Through careful analysis of Jack Kerouac's On the Road, Omar Swartz sets out to show that Kerouac's influence on American society is largely rhetorical. Kerouac's significance as a cultural icon can be best understood, Swartz asserts, in terms of traditional rhetorical practices and principles.

To...

Through careful analysis of Jack Kerouac's On the Road, Omar Swartz sets out to show that Kerouac's influence on American society is largely rhetorical. Kerouac's significance as a cultural icon can be best understood, Swartz asserts, in terms of traditional rhetorical practices and principles.

To Swartz, Kerouac is a rhetor who symbolically reconstructs his world and offers arguments and encouragements for others to follow. Swartz proposes that On the Road constitutes a "rhetorical vision", a reality-defining discourse suggesting alternative possibilities for growth and change. Embodied in this rhetorical vision are symbolically suited desires that have the power to transform images of self, society, and other.

To explain Kerouac's methods, Swartz adopts Ernest Bormann's "fantasy theme analysis", a method that critics can use to understand the cultural dimension of a text. Because rhetorical visions involve large, encompassing narratives, a fantasy theme analysis is a localized way to establish "meaning" in a text. Thus, fantasy theme analysis presents a rhetorical vision in an accessible manner. Swartz is the first critic to apply fantasy theme analysis to a Beat writer.

The rhetorical significance of On the Road demands elaboration for what it can suggest about the future. Kerouac's writing serves as a tool that empowers people to take control of their lives and to reject dominant forces that constrain their thoughts and their actions. This study of Kerouac, then, is a study of rhetorical transformation.

Celebrating the margins of experience and the intensity of life, Kerouac helped develop the commitment and attitude of a larger American culture that was beginning tostruggle with the tensions and contradictions of society. Through the aid of a focused narrative that graphically names and illustrates these tensions and contradictions, Swartz asserts, the reader of Kerouac's On the Road becomes

We take for granted the idea that white, middle-class, straight masculinity connotes total control of emotions, emotional inexpressivity, and emotional isolation. That men repress their feelings as they seek their fortunes in the competitive worlds of business and politics seems to be a given. This...

We take for granted the idea that white, middle-class, straight masculinity connotes total control of emotions, emotional inexpressivity, and emotional isolation. That men repress their feelings as they seek their fortunes in the competitive worlds of business and politics seems to be a given. This collection of essays by prominent literary and cultural critics rethinks such commonly held views by addressing the history and politics of emotion in prevailing narratives about masculinity. How did the story of the emotionally stifled U.S. male come into being? What are its political stakes? Will the "release" of straight, white, middle-class masculine emotion remake existing forms of power or reinforce them? This collection forcefully challenges our most entrenched ideas about male emotion. Through readings of works by Thoreau, Lowell, and W. E. B. Du Bois, and of twentieth century authors such as Hemingway and Kerouac, this book questions the persistence of the emotionally alienated male in narratives of white middle-class masculinity and addresses the political and social implications of male emotional release.

This important collection of essays on the writers who have made Los Angeles one of the great cities of twentieth-century literature has been strengthened by the inclusion of three new essays. John Fante, Walter Mosley, and Chester Himes join such writers as Aldous Huxley, F. Scott Fitzgerald...

This important collection of essays on the writers who have made Los Angeles one of the great cities of twentieth-century literature has been strengthened by the inclusion of three new essays. John Fante, Walter Mosley, and Chester Himes join such writers as Aldous Huxley, F. Scott Fitzgerald, Evelyn Waugh, Nathanael West, Norman Mailer, James M. Cain, Ross Macdonald, Raymond Chandler, Budd Schulberg, Joan Didion, John Gregory Dunne, and Thomas Pynchon as well as less familiar writers such as Oscar Zeta Acosta, Horace McCoy, Thomas Sanchez, Marc Norman, and Hysaye Yamamoto in a text that provides a basic literary history of the region. Essays examine such special Los Angeles genres as the detective story and the Hollywood novel, and a chapter is devoted to the film Chinatown.