Jack Kerouac's The Essentials Of Spontaneous Prose

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Register to read the introduction… This was as Jack described "really a fantastic athletic feat as well as mental,"
(Clark, 127). The manuscript thoroughly impressed Burroughs and Ginsberg who asked
Kerouac to give them a detailed statement on his new style. Kerouac replied with a list titled The Essentials of Spontaneous Prose. This still remains the best explanation of
Kerouac's style; writing "without consciousness in semi-trance... excitedly, swiftly... from within, out -to be relaxed," (Clark, 128).

In 1954 Kerouac had possibly the most important interview of his life. John
Holmes of The New York Times quoted Jack's refferal to his group of writer and artist friends as "the beat generation." This became the title of the article in which Holmes stated "it was Jack Kerouac who invented the phrase, and his unpublished narrative On the Road is the best record of their lives," (Clark, 133).

A new chapter in Kerouac's life began when he found religion in Buddhism.
Kerouac moved again to Mexico City. Here he wrote some of his longest poems. These were combined into the 242 choruses of Mexico City Blues. This is described as "an extended sequence of free-association, spontaneous poems. He also began work
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He was older, sadder,and smarter than the public had expected. He tried to live up to his wild On the Road image, which only lead him down the dark spiral of alcoholism (Jack Kerouac, 2). The publication of On the Road coincided with Ginsberg's launch of the "united front," a media campaign to join east and west coast artists. Ginsberg quietly slipped away toEurope and allowed Kerouac to bear the full force of the popular media. The media portrayed him as advocating illegal and immoral activities, but Kerouac was too drunk most of the time to intelligently deal with the criticisms and confrontations. He felt like "a kid dragged in by a cop," (Clark, 164).

His fame was beginning to grow, but this hindered his writing. He became involved with the wife of respected literary critic Kenneth Rexroth. Initially Rexroth had regarded Kerouac as "the peer of Celine," (Clark, 147). Needless to say, as Kerouac's fame spread Rexroth's opinion of him continued to decline until the point where Kerouac was regarded as "more pitiful than ridiculous." Eventually, Kerouac fell into

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