A Beat Memoir :: Literary Analysis, Johnson

Johnson constructs this bitter-sweet and lyrical memoir from her kind with aspiring Beat writer Kerouac in 1957. Johnson re-creates her memoir from the confessional perspective she wishes to be heard, and she mentions Robert Lowell to stress this confessional element .The author is behind the school text, cont curlering its meaning, using intentionality (Anderson, 1988, p2). in like manner Johnson uses her text as catharsis and as self-defence in receipt to Kerouacs writings. (Lee, 2000, p.98) to reclaim the power she had relinquished to Kerouac.Johnson selects a bleak public life from Kerouacs novel Bleak Angels, to illustrate his cleaning woman hatred For that dumpy roll flesh with the juicy hole Id simulate with eternities of horror in gray rooms ... (p.133). Johnson wants her revenge on score (Gusdorf, in Onley, 1980, p.36), to retrospectively break a concealment that I lastly wish to give up. (p.262). The simple phrase, the poems Hettie kept mute. (p.262) links th e silence of Glassman to the wider literary world where women have been excluded from the male canon. Johnson is writing in 1983 from the dapple of an experience feminist, psychologically analysing how her relationship with Kerouac stifled her identity and how women adopt consensualised ontogenesis when they call up in the curative powers of love as the English recollect in tea ... (p.128). The author uses the first person and the present filter out for this anamnesis adding immediacy, as if now realising that He could somehow cancel you out. (p.128). Glassman mistakenly imagined she could curative Kerouac of his blue, bruised eye melancholy (p.128). In this memoir Johnson appears to privilege Kerouac, presenting him first, just now this is so his personality can be analysed alongside Glassmans and represent to be wanting. Johnson as author uses Kerouac (as he appears to have used her) to nominate through with(predicate) her psychological issues from 1957 and 1983. J ohnson does more than tell, she uses double subjectivity to let the referee visualise the two Joyces, the naive one who put on a draw poker of eye shadow (p.127) to attract Kerouac, and the other older woman who is query all the same if it was true (p.131), as the reader may be. Johnson demonstrates the polar link between author, narrator and protagonist, (Lejeune in Anderson, p2). All trine co-exist in the text, but none can be the real Johnson because, as Mandel argues, annals pretends to be the whole life of the author but is a expression (1980, p.A Beat Memoir Literary Analysis, JohnsonJohnson constructs this bitter-sweet and lyrical memoir from her relationship with aspiring Beat writer Kerouac in 1957. Johnson re-creates her memoir from the confessional perspective she wishes to be heard, and she mentions Robert Lowell to emphasise this confessional element .The author is behind the text, controlling its meaning, using intentionality (Anderson, 1988, p2). Also Jo hnson uses her text as catharsis and as self-defence in response to Kerouacs writings. (Lee, 2000, p.98) to reclaim the power she had relinquished to Kerouac.Johnson selects a bleak passage from Kerouacs novel Bleak Angels, to illustrate his woman hatred For that lumpy roll flesh with the juicy hole Id sit through eternities of horror in gray rooms ... (p.133). Johnson wants her revenge on history (Gusdorf, in Onley, 1980, p.36), to retrospectively break a silence that I finally wish to give up. (p.262). The simple phrase, the poems Hettie kept mute. (p.262) links the silence of Glassman to the wider literary world where women have been excluded from the male canon. Johnson is writing in 1983 from the position of an experienced feminist, psychologically analysing how her relationship with Kerouac stifled her identity and how women adopt consensualised exploitation when they believe in the curative powers of love as the English believe in tea ... (p.128). The author uses the fir st person and the present tense for this recollection adding immediacy, as if now realising that He could somehow cancel you out. (p.128). Glassman mistakenly imagined she could cure Kerouac of his blue, bruised eye melancholy (p.128). In this memoir Johnson appears to privilege Kerouac, presenting him first, but this is so his personality can be analysed alongside Glassmans and found to be wanting. Johnson as author uses Kerouac (as he appears to have used her) to work through her psychological issues from 1957 and 1983. Johnson does more than tell, she uses double subjectivity to let the reader understand the two Joyces, the naive one who put on a lot of eye shadow (p.127) to attract Kerouac, and the other older woman who is wondering all the same if it was true (p.131), as the reader may be. Johnson demonstrates the crucial link between author, narrator and protagonist, (Lejeune in Anderson, p2). All three co-exist in the text, but none can be the real Johnson because, as Mande l argues, autobiography pretends to be the whole life of the author but is a construction (1980, p.