DOCSLIB.ORG

Department of English and American Studies Representation of Female

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Department of English and American Studies Representation of Female Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Bc. Magdalena Šedrlová Representation of Female Characters in Jack Kerouac’s On the Road and Its Film Adaptations Master’s Diploma Thesis Supervisor: doc. PhDr. Tomáš Pospíšil, Ph. D. 2016 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Author’s signature Acknowledgement I would like to thank my supervisor, doc. PhDr. Tomáš Pospíšil, Ph.D., for his guidance, invaluable advice, useful remarks, and, above all, for not giving up on me. Table of Contents 1) THE BEAT GENERATION ........................................................................... 5 2) JACK KEROUAC ....................................................................................... 9 3) ON THE ROAD ....................................................................................... 19 3.1 On the Road – plot summary ....................................................................................... 19 3.2 On the Road – writing and publication ....................................................................... 26 3.3 Women in On the Road ................................................................................................. 29 3.3.1 Marylou..................................................................................................................... 30 3.3.2 Camille ...................................................................................................................... 38 3.3.3 Lee Ann .................................................................................................................... 41 3.3.4 Rita Bettencourt ...................................................................................................... 43 3.3.5 Terry ......................................................................................................................... 44 3.3.6 Lucille ........................................................................................................................ 50 3.3.7 Galatea Dunkel ........................................................................................................ 51 3.3.8 Jane .......................................................................................................................... 55 3.3.9 Walter’s wife ............................................................................................................ 56 3.3.10 Frankie ................................................................................................................... 57 3.3.11 Inez ......................................................................................................................... 58 3.3.12 Laura ...................................................................................................................... 60 3.3.13 Sal’s aunt ............................................................................................................... 61 3.3.14 Other women ........................................................................................................ 64 3.3.15 Women in On the Road – common traits ......................................................... 67 3.4 On the Road – The Original Scroll ............................................................................... 69 3.5 On the Road (film) ......................................................................................................... 71 3.6 Heart Beat (film) ............................................................................................................ 80 CONCLUSION ............................................................................................. 84 WORKS CITED ........................................................................................... 87 INTRODUCTION I remember very well that evening at Skleněná louka, a damp, dark hole smelling of spilled beer, weed and loaded hoboes (a long time ago, before they redecorated the place); when Jaroslav Erik Frič (local underground poet, founder of Votobia publishing house, and organizer of cultural events and festivals) told my (male) friend that Kerouac was a “men’s business,” suggesting that I, as a girl, had no right or competence to comment on the topic. Although it made me quite upset, I somehow felt that he was right, that it is indeed a men’s business – and On the Road a book that “guys are into” (Nicosia 245) – but it immediately sparkled a lot of questions, such as: Why is it so? Does that mean that I should not enjoy reading the book? Am I weird if I do? And most importantly: What about the girls, then? Are they present in this male world at all? And how are they treated? I realized that any time I read the book, I naturally identified with the male narrator rather than any female character because none of the girls seemed as cool as the guys. All of these thoughts, questions and ideas led me ultimately to the delimitation of the topic of this thesis. Jack Kerouac, generally more famous than really understood, is for many people more of a culture figure than merely a writer. Teenagers and young adults still idolize his assumed rebellion, parents take him as a bad role–model for their children, and secondary school literature teachers often dismiss his and the other Beats’ works as mere “sex, drugs, and jazz” (to paraphrase the other infamous trinity “sex, drugs, and rock’n’roll”). Leland sums it up very 2 pertinently: “If you want to spot a rebel in a movie […], look for a copy of On the Road on his bookshelf” (5, emphasis added). This might be because, according to some (e.g. Trudeau 15), an immense part of the research is done on Kerouac’s life rather than on his work, which is consequently not deemed as of a high literary value due to the fact that he supposedly merely recorded his life. As regards On the Road, it is indeed a roman à clef (a narrative technique invented in the 17th century French literary “salons”), a “text that describes real-life events using the structure of fiction. The names are changed, even the location, but the plot is based in actual events” (Dittman 41). Recently, a lot of research has been done in the Kerouac field and new approaches are starting to emerge. Among other topics, focus has been directed towards the representation of gender and women in his works, e.g. Eftychia Mikelli’s A Postcolonial Beat – Projections of Race and Gender in Jack Kerouac’s The Subterraneans (2010), Nancy McCampbell Grace’s A white man in love: A study of race, gender, class, and ethnicity in Jack Kerouac's Maggie Cassidy, The Subterraneans and Tristessa (2000), and there are two theses defended in 2014, that I incidentally stumbled upon, dealing with the role of women in On the Road: Aster Dieleman’s bachelor’s thesis (Utrecht University) and Valerie Partoens’s master thesis (Univesity of Gent). Both of them, however, treat the subject from a different perspective than I intend to. Dieleman focuses more on the theoretical framework of patriarchy, the male gaze and sexual objectification of woman, and the analysis of the novel itself is rather sketchy and serves as an illustration of those concepts in practice. 3 Partoens, on the other hand, provides an excellent comparison of female characters in On the Road and Joyce Johnson’s (Kerouac’s girlfriend’s) Bad Connections, but since she deals with two novels, the space allocated to each of them is limited. The aim of this thesis is to carry out a deep close-reading analysis of all female characters in the novel in order to assess the way each of them is portrayed, to examine their role in the narrative and to establish how they interact with the male protagonists. Since the novel is indubitably modeled on Kerouac’s journal entries; for instance David Sterritt claims that “a journal entry for August 1949, […] contains many passages that are virtually identical to a section of On the Road, which was largely composed during his famous typing marathon in April 1951” (70), biographical information will be employed to show to what extent the author altered real events and how he rendered actual people, and to emphasize the role of women in On the Road not only as fictional characters, but also as real women within the Beat movement. Unless stated otherwise, biographical details come from Gifford and Lee’s Jack’s book. The thesis will also discuss the approach of filmmakers to the Beat topic and to the representation of women in two feature films, Heat Beat (1980) directed by John Byrum and On the Road (2012) directed by Walter Salles, dealing with the same subject matter as Kerouac’s On the Road. Before the analysis of the novel as such, the Beat Generation as a literary and cultural movement will be introduced, with emphasis on the “male friendship,” for which, according to Leland, On the Road remains a primer (45). 4 1) THE BEAT GENERATION The term “Beat Generation” now comprises authors writing in approximately two decades spanning from the mid-1940´s to the 1960´s. The original nucleus was no more than three men who befriended each other in the early 1940´s New York: Jack Kerouac, Allen Ginsberg, and William S. Burroughs. At that time, Kerouac was an aspiring conventional novelist, whose literary hero that he was trying to emulate was Thomas Wolfe; Ginsberg was still too young to envisage a career of a poet; and Burroughs, although extremely well-read in comparison to his roughly ten years younger friends,
Load more

Recommended publications
  • Writings by of the Beat Generation Edited by Richard Peabody
    a edited by richard peabody writings by women of the beat generation eat BOOKS Contents Introduction 1 Mimi Albert from The Second Story Man 4 Carol Berge tessa's song 12 Pavane for the White Queen 15 Chant for Half the World 18 Etching 21 Carolyn Cassady from Off the Road: My Years with Cassady, Kerouac, and Ginsberg 22 Elise Cowen "At the acting class" 27 "Dear God of the bent trees of Fifth Avenue" 27 "Death I'm coming" 28 "I took the skin of corpses" 29 "I wanted a cunt of golden pleasure" 30 "If it weren't for love I'd snooze all day" 31 "The sound now in the street is the echo of a long" 31 "Trust yourself—but not too far" 32 LeoSkir Elise Cowen: A Brief Memoir of the Fifties 33 Diane di Prima The Quarrel 46 Requiem 47 Minor Arcana 48 The Window 49 For Zella, Painting 50 from Memoirs of a Beatnik 51 Brenda Frazer Breaking out of D.C. (1959) 60 Sandra Hochman Farewell Poems 65 About My Life at That Time 66 Postscript 66 Julian 67 The Seed 68 Cancer 69 Burning with Mist 70 There Are No Limits to Mv Svstem 71 Joyce Johnson from Minor Characters 72 Contents I vii Kay Johnson Proximity 80 poems from paris 84 Hettie Jones from How I Became Hettie Jones 88 Lenore Kandel First They Slaughtered the Angels 100 Love-Lust Poem 103 Junk/Angel 105 Blues for Sister Sally 106 Eileen Kaufman from Who Wouldn't Walk with Tigers 108 Frankie "Edie" from You'll Be Okay 115 Kerouac-Parker Jan Kerouac from Baby Driver 124 from Trainsong 132 Joan Haverty Kerouac from Nobody's Wife 134 Joanne Kyger Tapestry 140 "Waiting again" 140 "They are constructing a
    [Show full text]
  • The Impact of World War Ii on Personal and Social Life As Portrayed in Jack Kerouac’S on the Road and Kim Won-Il’S the Wind and the River: a Comparative Literature
    THE IMPACT OF WORLD WAR II ON PERSONAL AND SOCIAL LIFE AS PORTRAYED IN JACK KEROUAC’S ON THE ROAD AND KIM WON-IL’S THE WIND AND THE RIVER: A COMPARATIVE LITERATURE A THESIS BY MIRA APRIANTI REG. NO. 130705093 DEPARTMENT OF ENGLISH FACULTY OF CULTURAL STUDIES UNIVERSITY OF SUMATERA UTARA MEDAN 2017 Universitas Sumatera Utara Universitas Sumatera Utara Universitas Sumatera Utara Universitas Sumatera Utara AUTHOR’S DECLARATION I, MIRA APRIANTI DECLARE THAT I AM THE SOLE AUTHOR OF THIS THESIS EXCEPT WHERE REFERENCE IS MADE IN THE TEXT OF THIS THESIS. THIS THESIS CONTAINS NO MATERIAL PUBLISHED ELSEWHERE OR EXTRACTED IN WHOLE OR IN PART FROM A THESIS BY WHICH I HAVE QUALIFIED FOR OR AWARDED ANOTHER DEGREE. NO OTHER PERSON’S WORK HAS BEEN USED WITHOUT DUE ACKNOWLEDGEMENTS IN THE MAIN TEXT OF THIS THESIS. THIS THESIS HAS NOT BEEN SUBMITTED FOR THE AWARD OF ANOTHER DEGREE IN ANY TERTIARY EDUCATION. Signed : Date : August 22nd, 2017 v Universitas Sumatera Utara COPYRIGHT DECLARATION NAME : MIRA APRIANTI TITLE OF THESIS : THE IMPACT OF WORLD WAR II ON PERSONAL AND SOCIAL LIFE AS PORTRAYED IN JACK KEROUAC’S ON THE ROAD AND KIM WON-IL’S THE WIND AND THE RIVER: A COMPARATIVE LITERATURE QUALIFICATION : S-1/ SARJANA SASTRA DEPARTMENT : ENGLISH I AM WILLING THAT MY THESIS SHOULD BE AVAILABLE FOR REPRODUCTION AT THE DISCRETION OF THE LIBRARIAN OF DEPARTMENT OF ENGLISH, FACULTY OF CULTURAL STUDIES, UNIVERSITY OF SUMATERA UTARA ON THE UNDERSTANDING THAT USERS ARE MADE AWARE OF THEIR OBLIGATION UNDER THE LAW OF THE REPUBLIC OF INDONESIA. Signed : Date : August 22nd, 2017 vi Universitas Sumatera Utara ACKNOWLEDGEMENTS Bismillahirrahmanirrahim.
    [Show full text]
  • December 2013 VOL XXI, Issue 12, Number 248
    December 2013 VOL XXI, Issue 12, Number 248 Editor: Klaus J. Gerken European Editor: Mois Benarroch Contributing Editors: Michael Collings; Jack R. Wesdorp; Heather Ferguson; Patrick White Previous Associate Editors: Igal Koshevoy; Evan Light; Pedro Sena; ; Oswald Le Winter ISSN 1480-6401 Selected Works by Ron Whitehead with Photographs by Jinn INTRODUCTION The Emperor Has No Clothes (Poem by Jinn) PHOTO 1 by jinn PHOTO 2 by jinn Section 1 Tapping My Own Phone I WILL NOT BOW DOWN The Dance Kentucky Blues Mama Sex Education Music Saved My Life and Bob Dylan Saved My Soul listen dog, sky Jasper Joyce San Francisco, May 1993 Oh Nameless Section 2 PHOTO by Jinn Secrets Thousands of Shrieking Devils Ritual Night the black talent dark conceit the grinding of her bones ghost lover my final farewell Trance Mission Section 3 PHOTO by Jinn How Many More Times No More Fingers Pointing to The Moon You Grow Wild in My Heart samurai sword go down all night listening treasure our flowered home Section 4 PHOTO by Jinn Moxley and Eirene Moonshine King Burgoo Queen the loneliest picture i've ever seen without blinking plowed earth the shape of water purple orchid dawn endless river sail on Section 5 PHOTO by Jinn westward into the canyoned night a ruin i new mexico Naked Interview: Conversations with William S. Burroughs CALLING THE TOADS Can Art Matter? For as Long as Space Endures Section 6 PHOTO by Jinn The Storm Generation Manifesto i refuse POST SCRIPTUM Section 7 PHOTO by Jinn NEVER GIVE UP (in English/Icelandic/Spanish) back cover (end of Journal)
    [Show full text]
  • Journeys of the Beat Generation
    My Witness Is the Empty Sky: Journeys of the Beat Generation Christelle Davis MA Writing (by thesis) 2006 Certificate of Authorship/Originality I certify that the work in this thesis has not previously been submitted for a degree nor has it been submitted as part of requirements for a degree except as fully acknowledged within the text. I also certify that the thesis has been written by me. Any help that I have received in my research work and the preparation of the thesis itself has been acknowledged. In addition, I certify that all the information sources and literature used are indicated in the thesis. Signature of Candidate 11 Acknowledgements A big thank you to Tony Mitchell for reading everything and coping with my disorganised and rushed state. I'm very appreciative of the Kerouac Conference in Lowell for letting me attend and providing such a unique forum. Thank you to Buster Burk, Gerald Nicosia and the many other Beat scholars who provided some very entertaining e­ mails and opinions. A big slobbering kiss to all my beautiful friends for letting me crash on couches all over the world and always ringing, e­ mailing or visiting just when I'm about to explode. Thanks Andre for making me buy that first copy of On the Road. Thank you Tim for the cups of tea and hugs. I'm very grateful to Mum and Dad for trying to make everything as easy as possible. And words or poems are not enough for my brother Simon for those silly months in Italy and turning up at that conference, even if you didn't bother to wear shoes.
    [Show full text]
  • An Intersectional Approach to the Work of Neal Cassady
    “I a poet too”: An Intersectional Approach to the Work of Neal Cassady “Look, my boy, see how I write on several confused levels at once, so do I think, so do I live, so what, so let me act out my part at the same time I’m straightening it out.” Max Hermens (4046242) Radboud University Nijmegen 17-11-2016 Supervisor: Dr Mathilde Roza Second Reader: Prof Dr Frank Mehring Table of Contents Acknowledgements 3 Abstract 4 Introduction 5 Chapter I: Thinking Along the Same Lines: Intersectional Theory and the Cassady Figure 10 Marginalization in Beat Writing: An Emblematic Example 10 “My feminism will be intersectional or it will be bullshit”: Towards a Theoretical Framework 13 Intersectionality, Identity, and the “Other” 16 The Critical Reception of the Cassady Figure 21 “No Profane History”: Envisioning Dean Moriarty 23 Critiques of On the Road and the Dean Moriarty Figure 27 Chapter II: Words Are Not For Me: Class, Language, Writing, and the Body 30 How Matter Comes to Matter: Pragmatic Struggles Determine Poetics 30 “Neal Lived, Jack Wrote”: Language and its Discontents 32 Developing the Oral Prose Style 36 Authorship and Class Fluctuations 38 Chapter III: Bodily Poetics: Class, Gender, Capitalism, and the Body 42 A poetics of Speed, Mobility, and Self-Control 42 Consumer Capitalism and Exclusion 45 Gender and Confinement 48 Commodification and Social Exclusion 52 Chapter IV: Writing Home: The Vocabulary of Home, Family, and (Homo)sexuality 55 Conceptions of Home 55 Intimacy and the Lack 57 “By their fruits ye shall know them” 59 1 Conclusion 64 Assemblage versus Intersectionality, Assemblage and Intersectionality 66 Suggestions for Future Research 67 Final Remarks 68 Bibliography 70 2 Acknowledgements First off, I would like to thank Mathilde Roza for her assistance with writing this thesis.
    [Show full text]
  • On the Borderline of Expectation and Desire in Joyce Johnson's
    Archived thesis/research paper/faculty publication from the University of North Carolina at Asheville’s NC DOCKS Institutional Repository: http://libres.uncg.edu/ir/unca/ “Mad to Be Saved”: On the Borderline of Expectation and Desire in Joyce Johnson’s Come and Join the Dance Senior Paper Presented in Partial Fulfillment of the Requirements For a Degree Bachelor of Arts with A Major in Literature at The University of North Carolina at Asheville Spring 2016 By Jessica Nicole Pringle ____________________ Thesis Director Dr. Evan Gurney ____________________ Thesis Advisor Dr. Lori Horvitz Pringle 1 The year is 1955 in America the Great. Dwight Eisenhower is president, the Battle of Dienbienphu is underway, and Allen Ginsberg is reading his first draft of “Howl” at the Gallery Six. The Seven Year Itch has hit the big screen, women are stationed in their houses, and the economy has been struck by a momentous deflation. Vagabonds are scouring the states, their right thumbs in the air, while the abomunists1 perform their 9-5’s in the center of an emergent poetic riff-raff. The 1950s was jazz, was finger-snapping stanzas; it was the year of the creative delinquent. The 1950s was The Beat Generation, and a fraction of that beat feeling can be attributed to 1950’s America being wrought with strict stereotypical roles for men and women, which produced alarming consequences. To give context, men were oftentimes the ‘breadwinners,’ and were afforded the opportunities to establish careers, to explore the world in a multitude of ways, and to realize the capacity of their talents and traits, all which worked together in cultivating a sense of identity (Lindsey 17).
    [Show full text]
  • Lust of the Libertines
    Lust of the Libertines The Objectification of Women in Jack Kerouac’s On the Road Aster Dieleman 3847632 BA Thesis English Language and Culture Utrecht University Supervisor: Simon Cook June 2014 2 I. Introduction ............................................................................................................................. 3 II. Jack Kerouac .......................................................................................................................... 5 The Beat Generation ............................................................................................................... 6 On the Road ............................................................................................................................ 8 III. Theoretical Framework ...................................................................................................... 10 Sexual Objectification .......................................................................................................... 10 The Male Gaze ..................................................................................................................... 11 Patriarchy ............................................................................................................................. 12 IV. On the Road ....................................................................................................................... 14 Jack’s Girls ..........................................................................................................................
    [Show full text]
  • The Bird That Flew Backwards
    Ursinus College Digital Commons @ Ursinus College English Honors Papers Student Research 4-15-2018 The irB d That Flew Backwards Robin Gow Ursinus College, [email protected] Adviser: Meredith Goldsmith Follow this and additional works at: https://digitalcommons.ursinus.edu/english_hon Part of the American Studies Commons, Digital Humanities Commons, English Language and Literature Commons, Lesbian, Gay, Bisexual, and Transgender Studies Commons, and the Other Feminist, Gender, and Sexuality Studies Commons Click here to let us know how access to this document benefits oy u. Recommended Citation Gow, Robin, "The irB d That Flew Backwards" (2018). English Honors Papers. 7. https://digitalcommons.ursinus.edu/english_hon/7 This Paper is brought to you for free and open access by the Student Research at Digital Commons @ Ursinus College. It has been accepted for inclusion in English Honors Papers by an authorized administrator of Digital Commons @ Ursinus College. For more information, please contact [email protected]. Gow 1 The Bird that Flew Backwards Robin F. Gow 04/20/2018 Submission Statement: Submitted to the Faculty of Ursinus College in fulfillment of the requirements for Honors in English Gow 2 Abstract: The Bird that Flew Backwards examines women poets from literary Modernism in the 1910s and Beat culture in the 1950s. Analyzing these eras in tandem reveals contrasting historical constructions of American womanhood and how sociocultural trends influenced how the “poetess” constructed herself and her work and illustrates the retrograde nature of women’s rights in the 1950s. Through close reading, digital mapping, and historical background, The Bird that Flew Backwards establishes a new critical perspective by linking the more well-known Modernists with lesser-known women in 1910s Greenwich Village Bohemia.
    [Show full text]
  • Stewart, Katie Jennifer (2007) 'A Kind of Singing in Me' : a Critical Account of Women Writers of the Beat Generation
    Stewart, Katie Jennifer (2007) 'A kind of singing in me' : a critical account of women writers of the Beat generation. PhD thesis. http://theses.gla.ac.uk/2805/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] 'A Kind of Singing in Me': A Critical Account of Women Writers of the Beat Generation Katie Jennifer Stewart Thesis submitted for the degree of Doctor of Philosophy to the University of Glasgow Department of English Literature June 2007 © Katie Jennifer Stewart, 2007 ABSTRACT This thesis provides a critical account of women writers of the Beat generation. Writers such as Diane di Prima, Hettie Jones, Joanne Kyger, Joyce Johnson, Bonnie Bremser, and Janine Pommy Vega were part of the 1950s Beat literary culture and had social relationships with the more famous male Beat writers such as Jack Kerouac and Allen Ginsberg. To differing degrees the women writers have also been influenced by the aesthetics of the male writers, and since the 1950s their work has been contextualised alongside the men's in literary magazines, anthologies and more recent academic studies.
    [Show full text]
  • The Women of the Beat Writers Symposium - Mania: the Lives, Literature, and Law of the Beats: Session I: Weaving Lives Into Literature
    Alabama Law Scholarly Commons Articles Faculty Scholarship 2013 On the Road without a Map: The Women of the Beat Writers Symposium - Mania: The Lives, Literature, and Law of the Beats: Session I: Weaving Lives into Literature Jean Stefancic University of Alabama - School of Law, [email protected] Follow this and additional works at: https://scholarship.law.ua.edu/fac_articles Recommended Citation Jean Stefancic, On the Road without a Map: The Women of the Beat Writers Symposium - Mania: The Lives, Literature, and Law of the Beats: Session I: Weaving Lives into Literature, 37 Seattle U. L. Rev. xv (2013). Available at: https://scholarship.law.ua.edu/fac_articles/321 This Article is brought to you for free and open access by the Faculty Scholarship at Alabama Law Scholarly Commons. It has been accepted for inclusion in Articles by an authorized administrator of Alabama Law Scholarly Commons. On the Road Without a Map: The Women of the Beat Writers Jean Stefancic* 1. INTRODUCTION During a tribute to Allen Ginsberg' at the Naropa Institute in Boul- der in July 1994, a woman in the audience asked: "Why are . so few women on this panel? Why . .. so few women in this whole week's pro- gram? Why . so few . among the Beat writers?" Corso, suddenly utterly serious, leaned forward and said: There were women, they were there, I knew them, their families put them in institutions, they were given electric shock. In the '50s if you were male you could be a rebel, but if you were female, your families had you locked up.
    [Show full text]
  • Mmubn000001 086195107.Pdf
    PDF hosted at the Radboud Repository of the Radboud University Nijmegen The following full text is a publisher's version. For additional information about this publication click this link. http://hdl.handle.net/2066/113712 Please be advised that this information was generated on 2021-09-24 and may be subject to change. «•• 1* \ ν ^i',i JAAP VAN DER BENT A HUNGER TO PARTICIPATE THE WORK OF JOHN CLELLON HOLMES 1926-1988 A HUNGER TO PARTICIPATE THE WORK OF JOHN CLELLON HOLMES 1926-1988 A HUNGER TO PARTICIPATE THE WORK OF JOHN CLELLON HOLMES 1926-1988 Een wetenschappelijke proeve op bet gebied van de letteren PROEFSCHRIFT ter verkrijging van de graad van doctor aan de Katholieke Universiteit te Nijmegen, volgens besluit van het college van decanen in het openbaar te verdedigen op maandag 4 december 1989 des namiddags te 1.30 uur precies door JACOB WILLEM VAN DER BENT geboren op 14 september 1948 te Den Haag Promotor: Prof. dr. G.A.M. Janssene Privately printed Copyright Jaap van der Bent, 1989 CIP Data Koninklijke Bibliotheek, The Hague Bent, Jacob Willem van der A hunger to participate : the work of John Clellon Holmes, 1926-1988 / Jacob Willem van der Bent. - [S.l. : s.n.] Proefschrift Nijmegen. - Met blbliogr., lit. opg. ISBN 90-9003140-5 SISO eng-a 857.6 UDC в20(73)"19"(043.3) Trefw.: Holmes, John Clellon (werken). oonnrs ACKNOWLEDGMENTS 111 Chapter One INTRODUCTION 1 Chapter Two GO 6 Chapter Three THE HORN 52 Chapter Four GET HOME FREE 87 Chapter Five NOTHING MORE TO DECLARE 13A Chapter Six WALKING AWAT FROM THE WAR 161 Chapter Seven TWO UNPUBLISHED NOVELS 195 Chapter Eight MISCELLANEOUS PROSE 243 Chapter Nine POETRt 302 Chapter Ten CONCLUSION 348 ROTES 353 SELECTED BIBLIOGRAPHY 376 SUMMART 381 CURRICULUM VITAE 385 AauKNumoKHTS I wish to acknowledge my gratitude to the Fulbrlght Program and the Netherlands Organization for Scientific Research, which both provided grants that enabled me to carry out an essential part of my research in the United States.
    [Show full text]
  • Sur La Route Jack Kerouac
    Extrait de la publication COLLECTION FOLIO Extrait de la publication Jack Kerouac Sur la route Le rouleau original ÉDITION ÉTABLIE PAR HOWARD CUNNELL Préfaces de Howard Cunnell, Penny Vlagopoulos, George Mouratidis et Joshua Kupetz Traduit de l’américain par Josée Kamoun Gallimard Extrait de la publication Titre original : ON THE ROAD The Original Scroll © John Sampas, Literary Representative of the Estate of Stella Sampas Kerouac ; John Lash, Executor of the Estate of Jan Kerouac ; Nancy Bump ; and Anthony M. Sampas, 2007. Introduction copyright : © Howard Cunnell, Joshua Kupetz, George Mouratidis, and Penny Vlagopoulos, 2007. © Éditions Gallimard, 2010, pour la traduction française. Extrait de la publication Jack Kerouac est né en 1922 à Lowell, Massachusetts, dans une famille d’origine canadienne-française. Étudiant à Columbia, marin durant la Seconde Guerre mon- diale, il rencontre à New York, en 1944, William Burroughs et Allen Ginsberg, avec lesquels il mène une vie de bohème à Greenwich Village. Nuits sans sommeil, alcool et drogues, sexe et homosexualité, délires poétiques et jazz bop ou cool, vaga- bondages sans argent à travers les États-Unis, de New York à San Francisco, de Denver à La Nouvelle-Orléans, et jusqu’à Mexico, vie collective trépidante ou quête solitaire aux lisières de la folie ou de la sagesse, révolte mystique et recherche du satori sont quelques-unes des caractéristiques de ce mode de vie qui est un défi à l’Amérique conformiste et bien-pensante. Après son premier livre, The Town and the City, qui paraît en 1950, il met au point une technique nouvelle, très sponta- née, à laquelle on a donné le nom de « littérature de l’instant » et qui aboutira à la publication de Sur la route en 1957, centré sur le personnage obscur et fascinant de Dean Moriarty (Neal Cassady).
    [Show full text]