By Michael Hrebeniak
Action Writing: Jack Kerouac's Wild Form connects the private and inventive improvement of the Beat generation's recognized 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 feel of writing as uncooked strategy. 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 stories, and inventive writing, Action Writing areas Kerouac's writing in the context of the yankee artwork 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 background on the foreground of Kerouac's occupation from the Nineteen Forties to the overdue Sixties.
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Extra info for Action Writing: Jack Kerouac's Wild Form
N. that our Nation save face 27 28 dionysus descends . . in the assassin’s mind the world is ﬁlld with enemies, the truth itself is enemy and quickens action to override subversive thought. Dionysos, Zeus’s Second Self, Director of the Drama, needed. (, –) Cassady’s presence in Kerouac’s ﬁction corresponds to this role, a virtuoso of revolt against Cold War America that, as Duncan suggests, is itself a reversed Dionysus with control manias, assimilating exhilaration for its own purposes.
The “mythological present” of Claude LéviStrauss’s Savage Mind is his habitat, devoid of concern for the goals of the State and its regulation of the past and characterized by an ongoing orality rather than an accumulated library. “Such people live vastly in the present,” contends Gary Snyder: Their daily reality is a fabric of friends and family, the ﬁeld of feeling and energy that one’s own body is, the earth they stand on and the wind that wraps around it; and the various areas of consciousness [that grants] closer subjective knowledge of one’s own physical properties than is usually available to men living .
Cassady] has written better than I have. . [H]e’s the most intelligent man I’ve ever met in my life. (qtd. 1 As Ginsberg testiﬁes, the ongoing conversational style of Kerouac’s prose is tested and reﬁned in letters to Cassady and comprises the long confessional of two buddies telling each other everything that happened, every detail, every cunt-hair in the grass included, every tiny eyeball ﬂick of orange neon ﬂashed past in Chicago by the bus station; all the back of the brain imagery. This required sentences that did not necessarily follow exact classic-type syntactical order, but which allowed for interruption with dashes, allowed for the sentences to break in half, take another direction (with parentheses that might go on for paragraphs).
Action Writing: Jack Kerouac's Wild Form by Michael Hrebeniak