By James T Jones
In this pioneering severe research of Jack Kerouac’s book-length poem, Mexico urban Blues—a poetic parallel to the writer’s fictional saga, the Duluoz Legend—James T. Jones makes use of a wealthy and versatile neoformalist method of argue his case for the significance of Kerouac’s infrequently studied poem. After a short precis of Kerouac’s poetic occupation, Jones embarks on an intensive studying of Mexico urban Blues from a number of assorted views: he first makes a speciality of Kerouac’s use of autobiography within the poem after which discusses how Kerouac’s a number of journeys to Mexico, his conversion to Buddhism, his idea of spontaneous poetics, and his charm to blues and to jazz inspired the topic, constitution, and sound of Mexico urban Blues.
Jones’s multidimensional explication indicates the formal and thematic complexity of Kerouac’s lengthy poem and demonstrates the main contribution Mexico urban Blues makes to post–World struggle II American poetry and poetics.
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Extra info for Map of the Mexico City Blues
The first full book Kerouac wrote after beginning his reading of Asvaghosa's Acts of the Buddha and Dwight Goddard's Buddhist Bible was a sequence of poems called San Francisco Blues (written in 1954). About this time he conceived a poetic equivalent to his fictional saga, the Duluoz Legend. " The first installment, San Francisco Blues, shows Kerouac tuning his powers of observation; however, without the strong narrative thrust of his fiction, the individual poemsthough often successful individuallyflounder in an arbitrary progression.
Maps, as we know, are far from being completely objective instruments, but they are unquestionably useful, despite their cultural biases and occasional factual errors. Third, I wanted to suggest to Kerouac readers a way of orienting themselves in this and in other Kerouac texts. The topics I chose to discuss are, for me, like directions. ) Each topic has its antipodes, with a more or less highly detailed territory stretched between. The poles, which were once exclusively Kerouac's, now belong to all of us.
In some ways, it is a version of the first novel. After Visions of Cody came Dr. Sax, conceived about the same time as the original conventional version of On the Road, followed by Maggie Cassidy and then The Subterraneans, which some critics consider the epitome of Kerouac's spontaneous style. Apparently Kerouac was not only undeterred by his failure to publish, but he also actually pushed himself to great imaginative heights during this period. The cost in strength to his ego was, however, immense.