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.The Vikingthe narrator s Horatio Alger ambition to be  a big Press editor Malcolm Cowley, interested in On thehero of New York.incarnation of the American Road, provided small funds that Kerouac used toSuper Dream Winner, traditional success Kerouac escape to Mexico, where he wrote the first part ofwould ironically seek through literary experimen- TRISTESSA in pencil by candlelight.Kerouac cryp-talism.His frustration at disappointed publishing tically lauded its  ingrown-toenail packed mysticalopportunities was unrelieved by travels to Quebec style, but the narrator  Jack Duluoz is overcomeand San Francisco, but returning to New York, he by  All of us trembling in our mortality boots, bornproduced another breakthrough novel and a major to die, BORN TO DIE, the existential preoc-manifesto of his composition techniques.cupation of most works Kerouac composed afterIn three successive nights in October 1953, embracing the practical but unflinching BuddhistKerouac wrote The SUBTERRANEANS, whose aes- thought.thetic to  just.start at the beginning and let the Kerouac also wrote MEXICO CITY BLUES intruth seep out yields a narration of  confessional summer 1955,  all by hand in pencil, counter-madness that encompasses both  the conscious balancing spontaneity by limiting the choruses totop and the unconscious bottom of the mind. the page size of his pocket notebook.He moved toThe Subterraneans also represents postwar cultural Berkeley, California, where Ginsberg had just com-hybridity in the mixed-race hipster community pleted  HOWL, obviously indebted to Kerouac sand the biracial  Mardou Fox, whose  new bop spontaneous method.Orchestrating audience fer-generation way of speaking   part Beach, part vor but not presenting his work at the pivotal SixI.Magnin model, part Berkeley, part Negro high- Gallery reading on October 7, 1955, Kerouac beganclass  exemplifies the pastiche postmodern liter- his important literary friendship with GARY SNYDERary style that Kerouac helped pioneer.Burroughs and alienated KENNETH REXROTH, the poet im-and Ginsberg found the novel so exceptional that presario who proclaimed the landmark event atthey asked Kerouac to explain his techniques.His which Ginsberg premiered  Howl  to be the birthnine-point list,  Essentials of Spontaneous Prose, of the San Francisco Poetry Renaissance.At hisdescribes a method that honors the private mind sister s in North Carolina, Kerouac wrote VISIONSthat speaks freely in the moment of composition by OF GERARD by hand in January 1956 in 12 nights;sketching or  blowing like a jazz musician an  un- the novel s  windblown Shakespearean style anddisturbed flow.of personal secret idea words ;  soul and mind memory temper the pitiless  bornthat permits  free deviation (association) of mind ; to die ethos that the tale commemorates.Withand, most famously, that insists on  no revision. Snyder in Marin County in spring, Kerouac beganThese demanding ideals, mastered in the composi- The Scripture of the Golden Eternity, carefully revis-tions of 1951 53, would be the gold standard for ing because  it was a scripture.I had no right toall Kerouac s work.be spontaneous. He also worked on OLD ANGEL178 Kerouac, JackMIDNIGHT, styling its  sounds of the universe  a frain,  I didn t know anything anymore, I didn tspontaneous Finnegans Wake. Recommended to care, and it didn t matter, and suddenly I felt re-the post by Snyder, Kerouac spent 63 days alone ally free. The 1958 publication of The Dharmain summer 1956 as a fire lookout in the Cascade Bums coincided with spoken word projects.Ker-Mountains in Washington, watching over Desola- ouac recorded Poetry for the Beat Generation totion Peak.Steve Allen s improvised piano accompaniment;Kerouac returned to  the world in September Blues and Haikus with Zoot Sims and Al Cohn;1956, traveling to San Francisco and Mexico City, and Readings on the Beat Generation, a solo per-completing there the second part of Tristessa and formance.He improvised a voiceover narrationwriting Book One of DESOLATION ANGELS.The for the acclaimed short film based on his writ-narrator s Zen recognition that  I know there s no ings, Pull My Daisy, which was shot in painterneed to tell a story and yet I know there s not even and director Alfred Leslie s New York loft inneed for silence is countered by his aesthetic of January February 1959.The Spring 1959 issuethe  tic, which codifies the way narrative results of Evergreen Review carried  Belief & Techniquefrom mind prompts when  a thousand memories for Modern Prose, Kerouac s other writing man-come like tics all day.almost muscular spasms of ifesto.When Kerouac appeared on The Steveclarity and recall. In New York in December Ker- Allen Show in November, he read pages of Visionsouac contracted with Viking Press to publish On of Cody hidden in his copy of On the Road, signal-the Road and met the young writer Joyce Glassman ing his preference for its experimental aesthetics.(later JOYCE JOHNSON), who became an important During this period of overwhelming popular at-confidant after it came out.Visiting Burroughs in tention, Kerouac s strong artistic showing wasTangier, he typed parts of the book that he named mitigated by increased drinking and defensiveNAKED LUNCH, returning for the September 5, loutish public conduct [ Pobierz całość w formacie PDF ]