By Michael Hrebeniak
Action Writing: Jack Kerouac's Wild Form connects the private and inventive improvement of the Beat generation's well-known icon with cultural alterations in postwar the US. Michael Hrebeniak asserts that Jack Kerouac's "wild form"—self-organizing narratives freed from literary, grammatical, and syntactical conventions—moves inside an experimental continuum around the arts to generate a Dionysian experience of writing as uncooked strategy. Action Writing highlights how Kerouac made concrete his 1952 intimation of "something past the novel" through assembling rules from Beat the United States, modernist poetics, motion portray, bebop, and subterranean oral traditions.
Geared to students and scholars of yankee literature, Beat reviews, and inventive writing, Action Writing areas Kerouac's writing in the context of the yankee artwork scene at midcentury. Reframing the paintings of Kerouac and the Beat iteration in the experimental modernist and postmodernist literary culture, this probing inquiry deals an immediate engagement with the social and cultural background on the foreground of Kerouac's occupation from the Forties to the overdue Sixties.
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Additional resources for Action Writing: Jack Kerouac's Wild Form
Our work staggered to a halt for a moment under the blast of Eliot’s genius which gave the poem back to the academics (Autobiography ) and by Lawrence, who in celebrating the intercultural condition of the United States situated American identity in “the aboriginal life of the continent” and insisted on a set of propositions that reﬂected its boundary-breaking nature (Studies ). ) Noting that the nation’s history was one of “Americanization,” of “continuity” between “the murdered Red America and the seething White America,” Lawrence recognized that the retrieval of a primitive discourse of “masterless .
The beat scene Wolfe’s tales of “escape and wandering”—“the initiation to the voyage this life will make . . a prelude to exile [and] the blind groping of a soul toward freedom and isolation” ()—Kerouac takes on a signiﬁcant modernist tension between the desire to live inside an order and Whitman’s declaration in “A Song of Joys” that “nothing exterior shall ever take command of me” (Complete Poems ). The subsequent dialogue builds both creatively and destructively throughout. Reﬂecting the Daedalian quests undertaken in his novels, Kerouac struggles to sustain conﬁdence in mobility in order to avoid, in Ginsberg’s words, “the great betrayal of that manly America .
Embodying the counterforces of metamorphosis, Cassady is positioned in the midst of this as a true Dionysian, whose liberatory productions of lawlessness, art, and unrestricted sex disrupt the State’s limitation of the human as a product of power. As such he stands polarized to Blake’s ﬁgure of abstract rationalism, Urizen, and to Burroughs’s Lobotomy Kid in The Naked Lunch: the model of voluntary subjection, devoted to molding the all-American de-anxietized man from viscous jelly and a black centipede.