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Action Writing: Jack Kerouac's Wild Form, by Michael Hrebeniak
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Action Writing: Jack Kerouac’s Wild Form connects the personal and creative development of the Beat generation’s famous icon with societal changes in postwar America. Michael Hrebeniak asserts that Jack Kerouac’s “wild form”—writing that is free of literary, grammatical, and syntactical conventions—moves within an experimental continuum across the arts to generate a Dionysian sense of writing as raw process. Action Writing highlights how Kerouac made concrete his 1952 intimation of “something beyond the novel” by assembling ideas from Beat America, modernist poetics, action painting, bebop, and subterranean oral traditions. Hrebeniak further explores how the Cold War provided political potency for Kerouac’s assertion of the Blake-Whitman lineage of poet as seer and chronicler, by which language itself becomes the instrument of revelation.
Action Writing identifies the artistic resources, American bohemianism, and protest traditions at the foreground of Kerouac’s creative emergence, culturally framed as an ongoing existential regeneration within a deteriorating environment. Hrebeniak surveys Kerouac’s early shifts in narrative organization and performative writing, examines the limitless multiplicity of Neal Cassady in Visions of Cody to forge what Charles Olson would call a “projective” model of the novel, and addresses the question of interpretative methodologies for the convergence of fictive techniques.
This study also traces Kerouac’s personal trajectory from confident radicalism to conservative entrenchment, assesses his spontaneous prose within the intersection of orality and notation, and locates Kerouac’s phenomenological approach to consciousness and memory in relation to open forms of literary modernism and the New York School.
Geared to scholars and students of American literature, Beat studies, and creative writing, the volume places Kerouac’s writing within the context of the American art scene at mid-century. Effectively reframing the work of Kerouac and the Beat generation within the experimental modernist/postmodernist literary tradition, this probing inquiry offers a direct engagement with the social and cultural history at the foreground of Kerouac’s career from the 1940s to the late 1960s.
- Sales Rank: #4472639 in Books
- Published on: 2006-06-28
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x 1.00" w x 6.00" l, 1.30 pounds
- Binding: Hardcover
- 320 pages
Review
“Michael Hrebeniak has opened up serious issues that are always overlooked—propaganda, Marcuse, Olson’s Human Universe, for starters. Hrebeniak’s assessment that ‘Kerouac’s swirling meditation on memory and recirculation of events’ is a beautiful portal swinging wide. A complete success. Many are waiting to read a work on Jack that will put a modern foundation under the old dharma shack.”—Michael McClure, poet, novelist, essayist, and playwright
“Michael Hrebeniak has written an exceptional book on Jack Kerouac, a book that melds criticism, narrative, and polemic into an entirely new alloy. It’s strange, alive, angry, and yet controlled … a magnificent book.”—Robert Macfarlane, author of Mountains of the Mind
“Michael Hrebeniak’s work is indeed rare, bringing Jack Kerouac’s work into the realm of Western aesthetics, a global arena in which to situate his considerable accomplishment. I don’t know of another scholarly work that goes as far to ground Kerouac’s Legend of Duluoz in such a wide and deep knowledge of world literatures.”—Regina Weinreich, author of The Spontaneous Poetics of Jack Kerouac
About the Author
Michael Hrebeniak teaches at Cranfield and Cambridge universities and is the associate producer of Optic Nerve, an independent film company based in London. His articles have appeared in the Guardian, the Observer, and the Times Literary Supplement. He is also the editor of Radical Poetics.
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5 of 5 people found the following review helpful.
For Academia
By R. Sherwood
That Michael Hrebeniak knows his material is undeniable. That he is also part of the forces of academia and publicity that he explains plagued Jack Kerouac is also undeniable. That he is unaware of this irony is likely also undeniable, given that he never mentions it. This irony runs through Action Writing: Jack Kerouac's Wild Form, as Hrebeniak talks about how beats, like Kerouac, disliked the way academia and popular culture seized their works, and those of their predecessors. Works that once fought against society become common topics in the dominant culture, and the subject of academic works like this book.
In a way, Action Writing: Jack Kerouac's Wild Form is not original as a book, being like any academic paper, made of a whole string of closely packed quotes from previous efforts of others and the novels it discusses. That it reveals the interrelated nature of those works, as influences of Kerouac's style is Hrebeniak's true purpose. However, he spends little time explaining these references, meaning that readers will need background in various areas, such as the books and philosophers mentioned within. I will personally point out that the fellaheen mentioned frequently are simply the Egyptian peasant class. What exactly the beats also meant in mentioning them is not directly stated, any more than the word origin I mentioned.
This book would be best used in a classroom setting, where the general subject area can be covered, in terms of beat writings and American history. It is not meant to teach the reader how to emulate Kerouac's style of action writing, meaning only to contextualize it, and compare it to its times and peers. What Hrebeniak does is find Kerouac's place in the long line of literature and philosophical tradition, as well as history, with references to his ideological borrowing from such diverse sources as the obvious jazz and Buddhism, but also Wolfe, James Joyce, Rousseau, Nietze, as well as Aristotle and many others. So many come up, that the book almost becomes a word salad, jumbled with names, theories, styles, Freud, space-time, cinematography, elegant overarching themes, masculinity, all percolated, Hrebeniak claims, through the mind of Kerouac, as he contemplated Neal Cassidy while on marijuana.
Generally, the main problem I would cite with this book is that it is rather a bit too dense for casual reading. It is very much an academic book, both in terms of literary criticism, and a historical account of Kerouac and his writing environment. This is problematic, of course, in that the author who is the topic, Kerouac, found this kind of analysis dreary, according to Hrebeniak, even. On the plus side, Hrebeniak does well in not completely shying away from problematic features of Kerouac's works, spending some time on the implications of his opinions and depictions of women and various sexual topics and actions. I recommend it, again, for classes on modern American literature, beats, hippies, postwar American suburbia or the cold war.
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