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 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 strategy. Action Writing highlights how Kerouac made concrete his 1952 intimation of "something past the novel" through assembling principles from Beat the US, modernist poetics, motion portray, bebop, and subterranean oral traditions.
Geared to students and scholars of yank literature, Beat experiences, 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 iteration 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 Nineteen Forties to the overdue Nineteen Sixties.
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Additional resources for Action Writing: Jack Kerouac's Wild Form
Buddhism is a Fellaheen thing,” he writes in Some of the Dharma: “Fellaheen is Antifaust Unanglosaxon Original World Apocalypse. Fellaheen is an Indian Thing, like the earth. — The Unfaust, the Antichrist . . Unsquare, Ungothic” (). 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” ).
Distributed by Burroughs among his mid-s New York circle, the dionysus descends book seeds Kerouac’s prejudicial sense of “immense historical forces” (SL, II ) widely shared since the First World War3 and incubates his sense of the “pulse-beat of our becoming . . the long prophesied . . new kind of American saint” who will sweep across On the Road’s “plane without limit” (, ). “The profound ignorance of the modern world is Horrible,” Kerouac writes in . “‘The Horror’ is why I’ll have to take refuge in the Apocalypse of the Fellaheen” (SL, I ).
Beat culture, whose jazz-inspired name epitomizes its oxymoronic embrace of sacralized fatigue, rock-bottom soul-poverty and mystic joy (much as the word “shaman” descends from a sanskrit root, “to exhaust or fatigue”), derived its energy from all explosive marriages of heaven and hell. (qtd. in Phillips ) Having declared that his “ﬁrst serious writing took place” after reading “about Jack London at the age of ” (GB ), Kerouac’s incursion into an American underclass seizes the hobo’s sense of the United States as a disintegrating yet mobile society, built upon an accessible frontier.