'I read On the Road in maybe 1959. It changed my life like it changed everyone else's' Bob Dylan Sal Paradise, a young innocent, joins his hero, the mystical traveller Dean Moriarty, on a breathless, exuberant ride back and forth across the United States. Their hedonistic search for release or fulfilment through drink, sex, drugs and jazz becomes an exploration of personal freedom, a test of the limits of the American dream. A brilliant blend of fiction and autobiography, Jack Kerouac's exhilarating novel swings to the rhythms of 1950s underground America, racing towards the sunset with unforgettable exuberance, poignancy and autobiographical passion. One of the most influential and important novels of the 20th century, this is the book that launched the Beat Generation and remains the bible of that literary movement.

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On the Road swings to the rhythms of 1950s underground America, jazz, sex, generosity, chill dawns and drugs, with Sal Paradise and his hero Dean Moriarty, traveller and mystic, the living epitome of Beat. Now recognized as a modern classic, its American Dream is nearer that of Walt Whitman than Scott Fitzgerald, and it goes racing towards the sunset with unforgettable exuberance, poignancy and autobiographical passion.

Jack Kerouac's Great American Novel, now in a delightful new Clothbound Classics edition On the Road swings to the rhythms of 1950s underground America, jazz, sex, generosity, chill dawns and drugs, with Sal Paradise and his hero Dean Moriarty, traveller and mystic, the living epitome of Beat. Now recognized as a modern classic, its American Dream is nearer that of Walt Whitman than Scott Fitzgerald, and it goes racing towards the sunset with unforgettable exuberance, poignancy and autobiographical passion.

Beginning in the late 1940's, American literature discovered a four-letter word, and the word was "beat." Beat as in poverty and beatitude, ecstasy and exile. Beat was Jack Kerouac touring the American road in prose as fast and reckless as a V-8 Chevy. It was the junk-sick surrealism of William Burroughs; the wild, Whitmanesque poetry of Allen Ginsberg; and the lumberjack Zen of Gary Snyder. The Portable Beat Reader collects the most significant writing of these and fellow members (and spiritual descendants) of the Beat Generation, including Neal Cassady, Gregory Corso, Diane di Prima, Bob Dylan, Leroi Jones, and Michael McClure. In poetry, fiction, essays, song lyrics, letters, and memoirs, it captures the triumphant rudeness, energy, and exhilaration of a movement that swept through American letters with hurricane force.

Now that Kerouac's major novel, On the Road is accepted as an American classic, academic critics are slowly beginning to catch up with his experimental literary methods and examine the dozen books comprising what he called 'the legend of Duluoz.' Nearly all of his books have been in print internationally since his death in 1969, and his writing has been discovered and enjoyed by new readers throughout the world. Kerouac's view of the promise of America, the seductive and lovely vision of the beckoning open spaces of our continent, has never been expressed better by subsequent writers, perhaps because Kerouac was our last writer to believe in America's promise--and essential innocence--as the legacy he would explore in his autobiographical fiction.

"Girls Who Wore Black recovers neglected women writers who deserve more attention for their writing and for their historical role in the mid-century arts scene. This collection of essays reopens and revises the Beat canon, Beat history, and Beat poetics; it is an important contribution to literary criticism and history."-Jennie Skerl, author of A Tawdry Place of Salvation: The Art of Jane Bowles "Ronna Johnson and Nancy Grace have done an invaluable service for students of American literature: their collection begins with an essential essay about the three generations of Beat women and then provides fine contributions by critics Anthony Libby, Linda Russo, Maria Damon, Tim Hunt, and others. The value of this book is so clear one must wonder why it wasn't available much earlier."-Linda Wagner-Martin, University of North Carolina, Chapel Hill What do we know about the women who played an important role in creating the literature of the Beat Generation? Until recently, very little. Studies of the movement have effaced or excluded women writers, such as Elise Cowen, Joyce Johnson, Joanne Kyger, Hettie Jones, and Diane Di Prima, each one a significant figure of the postwar Beat communities. Equally free-thinking and innovative as the founding generation of men, women writers, fluent in Beat, hippie, and women's movement idioms, partook of and bridged two important countercultures of the American mid-century. Persistently foregrounding female experiences in the cold war 1950s and in the counterculture 1960s and in every decade up to the millennium, women writing Beat have brought nonconformity, skepticism, and gender dissent to postmodern culture and literary production in the United States and beyond. Ronna C. Johnson is a lecturer in the departments of English and American Studies at Tufts University. Nancy M. Grace is an associate professor in the department of English and director of the Program in Writing at The College of Wooster in Ohio. She is the author of The Feminized Male Character in Twentieth-Century Literature.

The first volume of Jack Kerouac's selected letters, published in 1995, was hailed as an important and revealing addition to Kerouac scholarship. This second and final volume, comprising letters written between 1957, the year On the Road was published, and the day before his death in 1969 at age forty-seven, tells Kerouac's life story through his candid correspondence with friends, confidants, and editors--among them Allen Ginsberg, William Burroughs, Philip Whalen, Lawrence Ferlinghetti, Joyce Johnson, and Malcolm Cowley. Documenting his continuing development as a writer and his travels, love affairs, and complicated family life, the letters also reveal Kerouac's amazing courage in the force of criticism and his never-ending quest to be the best writer possible.

Jack Kerouac Selected Letters 1957-1969 offers unparalleled insight into the life and mind of this giant of the American landscape.

The definitive Kerouac collection-now in Penguin Classics
To coincide with the 50th anniversary celebration of "On the Road," Penguin Classics republishes this landmark collection. "The Portable Jack Kerouac" made clear the ambition and accomplishment of Kerouac's "Legend of Duluoz"-the story of his life told in his many "true story" novels. Featuring selections from Kerouac's autobiographical fiction, as well as from his poetry, criticism, Buddhist writings, and letters, "The Portable Jack Kerouac" offers a total immersion in an American master.

It was in his letters that Jack Kerouac set down the raw material that he transmuted into his novels, exploring and refining the spontaneous prose style that became his trademark. The letters in this volume, written between 1940, when Kerouac was a freshman at college, and 1956, immediately before his breathless leap into celebrity with the publication of On the Road, offer invaluable insights into Kerouac's family life, his friendships with Neal and Carolyn Cassady, Allen Ginsberg, Gary Snyder, and William S. Burroughs, his travels, love affairs, and literary apprenticeship. At once fascinating reading and a major addition to Kerouac scholarship, here is a rare portrait of the writer as a young adventurer of immense talent, energy, and ambition in the midst of writing and living an American legend.

First published in 1909, Three Lives marks the beginning of an era of bold experimentation with literary form and language that has continued throughout our century. In these three stories, Gertrude Stein put into practice certain theories about prose composition that paralleled the ideas expressed in the art of Impressionist and Post-Impressionist painters. Her characters strike the reader as living in a world determined by an aesthetic rather than a social order. The nonlinear narrative structure of 'The Good Anna', for example, was inspired by the works of Cézanne. Stein's friendship with Picasso encouraged her free expression of syntactical repetition to establish the mood and open sexuality of 'Melanctha'. And the influence of Matisse can be seen in 'The Gentle Lena', a bold psychological portrait of a woman, with a corresponding de-emphasis on plot and setting. Also included in this edition is Q.E.D. A frankly autobiographical story, conventional in form, it is in many ways an early version of 'Melanctha', and its inclusion here shows where Stein started and suggests how far she came on her own.