By Michael Hrebeniak
Action Writing: Jack Kerouac's Wild Form connects the non-public and inventive improvement of the Beat generation's well-known icon with cultural adjustments in postwar the United States. 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 technique. Action Writing highlights how Kerouac made concrete his 1952 intimation of "something past the novel" via assembling principles from Beat the USA, modernist poetics, motion portray, bebop, and subterranean oral traditions.
Geared to students and scholars of yank literature, Beat reviews, and artistic writing, Action Writing locations Kerouac's writing in the context of the yank paintings scene at midcentury. Reframing the paintings of Kerouac and the Beat new release in the experimental modernist and postmodernist literary culture, this probing inquiry bargains an instantaneous 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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Extra info for Action Writing: Jack Kerouac's Wild Form
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.
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.
Preface” ) Setting out to avoid ideological baptism and Herbert Marcuse’s “enlarged universe of exploitation . . a totality of machines—human, economic, political, military, education” (), Kerouac experiments by living under different social and religious systems—a legacy of the Congress of World Religions in Chicago, where a number of heretical movements were introduced into the United States. This reinforced the impact of the Indian Vedic tradition that nurtured the Transcendentalists and seeded an interest in Chinese T’ang dynasty haiku that informed early modernism, the two major strands of Eastern inﬂuence on the nation’s writing.