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Jack  Kerouac
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Jack Kerouac
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References
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“Jack Kerouac,” in Contemporary Authors Online. (A profile of the author's life and works)

“Jean-Louis Lebris de Kerouac,” in Contemporary Literary Criticism-Select. (A brief review of the author's life, works, and critical reception)

“Jack Kerouac,” in Dictionary of Literary Biography, Volume 2: American Novelists Since World War II, First Series. A Bruccoli Clark Layman Book. Edited by Jeffrey Helterman, University of South Carolina and Richard Layman, Columbia, South Carolina. The Gale Group, 1978, pp. 255-261.

“Jack Kerouac,” in Dictionary of Literary Biography, Volume 16: The Beats: Literary Bohemians in Postwar America. A Bruccoli Clark Layman Book. Edited by Ann Charters, University of Connecticut. The Gale Group, 1983, pp. 278-303.

“Jack Kerouac” in American Writers
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Jack Kerouac
1922-1969
American novelist and poet
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 School Years
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¡@ Jack Kerouac was born Jean-Louis Lebris de Kerouac in Lowell, Massachusetts on 12 March 1922. He spoke only French until the age of seven, and his French-Canadian heritage, along with the Roman Catholic faith in which he was raised, was a strong influence throughout his life. He was an excellent student, and by the time he entered Lowell High School, he was also developing into a gifted athlete. It was his performance on the high school football team that earned him scholarships to Boston College and Columbia University in New York. He entered Columbia University after spending the scholarship's required year at Horace Mann School. New York City was a world away from Lowell. At the Horace Mann School, his classmates were the heirs to Manhattan's fortunes. Kerouac seemed amusingly rustic to them, but he was well liked, and his new friends guided his explorations of the city. He found its vibrancy and diversity inspirational.

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War Service
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¡@ Kerouac had a checkered career at Columbia. A broken leg kept him from playing football in 1940, and his 1941 season was marked by disagreements with his coach. Furthermore, Kerouac was beginning to feel deeply troubled by the great shift in morals brought about by World War II. A whole way of life seemed to be vanishing, and as McNally observed, “Studying and practicing seemed trivial exercises in an apocalyptic world.” Late in 1941, Kerouac left the university for a stint in the Merchant Marine. In his off-duty hours, he read the works of Thomas Wolfe and worked on a novel he called The Sea Is My Brother. He returned briefly to Columbia in 1942, left to join the Navy, and found himself unable to submit to the military discipline of that service. This earned him some time in the psychiatric ward of Bethesda Naval Hospital, but he eventually received an honorable discharge for “indifferent character.”

Kerouac reentered the less-regimented Merchant Marine for some time before returning to New York City, although not to Columbia. It was in New York that Kerouac met the people with whom he was to journey around the world, and the subjects of many of his novels: the so-called Beat Generation, which included people such as Allen Ginsberg, Neal Cassady and William S. Burroughs. After the death of his father, Kerouac began working on a new novel, an idealized autobiography The Town and the City. It was published in 1950 under the name “John Kerouac” and earned him some respect as a writer. Unlike Kerouac’s later work, which established his Beat style, The Town and the City is heavily influenced by Kerouac’s reading of Thomas Wolfe.

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On the Road
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¡@ Building upon previous drafts tentatively titled “The Beat Generation” and “Gone On The Road,” Kerouac wrote what is now known as On the Road in April, 1951. Fueled by Benzedrine and coffee, he completed the first version of the novel during a three week extended session of spontaneous confessional prose. His technique was heavily influenced by Jazz, especially Bebop (and later Buddhism) as well as the famous Joan Anderson letter authored by Neal Cassady. Publishers rejected the book due to its experimental writing style and its sympathetic tone towards minorities and marginalized social groups of the United States in the 1950s. In 1957, Viking Press purchased the novel, demanding major revisions.

The book was largely autobiographical, narrated from the point of view of the character Sal Paradise, describing Kerouac’s roadtrip adventures across the United States and Mexico with Neal Cassady, the model for the character of Dean Moriarty. On a deeper level, it was the story of the narrator’s search for religious truth and for values more profound than those embraced by most of mid-twentieth-century America. Kerouac’s novel is often described as the defining work of the post-World War II Beat Generation and Kerouac came to be called “the king of the beat generation.” It was Herbert Huncke, a friend of Kerouac, who introduced him to the word “beat,” as Kerouac described in his first novel The Town & The City on page 402. Kerouac himself coined the term “beat generation” in 1952, when John Clellon Holmes asked him to characterize the attitude of the young hipsters on Times Square. In 1959, The American College Dictionary published Kerouac’s definition of the term: “Beat Generation—members of the generation that came of age after World War II who espouse mystical detachment and relaxation of social and sexual tensions, supposedly as a result of disillusionment stemming from the cold war.”

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Other Works
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¡@ During the long wait before On the Road was accepted by Viking Press, Kerouac worked a series of jobs as a railroad brakeman and fire lookout, traveling between the East and West Coasts, saving his money so he could live with his mother while he wrote what he conceived of as his life's work, The Legend of Duluoz. It begins with the novel Visions of Gerard, which describes the first years of Kerouac's childhood and the death of his brother Gerard in 1926. Doctor Sax is a fantasy of memories and dreams about his boyhood (1930-1936) in Lowell with an imaginary companion, Doctor Sax, the champion of Good in a mythic battle against the forces of Evil. Maggie Cassidy is a more realistic novel about his adolescence in high school and his first love. Vanity of Duluoz describes his years playing football at prep school and Columbia, and his experience in the merchant marine and navy during World War II.

In The Dharma Bums,the hero is “Japhy Ryder” (actually Gary Snyder), a young poet and student of Zen Buddhism whom Kerouac meets in Berkeley. The description of the banality and repression of middle-class life is more specific in this novel, and the alternative is a way of life later to be defined as a “counterculture” to the American mainstream. It is basically Dean Moriarty’s life of “non-interference” presented in The Dharma Bums in terms of Oriental philosophy and the ecology movement. Japhy Ryder gives a political context to Kerouac's disaffiliation with his idea of a great “rucksack revolution” in American society, prophesying the hippies of the following decade.

On the Road and The Dharma Bums are narrated in a direct prose style, telling the story of a search for a way of life in America that would fulfill an ideal of romantic individualism. Although the social context of Kerouac’s rebellion is more clearly drawn in this novel, The Dharma Bums is not so substantial as On the Road. There is one memorable mountain-climbing episode, but there are dull scenes and mechanical passages. Kerouac later said that he wrote the book less on the strength of a genuine creative impulse than as an attempt to have another commercial success after On the Road. It’s ending, when Kerouac professed to feel “really free” living alone in the mountains, is contrived. In Desolation Angels, which closely followed the journals he kept at the time, he gave a much fuller account of his disillusionment with the experience. Kerouac was unable to live with Neal Cassady, and he also couldn't accept Gary Snyder’s life-style for very long.

The third of Kerouac’s most popular novels, The Subterraneans, is a confessional narrative, the story of his love affair with a black girl. It was written in “three full moon nights of October” on benzedrine in one of Kerouac’s most astonishing creative bursts. He later said “the book is modelled after Dostoevsky’s Notes from Underground, a full confession of one’s most wretched and hidden agonies after an affair of any kind. The prose is what I believe to be the prose of the future, from both the conscious top and the unconscious bottom of the mind, limited only by the limitations of time flying by as our mind flies by with it.”

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Late Years
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¡@ In 1966, Kerouac married his third wife Stella Sampas, a childhood friend from Lowell, who helped him take care of his invalid mother Gabrielle. In the years before Kerouac’s death, he was, as his wife said, “a very lonely man,” disassociating himself from his former friends, as well as the “beatniks” and “hippies” who claimed descendancy from his books. Kerouac died on October 21, 1969 at St. Anthony's Hospital in St. Petersburg, Florida. His death was resulted from an internal hemorrhage caused by cirrhosis of the liver, the unfortunate result of a life of heavy drinking. He is buried in his home town of Lowell.

Since Kerouac’s death in 1969, there has been a little more sympathy for his work from the critics and his influence has been noted on such writers as Ken Kesey and Richard Brautigan. He is still widely read by young readers, and On the Road was reissued in 1972 by Penguin Books as a “Penguin Modern Classic.” What has been increasingly clear in the last twenty years is that the fabric of American culture has never been the same since “Sal Paradise” and “Dean Moriarty” went on the road. As Burroughs said, “Kerouac opened a million coffee bars and sold a trillion Levis to both sexes.... Woodstock rises from his pages.”

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References
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“Jack Kerouac,” in Contemporary Authors Online. (A profile of the author's life and works)

“Jean-Louis Lebris de Kerouac,” in Contemporary Literary Criticism-Select. (A brief review of the author's life, works, and critical reception)

“Jack Kerouac,” in Dictionary of Literary Biography, Volume 2: American Novelists Since World War II, First Series. A Bruccoli Clark Layman Book. Edited by Jeffrey Helterman, University of South Carolina and Richard Layman, Columbia, South Carolina. The Gale Group, 1978, pp. 255-261.

“Jack Kerouac,” in Dictionary of Literary Biography, Volume 16: The Beats: Literary Bohemians in Postwar America. A Bruccoli Clark Layman Book. Edited by Ann Charters, University of Connecticut. The Gale Group, 1983, pp. 278-303.

“Jack Kerouac” in American Writers
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