By Michael Hrebeniak
Action Writing: Jack Kerouac's Wild Form connects the non-public and inventive improvement of the Beat generation's recognized 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 an experimental continuum around the arts to generate a Dionysian experience of writing as uncooked method. 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 experiences, and artistic writing, Action Writing areas Kerouac's writing in the context of the yank paintings scene at midcentury. Reframing the paintings of Kerouac and the Beat iteration in the experimental modernist and postmodernist literary culture, this probing inquiry deals an instantaneous engagement with the social and cultural historical past 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
In the sequence of core novels that starts with On the Road and ends with Vanity of Duluoz, Kerouac joins fraternal resources such as Cassady (Dean Moriarty/Cody Pomeroy), Ginsberg (Carlo Marx/Irwin Garden/Alvah Goldbook), Snyder (Japhy Ryder/Jarry Wagner), and William Burroughs (Old Bull Lee/Bull Hubbard) in an optimistic bid for a manhood that might escape degradation from corrupted sports, high ﬁnance, alienated labor, and military violence, “refusing life-leakage and the dispersal of energy into sterility” (Mottram, “Preface” ).
Freedom is understood as rooted in the fulﬁllment of these needs, which are sensuous, ethical and rational in one. (“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.
A passage from volume stands not only as a European progenitor for America’s obsession with youth and rebel innovation but also as a spur for the generational marker itself: What makes the man of the world-cities incapable of living on any but this artiﬁcial footing is that cosmic beat in his being is ever decreasing, while the tensions of his waking-consciousness become more and more dangerous. . Beat and tension, blood and intellect, Destiny and Causality are to one another as the countryside in bloom is to the city of stone.
Action Writing: Jack Kerouac's Wild Form by Michael Hrebeniak