This critical text considers Jack Kerouac as writer-shaman, exploring the content and ecstatic technique of the novels and two experimental volumes that represent critical phases of his development. Thomas Bierowski also examines the reception of Kerouac's work, arguing that his rise and fall reflect not only the usual changes in literary taste but the precarious position of the shamanic figure in modern America.

This critical text considers Jack Kerouac as writer-shaman, exploring the content and ecstatic technique of the novels and two experimental volumes that represent critical phases of his development. Thomas Bierowski also examines the reception of Kerouac's work, arguing that his rise and fall reflect not only the usual changes in literary taste but the precarious position of the shamanic figure in modern America.

Jack Kerouac, a "ragged priest of the word" according to Ben Giamo, embarked on a spiritual quest "for the ultimate meaning of existence and suffering, and the celebration of joy in the meantime." For Kerouac, the quest was a sustained and creative experiment in literary form. Intuitive and innovative, Kerouac created prose styles that reflected his search for personal meaning and spiritual intensity. These styles varied from an exuberant brand of conventional narrative (On the Road, The Dharma Bums, and Desolation Angels) to spontaneous bop prosody (Visions of Cody.Doctor Sax, and The Subterraneans). Giamo's primary purpose is to chronicle and clarify Kerouac's various spiritual quests through close examinations of the novels. Kerouac began his quest with On the Road, which also is Giamo's real starting point. To establish early themes, spiritual struggles, and stylistic shifts, however, Giamo begins with the first novel, Town and Country, and ends with Big Sur, the final turning point in Kerouac's quest. Kerouac was primarily a religious writer bent on testing and celebrating the profane depths and transcendent heights of experience and reporting both truly. Baptized and buried a Catholic, he was also heavily influenced by Buddhism, especially from 1954 until 1957 when he integrated traditional Eastern belief into several novels. Catholicism remained an essential force in his writing, but his study of Buddhism was serious and not solely in the service of his literary art. As he wrote to Malcolm Cowley in 1954, "Since I saw you I took up the study of Buddhism and for me it's the word and the way I was looking for." Giamo also seeks IT--"a vital force in the experience of living that takes one by surprise, suspending for the moment belief in the 'real' concrete grey everyday of facts of self and selfhood . . . its various meanings, paths, and oscillations: from romantic lyricism to 'the ragged and ecstatic joy of pure being and from the void-pit of the Great World Snake to the joyous pain of amorous love, and, finally, from Catholic/Buddhist serenity to the onset of penitential martyrhood."

Poetic meditations on joy, consciousness, and becoming one with the infinite universe from the author of On the Road During an unexplained fainting spell, Beat Generation writer Jack Kerouac experienced a flash of enlightenment. A student of Buddhist philosophy, Kerouac recognized the experience as “satori,” a moment of life-changing epiphany. The knowledge he gained in that instant is expressed in this volume of sixty-six prose poems with language that is both precise and cryptic, mystical and plain. His vision proclaims, “There are not two of us here, reader and writer, but one golden eternity.” Within these meditations, haikus, and Zen koans is a contemplation of consciousness and impermanence. While heavily influenced by the form of Buddhist poems or sutras, Kerouac also draws inspiration from a variety of religious traditions, including Taoism, Native American spirituality, and the Catholicism of his youth. Far-reaching and inclusive, this collection reveals the breadth of Kerouac’s poetic sensibility and the curiosity, word play, and fierce desire to understand the nature of existence that make up the foundational concepts of Beat poetry and propel all of Kerouac’s writing.

Presents ten critical essays published between 1973 and 2001 on Jack Kerouac's "On the Road," and includes a chronology, a bibliography, and an introduction by Harold Bloom.

From tea guru Sebastian Beckwith and New York Times bestsellers Caroline Paul and Wendy MacNaughton comes the essential guide to exploring and enjoying the vast world of tea. Tea, the most popular beverage in the world after water, has brought nations to war, defined cultures, bankrupted coffers, and toppled kings. And yet in many ways this fragrantly comforting and storied brew remains elusive, even to its devotees. As down-to-earth yet stylishly refined as the drink itself, A Little Tea Book submerges readers into tea, exploring its varieties, subtleties, and pleasures right down to the process of selecting and brewing the perfect cup. From orange pekoe to pu-erh, tea expert Sebastian Beckwith provides surprising tips, fun facts, and flavorful recipes to launch dabblers and connoisseurs alike on a journey of taste and appreciation. Along with writer and fellow tea-enthusiast Caroline Paul, Beckwith walks us through the cultural and political history of the elixir that has touched every corner of the world. Featuring featuring charming, colorful charts, graphs, and illustrations by bestselling illustrator Wendy MacNaughton and Beckwith's sumptuous photographs, A Little Tea Book is a friendly, handsome, and illuminating primer with a dash of sass and sophistication. Cheers!

Who were the beats? Not the sandle-clad "beatniks" of popular lore but dedicated writers, experimenters, skit improvisers, theorizers, hedonists, close friends, bisexual free lovers, shapers of the future. The beats hung out at Columbia university and cheap Times Square cafeterias, devouring ideas. David Creighton shows how the world has taken up their message. In Ecstasy of the Beats he gives a fresh portrait of Carolyn Cassady, "Queen of the Beats," and of the four major Beat writers. Jack Kerouac's On the Road gave a pattern of adventure to restless youth, Allen Ginsberg donned a prophet's robe by writing Howl, William Burroughs warned against control mechanisms in Naked Lunch, and Neal Cassady's high-energy life made him an icon of freedom. Travelling widely to see where they lived, Creighton enriches the meaning of On the Road and other Beat classics. He invites the reader on the Beats' journey toward ever-deeper levels of understanding and provides interesting insight into Kerouacs French-Canadian roots.

It was in his letters that Jack Kerouac set down the raw material that he transmuted into his novels, exploring and refining the spontaneous prose style that became his trademark. The letters in this volume, written between 1940, when Kerouac was a freshman at college, and 1956, immediately before his breathless leap into celebrity with the publication of On the Road, offer invaluable insights into Kerouac's family life, his friendships with Neal and Carolyn Cassady, Allen Ginsberg, Gary Snyder, and William S. Burroughs, his travels, love affairs, and literary apprenticeship. At once fascinating reading and a major addition to Kerouac scholarship, here is a rare portrait of the writer as a young adventurer of immense talent, energy, and ambition in the midst of writing and living an American legend.

The Awakener is Helen Weaver's long awaited memoir of her adventures with Jack Kerouac, Allen Ginsberg, Lenny Bruce, and other wild characters from the New York City of the fifties and sixties. The sheltered but rebellious daughter of bookish Midwestern parents, Weaver survived a repressive upbringing in the wealthy suburbs of Scarsdale and an early divorce to land in Greenwich Village just in time for the birth of rock 'n' roll—and the counterculture movement known as the Beat Generation. Shortly after her arrival Kerouac, Ginsberg, and company—old friends of her roommate—arrive on their doorstep after a non-stop drive from Mexico. Weaver and Kerouac fall in love on sight, and Kerouac moves in. " … Weaver] paints a romantic picture of Greenwich Village in the 1950s and '60s, when she worked in publishing and hung out with Allen Ginsberg and the poet Richard Howard and was wild and loose, getting high and falling into bed almost immediately with her crushes, including Lenny Bruce … Her descriptions of the Village are evocative, recalling a time when she wore 'long skirts, Capezio ballet shoes and black stockings,' and used to 'sit in the Bagatelle and have sweet vermouth on the rocks with a twist of lemon.' Early on, she quotes Pasternak: 'You in others: this is your soul.' Kerouac's soul lives on through many people—Joyce Johnson, for one—but few have been as adept as Weaver at capturing both him and the New York bohemia of the time. He was lucky to have met her."—Tara McKelvey, The New York Times Book Review “There is a tendency for memoirs written by women about The Great Man to be self-abnegating exercises in a kind of inverted narcissism—the author seeking to prove her worth as muse, as consort, as chosen one. Not so with Helen Weaver’s beautiful, plainspoken elegy for her time spent with Jack Kerouac, who suddenly appeared at her door in the West Village one white, frosty morning with Allen Ginsberg, who knew Weaver’s roommate, in tow."—New York Post "Helen Weaver’s book was a revelation to me! … This is the most graphic, honest, shameless, and moving documentary of what the newly liberated women in cities got up to—how they lived, loved, and created. Who knew? It is time they did! And here’s how."—Carolyn Cassady "Weaver recreates the excitement of a time when things were radically changing and shows us what it was like living with an eccentric genius at the turning point of his life. Eventually she asks Jack to leave but they remain friends, and over the years her respect for his writing grows even as Kerouac's reputation undergoes a gradual transition from enfant terrible to American icon. She comes to realize that by writing On the Road he woke America up—along with her—from the long dream of the fifties. And the Buddhist philosophy that once struck her as Jack's excuse for doing whatever he liked because 'nothing is real, it's all a dream' eventually becomes her own." "Helen Weaver's memoir is a riveting account of her love affair and friendship with Jack Kerouac. She is both clear-eyed and passionate about him, and writes with truly amazing grace."—Ann Charters Helen Weaver has translated over fifty books from the French of which one, Antonin Artaud: Selected Writings (Farrar, Straus and Giroux ) was a Finalist for the National Book Award in translation in 1976. She is co-author and general editor of the Larousse Enyclopedia of Astrology and author of The Daisy Sutra, a book on animal communication. She lives in Kingston, New York.