Jack Kerouac and the beatific vision

, the ones who never yawn or say a commonplace thing, but burn, burn, burn like fabulous yellow roman candles exploding like spiders across the stars and in the middle you see the blue centerlight pop and everybody goes ‘Awww!’2 For Kerouac this style of writing is the appropriate medium through Coupe 02 22/3/07 58 01:05 Page 58 Beat sound, Beat vision which he can demonstrate the possibility of locating the sacred within the profane. The purpose of the prose is revelation. The same is true of the poetry. It is significant that when Parker is honoured in Mexico

in Beat sound, Beat vision

:41 Page 158 Trea d i ng th e bawd s of Jeremy Collier’s A Short View of the Immorality and Profaneness of the English Stage.2 Collier became something of a figurehead for the section of society that saw the ‘Glorious Revolution’ of 1688/9 – the Protestant victory over Popery – as an opportunity to reinstate the social ethics and instruments of control identified with the Puritan values of the Commonwealth and, therefore, suppressed following the Restoration in 1660. As Milhous observes: ‘Scholars … have known better than to suppose that Jeremy Collier came out of

in Treading the bawds
French fiction and Djuna Barnes’s Nightwood

Volkbeins’ Viennese home (complete with ancestral fake portraits and a ‘thick dragon’s blood pile of rugs from Madrid’ (p. 17)), as a Gothic house; a continual questioning of normality as benign; and, above all, a blurring of the boundaries between night/day, masculine/feminine, sacred/profane, real/surreal and human/animal. Furthermore, whilst Felix Volkbein is linked explicitly with the figure of the

in European Gothic
Gothic mansions, ghosts and particular friendships

furnish the setting for uncanny events, Vidler describes houses in which the labyrinthine exterior gives the effect of ‘protecting the inner center from profane intrusion’. 14 He also refers to houses that are constructed around or resemble a tomb, citing as an example the mansion that furnishes the setting for Edgar Allan Poe’s The Fall of the House of Usher (1839). Both kinds of edifice are pertinent to the

in Queering the Gothic
The Quaker culture of convincement

integration of the divine, the light within dissolved or remade the categories that informed other radical theologies. Understandings of election and reprobation, the divine and the human, the spiritual and the carnal, male and female, the perfected and the fallen, the present, past and future, the sacred and the profane continued to shape Quaker discourse and religious practice, but in a transformed (their detractors would say distorted) state. The world seen from an early Quaker perspective, from a position produced and illuminated by the light, looked like a very

in George Fox and early Quaker culture
Abstract only
Bob Dylan via Jack Kerouac and Allen Ginsberg

the profane and sacred realms – a faith substantiated by his interest in Spengler’s idea of a correspondence between the microcosm and the macrocosm, between mundane experience and religious revelation. Along with this ambitious ideal, however, it also reminded him of something rather more obvious: how close poetry is to song. In his liner notes, Ginsberg emphasises the musical quality of Blake’s work, which he regards as inseparable from the visionary. That being so, he has no trouble in conceiving of a tradition which runs from Blake to Dylan. Having reminded us

in Beat sound, Beat vision
Abstract only
The Beatles via Allen Ginsberg

religious form of writing, the Buddhist ‘sutra’ (discourse, sermon), in order to engage with the material world. For him problems in the profane realm are only solved by way of realisation of the sacred dimension of existence. Vietnam is a symptom of what he calls ‘Lacklove’, that hatred of self and others which is born of repressed emotions: ‘All we do is for this frightened thing / we call Love, want and lack – / fear that we aren’t the one whose body could be / beloved of all the brides of Kansas City, / kissed all over by every boy of Wichita – / O but how many in

in Beat sound, Beat vision

potential collapse of the boundaries that separate self from other’ (2005: 238). Both of these ideas are pertinent and pivotal to Deadwood ’s performers’ skilful handling of the spoken word. In its distinctive melding of arcane and profane language, the series explores the borderline meeting point of civilised and wild ways. Equally, in extensive monologues and involved exchanges, its performers explore the limits of verbal

in Genre and performance
Open Access (free)
The historian and the male witch

perform magic. Monter argues that ‘the judges of Rouen inflicted such severe punishments on those shepherds … not because they were magicians, but because they profaned the eucharist, the body of Christ.’ 35 This particular statement concerns the reason for the unusual severity of the Rouen Parlement toward male witches, not the reason for their existence in the first place; however, shortly before he makes this comment

in Male witches in early modern Europe

rate no good reasons for denying the possibility that religions still bear a valuable semantic potential for inspiring other people beyond the limits of the particular community of faith, once that potential is delivered in terms of its profane truth content. (Habermas, 2008c : 20) Mapping antimodernism Figure 7.3 brings together themes from the preceding reflections on modernity and its critics. In order to facilitate empirical research, heuristic principles are drawn from the earlier considerations

in Habermas and European integration