„As Always the Lunch Is Naked‟ Jack Kerouac‟S
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The Impact of Allen Ginsberg's Howl on American Counterculture
CORE Metadata, citation and similar papers at core.ac.uk Provided by Croatian Digital Thesis Repository UNIVERSITY OF RIJEKA FACULTY OF HUMANITIES AND SOCIAL SCIENCES DEPARTMENT OF ENGLISH Vlatka Makovec The Impact of Allen Ginsberg’s Howl on American Counterculture Representatives: Bob Dylan and Patti Smith Submitted in partial fulfillment of the requirement for the M.A.in English Language and Literature and Italian language and literature at the University of Rijeka Supervisor: Sintija Čuljat, PhD Co-supervisor: Carlo Martinez, PhD Rijeka, July 2017 ABSTRACT This thesis sets out to explore the influence exerted by Allen Ginsberg’s poem Howl on the poetics of Bob Dylan and Patti Smith. In particular, it will elaborate how some elements of Howl, be it the form or the theme, can be found in lyrics of Bob Dylan’s and Patti Smith’s songs. Along with Jack Kerouac’s On the Road and William Seward Burroughs’ Naked Lunch, Ginsberg’s poem is considered as one of the seminal texts of the Beat generation. Their works exemplify the same traits, such as the rejection of the standard narrative values and materialism, explicit descriptions of the human condition, the pursuit of happiness and peace through the use of drugs, sexual liberation and the study of Eastern religions. All the aforementioned works were clearly ahead of their time which got them labeled as inappropriate. Moreover, after their publications, Naked Lunch and Howl had to stand trials because they were deemed obscene. Like most of the works written by the beat writers, with its descriptions Howl was pushing the boundaries of freedom of expression and paved the path to its successors who continued to explore the themes elaborated in Howl. -
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. -
Merton and the Beats Angus Stuart
5 Merton and the Beats Angus Stuart "I am a monk, therefore by definition, as I understand it, the chief friend of beats ... " 1 Thomas Merton said he was a friend of the beats because he was a monk, and as a monk, he of all people should be a friend of the beats, indeed "the chief friend of beats." Yet not all monks by any means necessarily fi t the description "beatnik, peacenik, Trappist Buddhist monk" as his friend Edward Rice dubbed him;2 not all monks could be referred to as "Jack Kerouac's monastic elder brother;"3 not all monks were "beat" in the way Merton was- he clearly had an affinity with the beats even though he had little or no direct contact with them-and his "beatness" is evident at many places in the originality of his writing, showing himself atypical as both a monk and a Catholic. The phrase "beat generation" originated with Jack Kerouac in conversation with friend and aspiring author John Clellon Holmes in 1948.4 They were discussing their own generation of writers in comparison to the previous literary generation of Fitzgerald, Hemingway and others in the 1920s who had become known as the "lost generation." Kerouac picked up on the word "beat" as used by the hipsters, hustlers and street people of Times Square and elsewhere in New York in the 1940s. The word meant not simply tired or worn out but conveyed a sense of being defeated by life; being on the underside of society; no longer belonging or fitting in; living from hand-to-mouth, from day-to-day; a sense of urban subsistence, having to live by one's wits; of being poor. -
A Comparison of the Works of Henry Miller and Jack Kerouac Jeffrey J
Southern Illinois University Carbondale OpenSIUC Honors Theses University Honors Program 8-1994 "The rT iumph of the Individual Over Art": A Comparison of the Works of Henry Miller and Jack Kerouac Jeffrey J. Eustis Follow this and additional works at: http://opensiuc.lib.siu.edu/uhp_theses Recommended Citation Eustis, Jeffrey J., ""The rT iumph of the Individual Over Art": A Comparison of the Works of Henry Miller and Jack Kerouac" (1994). Honors Theses. Paper 203. This Dissertation/Thesis is brought to you for free and open access by the University Honors Program at OpenSIUC. It has been accepted for inclusion in Honors Theses by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. -' . "The Triumph of the Individual Over Art": A Comparison of the Works of Henry Miller and Jack Kerouac Jeffrey Eustis August 1994 Senior Thesis 2 TABLE OF CONTENTS I. Introduction 3 II . Theories of Writing 7 III. Miller and Kerouac: Misogynists? Sex Fiends? 18 IV. Conclusion 30 V. Bibliography 33 3 I. Introduction Henry Miller and Jack Kerouac had much in common with one another. One of their most unfortunate common traits was their lack of acceptance by the literary establishment. Both of them had unfair one-dimensional reputations which largely have remained intact, years after their deaths. For example, Miller was always seen as a writer of "dirty books," his early master pieces such as Tropic of Cancer being regarded by many as little more than the literary equivalent of a raunchy stag film. Kerouac was viewed by many critics, and much of the pUblic, as nothing more than a hard-drinking, hell-raising hoodlum transcribing the "hep" aphorisms of his "beatnik" friends. -
The Fame and Legacy of Jack Kerouac
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 5-2019 "He Who is Conscious of the Bright but Keeps to the Dark": The Fame and Legacy of Jack Kerouac Regina Crotser The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/3212 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] “HE WHO IS CONSCIOUS OF THE BRIGHT BUT KEEPS TO THE DARK”: THE FAME AND LEGACY OF JACK KEROUAC by REGINA CROTSER A master’s thesis submitted to the Graduate Faculty in Liberal Studies in partial fulfillment of the requirements for the degree of Master of Arts, The City University of New York 2019 © 2019 REGINA CROTSER All Rights Reserved ii “He who is conscious of the bright but keeps to the dark”: The Fame and Legacy of Jack Kerouac by Regina Crotser This manuscript has been read and accepted for the Graduate Faculty in Liberal Studies in satisfaction of the thesis requirement for the degree of Master of Arts. Date George Fragopoulos Thesis Advisor Date Elizabeth Macaulay-Lewis Executive Officer THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT “He who is conscious of the bright but keeps to the dark”: The Fame and Legacy of Jack Kerouac by Regina Crotser Advisor: George Fragopoulos This thesis traces the legacy and fame of Jack Kerouac from his lifetime up until current day. -
Big Sur Sustainable Tourism Destination Stewardship Plan
Big Sur Sustainable Tourism Destination Stewardship Plan DRAFT FOR REVIEW ONLY June 2020 Prepared by: Beyond Green Travel Table of Contents Acknowledgements............................................................................................. 3 Abbreviations ..................................................................................................... 4 Executive Summary ............................................................................................. 5 About Beyond Green Travel ................................................................................ 9 Introduction ...................................................................................................... 10 Vision and Methodology ................................................................................... 16 History of Tourism in Big Sur ............................................................................. 18 Big Sur Plans: A Legacy to Build On ................................................................... 25 Big Sur Stakeholder Concerns and Survey Results .............................................. 37 The Path Forward: DSP Recommendations ....................................................... 46 Funding the Recommendations ........................................................................ 48 Highway 1 Visitor Traffic Management .............................................................. 56 Rethinking the Big Sur Visitor Attraction Experience ......................................... 59 Where are the Restrooms? -
MEXICO CITY BLUES Other Works by Jack Kerouac Published by Grove Press Dr
MEXICO CITY BLUES Other Works by Jack Kerouac Published by Grove Press Dr. Sax Lonesome Traveler Satori in Paris and Pic (one volume) The Subterraneans MEXICO CITY BLUES Jack Kerouac Copyright © 1959 by Jack Kerouac All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, or the facilitation thereof, including information storage and retrieval systems, without permission in writing from the publisher, except by a reviewer, who may quote brief passages in a review. Any members of educational institutions wishing to photocopy part or all of the work for classroom use, or publishers who would like to obtain permission to include the work in an anthology, should send their inquiries to Grove/Atlantic, Inc., 841 Broadway, New York, NY 10003. Published simultaneously in Canada Printed in the United States of America Library of Congress Cataloging-in-Publication Data Kerouac, Jack, 1922-1969. Mexico City blues / Jack Kerouac. p. cm. eBook ISBN-13: 978-0-8021-9568-5 I. Title. PS3521.E735M4 1990 813’.54—dc20 90-2748 Grove Press an imprint of Grove/Atlantic, Inc. 841 Broadway New York, NY 10003 Distributed by Publishers Group West www.groveatlantic.com MEXICO CITY BLUES MEXICO CITY BLUES NOTE I want to be considered a jazz poet blowing a long blues in an afternoon jam session on Sunday. I take 242 choruses; my ideas vary and sometimes roll from chorus to chorus or from halfway through a chorus to halfway into the next. 1st Chorus Butte Magic of Ignorance Butte Magic Is the same as no-Butte All one light Old Rough Roads One High Iron Mainway Denver is the same “The guy I was with his uncle was the governor of Wyoming” “Course he paid me back” Ten Days Two Weeks Stock and Joint “Was an old crook anyway” The same voice on the same ship The Supreme Vehicle S. -
Dostoevsky and the Beat Generation
MARIA BLOSHTEYN Dostoevsky and the Beat Generation American literary history is rich with heroes of counterculture, maverick writers and poets who were rejected by the bulk of their contemporaries but inspired a cult-like following among a few devotees. The phenomenon of Beat Generation writers and poets, however, is unique in twentieth-century American letters precisely because they managed to go from marginal underground classics of the 1950s to the official voice of dissent and cultural opposition of the 1960s, a force to be reckoned with. Their books were adopted by hippies and flower children, their poems chanted at sit-ins, their lives faithfully imitated by a whole generation of young baby boomers. Their antiauthoritarian ethos along with their belief in the brotherhood of mankind were the starting point of a whole movement that gave the United States such social and cultural watersheds as Woodstock and the Summer of Love, the Chicago Riots and the Marches on Washington. The suggestion that Dostoevsky had anything to do with the American Sexual Revolution of the 1960s and street rioting in American urban centres might seem at first to be far-fetched. It is, however, a powerful testimony to Dostoevsky’s profound impact on twentieth-century American literature and culture that the first Beats saw themselves as followers of Dostoevsky and established their personal and literary union (and, as it were, the entire Beat movement) on the foundation of their shared belief in the primacy of Dostoevsky and his novels. Evidence of Dostoevsky’s impact on such key writers and poets of the Beat Generation as Allen Ginsberg (1926-1997), Jack Kerouac (1922-1969), and William Burroughs (1914-1997) is found in an almost embarrassing profusion: scattered throughout their essays, related in their correspondence, broadly hinted at and sometimes explicitly indicated in their novels and poems. -
A New Annual Festival Celebrating the History and Heritage of Greenwich Village
A New Annual Festival Celebrating the History and Heritage of Greenwich Village VILLAGE VOICES: A CELEBRATION OF EDNA ST VINCENT MILLAY AND JACK KEROUAC Greenwich Village through the eyes of its two greatest poets, with Lucy McDiarmid and David Amram. World premiere performance by Kenneth Radnofsky and Yoshiko Kline of David Amram’s Greenwich Village Portraits, arranged for saxophone and piano Jefferson Market Library, Saturday September 29, at 2pm “My candle burns at both ends… It gives a lovely light,” Edna St Vincent Millay (1892- 1950) famously wrote in her poem “First Fig” (1920), three years before she became the first woman to win the Pulitzer Prize for Poetry. “First Fig” cemented Millay’s reputation with the younger generation and came to symbolize not only her own life but Greenwich Village in general. A bohemian and a libertine, a New Woman and an It-Girl, she was named after St Vincent’s Hospital where an uncle’s life had been saved. Encouraged to write by her mother, she grew up in Maine with her two-sisters in a home where the abundance of books made up for the shortage of food. After graduating from Vassar where she lived the sort of life that Mary McCarthy would fictionalise more than a half-century later in The Group, Millay moved to Greenwich Village. There she continued to write and publish poetry while also becoming active in theatre and politics: she joined the Provincetown Players, co-founded the Cherry Lane Playhouse, and supported Max Eastman and John Reed in their trial for sedition. -
RENCONTRE INTERNA Tlonale JACK KÉROUAC
LES DELA RENCONTRE INTERNA TlONALE JACK KÉROUAC No 2 The image of Québec in Jack Kérouac ' s fiction Maurice Poteet avril 1987 Publié par : LES AVANr-VIRE Une. "R e.nc.on:tJte. ,znteJr.na.Üona.ie. Ja.c.k KéJtoua.c" auAa. l,ze.u à Québe.c. le..6 1eJr., 2, 3 e.t 4 oc.tobl1.e. pI1.0c.hMn. En pl1.épMa.Üon, e.n l,zm,znMl1.e. à .ta. pMole.· méa.ndl1.,zque. e.t b,zgMl1.ée. qu,z pl1.e.ndl1.a. 6011.me. e.t, .60UVeJr.Mne., .6' ,zmpo.6eJr.a. a.iOI1..6, le..6 Ava.nt-düe. .6e. pl1.é.6e.nte.nt c.omme. une. .6éJt,ze. d' étu de..6 ou de. doc.ume.nu, l,{ttéJtMI1.e..6 ou a.u:tJte..6, .6u.11. .ta. v,ze. e.t l' oe.UVI1.e. de. Ja.c.k KéJtoua.c.. L' événe.me.nt c.heJr.cha.nt à m,ze.ux dél,{m,zteJr. .ta. .6péc.,z6,zc.,zté c.a.na.d,ze.nne. - 611.a.nçM.6e. de. Ja.c.k KéJtoua.c, le..6 Ava.nt-d,zI1.e., à l'a.ve.na.nt, e.nv,z.6a.ge.nt c.e.t Mpe.C.t ,zmpOl1.ta.nt mM.6 longte.mp.6 ;'gnOl1.é de. .6on ,zde.nüté, qu,z le. l1.a.ppl1.oche. .6,zngul,{è!1.e.me.nt de. ce. que. noU.6 a.VOYl.6 été na.guè!1.e., comme. c.o.e.ee.c. ü v;'té, e.t a.U.6.6,z b,ze.n .6Omme..6 e.nc.OI1.e. -
Expanding Jack Kerouac's “America”: Canadian
Expanding Jack Kerouac’s “America” 31 Expanding Jack Kerouac’s “America”: Canadian Revisions of On the Road Karen E. H. Skinazi Figure 1: Commemorative stamp of Champlain’s historic voyage of 1606, issued jointly by Canada Post and the United States Postal Service in 2006. Canada Post Commemorative Stamp © Canada Post 2006. Reprinted with permission. In our history, America began with a French look, briefly but gloriously given it by Champlain, Jolliet, La Salle, La Vérendrye. (René Lévesque, An Option for Québec, 1968, 14) ‘Come into my house,’ Jack said to me when I read Doctor Sax; ‘we have so few visitors from Up There.’ —(I’ll teach you and teaching you will teach me)— (Victor-Lévy Beaulieu, Jack Kerouac: A Chicken Essay, 1972, 31) 0026-3079/2010/5103/4-031$2.50/0 American Studies, 51:3/4 (Fall/Winter 2010): 31-59 31 32 Karen E. H. Skinazi I. Introduction Fans of Jack Kerouac’s On the Road are offered a facile lesson in American history. Readers race alongside Sal Paradise as he sweeps across the land, paus- ing to exult in the vastness of what he calls “the great raw bulge and bulk of my American continent” (Kerouac, Road, 79). And as they cover “the whole mad thing, the ragged promised land” with Sal, they encounter cowboys and vagrants, students of Nietzsche and Mexican migrants, ranchers, coal-truck drivers, mothers and fathers, drug addicts, poets, con men, jazz musicians—all the people of his “American continent” across its varied, incredible landscape (Kerouac, Road, 83). Is this “American continent,” however, confined to the United States of America? At first glance, the answer must be yes: The book begins with Sal Paradise “reading books about the pioneers” and poring over maps of the United States (Kerouac, Road, 10). -
ABSTRACT Jack Kerouac Was a Well-Known American Writer Who
UNIVERSIDAD DE CUENCA ABSTRACT Jack Kerouac was a well-known American writer who was famous for his spontaneous prose in all of his autobiographical works. In the first chapter, we refer about the most important characteristics about Jack Kerouac’s life. We illustrate Kerouac’s early years, his beginning in writing with his early works. Moreover, his mature life during his days from the university to the time he became a famous writer and the description of his death. In the second chapter, we show the origins and the analysis of On the Road. In which we introduce the characters and review the situations in which Jack and his friends where involved during each trip. We also take into account the changes this novel had before its publication and the opinions about it. AUTORAS: Denis Tenesaca Benenaula Diana Ramón López 1 UNIVERSIDAD DE CUENCA Finally, the last two chapters contain important aspects. The third one tell us about the “Beat Generation”, its origins, members, what they did, and the different elements that characterized them; for instance: literature, fashion, women, etc. Moreover, in the fourth chapter, we present their lifestyle, the different liberations that appeared because of them and the music which used to identify the Beats. Key words: On the Road, “Beat Generation”, spontaneous prose, lifestyle, members, trips, liberation, characters, music, works. AUTORAS: Denis Tenesaca Benenaula Diana Ramón López 2 UNIVERSIDAD DE CUENCA TABLE OF CONTENTS INTRODUCTION CHAPTER I: JACK KEROUAC’S BIOGRAPHY 1.1 Early life 1.2 Early works 1.3 Mature life 1.4 Later works 1.5 Jack Kerouac’s death CHAPTER II: ON THE ROAD CHARACTERISTICS 2.1.