Interactive Maps for Jack Kerouac's On the Road

The USA is a big country, and whenever anyone’s tried to define it – be they a Charles Dickens, a Mark Twain or a Stephen Fry – they’ve hit the road. So did the Beat Generation in the 1940s. They’d skip class to dig jazz and debate their place in Cold War America. And then they’d hit the road: crisscrossing the country in search of the new American dream – or just for kicks, music and women.

Oct 11, 2013 · “On the Road” by Jack Kerouac

While journeying on the road, Sal Paradise is not searching for a home, a job, or a wife.

Jack Kerouac (based on the novel by), Jose Rivera (screenplay by) ..

Though On the Road is a novel about a group of young people who live off the map of American culture, the beatnik culture took on a life of its own in the American consciousness after 1957. Movie rights were discussed, beatnik characters began to appear in popular television shows, and Mad Magazine did a parody of the Beat culture. Kerouac, though a serious artist and a fiercely loyal purveyor of the bohemian lifestyle he wrote about, nonetheless found his idea of the Beat Generation being opted and sold to Hollywood and popular American culture. The passages of the book which deal with the Hollywoodization of America, such as the scene in which Sal and Dean sleep overnight in a Detroit movie theater, seem to be eerily prescient in light of the popularity surrounding the Beat Generation following the publication of the novel.

SparkNotes: On the Road: Context

Such questions can't help but come up in regard to Walter Salles' long-in-the-works screen adaptation of "On the Road," which opened last week. The film comes off as a museum piece, cast in amber, a hagiography in every sense of the word. Beautifully shot but oddly lifeless, it is an exercise in nostalgia, which is what the novel stood against.

No Sugar, a revisionist text written by Jack Davis in 1985, is one of these stage dramas....

On the Road: following Kerouac across the US - Lonely Planet

On the Road essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of On the Road by Jack Kerouac.

On the Road: following Kerouac across the US ..

In the last of three lectures on Lolita, Professor Amy Hungerford discusses the broader context of Nabokov's relation to his novel: both the debate it inspires surrounding censorship and artistic originality, and the concern it evokes in him about the work of art's distillation of the living world or word. Hungerford masterfully draws connections between Nabokov's interest in lepidoptery-butterfly collecting-with his evident fear that the printed word become lapidary, or stone-like. Just as we can no longer appreciate the beauty of a butterfly's motion, once it has been pinned down, so too might living language fall victim to a kind of violence on the page, a formal equivalent to the thematic violence that increases as the novel progresses.

The Beat Generation Worldview in Kerouac’s On the Road

Professor Amy Hungerford's lecture on Kerouac's On the Road begins by contrasting the Beats' ambition for language's direct relation to lived experience with a Modernist sense of difficulty and mediation. She goes on to discuss the ways that desire structures the novel, though not in the ways that we might immediately expect. The very blatant pursuit of sex with women in the novel, for example, obscures the more significant desire for connection among men, particularly the narrator Sal's love for Dean Moriarty. The apparent desire for the freedom of the open road, too, Hungerford argues, exists in a necessary conjunction with the idealized comforts of a certain middle-class American domesticity, signaled by the repeated appearance of pie.

Review of On the Road by Jack Kerouac | The Book Stop

Professor Amy Hungerford continues her discussion of Richard Wright's classic American autobiography, Black Boy. Through a close analysis of key passages, she demonstrates an oscillation in the narrative between the socioeconomic deprivations and racial jeopardy confronting its characters, and the compensations to be found in sensual experience, the imagination, and in particular, the power of words. Dramatizing the editorial struggle evident in letters between Wright and Book-of-the-Month-Club-President Dorothy Canfield Fisher, Professor Hungerford shows the high stakes of Wright's uncompromising portrait of America's failed ideals at a time when those ideals are being tested during the Second World War.

Jack Kerouac's Mother Tongue: On the Road and The …

To be fair, such a pose has its roots with Kerouac also — or more accurately, with Cassady. This is one of the most common misreadings of "On the Road," that, in the words of Kerouac's friend, the novelist John Clellon Holmes, "[People] kept mixing Jack up with Dean Moriarty, they kept thinking he was like Dean Moriarty — in other words, Neal Cassady — and he wasn't."