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The Philosophical Breakdown of Jack Kerouac’s “On the Road”
The 1940’s was a hectic time period that spawned many different movements due to society's hunger for change. Jack Kerouac’s On the Road was a novel inspired by the his own experiences. His life, time period, and philosophy are all woven into his piece. In “On the Road”, Kerouac uses his life experiences to weave an intricate story that kick started the Beat Movement by inspiring an entire generation to live life to the fullest.
It is important to understand the complexity of Kerouac’s life in order to interpret On the Road. Jack Kerouac was originally born Jean- Louis on March 12th, 1922. His father was from New Hampshire and his mother was an emigrant from Quebec. He had two other
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The main character in On the Road, Sal, is the alter ego of Kerouac. The author’s own insanity can be seen even as he wrote his story, “He wrote the entire Novel over one three-week bender of frenzied composition on a single scroll of paper that was 120 feet long”(Jack). Another protagonist, Dean Moriarty, was inspired by a Neal Cassady that Kerouac met during his early life. Cassady is described as “an uneducated drifter and a manic depressive with a magnetic personality”(Literary Themes for Students). This is parallel to Dean Moriarty's personality in On the Road. Kerouac heavily based Dean off of Neal Cassady because of the influence he had on his life. “Neal Cassady (AKA Dean Moriarty) claimed to have stolen 500 cars between ages of 14-21. He emerged from Juvenile Penitentiary searching for something new” (“On the Road”). Much like Dean, Cassady was seen as a wildcard, “Kerouac knocked at the door to a sleazy flat in Harlem and Neal Cassady opened the door, naked, while a beautiful girl groped for clothes”(Soitos). Kerouac takes details from his own past and harnesses them to write his own …show more content…
Eventually the Cold War put forced fear into the American public. The politics of paranoia left the public thinking less of the government. The Cold War lingers in Kerouac’s On the Road (“On the Road”). During this time period the public became open to trying more things in life and vastly adopted the Beat Movement. It was widely accepted that, “Kerouac and the Beats have been recognized for their critique of the conformity and consumerism associated with the postwar American culture” (Vredenburg). The overall time period was not afraid to try new things and would willingly go out of their way to party, do drugs, and have sex. This was highly inappropriate for the younger generation to have sexual relations without a spouse. This new lifestyle appalled the older generation and separated the people. There was a generational split. The time period’s language can be described as unique. The author uses his own time periods linguistics to paint a vivid picture of the protagonists adventure, “Then here came a gang of young bop musicians carrying their instruments out of cars. They piled right into a saloon and we followed them”(Kerouac 227). Kerouac’s inclusion of local color and basic understanding of the time period, allows the story to come to
Kerouac also reflects on the futile trap of materialism. Japhy discusses "all that crap they didn't really want anyway such as refrigerators, TV sets, cars, at least fancy new cars, certain hair oils and deodorants and general junk you finally always see a week later in the garbage anyway, all of them imprisoned in a system of work, produce, consume, work, produce, consume.
As the writer waits at the station for his bus, he takes notice of his surroundings and the people around him, especially a lady with a bologna sandwich on her head. He begins this journey on Greyhound stage one: hope. He notices a sign taking about the future Greyhound Buses before he boards his own bus. Once on the bus Key talks about stage two: concern. He describes the passengers around him and his pirate driver.
288-293. ed. a. Alexander Bloom and Wini Breines. New York: Oxford University Press, 1995. Kerouac, Jack.
Jack Kerouac’s The Dharma Bums does not fall too far from a basic description of his life. Kerouac spent the bulk of his writing career riding trains from city to city, meeting people and writing books and poetry. He was among the premier writers of the Beat Generation, a group of primarily urban poets and writers who put the basics of life and their spiritual nuances into poetry with a beat. The book, The Dharma Bums, is a window into the daily structure of the Beat Generation.
Tallman, Warren. "Kerouac's Sound." Casebook on the Beat. Thomas Parkinson, ed. New York: Thomas Y. Cromwell Company, 1961. 220-221.
On the Road by Jack Kerouac, author during the Beats’ generation, is largely considered a novel that defined a generation. Despite this consideration, however, there are very many controversies linked to this book. Though many call the novel offensive, unexciting, and poorly written, Kerouac deserves the entirety of the acclamations he has received over the years as the result of his roman á clef. Along with literary classics such as The Great Gatsby, The Catcher in the Rye, To Kill a Mockingbird, and The Grapes of Wrath; On the Road has historically been challenged and even banned in classroom settings. If a novel is challenged, that means it has a message that breaks the status quo and pushes the boundaries of literature. On the Road objects stigmas about casual sex, the drug culture, poverty, capitalism and what it meant to be living in 1960’s America.
In Jack Kerouac’s novel On the Road, the narrator, Sal Paradise offers up to us what seems to be a very optimistic view on life. He is forever singing the praises of how wonderful his adventures will be and his high expectations for the future. To Sal, the novel is defined by youthful exuberance and unabashed optimism for the new experiences that he sets out to find. A deeper look into the novel, as well as a look at some of the critics who have written on it, reveals a much darker side, a more pessimistic and sad aspect that Sal simply fails to realize until the very close of the action. Whether Sal is hopping up on the optimism of jazz music, secure in his belief that he is off to find ‘IT,’ or just excited about the promises of a night out in a new city, he is consistently selling the reader on the positive nature of the situation.
Tytell, John. "The Beat Generation and the Continuing American Revolution". American Scholar 42 (1973): 308-317.
During the 1950’s there was significant social change taking place in America. Young people were dissatisfied with certain conservative aspects of society and their conduct reflected this. They embraced the rock and roll culture, the new style of music and also the new styles of dancing and dress that were associated with it shocked the older more conservative people. Young people were also quick to protest against the controversial issues of the 1950’s. Civil Rights, the Vietnam War and general politics provided fuel for an already blazing fire. Mass production meant cheaper motorcycles and cars, providing the young people with freedom that was previously not with in their reach. A barrier formed between the older and younger generations due to a lack communication. This was extended by the media’s inaccurate portrayal of the young people. All of these factors left the older generation trying to understand their children’s behaviour.
Kerouac guides the reader to the understanding that "IT" can be different for everyone. Sal began his search for "IT" because he was restless in ...
Dardess, George. "The Delicate Dynamics of Friendship: A Reconsideration of Kerouac's On The Road." American Literature. v46: 200-206. 1974.
Released more than a decade apart, Kerouac's On the Road and Dennis Hopper's Easy Rider are replete with parallels. Both depict characters whose beliefs are not quite uniform with those of society; in both cases these characters set out in search of "kicks" but become part of something larger along the way. More importantly, these two texts each comment insightfully on the culture of their respective times. But all these similarities become superficial in the face of the inherent differences between the two.
The nineteen fifties was a decade of prosperous times in America, but the average lifestyle of an American seemed extremely dull. The average American conformed to social norms, most Americans in the nineteen fifties dressed alike, talked the same way, and seemed to have the same types of personality. Music is what started to change the conformist lifestyle in America. Teenagers started to rebellion against their families by listening to Rock-n-Roll...
In Cormac McCarthy’s The Road, in the post-apocalyptic world that the man and the boy live in, dreams begin to take on the form of a new “reality.” As the novel progresses, the man’s dreams, initially memories remnant of his pre-apocalypse life, become “brighter” as the boy’s dreams become darker and nightmarish. Through the use of color and distinct language, McCarthy emphasizes the contrast between reality and dreams. The man’s reliance on bad dreams to keep him tied to the harsh reality alludes to the hopelessness of the situation; he can never truly escape. McCarthy suggests that those who strive for a life that no longer exists are deluded with false hope. Having dreams is a natural human tendency, but in a world that has become so inhumane, the man can’t even afford to retain this element of being human. The loss of the past is a concept that the characters living in this ashen world struggle with, and McCarthy presents memory as a weakness to be exploited.
By blending this idea and genre, Kerouac authors a strong travel narrative that allows people to understand the struggle that he has to find his true self and the meaning of twentieth century America, his novel is littered with personal experiences, something that allows the reader to connect