Figurative Language in Shakespeare free essay sample

Non-literal language in Shakespeare Ever notice in motion pictures how the lowlife or villainess consistently appears to have a dark cloud approaching over them or lighting striking the ground close to them? The equivalent weird happenings where utilized in the story Macbeth to uncover character. Shakespeare utilizes metaphorical language to tie Macbeth’s awful decisions and others around him to nature and to show nature’s endeavors to uncover Macbeth and take Scotland back to adjust. The metaphorical language that he utilizes is to investigate human instinct and show its associations with the common world and the otherworldly. Using metaphorical language, Shakespeare attaches activities and occasions to nature. After Banquo and Macbeth experience the witches and hear what they need to state, the witches disappear like a phantom. Disrupted Banquo contemplates â€Å"The earth hath rises as the water has, and these are of them: whither have they disappeared? † (1. 3. 82-83). this comparison tells the peruser that Banquo is careful about the witches. We will compose a custom paper test on Non-literal Language in Shakespeare or on the other hand any comparative subject explicitly for you Don't WasteYour Time Recruit WRITER Just 13.90/page â€Å"The earth hath rises, as the water has, and these are of them† clarifies Banquo thinks they are as bizarre as the air pockets of water. It shows that he isn't as effortlessly influenced by their news as Macbeth is and doesn't figure Macbeth should pay attention to their news. Duncan not at all like Banquo isn't watching out for Macbeth yet is rather remunerating him for is valiant demonstrations of dauntlessness. â€Å"I have started to plant thee and will work to make thee loaded with growing† (1. 4. 32-33). This statement is an analogy that tells the peruser that Duncan completely confides in Macbeth and is totally credulous to his dull genuine character. â€Å"I have started to plant thee†¦full of growing† Duncan says that he will search for additional approaches to respect Macbeth. The analogy utilizes the fruitfulness of nature as a correlation. Duncan is effectively tricked by Macbeth’s act. Banquo utilizes the case of air pockets in water to clarify the weirdness of the witches and Duncan utilizes the case of a tree to clarify his appreciation and commitment to Macbeth. Shakespeare utilizes correlations with nature since nature was thought to uncover character as well as goals. At the point when somebody utilized nature as a positive method to portray you maybe god was your ally and when you meddled with nature you pay. To show natures endeavors to uncover Macbeth and take the world back to adjust Shakespeare utilized non-literal language. Ross tells the elderly person of the unnatural occasions that happened the evening of Duncan’s murder: And Duncan’s ponies a thing generally peculiar and certain Beauteous and quick, the cronies of their race, Turn’d wild in nature, broke their slows down, flung out, Contending ‘gainst submission, as they would make War with humankind (2. 4. 16-21). It is as though the ponies could detect that Duncan was in peril they were at anxiety. Turn’d wild in nature, broke their slows down flung out fighting ‘gainst acquiescence as they would make war with mankind† They accepted nature could detect when there was a lopsidedness on the planet and the ponies appeared to energize the disorder that was coming. Similarly as weird, Banquo’s apparition shows up legitimately after his demise making Macbeth contemplate: Stones hav e been known to move, and trees to speak; Augures and comprehended relations have By slimy parasite pies and choughs and rooks delivered The secret’st man of blood (3. 4. 152-155) This citation is utilizing representation to portray what Macbeth is feeling. By slimy parasite pies and choughs and rooks delivered the secret’st man of blood† clarifies that Macbeth accepts that the components of nature will by one way or another uncover even the most clandestine of murders. Duncan ponies appeared to be attempting to uncover the horrendous deeds being finished by Macbeth similarly as later on Macbeth understands that in spite of the fact that he probably won't tell any of his demonstrations nature will neutralize him to uncover his demonstrations. This uncovers even to the most carless of individuals nature despite everything held holiness and was viewed as critical to be able to know everything going on. To uncover human instinct and associate it to the characteristic world Shakespeare utilizes allegorical language. It is utilized to communicate their sentiments since nature uncovered significant things to them and to outline the endeavors naturally to bring back the parity and right the confusion. Similar strategies are as yet being utilized now in the public eye, suggesting that even now nature despite everything holds a similar holiness that it did when Shakespeare composed Macbeth. The allegorical language utilized is significant on the grounds that it associates the two together. Work Cited Shakespeare, William. Macbeth. Ed. Ken. Roy. Toronto: Harcourt Canada Ltd. , 2001. Print

Customers To Take Such Statements As True â€Myassignmenthelp.Com

Question: Talk About The Customers To Take Such Statements As True? Answer: Inroduation No, OFFICE PRO X9 is an astonishing seat, and the best available was not a term of this agreement. Not all announcements of exchange are regarded to be authoritative terms. Some could be a merchants puff which is unimportant gloat, frequently intended to publicize an item and the law doesn't anticipate that the clients should accept such explanations as true.[1] The other one is a portrayal. These are pre-legally binding articulations which could change over into a term contingent upon the activities of the client.[2] If a portrayal ends up being false, and that announcement changed the situation of the client, that portrayal would bring about a term subsequently cures would be granted if the false proclamation made damage the customer. Terms are real articulations that go to the base of the agreement. Inability to conform to terms results to a penetrate. In recognizing these announcements, the court utilizes four variables. One of them is the significance of such explanation to the contracting parties.[3] Where the announcement goes about as critical to the choice of both of the gatherings, that announcement turns into a legally binding term. An instance of this is the circumstance of Ecay v Godfrey [1947].[4] The petitioner bought a vessel from the litigant. The petitioner guaranteed that the vessel was fine however he suggested an assessment. Later the survey found that the vessel had a few shortcomings. The court decided that the litigant articulation was a portrayal and the inquirer should depend on assessments. The following distinctive factor is the time span between the pre-legally binding articulation and the agreement. Long interim methods the announcement was portrayal while short interim methods the announcement was a term. A case if this situation is Routledge v Mckay.[5] On 23rd October, the litigant told the petitioner that the bicycle was a 1942 model when it was a 1942 model. They consented to an arrangement on 30th which didnt allude the motorbike date. The court decided that the 1942 model articulation was a pre-authoritative proclamation, yet not a term. The of the parole proof standard. In this standard, parties can't adjust a composed agreement with oral statements.[6] So where there is a documentation of an oral proclamation, that announcement turns into an authoritative term. The last one is the gatherings aptitude. At the point when one gathering that has expert aptitudes offers the expression, and the other party depends on that announcement, at that point the court is bound to accept that as a legally binding term.[7] Following these clarifications, OFFICE PRO X9 is a stunning seat as well as the best available fits to be a business puff or a brokers misrepresented assessment. Question 2: Indeed, it was a term that the OFFICE PRO X9 gives adequate lower-back help to permit Peter to work the entire day serenely. As clarified being referred to one, anything said by the contracting party which has unique information is most likely a term.[8] The primary explanation is that the client will utilize that partys proclamation to choose whether to purchase the thing or to leave it. Quite, this announcement can occur in two different ways. One is an immediate articulation from the seller. The other one is a reaction to the inquiry posed by the client with the goal of looking for explanation or causing the seller to comprehend what the client needs. This realities for this situation are like the instance of Dick Bentley Productions v. Harold Smith Motors [1965][9]. For this situation, a client (Claimant) asked the seller (Defendant) to bring a 'stable Bentley vehicle'. The seller brought a vehicle guaranteeing that it had done low mileage since the substitution of the motor and gearbox. Be that as it may, this ended up being false. The court found that the announcement of the mileage was a term. The truth of the matter is the point at which the client requests that the vendor give something specific highlights, it at that point shows that the client is depending on the sellers mastery. That is the reason the announcement gives adequate lower-back help to permit Peter to work the entire day easily would likewise be a term. In an investigation, the OFFICE PRO X9 gives adequate lower-back help to permit Peter to work the entire day easily is an express term, and in the class of pre-legally binding articulation. Authoritative terms are on a very basic level the wordings that structure the arrangement parts of the agreement. Each legally binding term realizes to an authoritative commitment which inability to satisfy results to a penetrate. By and large, agreements may not express all the terms explicitly. The fundamental explanation is that a few terms don't hold a lot of lawful gravity since they are outside the primary goals of an agreement. There are two fundamental arrangements of legally binding terms. These are suggested and express terms.[10] Implied terms are those that none of the gatherings notice them either orally or recorded as a hard copy, however the law esteems it that such terms exist to give a business contract a sense.[11] The primary characterizations in inferred terms are those inferred by the court or those suggested by rule. Express terms are those terms which the gatherings consent to follow either orally or recorded as a hard copy. These terms might be pre-authoritative statements.[12] These are explanations that fall into various classifications relying upon their impacts on the result of the agreement. Another sort of express term is the terms on display.[13] A case of these is guidance in a ticket delivered by a ticket machine. Additionally, express terms can be consolidated terms coming about because of a course of managing. Express terms may likewise emerge from a marked archive, and ultimatel y, express terms may result from the use of the parol proof standard or where there is acceptability of outward evidence.[14] With every one of these realities, it is then conceivable to see that the OFFICE PRO X9 gives adequate lower-back help to permit Peter to work the entire day serenely would be named express term, and it would fall in the gathering of pre-authoritative proclamations. No, the prohibition provision, condition 10, won't keep Peter from suing Forever Furniture for break of agreement. Prohibition provisos are one manner by which contracting parties attempt to maintain a strategic distance from the liabilities of the penetrate of an agreement. Most organizations unreasonably appreciated the intensity of this statement until 1977 when there was an authorization of Unfair Contract Terms Act 1977.[15] This demonstration was intended to direct the degree to which gatherings to an agreement can depend on the avoidance provisos. In UCTA, the demonstration gives that a gathering depending on the avoidance proviso has the weight of showing that the condition was in realities reasonable.[16] For one, the gathering depending on the statement must exhibit that the condition is reasonable, and it is sensible. Furthermore, the gathering depending on the provision must consider all the conditions of that proviso and such conditions should go to the information on the other party.[17] The inability to meet these conditions would ruin the statement. Thirdly, the proviso ought to incorporate the misfortunes that the other party would guarantee. Inability to incorporate them would ruin the condition. A case of the utilization of this law was in St Albans City and DC v International Computers Ltd [1996][18]. For this situation, for this situation, the respondent was to flexibly PC programming to the litigant through their agreement. The product was mistaken, and it made lost 1.3 million the inquirer. The litigant organization depended on an impediment statement that constrained the obligation to 100,000. Nonetheless, the court found the confinement condition nonsensical. Correspondingly, the restriction statement for Forever Furniture for would not prevail as it is unjustifiable to forgo the liabilities brought about by their distortion. References Tracker, Richard J., Remuneration For Bystander Injuries In Strict Products Liability (2016) 3(10) Advances in Social Sciences Research Journal https://10.14738/assrj.310.2239. Authoritative Interpretation In Indian Evidence Act Jurisdictions: Compatibility With Modern Contextual Approach? (2013) 13(1) Oxford University Commonwealth Law Journal https://dx.doi.org/10.5235/14729342.13.1.17 Manors, Margaret, Extending Justice Access In Australia (2016) 41(2) Alternative Law Journal https://10.1177/1037969X1604100210 P Hough, Tracey and Kathrin Ku?hnel-Fitchen, Optimize Contract Law (Taylor Francis, 2016) Poole, Jill, Casebook On Contract Law (Oxford University Press, twelfth ed, 2014) Stone, Richard, Text, Cases And Materials On Contract Law (Routledge, second ed, 2014) Austen-Baker, Richard, Implied Terms In English Contract Law (Edward Elgar Pub., second ed, 2017) Klass, Gregory, Contract Law In The USA (Kluwer Law International, second ed, 2010) Lawson, R. G, Exclusion Clauses And Unfair Contract Terms (Sweet Maxwell, tenth ed, 2011) Routledge v Mckay [1954] 1 WLR 615 Court of Appeal Ecay v Godfrey [1947] 80 Lloyds Rep 286 Dick Bentley Productions v. Harold Smith Motors [1965] 1 WLR 623 St Albans City and DC v International Computers Ltd [1996] EWCA Civ 1296 [1] Richard J. Tracker, Pay For Bystander Injuries In Strict Products Liability (2016) 3(10) Advances in Social Sciences Research Journal https://10.14738/assrj.310.2239.. [2] Tracey Hough and Kathrin Ku?hnel-Fitchen, Optimize Contract Law (Taylor Francis, 2016). [3] Jill Poole, Casebook On Contract Law (Oxford University Press, twelfth ed, 2014). [4] Ecay v Godfrey [1947] 80 Lloyds Rep 286 [5] 1 WLR 615 Court of Appeal

Writing a Sample College Application Essay For Telecommunications

<h1>Writing a Sample College Application Essay For Telecommunications</h1><p>Writing an example school application article for broadcast communications isn't excessively troublesome, however it tends to be very useful. Numerous understudies apply to universities that they would typically never consider applying to. This can likewise incorporate schools that they have contemplated applying to, yet they don't have the foggiest idea why. The reason for this article is to get you out, with the goal that you can compose an example school application paper for telecommunications.</p><p></p><p>In request to compose a school application exposition for media communications, you will initially need to realize what the field of broadcast communications is. There are two significant fields in media communications: human administrations and data innovation. One significant part of this is there are various sorts of media communications; this incorporates link, remote, and cellular.</p><p></p><p>In human administrations, the fundamental help that they give is guiding and clinical administrations. The clinical perspectives are what makes this field significant, as it is utilized in the human services industry.</p><p></p><p>In data innovation, they give individual help PCs, sites, and considerably more. This is additionally utilized for organizations, as it is utilized for bookkeeping and monetary systems.</p><p></p><p>Since data innovation is a wide field, fortunately you can secure positions in the region of data innovation. The main thing that you have to do is be sufficiently brilliant to compose a school application exposition for media communications, and utilize a point that identifies with the activity that you need. For instance, in the event that you are thinking about a vocation in social insurance, at that point your objective ought to be to give a port rayal of a patient that you have helped with in the past.</p><p></p><p>Writing a school application paper for broadcast communications isn't hard. It is only that you should comprehend what the whole program is, and afterward you can begin composing the paper. When you get a subject that you are alright with and is identified with the activity that you are keen on, at that point you will have a superior possibility of having your paper acknowledged and getting acknowledged into the school.</p><p></p><p>Writing a school application article for media communications can be somewhat scary from the start, however once you begin, it gets simpler to keep in touch with one. That you will should simply examine the nuts and bolts of the profession, and afterward you can proceed onward to finding a point that you are OK with. With this sort of information, you can focus on the articles and ensure that you put forth a concentrated effort well.< /p>

What to Expect From Internet Safety and Privacy Definition Essay Topics?

<h1>What to Expect From Internet Safety and Privacy Definition Essay Topics? </h1> <h2>Ok, I Think I Understand Internet Safety and Privacy Definition Essay Topics, Now Tell Me About Internet Safety and Privacy Definition Essay Topics! </h2> <p>You may likewise have programming which encourages square access to destinations and confines private data from being sent on the web. There are gadgets and projects that may assist you with accepting protection but on the other hand they're ready to be used to attack it. There's similarly as much bogus information on the web on the grounds that there is genuine data. The estimation of Internet wellbeing between different data, individual information, and property security is significant. </p> <p>In case the marketable strategies to allow the requesting of merchandise on the web, at that point there's an interest for a protected situation where the clients would feel great in buying the products particularly while giving their private data. There are significant enterprises, along with little and enormous organizations and individuals who feel there isn't sufficient being done to ensure client security concerning gadgets, projects, and sites to make reference to a couple. Too bad, numerous engineers of grown-up destinations make area names which don't contain likely significant words and can sidestep the sifting programming. The issue of online security is a rising issue as there are as of now an assortment of organizations that have opened up on the web and have rebuked clients to get items using the web channel. </p> <h2>A History of Internet Safety and Privacy Definition Essay Topics Refuted </h2> <p>Folks can get snared on the web which ma y prompt issues with connecting with their mates and relatives. Teenagers aren't probably going to purchase in that they have to forestall all contact with anybody they don't know on the web. Step by step instructions to get your folks to gracefully you with cash Why men should be stay-at-home fathers. </p> <h2> What Does Internet Safety and Privacy Definition Essay Topics Mean? </h2> <p>Policy designers must consider a scope of fundamental difficulties when deciding activity connected to online security. Protection can mean namelessness on the off chance that an individual might want to keep being unidentified. On occasion the email may appear as though it originates from someone you know, yet by the by, it might as a general rule have been sent by methods for an infection on another person's PC. Information Privacy Law is also a huge and multifaceted subject of law that is ever developing to keep current with mechanical headways. </p> <p>So, the administration should manage issues residents are confronting like digital wrongdoing or web banking fakes. As innovation propels, the impact of cybercrime is developing all the more exorbitant and continuous. It's significant for every resident of the country to utilize the net securely and safely without releasing private subtleties. The worry about security on the web is progressively turning into a matter of overall contest. </p> <p>There are some basic principles, which should be followed to secure buyer protection on the web. Small kids should be observed at all occasions while getting to the web. </p> <p>Many exercises in our regular daily existences currently rely upon the web, including various sorts of correspondence, shopping, money related administrations, amusement and heaps of others. As a result of the net, online correspondence has gotten extremely straightforward and simple. In spite of the fact that, your private data should be disguised from the web, it isn't the most hazardous thing out there. There's heaps of other data about how to more readily comprehend and protect your security online at our website, Techboomers.com. </p> <p>A definition exposition can seem basic, however truth be told, it's most certainly not. In such a paper, you need to create an individual yet scholarly meaning of a specific word or subject. Brainstorming an amusing definition paper requests a consciousness of humor and examine what's entertaining or conversely, senseless. The information about approaches to form a definition paper is a basic aptitude which might be utilized to communicate thoughts on specific issues, ideas or terms. </p> <h2>What is Truly Happening with Internet Safety and Privacy Definition Essay Topics </h2> <p>Luckily, there are a great deal of steps which you may take to support your child or little girl procure the upsides of the Internet while avoiding the perils. Exactly when you trust you have something to help defend you and your very own information, unequivocally a similar substance can be hacked or taken advantage of by a proficient individual or gathering of people with antagonistic goals. Web security information is likewise fundamental for youngsters and the normal people of India. Just take a functioning part in your child's Internet exercises. </p> <p>Staying side by side of changes in security framework contributions is deficient any longer, despite the fact that it's as yet a fundamental capacity. Hence, exceptional arrangements are basic to ensure individual information that leav es one specific nation and enters another to ensure the coherence of data insurance for clients. Protection may likewise be with respect to the security segment of somebody or data. </p>

Research Paper Topics on Sleep Deprivation Titles

<h1>Research Paper Topics on Sleep Deprivation Titles</h1><p>There are numerous points to expound on when you are exploring about lack of sleep subjects for your exposition, or your exploration paper. Truth be told, the rundown of subjects is huge to such an extent that you may feel overpowered at the idea of expounding on something so significant, something that directly affects your profession and your future as a researcher. It tends to be extremely hard to tell where to begin, what to expound on, and how to expound on everything, except there are really a few points that are a lot simpler to expound on than others.</p><p></p><p>One of the most straightforward research paper themes on lack of sleep that you can investigate is the marvel known as a sleeping disorder. Numerous individuals don't comprehend the significance of this subject with regards to having a fruitful exposition. A sleeping disorder can be one of the most significant part s of the thesis, yet numerous individuals don't set aside some effort to do it right. A sleeping disorder can influence your focus, you will be unable to get up toward the beginning of the day, and you may even lose motivation.</p><p></p><p>Another lack of sleep theme you can investigate is your own history. Most understudies who are associated with this territory of study keep an eye on just expound on their own encounters. There is really a bounty of data accessible with respect to the subjects of history, family life, and kinships, yet a great deal of the data isn't all around recorded in a manner that can be effectively deciphered by a layman.</p><p></p><p>The third simple theme to look into for your thesis is lack of sleep itself. Lack of sleep has been an issue for some individuals throughout recent decades, and there are really a wide range of levels of it. With regards to lack of sleep, there are three distinct gatherings: loss of REM rest, absence of complete rest, and lack of sleep because of drug use.</p><p></p><p>The initial two classes of lack of sleep are the most widely recognized, in light of the fact that they are the most pervasive issues today. At the point when you investigate these themes, you might need to consider doing a quest online for more data regarding the matter of lack of sleep. These points are significant, on the grounds that it is in these zones of the brain that the absolute greatest jumps in science have been made.</p><p></p><p>Of course, the exploration paper subjects on lack of sleep can generally be not the same as individual to individual. For example, a few people would lean toward an increasingly dark point for their exploration paper. There are additionally different subjects which are all the more handily expounded on, and which don't require as much research. Be that as it may, there are as yet a few research paper subjec ts that will furnish you with the best open doors for the data you need.</p><p></p><p>What are a portion of these points? One is the subject of dreams. Numerous individuals don't understand the criticalness of dreams, and this is a significant piece of the way toward learning. You ought to likewise investigate your beloved recollections, since this can be one of the best research paper themes on lack of sleep titles you will at any point come across.</p><p></p><p>The extraordinary thing about these sorts of research paper subjects is that they are short and to the point, they are easy to comprehend, and they are extremely compelling. Regardless of what sort of subject you are examining for your thesis, whether it is lack of sleep titles, dreams, or beloved recollections, there are approaches to discover points on the web that will give you the best results.</p>

The Advantages of Student Paper Writing Service

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English Literature Dissertations - Jack Kerouac - Free Essay Example

Introduction Jack Kerouac was responsible for spawning the literary movement that became known as the Beat Generation, a movement not only significant to literature, but one which incorporated music and visual art to chart a personal progression. Kerouac was the leader of a literary movement and a way of life he thought was a passing fad. The basic characteristics of Beat are defined in Kerouacs 1957 novel On the Road, a text which was to become a virtual gospel for the Beat Generation. As the author of this commandment, Kerouac became known as the King of the Beats. His reaction to this title is documented in an article printed in Playboy, The Origins of the Beat Generation (Journal of Beat Poet Holmes recalls friendship, death of Jack Kerouac). The term beat has a range of meanings, affording critics of Beat writing a rich array of ambiguities for their textual analyses. As an adjective, it was most famously defined by Allen Ginsberg, a member of Kerouacs close knit group, as exhausted, at the bottom of the world, looking up or out, sleepless, wide-eyed, perceptive, rejected by society, on your own, streetwise, while the word beat was originally used as a musical term by post-World War II musicians in reference to an individual or tune that was exhausted or downbeat. At the time, America herself was beat- the country had emerged from the 1930s disaster of economic depression only to find itself entangled in World War II, and having to deal with threats from the reds and the ominous propositions of McCarthyism. In one striking blow to Kerouac and other Bohemians, a definite link between smoking and lung cancer was confirmed in 1953. Kerouacs audience was a disenchanted, self righteous population, an unguided generation with no clear direction or idea of what they wanted form life and too powerless and world-weary to go out in search of the meaning of their existence. Such readers found refreshment and salvation in Kerouacs self-declared confusion, embodied most apparently in his definitive novel- On the Road. Kerouacs style, like all of the Beat writers, is defined simply and very easy to recognize. The Beat Generation saw themselves on a quest for beauty and truth, allying themselves with mysticism. The works themselves were to be streams of consciousness written down spontaneously and not to be altered or edited Kerouac himself simply stated, if you change it the gig is shot. Poets and novelists of the Beat Generation labelled Kerouac the embodiment of Beat and hailed him as leader of the movement, the King term is perhaps more carefully chosen than it appears, patriarchally loaded as it is. Other well-known authors of the Beat Generation include Allen Ginsberg, Lawrence Ferlinghetti, William S. Burroughs, and Ken Kesey. 1. Kerouacs Spontaneity and the Beats. While the title implies supreme spontaneity, Kerouac was never quite as deliberately spontaneous as his legend has insisted. His plan was to create a giant epic in the tradition of Balzac and Proust, but he never managed to determine a literary technique capable of welding the separate books of his Duluoz chronology into a coherent whole, even if he tried. Ann Charters is the voice behind much of the critical discussion of Kerouacs overwhelming legend-making aspiration, He couldnt come up with any literary technique to help him fit all the volumes of the Duluoz Legend into one continuous tale. All he could think of was to change the names in the various books back to their original forms, hoping that this single stroke would give sufficient unity to the disparate books, magically making them fit more smoothly into their larger context as the Duluoz (Kerouac the Louse) Legend[H]e wanted the books reissued in a uniform edition to make the larger design unmistakeable. To claim that each individual novel is insufficient without integration into the larger context of the legend assumes a very conventional definition of legend. Not only is it linear and coherently chronological, it is also bound by the rules of time that govern reality. Of course there is no real reason why this should be so. Kerouacs beats create permanent and timeless impressions, and unending rhythms like Nature herself- the beat will go on if it is not bound by temporality or rationality, but, like a true legend, circulates and permeates the universal consciousness all the time, for all time. A legend can, after all, be many things: an unauthenticated story from ancient times; an allegorical tale of obvious exaggeration or fallacy; simple fame; an explanation accompanying an image or map- and, in music, a composition capable of relating a story- even without words. Charters criticisms fall away rapidly. Kerouacs work easily adheres to each of these versions of the term legend, as if he is unconsciously sensitive to the subtle multiplicity of the word, and feels obliged to fulfil the words promise. His work is carefully designed, indeed, he was preoccupied by the notion of design- the pre-styling of the free-styling- and perhaps not, then, the carefree and careless King of Beats. The assumption of wild abandon seems to arise from misunderstandings of the term free prose. The free to which Kerouac refers does not, in any way, signify a relinquishing of control. It is, however, rather like Wordsworths spontaneous overflow of powerful feeling, which creates an impression of experimentation but really represents a highly contrived artifice to contain the exuberance of natural speech. Associating Kerouacs particular diction with what he has called, the unfulfilled linguistic intentions of the British Lake poets, Tytell asserts that Kerouac sought a diction compatible with the natural and irrepressible flow of any uncontrollable involuntary thoughts that he had to release. While Kerouac clearly hoped that his Spontaneous bop prosody would revolutionize American literature, just as Joyce had revolutionized English prose, spontaneous bop has musical implications far more than literary ones. Kerouac and the other Beat writers listened to music as they worked, and bop surely applies to the jazz which accompanied their writing, more than anything; the music of Charlie Parker, Dizzy Gillespie, and Thelonius Monk. In many ways Kerouacs literary technique is structured on a model of Jazz riffs- the impulse for both being to perfect a deliberate style that does not look deliberate, something which systematically generates an impression of spontaneity. Albert Murray has defined a jazz riff as, a brief musical phrase that is repeated, sometimes with very subtle variations, over the length of a stanza as a chordal pattern follows its normal progressionRiffs always seem spontaneous as if they were improvised in the heat of the performance. So much so that riffing is sometimes seen as synonymous with improvisationnot only are riffs as much a part of the same arrangements and orchestrations as the lead melody, but many consist of nothing more than stock phrases, quotations from the same familiar melody, or even clichs that just happen to be popular at the moment. Such is the technical improvisation of Kerouacs prose. Despite his declared disinterest in music, Kerouacs writing evidences a profound identification of the creation of music with that of literary works. As he states in his Paris Review interview: As for my regular English verse, I knocked it off fast just as a musician has to get out, a jazz musician, his statement within a certain number of bars, and later likens the writers craft to that of the hornplayer, I formulated the theory of breath as measure, in prose and in verse, never mind what Olson, Charles Olson says, I formulated that theory in 1953 at the request of Burroughs and Ginsberg. Then theres the raciness and freedom and humour of jazz. In Kerouacs own terms, then, the beat follows the phrasing of the jazz model. In his theory of breath as measure he reveals his acute attention to the sentence- elsewhere denounced- and even acknowledges the control of cadence. His contemporary critics occasionally saw musical rhythm in Kerouac: Tallman found a version of sentimental thirties music in The Town and the City, where melody rather than a storyline, controls the work. On the Road, however, demonstrates a departure into bebop, Where the sounds become BIFF, BOFF, BLIP, BLEEP, BOP, BEEP, CLINCK, ZOWIE! Sounds break up. And are replaced by other sounds. The journey is NOW. The narrative is a humpty dumpty heap. Such is the condition of NOW. Its impossible to avoid the philosophical and religious implications of this kind of anti-chronology. Just as music appears endless, repeatable, circular and circuitous, such is the freedom of writing unshackled to narrative. In Kerouacs novel, Big Sur, the message appears to be that since Nature is a part of the self, and to fear it is to fear oneself. The two meanings of Nature become one: human nature is animalistic, and this novel is cautionary to the extent that it shows the dangers of failing to acknowledge this. Kerouacs nature/Nature synthesis represents the essence of his Buddhist sympathies, and this in turn relates to the literary theme of tracing a path. It is hard not to read this author without conflating the mystical with post-modern work on impasses, such as Derridas aporia, and the sense that however far we go we can never escape our selves. It recalls the Buddhist expression, Wherever you go, there you are. I am beginning to see a vast Divine Comedy of my own based on Buddha-on a dream I had that people are racing up and the Buddha mountain, is all, and inside the Cave of Reality. The immediacy of his writing adds to the sense of guru-like mysticism in Kerouacs work: his work spills out like revelations, if not beats, we certainly get the sensation that he is King of something. The work responds to deconstructive literary theory because of its very currency- it has almost completely evaded the conventional segregation and hierarchy of speech and writing. My work comprises one vast book like Prousts except that my remembrances are written on the run instead of afterwards in a sick bed. Criticism is forced to be perpetually lagging behind the designs and dictates of the author, whilst the works language is seen as a simple means towards a referential end. Language is thereby devalued to the status of an instrument. Barthess statement, it is only through the function of the author as the possessor of meaning that textual reality is made obeisant to extra textual reality is almost the antithesis of Kerouac. Kerouacs restoration program also depends on the authors willingness to disappear slightly and conduct meaning, but uniquely, Kerouac demands that the hierarchy of the textual and extra-textual be flattened. Not only this, but that the direction of realist discourse be inverted. As Barthes describes it, the author is always supposed to go from signified to signifier, from passion to expressionthe critic goes in the other directionthe master of meaningis a divine attributefrom the signified towards the signifier. Clearly Kerouac does not begin with the apparent and source its cause. He is the archetypal author, travelling from a source within himself a passion- towards a grand confection of layered expressive analogies. This critic is not working as an unseen evangelist of truth-in-nature, but uses nature as a space to unveil meaning, that is, to work from the signifier of the word, to the signified of the writing, like a painter signing his own name on the canvas. In fact, Kerouac is suspended between the conditions of observer and recorder. The recorders self is neither ejected nor declared in his writings, but rather encrypted- both in and as the writing. This partly explains the fascination that encrypted and marginalized author figures hold for Kerouac. His own experience of suspension and estrangement from easy linguistic categorisation, and from the body of conventional society, is unconsciously articulated in all Kerouacs writings. The very potent agency of unconscious in itself is of course another natural tie, binding this writer to the natural world. When, in Big Sur, he talks of the meandering river/path leading into/out of the picture, he is describing the same path into and out of meaning which he himself treads. As a fugitive of consciousness, he travels from work to signifier -in the sense of both meaning, and of the artist, the maker of meaning, and his conclusions merge meaning and its maker into a single signifier. As an author, Kerouac functions as a human conduit to bring external reality to textual reality- and is guided in this venture by the original source, the world outside. All this is reinforced, and microcosmically present, in Kerouacs easy fluctuation into and out of the page, into and out of the rythm- all of which implies a certain arbitrariness of the page. This is not carelessness, but merely the flip-side of significance. It simply doesnt matter to Kerouac whether a symbol works in one direction or another, the importance is the motion- the action- itself. This is particularly evident in the repeated jazz references in On the Road. The musical analogy for temporal progression is made explicit as Kerouacs fundamental modus operandi. When he describes his unique philosophy of composition, blow as deep as you want to blow, it seems he imagines the writer as a kind of horn-player. He attaches his methodology to a rationale for his bizarre habits of punctuation, Method. No periods separating sentence-structures already arbitrarily riddled with false colons and timid usually needless commas- but the vigorous space dash separating rhetorical breathing (as jazz musicians drawing breath between outblown phrases) The words occurring between dashes resemble linguistic entities unaligned with the conventional subject-verb arrangement of English sentences. These linguistic configurations appear to obey a different notion of time to the real world, with its real language. Traditionally, a sentence fixes time by acting as a frame for the past-present-future sequence. The conventional sentence does not allow the motion, flash, and fluctuation of Kerouacs writing ambition. In this way, the musical analogy enables Kerouac to construct a notion of time outside of the temporal constriction of conventional literature. His work is less poetic, non-linear, and dislocated. A phrase need not refer to the outside world, for it can now begin and end with reference only to its own rhythm- a truly poetic quality, measured pauses which are the essentials of our speech-divisions of the sounds we hear-time and how to note it down (William Carlos Williams). So Kerouacs prose is measured with breath, and timing holds the key to its rendition. As he describes the process, Time being of the essence in the purity of speech, sketching language is undisturbed flow from the mind of personal secret idea-wrds, blowing (as per jazz musician) on subject of image On the Road is an attempt to solve the time/space problems Kerouac is troubled by, but his success is always qualified by what we might term psychoanalytic obstacles. However much he attempts to overrule the order of cause and effect, past and present, this author must remain subject to the government of his own past. His repeated attempts to perfect the form contradict the effort itself, of course- and this is Kerouacs paradox. The more he writes, the more he develops, and the more evident the writers evolution, the more it relates to a chronological dynamic. In the same way that labouring spontaneity foregrounds the labour, and consequently the authors hand, aspiring to defeat timeliness through constructing a series of books over years only betrays his inescapable mortality, tying him inextricably to the outside world in spite of himself. The writing brings to mind the words of art critic, Michael Fried, whose anxiety around the visually present world is everywhere present in his work, a means of evoking an experience of journeying corporeally through space as opposed to merely viewing a world present to eyesight but fundamentally out of reach. It is clear that Kerouacs work is a melancholic writing of history i the most literal sense: his books create chimeras of invisible historical figures, and in so doing evoke their absence- an absence which inevitably feeds his unfalsifiable claims, and, unfortunately for Kerouac, the claims of unfalsifiability made against him. 2. The Beat and the Origin The life of every Beat Writer is characterized by a prolonged psychic crisis that is finally resolved by means of a sudden vision or insight James T. Jones, in his book Jack Kerouacs Dulouz Legend: The Mythic Form of an Autobiographical Fiction, argues forcefully for an Oedipal analysis of Kerouacs work. Grouping the Kerouac texts in the Freudian context, particularly the Oedipus myth, Jones reflects on ways in which Kerouacs depiction of family relationships and by extension, relationships in his personal life and as fictionalized in his prose may be explained through Freud. His look extends to the enduring relationship between Kerouac and his mother, the residual rivalry with his father, sibling rivalry with his older deceased brother Gerard, and eventually a succession of male colleagues. Big Surs alcohol-induced nervous breakdown is perceived as being induced by or symptomatic of his catastrophic attachment to his mother and obsession with the psychic tensions induced by the Oedipal family struggle. As Jones writes, Jack Dulouz , suffering from the effects of chronic alcoholism and sensing an impending nervous breakdown, seeks refuge at the oceanside cabinunfortunately, like the grove of the Eumenides in Oedipus at Colonus, it is full of reminders of both the cause of his misery and the fate that awaits him, The oedipal signifier works in two directions, then, standing outside of time. The Origin supplied by the grove recalls the past and anticipates the future. A visit to the canyon in which the breakdown took place, its rumbling surf and endless brook which babbles with vital noise, and the yawning canyon recall Kerouacs hometown of Lowell. We are reminded of the grotto of Our Lady of Lourdes, and the bridge across the Merrimack River there. Since Kerouac was introduced to it by his brother Gerard, the site, with its awesome mystical potency, is described with passion. The sounds seem to express, yet barely contain, the power of the place: as the river water cascades over the long weir, traffic roars in the background. All this combined with the anthropomorphically cragged vista of the grotto itself creates a sense of almost unbearably powerful otherness, an origin in nature now frighteningly alien to the human soul. Kerouacs realism in Big Sur may be summarised as the doomed ambition to structure impossible desire. The labour of the carefully constructed Beat pattern is present in the background, as a sort of displaced metaphor for the mental and physical effort of writing. Thus Kerouacs Beat takes the anti-mimetic definition of realism one step further- since writing does not have to relate to what it depicts, it will resist immediacy, but relate in specific and indirect ways to the authors private life. In many ways, Kerouacs enterprise resembles that of a visual artist at least as much as an aural or literary construction. Courbets paintings, for example, operate in a very similar way to Kerouacs works. They share this meta-symbolism, with particular interest in representing origins as water, or indeed as female genitalia- and also aspire to an impossible merging with lost roots. In Courbets art the impossible merger is one of body and work; for Kerouac it is the artifice of language and the unruly inevitability of the natural- taking him as close as anything ever can to his father. An erotics of the word and image is then inevitable, and Kerouac finds one fully-formulated and ready to use, in Freudian psychoanalysis. While studies on Courbet resituate sexual difference within the (male) painter-beholder, rather than between him and his representations, Jack Kerouac does something subtly different. Through its emphasis on the writing/experiencing incommensurability, Kerouac resituates sexual difference within the (male) writer/reader rather than between the artist and their work. The authorial voice is only ostensibly the source of psychoanalytic narrative- in fact the same narrative can be sourced through theoretical channels (backwards into the page) to the writer, and, if we believe him, to the reader too. It grew exceedingly hot and strangeWe were going though swamps and alongside the road at ragged intervals strange Mexicans in tattered rags walked along with machetes hanging from their rope belts, and some of them cut at the bushes. They all stopped to watch us without expression. Through the tangled bush we occasionally saw thatched huts with African-like bamboo walls, just stick huts. Strange young girls, dark as the moon, stared from mysterious verdant doorways, Psychoanalysis corroborates Kerouacs general preoccupation with the fantasy of origination, in the case of Big Sur, the origination as personified in the figure of the father. In this imagery from On the Road, the dark girls are linked to the moon, loaded words like thatch and bush are always used alongside machetes and eery expressionlessness. Reading Kerouac like a goya painting or a poem, we can easily recognise the guilty violence involved. Kerouacs unedited unconsciousness reveals his sense of alienation, as the girls who are so strange are like the moon- nature is female- irresistible, unfathomable, untouchable. The horizontal thatch or low bush of the women is disrupted by the weapons and interference of the vertical agent of the male machetes. The interference in the body of water is the same- or at least, linguistically symmetrical- to the interference on reality that the act of writing always engenders. If female bodies and contrived spontaneity are references to the origin and the unconscious ambition to merge with the origin; then any discreet writing surface is fetishised as an oedipal object of impossible desire, always disrupted, interfered with and disfigured by the very desire that defines it. Kerouacs Freudian desire to merge with the source must disturb the way he perceives himself. In fact, it illustrates and literally reflects the way in which we, as readers, percieve ourselves in so far as we are reflections of our origins- how it is only through disturbance that we can become aware of the source. If any reflection were perfect, with no material interference, we would have no way of knowing that it was a reflection. Kerouacs tireless autobiography project is not only a non-narcissistic event, but an entirely natural one. In Hegels Aesthetics such self-portraiture is established as a primal impulse of self-identification. According to Hegel, for man to become self-conscious he must first represent himself to himself, and second, man brings himself before himself by practical activitythis aim he achieves by altering external things whereon he impresses the seal of his inner being and in which he now finds again his own characteristics. Man does thisto strip the external world of its inflexible foreignness and to enjoy the shape of things only an external realization of himself. Hegel goes on to describe a childs impulse to throw stones into a river: there is no reflection involved, none of the self-annihilating narcissism of passive desiring seeing, but a declared primacy of action over seeing. Kerouac is invoked by Hegels wording, the continuity between ordinary action and the action of producing works of art is already implied by the image of the drawing of circles in the surface of the water. These circles are inscriptions of objects on flat planes that require a certain maturity of consciousness to interpret as the effects of a (manual) cause. Here, Kerouacs dormant reference to, and defence of, his own ideal situation as a realist author is very evident. In a later paragraph from Fried the message that the self is best quietly discovered through displaced descriptive action is completely inescapable, the effacement of the very conditions of resemblance (the breaking of the mirror-surface of the river) also means that the boys relation to the spreading circles in the water might be described in Flaubertian language as present everywhere but visible nowhere. A sentiment repeated in Kerouacs poetry, which breaks the reflective power of water by introducing the contrasting element of heat and dryness, Describe fires in riverbottom sand, and the cooking; the cooking of hot dogs spitted in whittled sticks over flames of woodfire with grease dropping in smoke to brown and blacken the salty hotdogs, and the wine, and the work on the railroad. The desire to identify with the origin, whether through disturbing the water, impersonating the father, or labouring to represent oneself to oneself, may always end in action, but it is only ever the action of wrenching open the facture of desire. The impulse to create will always be driven by a lack, and Kerouac is most conventionally Realist when he recognises this. Kerouac, after all, is aiming to reorganise an imbalance of power, and to characterise a sense of the monadic other. Philosophically, Kerouacs work is incredibly resistant to the Other, to the point that he scarcely needs the anterior of an audience. In spite of his evident veneration of the Natural, the world beyond that of writing/reading is so unbearable that Fried has trouble imagining it, levelling the differences between interiors and exteriors and converting all mimetic imagery into narratives of action or narratives of material: surfaces to be read. To the extent that it is a self-sufficient sign-system (and I am arguing it is far more than this) Kerouacs work evacuates the reader and effectively reads itself. It fits Derridas conception of autobiography, My written communication mustremain legible despite the absolute disappearance of every determined addresseefor it to function as writingto be legible. It must be repeatable, iterable, in the absolute absence of the addressee Again, this supported by the assertions of one anonymous online Kerouac archivist, Almost everything he wrote was autobiographical. Like Thomas Wolfe, he saw writing as identical with introspection. The word fiction does not really describe his work. It was more like self-directed psychoanalysis, except that his outlook was more religous and tragic than psychological. His books are crowded with his friends, lightly disguised behind new names. Allen Ginsberg, for instance, appears variously as Carlo Marx, Adam Moorad, Irwin Garden, Leon Levinsky and Alvah Goldbrook. Late in his life, Kerouac even considered publishing a unified edition of all his works, with all the characters representing himself appearing under a single name, Jack Duluoz (French for Jack the Louse). This homogenising impulse, the need to resist difference and integrate everything, drives the rhetorical case which Kerouac makes in an attempt to show that outdoor scenes are actually the same as indoor ones. It is affected spontaneity of language which Fried cites as the connection between the inner and the outer. Indoor and outdoor scenes are treated as having the same character and affect, to the extent that they have a rhythm and no inherent narrative. Kerouacs holistic ambition repeats itself on every level- here the very scene of representation is moulded by the realist theory. The internal and external scenes, like the internal and external levels of a psyche, become one, as they are united in common, necessary pain, of the disfiguring theoretical intervention. Applying psychoanalysis to Kerouac, this does look like an attempt at integrating the repressed inner and outer of the psyche, where the first might be characterised as darkness, depth, recession, primordial instinct, and the past, and the second as light, shallowness, presence, and surface agency. Farewell Sur- Didja ever tell him about water meeting water-? O go back to otter- Term-Term-Klerm Kerm-Kurn-Cow-Kow- Cash-Cach-Cluck- Clock-Gomeat sea need be deep I see you Enoch soon anarf in Old Britanny Say yes. Say yes to the sea. Say yes to chaos. Say yes to eternity. Say yes and let it all go. Go, go to the sea. To the waiting open arms of the sea. You and me you and me the sea. Yes. Let us be. There is light. Reflections are also the assertion of the horizontal. In spite of the violence metaphorically wrought, and acknowledged by his writing, Kerouacs work is concerned with empowering the natural within the man. The vigorous negation of comfortable feminine origination in his poetry refuses to allow the implied horizontality of the original sheet of paper to be wholly superseded, and in effect suppressed, by the verticality of the outside world. Psychoanalysis works through poetry subliminally, appealing to the subconscious by encoding itself in visual puns like reflections. 3. Missed Beats Misunderstandings and misnomers It has been claimed that, for at least one definition of the word, Kerouac was not a Beat at all. Mayer writes, A keen observer rather than a confident insider, Kerouac never really was a member of the Beats though he was among them from the beginning and as a chronicler cast their emergence into prose. When Daniel Belgrad remarks that Kerouac would attend parties only to sit silently in a corner, listening intently to the multiple conversations and noting them down in his memory, he is in line with a comment by Ginsberg, I guess [Kerouac] felt more like a private solitary Melvillean minnesinger or something. Subterranean Kerouac, a biography by Ellis Amburn, develops the oedipal theme in his work, referring notably to his dream-fear of homosexuality. Claiming that Kerouac became a homophobic homoerotic by the early nineteen forties, Amburn insists that in the fifties, while an increasing misogyny came to pervade writings like Some of the Dharma, his homophobia was increasing in direct proportion to his homoerotic activity. , a development which might have been facilitated at least partially by Kerouacs worsening dependency on alcohol. Kerouac is known as the king or the speaker of the beat generation and his writings are probably the most widely read works for anyone studding the beat culture, but there is real evidence that he resisted the title of King, particularly the patriarchal overtones. Even in 1952, John Clellon Holmess book Go presents Kerouac as Gene Pasternak, railing against all that free-love stuff, that liberal bohemianism, between friends. Kerouacs 1958 novel The Subterraneans features a narrator whose sexual hang-ups are barely known to him. Ben Giamo has termed the narrators stance in the novel as a curious form of approach/avoidance. The authors avatar in The Subterraneans, is French Canadian. His name is Leo Percepied and it has been appropriated for psychoanalysis. Kurt Mayer claims that as his first name is that of Kerouacs father, and his last, literally translates aspierced foot, the characters name is an obvious Oedipal reference. The characters destiny echoes Jacks, as he abandons pretentions to being middle class, and ultimately returns to his mothers house. Jack, of course, always returned to Memre- Gabrielle Kerouac, what Mayer refers to as the only consistent relationship in his life. The novel begins provocatively, this is the story of an unself-confident man, at the same time of an egomaniac, As the novel progresses we find the anxious character being transported from New York to San Francisco. Perhaps this displacement somehow stands for the distance the author puts between himself and those peopling his narrative- although we know that, as the Buddhists say wherever you go- there you are, and there can be never be any real success in efforts to distance oneself from ones labels. In Giamos words, it is as though Kerouac wants to disavow early on the role of spokesman of the beats, let alone king or father. Conclusion It is essential to bear in mind that the accolade of King of the Beats was not coined by Kerouac, but has been adopted by his followers. It is an implicitly patriarchal title, one that has subsequently invoked a range of responses framed by psychoanalytic paradigms. Several convincing arguments have shown that the patterns of Kerouacs writing have been deliberately modelled on the musical inflection of jazz. More interestingly, though, is the notion that his work is not spontaneous in the sense so often asserted, but is, like jazz music, compiled from pre-selected riffs. This does not necessarily undermine the regal title, but it would seem to compromise the usual assumption of the term Beat as some harnessed and continuous natural mystery, like a heartbeat, or the endless rhythms of nature. In other words, if Kerouac is the father of Beat, it is because he created the word itself, and the conscious generation of the term is identical to the conscious construction of the prose style. This need not be a criticism of Kerouac, but on occasions where people have misunderstood the nature of Kerouacs spontaneity, it has certainly been presented as such. Examining the King part of the title has opened up the oedipal question. Since Kerouacs work has been seen to be both so emphatically autobiographical and so uncompromisingly unconscious, there is a clear case for Freudian interpretation. His fictional work documents several instances where Kerouac appears to be thematising his anxiety around familial rivalry, his anxious disassociation from females, and the paradoxical yearning to return to the feminine source. I found that oedipal analysis led me to an assessment of Kerouacs realism, and have expounded on the notion that water is often one (and only one) signifier of origin in Kerouacs work, and that the reflection afforded by water is frequently identified with the an introspective reflection occurring within the psyche. Not only that, but since perfect reflections disguise the reflective material, writers keen to represent language to itself, as authentically as possible, are presented with a painful inevitability. To reproduce m imetically is generally to damage the original, one can never retrace the origin of inspiration precisely, as Derrida has shown, so Kerouacs realism will always be infused with both pain and guilt. Finally, Kerouacs critical reception has generally betrayed severe misconceptions about the nature of his work. When critics concede, for example, that the book On the Road-and its author- were instrumental in rucksack revolution, the praise is unwelcome, as Kerouac is reduced to a one-book author despite the fact that he published some twenty volumes in a relatively short space of time, ranging widely across prose and poetry. Indeed, merely acknowledging of a sociohistorical fact smacks of a thinly veiled aesthetic grudge displaced onto a novel that is in fact far more conventional than critics often acknowledge. The book is more interesting and relevant, paradoxically, when its sexual politics are not read as propagation of libidinous licentiousness. Bibliography Amburn, Ellis. Subterranean Kerouac. The Hidden Life of Jack Kerouac. New York: St. Martins P, 1998. Boston University Bridge Journal of beat poet Holmes recalls friendship, death of Jack Kerouac. [Boston] 7 Dec. 2001, Vol. V, No. 16 ed. 20 Oct. 2004 Charters, Ann. Kerouac: A Biography. San Francisco: Straight Arrow Books, 1973. Charters, Ann, ed. Liner notes to Howls, Raps Roars: Recordings From the San Francisco Poetry Renaissance. Fantasy, 4FCD-4410-2, 1993. Charters, Ann, ed. The Portable Beat Reader. New York: Penguin, 1992. Derrida, J. The Ear of the Other, US: University of Nabraska Press, 1989. Fried, M. Courbets Realism, US: University of Chicago Press, 1999. Giamo, Ben. Kerouac, the Word and the Way. Carbondale: Southern Illinois UP, 2000. Jones, James T. Jack Kerouacs Duluoz Legend. Carbondale : Southern Illinois UP, 1999. Kerouac, J. Columbia University Archives, manuscript pages of Daydreams for Ginsberg, Ginsberg Collection, 10 February 1955 as quoted in Weinreich, Regina The Spontaneous Poetics of Jack Kerouac, US: Southern Illinois University Press (1987) p. 7 Kerouac, Jack. Belief and technique for modern prose Evergreen Review 2 (Spring 1959): 57 Kerouac, Jack. Essentials of Spontaneous Prose Evergreen Review 2 No. 5 (Summer 1958): 72-73 Kerouac, Jack. 3rd Chorus Mexico City Blues in Scattered Poems US: City Light Books (1986) Kerouac, Jack. On the Road. Text and Criticism. Scott Donaldson, ed. New York: Viking, 1977. Kerouac, Jack. The Subterraneans. New York: Ballantine, 1973. (New York: Grove P, 1958.) Kerouac, Jack. Visions of Cody. London: Granada, 1980. (New York: McGraw-Hill, 1972.) Mayer, K. A. Beat Foundation Myths and Their Erosion in Jack Kerouacs On the Road and The Subterraneans Presentation at Foundation Myths SANAS/AAAS Conference, Zurich. November 17-19, 2000 Mayer, Johnny. From Beat to Beatnik. Beat Writers. Blues For Peace. 29 Oct. 2004 McCormick, Diane. In a Dark Time: On the Road with Kerouac and the Beat Generation (2002) Stephenson, Gregory Essays on the Literature of the Beat Generation US: Southern Illinois University Press (1990) Website References https://www.bluesforpeace.com/beat.htm https://www.fb10.uni-bremen.de/anglistik/kerkhoff/beatgeneration/BG-Essays.htm#The%20Influence%20of%20Jazz https://www.ipl.org/div/litcrit/bin/litcrit.out.pl?au=ker-77 https://www.jackmagazine.com/issue4/griffin.html https://www.litkicks.com/Lists/KerouacWorks.html https://www.poembeat.com/asher6.html https://www.poembeat.com/essay.html