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John Clellon Holmes met Jack Kerouac on a hot New York City weekend in 1948, and until the end of Kerouac's life they were--in Holmes's words--\"Brother Souls.\" Both were neophyte novelists, hungry for literary fame but just as hungry to find a new way of responding to their experiences in a postwar American society that for them had lost its direction. Late one night as they sat talking, Kerouac spontaneously created the term \"Beat Generation\" to describe this new attitude they felt stirring around them. Brother Souls is the remarkable chronicle of this cornerstone friendship and the life of John Clellon Holmes.From 1948 to 1951, when Kerouac's wanderings took him back to New York, he and Holmes met almost daily. Struggling to find a form for the novel he intended to write, Kerouac climbed the stairs to the apartment in midtown Manhattan where Holmes lived with his wife to read the pages of Holmes's manuscript for the novel Go as they left the typewriter. With the pages of Holmes's final chapter still in his mind, he was at last able to crack his own writing dilemma. In a burst of creation in April 1951 he drew all the materials he had been gathering into the scroll manuscript of On the Road.Biographer Ann Charters was close to John Clellon Holmes for more than a decade. At his death in 1988 she was one of a handful of scholars allowed access to the voluminous archive of letters, journals, and manuscripts Holmes had been keeping for twenty-five years. In that mass of material waited an untold story. These two ambitious writers, Holmes and Kerouac, shared days and nights arguing over what writing should be, wandering from one explosive party to the next, and hanging on the new sounds of bebop. Through the pages of Holmes's journals, often written the morning after the events they recount, Charters discovered and mined an unparalleled trove describing the seminal figures of the Beat Generation: Holmes, Kerouac, Neal Cassady, Allen Ginsberg, William Burroughs, Gregory Corso, and their friends and lovers.

At least one novel and a collection of short stories are as yet unpublished, though perhaps as Ginsberg said of other books in his Dedication to Howl and Other Poems, they \"are published in heaven\" and will in time be published here below. The other segment appeared as \"Interview: John Clellon Holmes\" in Quarterly West 5 (1978), then a relatively young journal hosted by the University of Utah where I was then teaching and edited by James Thomas, who had studied fiction writing with Holmes at Bowling Green State University. Introduction to 1977 Interview in Quarterly West (1978) In the 25 years since his first novel Go was originally published, John Clellon Holmes has covered the bases: three novels, a collection of essays, short stories and journalism in magazines like Esquire and Playboy, poems in the quarterlies, and stints as a writing teacher from Iowa to Brown, most recently at the University of Arkansas, Fayetteville. Focusing on the young Allen Ginsberg, Neal Cassady, and Kerouac, he records and critiques the search for values of the generation that came of age during the cultural bankruptcy of the Second World War.

Published in 1957, On the Road remained in print as a mass market paperback with a bright yellow cover and a drawing of a barefoot young woman and man kneeling on the hood of a car in a tight embrace next to their gallon of wine. Even more telling is the marketing come-on lettered between the title and the author's name: \"The riotous odyssey of two American drop-outs, by the drop-out who started it all..It wasn't a book to be found in the Literature section of the bookstore along with its canonical peers The Great Gatsby and The Sun Also Rises, to which On the Road was historically compared in its first major review. [...]they point the way ahead to the multiple roads of research and discussion needed in the coming years and decades to map and measure the wide, unforeseen impacts of this midtwentieth-century American genius writer. Rounding out the volume's extensive offerings is our continuing feature, The Beat Index, a compendium of contemporary national and international Beat scholarship, compiled now for the second year by Rebecca L. Aberle, whose resourceful and inventive searches for scholarship that features or touches on Beat writing enriches the research potential for all in pursuit of Beat Studies. The two by Al Gelpi and Tim Hunt separately compile and reprint archival works-a memoir of Kerouac's 1966 visit to Harvard University's Lowell House, and a substantive and long out-of-print 1977 interview with John Clellon Holmes-providing access to otherwise unavailable firsthand documentary historical intelligence important to cultural and literary studies of Kerouac.

Interview with Ann Charters Introduction On March 13, 2000, we, the editors of the Journal of Beat Studies - before there was even the inkling of an idea of a JBS - interviewed Ann Charters at her home in Storrs, Connecticut. Published in Q & A form in our Breaking the Rule of Cool: Interviewing and Reading Beat Women Writers (2004), the interview featured Charters talking about her perception of her role in studies of the Beat generation; her early days getting to know Beat writers such as Kerouac, Ginsberg, Orlovsky, and Huncke; her experiences as a female graduate student in English at Columbia University, and as a literary critic in a male-dominant profession; her work as a photographer; her favorite women Beat writers; the condition and status of race relations in the Beat movement; and her work as a literary editor. When the professor scheduled to teach a Chaucer class in the Major Writers series became ill, the scheduling committee accepted my proposal to substitute these two Beat writers as major authors. Placing my archive of Beat literature, collected since 1962, in the Berg Collection at the New York Public Library in 1992, and then immediately beginning all over again to collect Beat materials in order to start another Beat archive at the Dodd Research Center at the University of Connecticut in Storrs as an ongoing project. 20. [...]the tumult and uncertainty-after four years of work and the tension of getting each page past the Kerouac estate and then...

[...]that the DLB volume appeared, very little serious work had been published on the Beats: these writers, their literary innovation, and cultural impact were largely ignored by academe. [...]the DLB was the first comprehensive academic introduction available and the first attempt to define a canon. Charters's DLB is noteworthy for going beyond the expected articles on individual authors with special appendices providing a chronology of the Beats with photographs, memoirs by Carolyn Cassady and Joyce...

Postmodern literature is giving way to a new literary movement in the twenty-first century. This paper explores the developing world of post-post-modernism in terms of its strategies, techniques, and thematic concerns. Critically acclaimed contemporary novels A Visit from the Goon Squad by Jennifer Egan and Lost Children Archives by Valeria Luiselli are used as prototypes of this burgeoning literary movement. The argument of the existence of post-post-modernism is made by looking at the ways in which postmodern techniques are undergoing modification to better represent our current cultural moment. An adaptation of psychoanalytical theory is employed throughout to examine not just the authors' subconscious but the truths of our current moment that are being revealed through their works with a particular emphasis on narrative identity theory. This thesis begins with a working definition for this movement and takes a closer look at the various ways identity and meaning is developed in the contemporary novel. The goal of this analysis is to come to a better understanding of our current literary and cultural moment and to anticipate where our literature is headed.

A Reader's Companion to the Short Story in English, edited by Erin Fallon et al., Greenwood Press, 2001, pp. 333-40. Writing Lives: American Biography and Autobiography, edited by Hans Bak and Hans Krabbendam, Amsterdam: VU UP, 1998, pp. 97-105. The Rolling Stone Book of the Beats: The Beat Generation and American Culture, edited by Holly George-Warren, Hyperion, 1999, pp. 128-31. The collection contains manuscripts, personal correspondence, sound recordings, printer proofs, photographs, limited edition press materials, and publications. According to the archival statement on the history of the press, the Charterses created the idea of the press in 1963, deciding on the name \"Portents\" because they loved the Herman Melville poem about the martyr John Brown that opened his book \"Battle Pieces.\" Series 1 features 30 literary items, some numbered and some not, in addition to advertising materials and sales records. Portents 1: A Joplin Bouquet: recording of classic ragtime compositions by Scott Joplin and played by Ann Charters (1964). Treemonisha: recording of Utah State University music students performing Scott Joplin's opera Treemonisha, including Ann Charters playing five Joplin ragtime compositions (1965). Poems for Peace: a benefit reading for the New York Workshop in Nonviolence, April 7, 1966, at St. Mark's...

Reconstructing the Beats (2004) edited by Jennie Skerl advances, although not intentionally, the philosophical direction of Bartlett and Stephenson's work in several essays, including the philosophy of civil disobedience discussed in \"T Want to Be with My Own Kind': Individual Resistance and Collective Action in the Beat Counterculture\" by Clinton R. Starr and the influence of the German philosopher Oswald Spengler on Beat writers in Mexico in Daniel Belgrad's ground-breaking article \"The Transnational Counterculture.\" In this context, The Philosophy of the Beats, edited by Sharin N. Elkholy and published in 2012 as part of the University of Kentucky's Philosophy of Popular Culture series, adds little to the extant scholarship, despite Elkholy's introductory claim that the collection \"provide[s] cutting-edge analysis of beat style-literary, personal, and political-by drawing on philosophical theories and framework to recast the themes explored in Beat writings. ...\" [...]the introduction fails to explain how the collection fits within the growing body of Beat studies and cultural/popular studies literature-and to delineate how philosophical lenses will advance our already substantial understanding of the Beat corpus. David Sterritt's \"Wholly Communion: Poetry, Philosophy, and Spontaneous Bop Cinema,\" addresses a little-known experimental film titled Wholly Communion made by Peter Whitehead in the late Beat period (1965), using the aesthetics of Mikhail Bakhtin and the schizoanalysis of Gilles Deleuze and Felix Guiattari to explore the context and composition history of the film as Beat production, convincingly demonstrating the rhizomatic and dialogic structuring of the film that resists monologic discourse while reaffirming rational and logical construction.

[...]he began to wonder why he seemed to be excluded from general consideration as one of the Beat writers. In the fall of 1961, University of California professor Thomas Parkinson published A Casebook on the Beat that included literary works by the now-expected cohort (Kerouac, Ginsberg, Gregory Corso, Lawrence Ferlinghetti, William S. Burroughs, etc.) and essays by the likes of Kenneth Rexroth, Norman Podhoretz, Warren Tallman, Herbert Gold, and others. [...]he touted Ginsberg to Delmore Schwartz at Partisan Review in 1950, certainly a nugget of the Beat past that most readers would never have known. [...]Brother-Souls makes an extravagant claim for the future of The Horn, which at this time is apparently out of print: \"It is not too much to assume that Holmes' novel will finally be accepted, like Kerouac's On the Road, as a modern American classic\" (290).

The hobo is an often overlooked figure that plays a key role in Jack Kerouac’s life and his magnum opus On the Road (1957). The first endeavor of this thesis is presenting the theory that Kerouac’s most prominent influences were hobo authors, rather than those historically claimed by Kerouac, and it appears the hobo had an even greater impact on his writing than Kerouac’s contemporary Beat figures, Neal Cassady, Allen Ginsberg, and William Burroughs. Various biographical details of Kerouac and other Beats intertwine with the political legacy of the hobo and specifically with two works of hobo literature: Woody Guthrie’s Bound for Glory (1943) and Jack Black’s You Can’t Win (1926). Kerouac’s On the Road shares striking similarities with the aforementioned works in both style and theme. The second undertaking is presenting and analyzing John Lennon’s work, Boxcar Politics: The Hobo in U.S. Culture and Literature, 1869-1965 (2014). I utilize Lennon’s Marxist-based theory, “Boxcar Politics,” to demonstrate Jack Kerouac’s hobos are agents capable of political resistance, not simply hopeless ghosts lacking political resistance as Lennon claims in his last chapter of Boxcar Politics where he discusses his take on the hobo’s role in On the Road. Furthermore, I argue that Kerouac’s depictions changed the way Americans retrospectively view the hobo. Once despised by the media and public, the hobo is now a grandfatherly icon of American expansion and adventure. Kerouac’s On the Road greatly contributed to transforming hobos to heroes. Today, the popularity and awards of “proto-Beats” like Bob Dylan exemplify America’s now companionable relationship with the American hobo.