Desolation Angels: A Novel by Jack Kerouac

By Jack Kerouac

A tender guy searches for which means, creates paintings, and grapples with repute as he traverses the stomping grounds of the Beat Generation—from Mexico urban to Manhattan—in Jack Kerouac’s semi-autobiographical novel

This urgently paced but deeply introspective novel heavily tracks at the street writer Jack Kerouac’s personal existence. Jack Duluoz trips from the Cascade Mountains to San Francisco, Mexico urban, manhattan, and Tangier. whereas operating as a fireplace lookout on Desolation height within the Cascades, Duluoz contemplates his internal void and the distressing isolation attributable to his younger experience of event. In Tangier he suffers the same feeling of desperation in the course of an opium overdose, and in Mexico urban he meets up with a morphine-addicted thinker and seeks an antidote to his solitude in a whorehouse.

As in Kerouac’s different novels, Desolation Angels includes a full of life forged of pseudonymous models of his fellow Beat poets, together with William S. Burroughs (as Bull Hubbard), Neal Cassady (as Cody Pomeray), and Allen Ginsberg (as Irwin Garden). Duluoz attracts readers into the rigors and tribulations of those literary iconoclasts—from drug-fueled writing frenzies and alcoholic self-realizations to frenetic overseas street journeys and tumultuous amorous affairs. reaching literary good fortune comes with its personal outcomes notwithstanding, as Duluoz and his associates needs to face the scrutiny that incorporates emerging to the nationwide level.

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Desolation Angels: A Novel

A tender guy searches for which means, creates paintings, and grapples with reputation as he traverses the stomping grounds of the Beat Generation—from Mexico urban to Manhattan—in Jack Kerouac’s semi-autobiographical novel

This urgently paced but deeply introspective novel heavily tracks at the street writer Jack Kerouac’s personal existence. Jack Duluoz trips from the Cascade Mountains to San Francisco, Mexico urban, big apple, and Tangier. whereas operating as a hearth lookout on Desolation top within the Cascades, Duluoz contemplates his internal void and the distressing isolation attributable to his younger experience of event. In Tangier he suffers an analogous feeling of desperation in the course of an opium overdose, and in Mexico urban he meets up with a morphine-addicted thinker and seeks an antidote to his solitude in a whorehouse.

As in Kerouac’s different novels, Desolation Angels includes a vigorous forged of pseudonymous types of his fellow Beat poets, together with William S. Burroughs (as Bull Hubbard), Neal Cassady (as Cody Pomeray), and Allen Ginsberg (as Irwin Garden). Duluoz attracts readers into the rigors and tribulations of those literary iconoclasts—from drug-fueled writing frenzies and alcoholic self-realizations to frenetic overseas street journeys and tumultuous amorous affairs. reaching literary good fortune comes with its personal effects even though, as Duluoz and his buddies needs to face the scrutiny that includes emerging to the nationwide level.

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According to Omar Calabrese, the suspension or annulment of categories is the de‹ning characteristic of modern teratology. As he argues in NeoBaroque: A Sign of the Times (1992), “there is a speci‹c character to modern 32. Findlen explains that sixteenth- and seventeenth-century philosophers followed an increasingly eclectic approach, which was largely informed by the Aristotelian conception of nature (albeit modi‹ed within humanist and Counter-Reformation contexts) and also by the work of Pliny and other Greek and Roman philosophers.

Thus the interplay of rumor and performance constitutes a crucial dynamic of baroque publicity” (180). 25. 26 On the contrary, ritual practices are still at the heart of our experience of the world, from religious and secular celebrations, to displays of ethnic and national pride, to our choice of dress codes and body accessories. The (post)modern pressure to assert our uniqueness, while constantly shifting between idiosyncratic modes of behavior, dress codes, and hobbies, is fundamentally ritualistic in nature.

With regard to the political adscription of the marvelous, we must also note that the literary movements associated with “magical realism,” “lo real maravilloso,” and generally speaking “neobaroque poetics” effectively mobilize the aesthetic of the marvelous against the myths of modern reason in order to subvert the ideology of modernization. Drawing from Carpentier’s well-known de‹nition of the marvelous real or “lo real maravilloso,” William Childers has recently coined the term the ambivalent marvelous to distinguish the critical dimension of Cervantine fantasy from the propagandistic use of the marvelous in the literature associated with of‹cial culture in seventeenth-century Spain.

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