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Kerouac's nature/Nature synthesis represents the essence of his Buddhist sympathies, and this in turn relates to the literary theme of tracing a path. It is hard not to read this author without conflating the mystical with post-modern work on impasses, such as Derrida's aporia, and the sense that however far we go we can never escape our selves. It recalls the Buddhist expression, “Wherever you go, there you are.”

“I am beginning to see a vast Divine Comedy of my own based on Buddha-on a dream I had that people are racing up and the Buddha mountain, is all, and inside the Cave of Reality.”

The immediacy of his writing adds to the sense of guru-like mysticism in Kerouac's work: his work spills out like revelations, if not beats, we certainly get the sensation that he is “King” of something. The work responds to deconstructive literary theory because of its very currency- it has almost completely evaded the conventional segregation and hierarchy of speech and writing.

“My work comprises one vast book like Proust's except that my remembrances are written on the run instead of afterwards in a sick bed.”

“Criticism is forced to be perpetually lagging behind the designs and dictates of the author, whilst the work's language is seen as a simple means towards a referential end. Language is thereby devalued to the status of an instrument.”

Barthes's statement, “it is only through the function of the author as the possessor of meaning that textual reality is made obeisant to extra textual reality” is almost the antithesis of Kerouac. Kerouac's restoration program also depends on the author's willingness to disappear slightly and conduct meaning, but uniquely, Kerouac demands that the hierarchy of the “textual and extra-textual” be flattened. Not only this, but that the direction of realist discourse be inverted. As Barthes describes it,

“the author is always supposed to go from signified to signifier, from passion to expression…the critic goes in the other direction…the master of meaning…is a divine attribute…from the signified towards the signifier.”

Clearly Kerouac does not begin with the apparent and source its cause. He is the archetypal author, travelling from a source within himself - a “passion”- towards a grand confection of layered expressive analogies. This critic is not working as an unseen evangelist of truth-in-nature, but uses nature as a space to unveil meaning, that is, to work from the “signifier” of the word, to the “signified” of the writing, like a painter signing his own name on the canvas. In fact, Kerouac is suspended between the conditions of observer and recorder. The recorder's self is neither ejected nor declared in his writings, but rather encrypted- both in and as the writing. This partly explains the fascination that encrypted and marginalized author figures hold for Kerouac.

His own experience of suspension and estrangement from easy linguistic categorisation, and from the body of conventional society, is unconsciously articulated in all Kerouac's writings. The very potent agency of unconscious本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。