Eliot's analogy freed criticsto do the independent, radically creative, non- biographical criticism of whichthey had long dreamt, and to which they have every right.
connects the personal and creative development of the Beat generation's famous icon with cultural changes in postwar America. Michael Hrebeniak asserts that Jack Kerouac's "wild form"—self-organizing narratives free of literary, grammatical, and syntactical conventions—moves within an experimental continuum across the arts to generate a Dionysian sense of writing as raw process. highlights how Kerouac made concrete his 1952 intimation of "something beyond the novel" by assembling ideas from Beat America, modernist poetics, action painting, bebop, and subterranean oral traditions.
Eliot's The Waste Land “Both the hysteric and the mystic transgress the linear syntax and logic governing the established symbolic order.” -Helen Bennett It is perhaps part of the unique genius of T.S.
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Incorporating the types of power:
TS Eliot wrote, ?Half of the harm that is done in this world is caused by people who have power and want to feel important.
Geared to scholars and students of American literature, Beat studies, and creative writing, places Kerouac's writing within the context of the American art scene at midcentury. Reframing the work of Kerouac and the Beat generation within the experimental modernist and postmodernist literary tradition, this probing inquiry offers a direct engagement with the social and cultural history at the foreground of Kerouac's career from the 1940s to the late 1960s.
It iscertainly very important, as Eliot thatwriters should foster an understanding of the cultures and the books of thepast, but they also unavoidably exist within the garden of the self and this,too, requires nurture and development.
It has allowed them to believe in the writer ascatalyst, entering into a tradition, performing an act of meaningfulrecombination, and yet leaving no trace of , orat least none the critic need worry himself with.
Eliotwas honest about wanting both writing and criticism to approach the conditionof a science; he famously compared a writer to a piece of finely platinum introduced into a chamber containingoxygen and dioxide.
"Poetry," says Eliot, "is not aturning loose of emotion, but an escape from emotion; it is not the expressionof personality, but an escape from personality." "The progress of anartist," says "is a continualself-sacrifice, a continual extinction of personality." These credos seemso impersonal themselves, so disinterested, that it is easy to forget thatyoung critic-practitioners make the beds they wish to lie in, and it was inEliot's interest - given the complexity and scandals of his private life andhis distaste for intrusion - ruthlessly to separate the personal from the poetry.
For Eliot themost individual and successful aspects of a writer's work were precisely thoseplaces where his literary ancestors asserted their immortality most vigorously.
In his famous essay of 1919,"Tradition and the Individual Talent", Eliot decimated the very ideaof individual consciousness, of personality, in writing.
the dim and antiquated term wit into the equally unsatisfactorynomenclature of our own time. Even Cowley is only able to define it bynegatives:
It has passed out of our critical coinage altogether, and no new termhas been struck to replace it; the quality seldom exists, and is neverrecognized.
So far Cowley has spoken well. But if we are to attempt even no morethan Cowley, we, placed in a retrospective attitude, must risk muchmore than anxious generalizations. With our eye still on Marvell, wecan say that wit is not erudition; it is sometimes stifled byerudition, as in much of Milton. It is not cynicism, though it has akind of toughness which may be confused with cynicism by thetender-minded. It is confused with erudition because it belongs to aneducated mind, rich in generations of experience; and it is confusedwith cynicism because it implies a constant inspection and criticismof experience. It involves, probably, a recognition, implicit in theexpression of every experience, of other kinds of experience which arepossible, which we find as clearly in the greatest as in poets likeMarvell. Such a general statement may seem to take us a long way from, or even from the "Horatian Ode";but it is perhaps justified by the desire to account for that precisetaste of Marvell's which finds for him the proper degree ofseriousness for every subject which he treats. His errors of taste,when he trespasses, are not sins against this virtue; they areconceits, distended metaphors and similes, but they never consist intaking a subject too seriously or too lightly. This virtue of wit isnot a peculiar quality of minor poets, or of the minor poets of oneage or of one school; it is an intellectual quality which perhaps onlybecomes noticeable by itself, in the work of lesserpoets. Furthermore, it is absent from the work of Wordsworth, Shelley,and Keats, on whose poetry nineteenth-century criticism hasunconsciously been based. To the best of their poetry wit isirrelevant:
We should find it difficult to draw any useful comparison betweenthese lines of Shelley and anything by Marvell. But later poets, whowould have been the better for Marvell's quality, were without it;even Browning seems oddly immature, in some way, beside Marvell. Andnowadays we find occasionally good irony, or satire, which lack wit'sinternal equilibrium, because their voices are essentially protestsagainst some outside sentimentality or stupidity; or we find seriouspoets who seem afraid of acquiring wit, lest they lose intensity. Thequality which Marvell had, this modest and certainly impersonalvirtue--whether we call it wit or reason, or even urbanity--we havepatently failed to define. By whatever name we call it, and however wedefine that name, it is something precious and needed and apparentlyextinct; it is what should preserve the reputation of Marvell.