Illusions and Frustrations in the Life and Works of Jack Kerouac Since The
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One Fast Move Or IFINAL
1 One Fast Move or I’m Gone: Kerouac’s Big Sur. Dir. Curt Worden. Perfs. Joyce Johnson, Lawrence Ferlinghetti, Carolyn Cassady, John Ventimiglia, Tom Waits, Sam Shepard, Patti Smith, Bill Morgan, Brenda Knight, and others. DVD. Kerouacfilms, 2008. $29.98 Reviewed by Tom Pynn If you think Kerouac found salvation on the road . you don’t know jack. Since 1986 we’ve had a handful of films about Jack Kerouac and the “beat generation” that have appealed to a general audience. Documentaries such as John Antonelli’s Kerouac (1986), Lerner and MacAdams’ What Happened to Kerouac? (1986), and, more recently, Chuck Workman’s The Source (2000), however, fail to get to the heart of the matter concerning the works themselves, but have instead tended to focus on the lives of the artists. This conceptual failure has tended to perpetuate the cult(s) of personality of particular members, mostly the men, while obscuring the deeper significance of the works and the place in American arts and letters of these important writers and artists. Beat Studies scholars have therefore faced difficult challenges in convincing the public and academia of the importance of the literature and elevating Kerouac et al. beyond mere fodder for Euro-American teenage male fantasy, which is especially true of the work of Jack Kerouac, the so-called “King of the Beats.” Curt Worden and Jim Sampas’ One Fast Move or I’m Gone, therefore, is a welcome addition to the scholarship devoted to excavating the depth and richness of Kerouac’s work. Unlike previous documentaries, this one focuses exclusively on what has sometimes been called his last great novel, Big Sur (1962). -
Howl": the [Naked] Bodies of Madness
promoting access to White Rose research papers Universities of Leeds, Sheffield and York http://eprints.whiterose.ac.uk/ White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/10352/ Published chapter Rodosthenous, George (2005) The dramatic imagery of "Howl": the [naked] bodies of madness. In: Howl for Now. Route Publishing , Pontefract, UK, pp. 53- 72. ISBN 1 901927 25 3 White Rose Research Online [email protected] The dramatic imagery of “Howl”: the [naked] bodies of madness George Rodosthenous …the suffering of America‘s naked mind for love into an eli eli lamma lamma sabacthani saxophone cry that shivered the cities (―Howl‖, 1956) Unlike Arthur Rimbaud who wrote his ―A Season in Hell‖ (1873) when he was only 19 years old, Allen Ginsberg was 29 when he completed his epic poem ―Howl‖ (1956). Both works encapsulate an intense world created by the imagery of words and have inspired and outraged their readers alike. What makes ―Howl‖ relevant to today, 50 years after its first reading, is its honest and personal perspective on life, and its nearly journalistic, but still poetic, approach to depicting a world of madness, deprivation, insanity and jazz. And in that respect, it would be sensible to point out the similarities of Rimbaud‘s concerns with those of Ginsberg‘s. They both managed to create art that changed the status quo of their times and confessed their nightmares in a way that inspired future generations. Yet there is a stark contrast here: for Rimbaud, ―A Season in Hell‖ was his swan song; fortunately, in the case of Ginsberg, he continued to write for decades longer, until his demise in 1997. -
Allen Ginsberg, Psychiatric Patient and Poet As a Result of Moving to San Francisco in 1954, After His Psychiatric Hospitalizati
Allen Ginsberg, Psychiatric Patient and Poet As a result of moving to San Francisco in 1954, after his psychiatric hospitalization, Allen Ginsberg made a complete transformation from his repressed, fragmented early life to his later life as an openly gay man and public figure in the hippie and environmentalist movements of the 1960s and 1970s. He embodied many contradictory beliefs about himself and his literary abilities. His early life in Paterson, New Jersey, was split between the realization that he was a literary genius (Hadda 237) and the desire to escape his chaotic life as the primary caretaker for his schizophrenic mother (Schumacher 8). This traumatic early life may have lead to the development of borderline personality disorder, which became apparent once he entered Columbia University. Although Ginsberg began writing poetry and protest letters to The New York Times beginning in high school, the turning point in his poetry, from conventional works, such as Dakar Doldrums (1947), to the experimental, such as Howl (1955-1956), came during his eight month long psychiatric hospitalization while a student at Columbia University. Although many critics ignore the importance of this hospitalization, I agree with Janet Hadda, a psychiatrist who examined Ginsberg’s public and private writings, in her assertion that hospitalization was a turning point that allowed Ginsberg to integrate his probable borderline personality disorder with his literary gifts to create a new form of poetry. Ginsberg’s Early Life As a child, Ginsberg expressed a strong desire for a conventional, boring life, where nothing exciting or remarkable ever happened. He frequently escaped the chaos of 2 his mother’s paranoid schizophrenia (Schumacher 11) through compulsive trips to the movies (Hadda 238-39) and through the creation of a puppet show called “A Quiet Evening with the Jones Family” (239). -
Naked Lunch for Lawyers: William S. Burroughs on Capital Punishment
Batey: Naked LunchNAKED for Lawyers: LUNCH William FOR S. Burroughs LAWYERS: on Capital Punishme WILLIAM S. BURROUGHS ON CAPITAL PUNISHMENT, PORNOGRAPHY, THE DRUG TRADE, AND THE PREDATORY NATURE OF HUMAN INTERACTION t ROBERT BATEY* At eighty-two, William S. Burroughs has become a literary icon, "arguably the most influential American prose writer of the last 40 years,"' "the rebel spirit who has witch-doctored our culture and consciousness the most."2 In addition to literature, Burroughs' influence is discernible in contemporary music, art, filmmaking, and virtually any other endeavor that represents "what Newt Gingrich-a Burroughsian construct if ever there was one-likes to call the counterculture."3 Though Burroughs has produced a steady stream of books since the 1950's (including, most recently, a recollection of his dreams published in 1995 under the title My Education), Naked Lunch remains his masterpiece, a classic of twentieth century American fiction.4 Published in 1959' to t I would like to thank the students in my spring 1993 Law and Literature Seminar, to whom I assigned Naked Lunch, especially those who actually read it after I succumbed to fears of complaints and made the assignment optional. Their comments, as well as the ideas of Brian Bolton, a student in the spring 1994 seminar who chose Naked Lunch as the subject for his seminar paper, were particularly helpful in the gestation of this essay; I also benefited from the paper written on Naked Lunch by spring 1995 seminar student Christopher Dale. Gary Minda of Brooklyn Law School commented on an early draft of the essay, as did several Stetson University colleagues: John Cooper, Peter Lake, Terrill Poliman (now at Illinois), and Manuel Ramos (now at Tulane) of the College of Law, Michael Raymond of the English Department and Greg McCann of the School of Business Administration. -
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. -
Lawrence Ferlinghetti, Poet Who Nurtured the Beats, Dies At
Lawrence Ferlinghetti, Poet Who Nurtured the Beats, Dies at 101 An unapologetic proponent of “poetry as insurgent art,” he was also a publisher and the owner of the celebrated San Francisco bookstore City Lights. By Jesse McKinley Feb. 23, 2021 Lawrence Ferlinghetti, a poet, publisher and political iconoclast who inspired and nurtured generations of San Francisco artists and writers from City Lights, his famed bookstore, died on Monday at his home in San Francisco. He was 101. The cause was interstitial lung disease, his daughter, Julie Sasser, said. The spiritual godfather of the Beat movement, Mr. Ferlinghetti made his home base in the modest independent book haven now formally known as City Lights Booksellers & Publishers. A self-described “literary meeting place” founded in 1953 and located on the border of the city’s sometimes swank, sometimes seedy North Beach neighborhood, City Lights, on Columbus Avenue, soon became as much a part of the San Francisco scene as the Golden Gate Bridge or Fisherman’s Wharf. (The city’s board of supervisors designated it a historic landmark in 2001.) While older and not a practitioner of their freewheeling personal style, Mr. Ferlinghetti befriended, published and championed many of the major Beat poets, among them Allen Ginsberg, Gregory Corso and Michael McClure, who died in May. His connection to their work was exemplified — and cemented — in 1956 with his publication of Ginsberg’s most famous poem, the ribald and revolutionary “Howl,” an act that led to Mr. Ferlinghetti’s arrest on charges of “willfully and lewdly” printing “indecent writings.” In a significant First Amendment decision, he was acquitted, and “Howl” became one of the 20th century’s best-known poems. -
„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 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. -
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 -
"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. -
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. -
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.