Regina Weinreich explores Kerouacâ s place in American literature by establishing the totÂal design of his work. She conÂtends that he thought of his works as one vast bookâ (a Divine Comedy of Buddhaâ ) he called the Legend of Duluoz.
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Weinreich finds that Kerouacâ s linguistic experimenÂtation leads to a poetic unity rather than the linear unity comÂmonly associated with legends. She discusses the naÂture of his spontaneous bop prosody,â relating it to the work of Thomas Wolfe and Henry Miller.
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In addition to explaining Kerouacâ s method, Weinreich seeks to define the unity of his works, from The Town and the City, On the Road, and Visions of Cody to Desolation Angels and Vanity of Duluoz, which she argues brings the legend full circle. Weinreich feels the autoÂbiographical nature of Kerouacâ s oeuvre links him to other twentieth-century American writers, following a distinctly Whitmanesque tradition.
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Regina Weinreich teaches in the Department of Humanities at the School of Visual Arts in New York City.
Focusing on Kerouac's desire to create one vast book, the Duluoz legend, Weinreich successfully demonstrates that each work tries to solve a structural problem presented in a prior one. Her analysis of the spiral structure governing each novel is perceptive and original, as is her discussion of the way jazz influenced Kerouac's prose style. The attempt to view On the Road , The Subterraneans , and Tristessa in terms of the courtly tradition is, however, less convincing. Weinreich's work is oriented more toward style than psychology and is more generous in its assessment than Warren French's recent Jack Kerouac (Twayne, 1986), which serves more as a general introduction. Libraries will find both titles worthwhile. William Gargan, Brooklyn Coll. Lib., CUNY
Copyright 1987 Reed Business Information, Inc.
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