[ Pobierz całość w formacie PDF ]
.Brooklyn.En route to Brooklyn, he stops off at George Martin is buried in New Hampshire, andDennison s apartment and watches him shoot the funeral sets up a meeting between the twomorphine.The scene includes snapshot portraits brothers who are so at odds philosophically Peterof Herbert Huncke (portrayed as Junkey) that and Francis.Joe is also present.Peter finds him-Huncke resented.At home, Peter s father lectures self playing the role of George Martin, getting thehim about the moral relativism that is practiced by brothers to talk in the open about themselves andhis generation.The subtext of this lecture is that their lives.Something of the debate between Bur-he does not like his son running around with ho- roughs and Kerouac is replayed here, with Petermosexuals, and George even appears to have read quoting from the Bible and showing a deep un-Gore Vidal s sensational gay novel The Pillar and derstanding of Christ s sermons of compassion andthe City (1948).Much of the last part of the book Francis studying him coldly as if he were an inter-is about George s frustrated attempts to tell his son esting psychiatric case.The confrontation relaxeswhat he knows about life to save him from suffer- all three brothers, though, and they are once againing unnecessarily.When Waldo Meister commits able to fall into a natural family relationship withsuicide (Kerouac displaces Carr s stabbing of Kam- each other. Tristessa 317The novel ends with Peter hitchhiking across Goddess. Vega s novel chronicles this search and,the country, a scene that anticipates On the Road.in the process, reveals not only what this interac-In fact, Kerouac writes that Peter was on the road tion with the Goddess looks like but, perhaps moreagain. Thus, the final pages of this novel set up importantly, how it is achieved.The key for Vega isKerouac s next novel, published seven years later.to remain open to the possibilities of the momentThough The Town and the City received some criti- in both body and soul.Ultimately, Vega experiencescal praise, it did not sell well.When On the Road this spiritual connection, though not always wherewas published, The Town and the City had been vir- and when she plans for it to happen.The Goddesstually forgotten.reveals herself when you least expect it during thosemoments that you cede control over the world andBibliography offer yourself up for change and revelation.Charters, Ann.Kerouac: A Biography.San Francisco: By invoking the term Mother or Goddess, VegaStraight Arrow Books, 1973.also raises the important question of gender thatis beginning to receive the attention it deserves inRob Johnson Beat scholarship.In Tracking the Serpent, Vega isrepeatedly disappointed to discover that many ofthe sites in which she hopes to find the GoddessTracking the Serpent: Journeys to Four are actually governed by a patriarchal mindset thatContinents Janine Pommy Vega (1997) closes off the possibility for communion with theJANINE POMMY VEGA s work has received scant criti- divine.Male space is often enclosed, hierarchical,cal attention, despite the fact that she has published and exclusionary, as many poems in her collec-roughly a dozen books since her first work, POEMS tion Mad Dogs of Trieste likewise demonstrate.TheTO FERNANDO, appeared in 1968.What makes this space of the Goddess, by contrast, is characterizedomission even more surprising is that Vega was not by an openness and egalitarianism that is the hall-a latter-day Beat follower but was intimately con- mark of Vega s work.The lesson for Vega is to al-nected with the Beat circle in New York City dur- ways remain open, whether trekking up the side ofing the late 1950s.In 1958, after graduating as the a mountain, making love, or simply meeting some-valedictorian of her class, Vega moved to New York, one for the first time.where she met GREGORY CORSO, ALLEN GINSBERG, Tracking the Serpent is an important Beat work.HERBERT HUNCKE, Elise Cowen, and Cowen s lover Although it was written after the Beat heyday ofPeter Orlovsky.Vega would later meet the Peruvian the 1950s and 1960s by a woman who has yet topainter Fernando Vega, traveling with him until his receive the sort of accolades accorded to malesudden death from a heroin overdose in November writers like Ginsberg, JACK KEROUAC, and WILLIAM1965.While Vega s attempt to develop her own S.BURROUGHS, Vega s book seriously engages thebrand of spirituality in the face of social and cul- desire for personal transformation through inter-tural constraints mirrors the work of fellow Beats, action with the divine that animates much Beatthe ways in which she develops such Beat themes as writing.Vega gives us a means of understandingindividuality, spontaneity, sexuality, and particularly not only how such a connection is forged, but themobility deserve more critical investigation.pitfalls of relying on a purely masculine model ofAs its subtitle suggests, Tracking the Serpent is a transcendence, and in the process sheds light onbook about travel.Vega journeys to British castles, what it means to be Beat. the cathedral at Chartres, the Irish countryside,the Amazon jungle, and the mountains of Peru Erik Mortensonand Nepal to discover what she terms the God-dess. The goal, according to Vega, is to let mypersonal history be overtaken by a present that was Tristessa Jack Kerouac (1960)conscious of itself and infinitely alive [ Pobierz całość w formacie PDF ]
zanotowane.pl doc.pisz.pl pdf.pisz.pl trzylatki.xlx.pl
.Brooklyn.En route to Brooklyn, he stops off at George Martin is buried in New Hampshire, andDennison s apartment and watches him shoot the funeral sets up a meeting between the twomorphine.The scene includes snapshot portraits brothers who are so at odds philosophically Peterof Herbert Huncke (portrayed as Junkey) that and Francis.Joe is also present.Peter finds him-Huncke resented.At home, Peter s father lectures self playing the role of George Martin, getting thehim about the moral relativism that is practiced by brothers to talk in the open about themselves andhis generation.The subtext of this lecture is that their lives.Something of the debate between Bur-he does not like his son running around with ho- roughs and Kerouac is replayed here, with Petermosexuals, and George even appears to have read quoting from the Bible and showing a deep un-Gore Vidal s sensational gay novel The Pillar and derstanding of Christ s sermons of compassion andthe City (1948).Much of the last part of the book Francis studying him coldly as if he were an inter-is about George s frustrated attempts to tell his son esting psychiatric case.The confrontation relaxeswhat he knows about life to save him from suffer- all three brothers, though, and they are once againing unnecessarily.When Waldo Meister commits able to fall into a natural family relationship withsuicide (Kerouac displaces Carr s stabbing of Kam- each other. Tristessa 317The novel ends with Peter hitchhiking across Goddess. Vega s novel chronicles this search and,the country, a scene that anticipates On the Road.in the process, reveals not only what this interac-In fact, Kerouac writes that Peter was on the road tion with the Goddess looks like but, perhaps moreagain. Thus, the final pages of this novel set up importantly, how it is achieved.The key for Vega isKerouac s next novel, published seven years later.to remain open to the possibilities of the momentThough The Town and the City received some criti- in both body and soul.Ultimately, Vega experiencescal praise, it did not sell well.When On the Road this spiritual connection, though not always wherewas published, The Town and the City had been vir- and when she plans for it to happen.The Goddesstually forgotten.reveals herself when you least expect it during thosemoments that you cede control over the world andBibliography offer yourself up for change and revelation.Charters, Ann.Kerouac: A Biography.San Francisco: By invoking the term Mother or Goddess, VegaStraight Arrow Books, 1973.also raises the important question of gender thatis beginning to receive the attention it deserves inRob Johnson Beat scholarship.In Tracking the Serpent, Vega isrepeatedly disappointed to discover that many ofthe sites in which she hopes to find the GoddessTracking the Serpent: Journeys to Four are actually governed by a patriarchal mindset thatContinents Janine Pommy Vega (1997) closes off the possibility for communion with theJANINE POMMY VEGA s work has received scant criti- divine.Male space is often enclosed, hierarchical,cal attention, despite the fact that she has published and exclusionary, as many poems in her collec-roughly a dozen books since her first work, POEMS tion Mad Dogs of Trieste likewise demonstrate.TheTO FERNANDO, appeared in 1968.What makes this space of the Goddess, by contrast, is characterizedomission even more surprising is that Vega was not by an openness and egalitarianism that is the hall-a latter-day Beat follower but was intimately con- mark of Vega s work.The lesson for Vega is to al-nected with the Beat circle in New York City dur- ways remain open, whether trekking up the side ofing the late 1950s.In 1958, after graduating as the a mountain, making love, or simply meeting some-valedictorian of her class, Vega moved to New York, one for the first time.where she met GREGORY CORSO, ALLEN GINSBERG, Tracking the Serpent is an important Beat work.HERBERT HUNCKE, Elise Cowen, and Cowen s lover Although it was written after the Beat heyday ofPeter Orlovsky.Vega would later meet the Peruvian the 1950s and 1960s by a woman who has yet topainter Fernando Vega, traveling with him until his receive the sort of accolades accorded to malesudden death from a heroin overdose in November writers like Ginsberg, JACK KEROUAC, and WILLIAM1965.While Vega s attempt to develop her own S.BURROUGHS, Vega s book seriously engages thebrand of spirituality in the face of social and cul- desire for personal transformation through inter-tural constraints mirrors the work of fellow Beats, action with the divine that animates much Beatthe ways in which she develops such Beat themes as writing.Vega gives us a means of understandingindividuality, spontaneity, sexuality, and particularly not only how such a connection is forged, but themobility deserve more critical investigation.pitfalls of relying on a purely masculine model ofAs its subtitle suggests, Tracking the Serpent is a transcendence, and in the process sheds light onbook about travel.Vega journeys to British castles, what it means to be Beat. the cathedral at Chartres, the Irish countryside,the Amazon jungle, and the mountains of Peru Erik Mortensonand Nepal to discover what she terms the God-dess. The goal, according to Vega, is to let mypersonal history be overtaken by a present that was Tristessa Jack Kerouac (1960)conscious of itself and infinitely alive [ Pobierz całość w formacie PDF ]