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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 strategy. 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 yank literature, Beat stories, and inventive 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 bargains 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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Additional resources for Action Writing: Jack Kerouac's Wild Form

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How Kerouac generates, sustains, and then partially surrenders such vigor in the face of a contrary training threatening reassertion is the concern of what follows. 21 ' 9^dcnhjh9ZhXZcYh/I]ZH]VeZd[:cZg\n I am part of the American temper, the American temperament, the American tempo. —Jack Kerouac, Atop an Underwood = jesus how i hate the middle course! —Michael McClure, “Love Lion Blues” aving been affected by Thomas Wolfe like “a torrent of American heaven and hell” that “opened my eyes to an America as a subject in itself ” (qtd.

H. Lawrence writes of Whitman’s “glad recognition of the soul” and his “exultant message of American Democracy”: “Stay in the dark limbs of Negroes. Stay in the body of the prostitute. Stay in the sick flesh of the syphilitic. Stay in the marsh where the calamus grows” (Studies –). Kerouac copies this the beat scene passage into his ninth notebook and draws on it throughout. His “model for dust jacket of ‘the dharma bums’’” is exemplary: Through these pages pass hoboes, blondes, truckdrivers, poets, hunters, Negro preachers, Mexicans, librarians, hound dogs, children, janitors, forest rangers, loggers, cowboys and Zen thinkers in a bewildering and delightful variety as the story races true to life to its conclusion.

Posited as a model of Fellaheen and Faustian man, he complements the book’s other “aboriginal” descendants: Mexican laborers, jazz improvisers, addicts, and hoboes, often unnamed frontiersman of refreshment living on the ruins of the polis and prone to savagery. In a nation built upon genocide, land-grab, and slavery, these men symbolize “the Independence of the Old Real America” (BD ) and offer the displaced newcomer a way to “originate” himself in America, redressing Sal’s inner restlessness.

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