ABSTRACT Jack Kerouac Was a Well-Known American Writer Who
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Ken Lopez Bookseller Modern Literature 165 1 Lopezbooks.Com
MODERN LITERATURE 165 KEN LOPEZ BOOKSELLER MODERN LITERATURE 165 1 LOPEZBOOKS.COM KEN LOPEZ BOOKSELLER MODERN LITERATURE 165 2 KEN LOPEZ, Bookseller MODERN LITERATURE 165 51 Huntington Rd. Hadley, MA 01035 (413) 584-4827 FAX (413) 584-2045 [email protected] | www.lopezbooks.com 1. (ABBEY, Edward). The 1983 Western Wilderness Calendar. (Salt Lake City): (Dream Garden) CATALOG 165 — MODERN LITERATURE (1982). The second of the Wilderness calendars, with text by Abbey, Tom McGuane, Leslie Marmon Silko, All books are first printings of the first edition or first American edition unless otherwise noted. Our highest Ann Zwinger, Lawrence Clark Powell, Wallace Stegner, grade is fine. Barry Lopez, Frank Waters, William Eastlake, John New arrivals are first listed on our website. For automatic email notification about specific titles, please create Nichols, and others, as well as work by a number of an account at our website and enter your want list. To be notified whenever we post new arrivals, just send your prominent photographers. Each day is annotated with email address to [email protected]. a quote, a birthday, or an anniversary of a notable event, most pertaining to the West and its history and Books can be ordered through our website or reserved by phone or e-mail. New customers are requested to pay natural history. A virtual Who’s Who of writers and in advance; existing customers may pay in 30 days; institutions will be billed according to their needs. All major photographers of the West, a number of them, including credit cards accepted. Any book may be returned for any reason within 30 days, but we request notification. -
Importance of Mobilty in Jack Kerouac's on the Road And
SOBİAD Mart 2015 Onur KAYA IMPORTANCE OF MOBILTY IN JACK KEROUAC’S ON THE ROAD AND DENNIS HOPPER’S EASY RIDER Arş. Gör. Onur KAYA Abstract Journey as a mobility in 1950s and 1960s of the United States of America showed itself in the works of authors and directors of the films. Among them, Jack Kerouack’s On The Road (1955) and Dennis Hopper’s Easy Rider (1969) are significant works. Analysing both works will put forth representation of mobility in America and the period. For the method, mobility notion will be emphasized. The mobility notion in works and representation of its effects on people, period will be analyzed. Comparison of representation of mobility in two works will be done. Finally, the study will reveal the importance of mobility in the American society. Key Words: Beats, 50s, 60s, Mobility, Road JACK KEROUAC’IN ON THE ROAD VE DENNIS HOPPER’IN EASY RIDER YAPITLARINDA HAREKETLİLİĞİN ÖNEMİ Öz Yolculuk bir hareketlilik olarak Amerika Birleşik Devletlerinin 1950ler ve 1960larında yazarlarla film yönetmenlerinin eserlerinde kendisini göstermiştir. Bunlar içerisinde Jack Kerouack’ın On The Road (1955) ve Dennis Hopper’ın Easy Rider (1969) eserleri önemli yapıtlardır. Her iki eserin incelenmesi o dönemde ve Amerika’da hareketliliğin temsilini ortaya koyacaktır. Metot olarak hareketlilik kavramı irdelenecektir. Eserlerdeki hareketlilik kavramı ve onun insanlarla dönem üzerindeki etkileri analiz edilecektir. Her iki eserdeki hareketlililiğin temsilinin karşılaştırılması yapılacaktır. Sonuç olarak çalışma Amerikan toplumundaki hareketliliğin -
“Howl”—Allen Ginsberg (1959) Added to the National Registry: 2006 Essay by David Wills (Guest Post)*
“Howl”—Allen Ginsberg (1959) Added to the National Registry: 2006 Essay by David Wills (guest post)* Allen Ginsberg, c. 1959 The Poem That Changed America It is hard nowadays to imagine a poem having the sort of impact that Allen Ginsberg’s “Howl” had after its publication in 1956. It was a seismic event on the landscape of Western culture, shaping the counterculture and influencing artists for generations to come. Even now, more than 60 years later, its opening line is perhaps the most recognizable in American literature: “I saw the best minds of my generation destroyed by madness…” Certainly, in the 20h century, only T.S. Eliot’s “The Waste Land” can rival Ginsberg’s masterpiece in terms of literary significance, and even then, it is less frequently imitated. If imitation is the highest form of flattery, then Allen Ginsberg must be the most revered writer since Hemingway. He was certainly the most recognizable poet on the planet until his death in 1997. His bushy black beard and shining bald head were frequently seen at protests, on posters, in newspapers, and on television, as he told anyone who would listen his views on poetry and politics. Alongside Jack Kerouac’s 1957 novel, “On the Road,” “Howl” helped launch the Beat Generation into the public consciousness. It was the first major post-WWII cultural movement in the United States and it later spawned the hippies of the 1960s, and influenced everyone from Bob Dylan to John Lennon. Later, Ginsberg and his Beat friends remained an influence on the punk and grunge movements, along with most other musical genres. -
KEROUAC, JACK, 1922-1969. John Sampas Collection of Jack Kerouac Material, Circa 1900-2005
KEROUAC, JACK, 1922-1969. John Sampas collection of Jack Kerouac material, circa 1900-2005 Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Descriptive Summary Creator: Kerouac, Jack, 1922-1969. Title: John Sampas collection of Jack Kerouac material, circa 1900-2005 Call Number: Manuscript Collection No. 1343 Extent: 2 linear feet (4 boxes) and 1 oversized papers box (OP) Abstract: Material collected by John Sampas relating to Jack Kerouac and including correspondence, photographs, and manuscripts. Language: Materials entirely in English. Administrative Information Restrictions on Access Special restrictions apply: Use copies have not been made for audiovisual material in this collection. Researchers must contact the Rose Library at least two weeks in advance for access to these items. Collection restrictions, copyright limitations, or technical complications may hinder the Rose Library's ability to provide access to audiovisual material. Terms Governing Use and Reproduction All requests subject to limitations noted in departmental policies on reproduction. Related Materials in Other Repositories Jack Kerouac papers, New York Public Library Related Materials in This Repository Jack Kerouac collection and Jack and Stella Sampas Kerouac papers Source Purchase, 2015 Emory Libraries provides copies of its finding aids for use only in research and private study. Copies supplied may not be copied for others or otherwise distributed without prior consent of the holding repository. John Sampas collection of Jack Kerouac material, circa 1900-2005 Manuscript Collection No. 1343 Citation [after identification of item(s)], John Sampas collection of Jack Kerouac material, Stuart A. Rose Manuscript, Archives, and Rare Book Library, Emory University. -
„As Always the Lunch Is Naked‟ Jack Kerouac‟S
Universiteit Gent Academiejaar 2006-2007 „AS ALWAYS THE LUNCH IS NAKED‟ FORMAL EXPERIMENTS OF THE BEAT GENERATION FOCUSSING ON JACK KEROUAC‟S SPONTANEOUS PROSE AND WILLIAM BURROUGHS‟S CUT-UPS Promotor: Gert Buelens Verhandeling voorgelegd aan de faculteit Letteren en Wijsbegeerte voor het verkrijgen van de graad licenciaat in de taal- en letterkunde: Germaanse Talen door Lien De Coster 2 ACKNOWLEDGEMENTS I‟d like to thank Gert Buelens, my promoter, Ishrat Lindblad, Olga Putilina, and Rickey Mantley for their revisions, useful comments, enthusiasm and interest. 3 DEDICATION Last year, when I lived in Sweden, I caught a lung inflammation after I went swimming in the ice. One day during my long recovery, a friend of mine brought me a book. It was The Dharma Bums by Jack Kerouac. When I finally got better we talked about it, and for the first time I heard about the Beats. Back then my friend had a hard time defining who they were and my understanding did not come that evening – it came gradually through frequenting Wirströms, the wonderful jazz bar where the musicians made „IT‟ happen every week during the Tuesday jam session, through a lot of walking and talking in the everchanging everlasting woods, through travelling by myself, with my backpack as my only companion. Gradually it came - till the day the friend who had given me the book sent me a letter. When I read it, I knew I understood; 4 Monday, March 6, 2006, 4:53 AM last night i meet a old man(60 i think) spanish man in that party where i invite you... -
The 1957 Howl Obscenity Trial and Sexual Liberation
Portland State University PDXScholar Young Historians Conference Young Historians Conference 2015 Apr 28th, 1:00 PM - 2:15 PM A Howl of Free Expression: the 1957 Howl Obscenity Trial and Sexual Liberation Jamie L. Rehlaender Lakeridge High School Follow this and additional works at: https://pdxscholar.library.pdx.edu/younghistorians Part of the Cultural History Commons, Legal Commons, and the United States History Commons Let us know how access to this document benefits ou.y Rehlaender, Jamie L., "A Howl of Free Expression: the 1957 Howl Obscenity Trial and Sexual Liberation" (2015). Young Historians Conference. 1. https://pdxscholar.library.pdx.edu/younghistorians/2015/oralpres/1 This Event is brought to you for free and open access. It has been accepted for inclusion in Young Historians Conference by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. A HOWL OF FREE EXPRESSION: THE 1957 HOWL OBSCENITY TRIAL AND SEXUAL LIBERATION Jamie L. Rehlaender Dr. Karen Hoppes HST 201: History of the US Portland State University March 19, 2015 2 A HOWL OF FREE EXPRESSION: THE 1957 HOWL OBSCENITY TRIAL AND SEXUAL LIBERATION Allen Ginsberg’s first recitation of his poem Howl , on October 13, 1955, at the Six Gallery in San Francisco, ended in tears, both from himself and from members of the audience. “The people gasped and laughed and swayed,” One Six Gallery gatherer explained, “they were psychologically had, it was an orgiastic occasion.”1 Ironically, Ginsberg, upon initially writing Howl , had not intended for it to be a publicly shared piece, due in part to its sexual explicitness and personal references. -
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. -
What Are You If Not Beat? – an Individual, Nothing
Ghent University Faculty of Arts and Philosophy “What are you if not beat? – An individual, nothing. They say to be beat is to be nothing.”1 Individual and Collective Identity in the Poetry of Allen Ginsberg Supervisor: Paper submitted in partial Dr. Sarah Posman fulfillment of the requirements for the degree of “Master in de Taal- en Letterkunde: Engels” by Sarah Devos May 2014 1 From “Variations on a Generation” by Gregory Corso 0 Acknowledgments I would like to thank Dr. Posman for keeping me motivated and for providing sources, instructive feedback and commentaries. In addition, I would like to thank my readers Lore, Mathieu and my dad for their helpful additions and my library companions and friends for their driving force. Lastly, I thank my two loving brothers and especially my dad for supporting me financially and emotionally these last four years. 1 Contents Introduction ................................................................................................................................ 3 Chapter 1. Ginsberg, Beat Generation and Community. ............................................................ 7 Internal Friction and Self-Promotion ...................................................................................... 7 Beat ......................................................................................................................................... 8 ‘Generation’ & Collective Identity ......................................................................................... 9 Ambivalence in Group Formation -
This Is Not a Dissertation: (Neo)Neo-Bohemian Connections Walter Gainor Moore Purdue University
Purdue University Purdue e-Pubs Open Access Dissertations Theses and Dissertations 1-1-2015 This Is Not A Dissertation: (Neo)Neo-Bohemian Connections Walter Gainor Moore Purdue University Follow this and additional works at: https://docs.lib.purdue.edu/open_access_dissertations Recommended Citation Moore, Walter Gainor, "This Is Not A Dissertation: (Neo)Neo-Bohemian Connections" (2015). Open Access Dissertations. 1421. https://docs.lib.purdue.edu/open_access_dissertations/1421 This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. Graduate School Form 30 Updated 1/15/2015 PURDUE UNIVERSITY GRADUATE SCHOOL Thesis/Dissertation Acceptance This is to certify that the thesis/dissertation prepared By Walter Gainor Moore Entitled THIS IS NOT A DISSERTATION. (NEO)NEO-BOHEMIAN CONNECTIONS For the degree of Doctor of Philosophy Is approved by the final examining committee: Lance A. Duerfahrd Chair Daniel Morris P. Ryan Schneider Rachel L. Einwohner To the best of my knowledge and as understood by the student in the Thesis/Dissertation Agreement, Publication Delay, and Certification Disclaimer (Graduate School Form 32), this thesis/dissertation adheres to the provisions of Purdue University’s “Policy of Integrity in Research” and the use of copyright material. Approved by Major Professor(s): Lance A. Duerfahrd Approved by: Aryvon Fouche 9/19/2015 Head of the Departmental Graduate Program Date THIS IS NOT A DISSERTATION. (NEO)NEO-BOHEMIAN CONNECTIONS A Dissertation Submitted to the Faculty of Purdue University by Walter Moore In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy December 2015 Purdue University West Lafayette, Indiana ii ACKNOWLEDGEMENTS I would like to thank Lance, my advisor for this dissertation, for challenging me to do better; to work better—to be a stronger student. -
"Paradise on Speed: Discourses of Acceleration in Jack Kerouac's On
"Paradise on Speed: Charters, Ann, ed. Beat Down to Your Soul. New York: Penguin, Discourses of Acceleration 2001. in Jack Kerouac's On the Road" ---, ed. The Portable Beat Reader. NY: Viking, 1992. Prof. Dr. Gerd Hurm ---, ed. The Beats: Literary Bohemians in Postwar America. A John F. Kennedy-Institut Berlin Dictionary of Literary Biography,. Vol. 16. Detroit, 27. November 2008 Michigan: Gale, 1983. Cook, Bruce. The Beat Generation. Westport: Greenwood Press, Select Bibliography 1983. Davidson, Michael. The San Francisco Renaissance, Poetics and General Studies Community at Mid-Century. Cambridge University, 1989. Belgrad, Daniel. The Culture of Spontaneity: Improvisation and the Dickstein, Morris. Leopards in the Temple: the Transformation of Arts in Postwar America. Chicago: U of Chicago P., 1998. American Fiction, 1945-1970. Cambridge: Harvard University Press, 2002. Bessel, Richard, ed. Life after Death. Washington, DC: Cambridge UP, 2003. Duberman, Martin. Visions of Kerouac. Boston: Little, Brown, 1977. Biskind, Peter. Seeing Is Believing: How Hollywood Taught Us To Stop Worrying and Love the Fifties. New York, Pantheon Elliott, Emory et al., ed. Columbia Literary History of the United Books, 1983. States. New York: Columbia UP, 1988. Brandt, Stefan L. The Culture of Corporeality: Aesthetic Ellwood, Robert S. The Fifties Spiritual Marketplace: American Experience and the Embodiment of America (1945 - Religion in a Decade of Conflict. New Brunswick: Rutgers 1960). Heidelberg: Carl Winter Verlag, 2007. UP, 1997 Breines, Winie. Young, White, and Miserable: Growing up Female Foreman, Joel. The Other Fifties: Interrogating Midcentury in the Fifties. Boston: Beacon Books, 1992. American Icons. Urbana: University of Illinois Press, 1997. Chafe, William. -
The Making of Chicago Review: the Meteoric Years
EIRIK STEINHOFF The Making of Chicago Review: The Meteoric Years Chicago Review’s Spring 1946 inaugural issue lays out the magazine’s ambitions with admirable force: “rather than compare, condemn, or praise, the Chicago Review chooses to present a contemporary standard of good writing.” This emphasis on the contemporary comes with a sober assessment of “the problems of a cultural as well as an economic reconversion” that followed World War II, with particular reference to the consequences this instrumentalizing logic held for contemporary writing: “The emphasis in American universities has rested too heavily on the history and analysis of literature—too lightly on its creation.” Notwithstanding this confident incipit, cr was hardly an immediate success. It had to be built from scratch by student editors who had to negotiate a sometimes supportive, sometimes antagonistic relationship with cr’s host institution, the University of Chicago. The story I tell here focuses on the labors of F.N. Karmatz and Irving Rosenthal, the two editors who put cr on the map in the 1950s, albeit in different and potentially contradictory ways. Their hugely ambitious projects twice drove cr to the brink of extinction, but they also established two idiosyncratic styles of cultural engagement that continue to inform the Review’s practice into the twenty-first century. Rosenthal’s is the story that is usually told of cr’s early years: in 1957 and ’58 he and poetry editor Paul Carroll published a strong roster of emerging Beat writers, including several provocative excerpts from Naked Lunch, William S. Burroughs’s work-in-progress. -
Ernest Hemingway Global American Modernist
Ernest Hemingway Global American Modernist Lisa Tyler Sinclair Community College, USA Iconic American modernist Ernest Hemingway spent his entire adult life in an interna- tional (although primarily English-speaking) modernist milieu interested in breaking with the traditions of the past and creating new art forms. Throughout his lifetime he traveled extensively, especially in France, Spain, Italy, Cuba, and what was then British East Africa (now Kenya and Tanzania), and wrote about all of these places: “For we have been there in the books and out of the books – and where we go, if we are any good, there you can go as we have been” (Hemingway 1935, 109). At the time of his death, he was a global celebrity recognized around the world. His writings were widely translated during his lifetime and are still taught in secondary schools and universities all over the globe. Ernest Hemingway was born 21 July 1899, in Oak Park, Illinois, also the home of Frank Lloyd Wright, one of the most famous modernist architects in the world. Hemingway could look across the street from his childhood home and see one of Wright’s innovative designs (Hays 2014, 54). As he was growing up, Hemingway and his family often traveled to nearby Chicago to visit the Field Museum of Natural History and the Chicago Opera House. Because of the 1871 fire that destroyed structures over more than three square miles of the city, a substantial part of Chicago had become a clean slate on which late nineteenth-century and early twentieth-century architects could design what a modern city should look like.