By Michael Hrebeniak
Action Writing: Jack Kerouac's Wild Form connects the private and artistic improvement of the Beat generation's well-known icon with cultural alterations in postwar the US. Michael Hrebeniak asserts that Jack Kerouac's "wild form"—self-organizing narratives freed from literary, grammatical, and syntactical conventions—moves inside of an experimental continuum around the arts to generate a Dionysian experience of writing as uncooked approach. Action Writing highlights how Kerouac made concrete his 1952 intimation of "something past the novel" by way of assembling principles from Beat the United States, modernist poetics, motion portray, bebop, and subterranean oral traditions.
Geared to students and scholars of yank literature, Beat reports, and inventive writing, Action Writing areas Kerouac's writing in the context of the yankee paintings scene at midcentury. Reframing the paintings of Kerouac and the Beat iteration in the experimental modernist and postmodernist literary culture, this probing inquiry bargains a right away engagement with the social and cultural heritage on the foreground of Kerouac's occupation from the Forties to the overdue Sixties.
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Additional resources for Action Writing: Jack Kerouac's Wild Form
If I retain vision in myself by removing my own single identity in experience—” he explains to Sampas in , that is to say, distil myself off until only the artist stands—and observe everything with an unbiased, studious, and discriminate eye, I do more good, as far as creation goes that the Byronic youth . . who identiﬁes himself with the meaning of the world or if not that places himself in the center of its orbit and professes to know all about humanity when he has only taken pains to study himself.
Distinguishing between down-and-out transients and migratory hoboes in works such as “How I Became a Socialist,” “The Tramp,” and The Road, London depicts isolated struggles inside a hostile wilderness through IWW agitation, boxcar hopping, and riding the rods with bindle stiffs as a teenager in , a heroic contest that half a century later Kerouac translates 19 20 the beat scene into a cross-continental antidote to consumer-belt stasis. In White Fang, London writes of two fellows and their team of dogs transporting the cofﬁn of a man whom the wild had conquered and beaten down until he would never move nor struggle again.
Big Sur are just chapters in the whole work which I call The Duluoz Legend. In my old age I intend to collect all my work and re-insert my pantheon of uniform names, leave the long shelf full of books there, and die happy. 22 dionysus descends The whole thing forms one enormous comedy, seen through the eyes of poor Ti Jean (me). (BS ) However, unlike the work of Balzac and Wolfe, Kerouac’s sequence trades linear organization for a more adventurous principle of ﬁctive overlay. Recurring events are superimposed to build a series of themes and variations neutralizing a single career narrative: a hypertext of many narratives and selves with each book a ratio within the whole.