By Michael Hrebeniak
Action Writing: Jack Kerouac's Wild Form connects the non-public and artistic improvement of the Beat generation's recognized icon with cultural adjustments in postwar the USA. Michael Hrebeniak asserts that Jack Kerouac's "wild form"—self-organizing narratives freed from literary, grammatical, and syntactical conventions—moves inside an experimental continuum around the arts to generate a Dionysian feel of writing as uncooked technique. Action Writing highlights how Kerouac made concrete his 1952 intimation of "something past the novel" by means of assembling rules from Beat the USA, modernist poetics, motion portray, bebop, and subterranean oral traditions.
Geared to students and scholars of yankee literature, Beat reviews, and inventive writing, Action Writing locations Kerouac's writing in the context of the yankee 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 deals a right away engagement with the social and cultural historical past on the foreground of Kerouac's occupation from the Forties to the past due Sixties.
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Additional info for Action Writing: Jack Kerouac's Wild Form
Lands of ensemble, bards of ensemble! (–) As Kerouac notes of Visions of Cody’s hero, “There were no images springing up in the brain of Cody Pomeroy that were repugnant to him at their outset. They were all beautiful”()—a principle of nonselectivity behind his dramatization of the infant’s growth among the Denver poor: Older heroes of other generations had darkened the walls of the poolhalls long before Cody got there; memorable eccentrics, great poolsharks, even killers, jazz musicians, traveling salesmen, anonymous frozen bums who came in on winter nights to sit an hour by the heat never to be seen again.
Possessed of that obscure and passionate hunger that has woven its shuttle across the seas. . And now for the voyage out” (Wolfe ); Huckleberry Finn’s “light[ing] out for the Territory” (Twain ); hobo Jack Black’s setting “off for the train—and the world” (); and Sherwood Anderson’s “young man going out of his town to meet the adventure of life. . [His] mind was carried away by his journey passion dreams” (). The experience is the American need to clear out of claustrophobic small-town settlement (Blake’s “Expect poison from the standing water” ) and seek “adventurous education” on the road.
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. That’s sheer adolescence! (SL, I ) Kerouac then retransmits Eugene Gant’s “foiled quest of himself . . possessed of that obscure and passionate hunger that has woven its shuttle across the seas. . And now for the voyage out” (Wolfe ); Huckleberry Finn’s “light[ing] out for the Territory” (Twain ); hobo Jack Black’s setting “off for the train—and the world” (); and Sherwood Anderson’s “young man going out of his town to meet the adventure of life.
Action Writing: Jack Kerouac's Wild Form by Michael Hrebeniak