroughs explored New York's grimier underbelly together. It was at this time that they fell in with Herbert Huncke, an underworld character and later writer and poet. Carr had a taste for provocative behavior, for bawdy songs and for coarse antics aimed at shocking those with staid middle-class values. According to Kerouac, Carr once convinced him to get into an empty beer keg, which Carr then rolled down Broadway. Ginsberg wrote in his journal at the time: "Know these words, and you speak the Carr language: fruit, phallus, clitoris, cacoethes, feces, foetus, womb, Rimbaud." It was Carr who first introduced Ginsberg to the poetry and the story of 19th century French poet Arthur Rimbaud. Rimbaud would be a major influence on Ginsberg's poetry. Ginsberg was plainly fascinated by Carr, whom he viewed as a self-destructive egotist but also as a possessor of real genius. Fellow students saw Carr as talented and dissolute, a prank-loving late-night reveler who haunted the dark pockets of Chelsea and Greenwich Village until dawn, without making a dent in his brilliant performance in the classroom. On one occasion, asked why he was carrying a jar of jam across the campus, Carr simply explained that he was "going on a date." Returning to his dorm in the early hours another morning to find that his bed had been short-sheeted, Carr retaliated by spraying the rooms of his dorm-mates with the hallway fire-hose – while they were still sleeping. Carr developed what he called the "New Vision," a thesis recycled from Emersonian transcendentalism and Parisian Bohemianism which helped undergird the Beats' creative rebellion: Naked self-expression is the seed of creativity. The artist's consciousness is expanded by derangement of the senses. Art eludes conventional morality. For ten months, Kammerer remained a fringe member of this simmering crowd, still utterly infatuated with Carr, who sometimes avoided him and on other occasions indulged Kammerer's attentions. On one occasion he may even have brought Kammerer to a session of Trilling's class. Accounts of this period report that Kammerer's presence and lovelorn devotion to Carr made many of the other Beats uncomfortable. On one occasion, Burroughs found Kammerer trying to hang Kerouac's cat. Kammerer's psyche was evidently decaying; he was barely scraping by, helping a janitor clean his building on Morton Street in exchange for rent. In July 1944, Carr and Kerouac began talking about shipping out of New York on a Merchant Marine vessel, a scheme which drove Kammerer frantic wi.... Discover the Eric Homberger popular books. Find the top 100 most popular Eric Homberger books.