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like the moon- nature is female- irresistible, unfathomable, untouchable. The horizontal “thatch” or “low bush” of the women is disrupted by the weapons and interference of the vertical agent of the male machetes. The interference in the body of water is the same- or at least, linguistically symmetrical- to the interference on reality that the act of writing always engenders.www.51lunwen.org If female bodies and contrived spontaneity are references to the origin and the unconscious ambition to merge with the origin; then any discreet writing surface is fetishised as an oedipal object of impossible desire, always disrupted, interfered with and disfigured by the very desire that defines it.

Kerouac's Freudian desire to merge with the source must disturb the way he perceives himself. In fact, it illustrates and literally reflects the way in which we, as readers, percieve ourselves - in so far as we are reflections of our origins- how it is only through disturbance that we can become aware of the source. If any reflection were perfect, with no material interference, we would have no way of knowing that it was a reflection. Kerouac's tireless autobiography project is not only a non-narcissistic event, but an entirely natural one. In Hegel's Aesthetics such self-portraiture is established as a primal impulse of self-identification. According to Hegel, for man to become self-conscious he must first “represent himself to himself”, and second,

“man brings himself before himself by practical activity…this aim he achieves by altering external things whereon he impresses the seal of his inner being and in which he now finds again his own characteristics. Man does this…to strip the external world of its inflexible foreignness and to enjoy the shape of things only an external realization of himself.”

Hegel goes on to describe a child's impulse to throw stones into a river: there is no reflection involved, none of the self-annihilating narcissism of “passive desiring seeing”, but a declared primacy of action over seeing. Kerouac is invoked by Hegel's wording, “the continuity between ordinary action and the action of producing works of art is already implied by the image of the drawing of circles in the surface of the water.”

These circles are inscriptions of objects on flat planes that require a certain maturity of consciousness to interpret as the effects of a (manual) cause. Here, Kerouac's dormant reference to, and defence of, his own ideal situation as a realist author is very evident. In a later paragraph from Fried the message that the self is best quietly discovered through displaced descriptive action is completely inescapable,

“ the effacement of the very conditions of resemblance (the breaking of the mirror-surface of the river) also means that the boy's relation to the spreading circles in the water might be described in Flaubertian language as 'present everywhere but visible nowhere'.”

A sentiment repeated in Kerouac's poetry, which “breaks” the reflective power of water by introducing the contrasting element of heat and dryness,

“Describe fires in riverbottom

sand, and the cooking;

the cooking of hot dogs

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