It's time to be on he road like Jack Kerouac.
该是像杰克凯洛亚克一样上路的时候了。
Recommended book: On the Road, 1957, by Jack Kerouac.
推荐书目：《在路上》，1957年，作者杰克·凯鲁亚克。
Kerouac wrote the novel fast because the "road is fast".
凯鲁亚克的小说写得飞快，因为“路在飞快的延伸”。
Jack Kerouac is a prominent writer in American literature's history.
杰克·凯鲁亚克是美国文学史上的重要作家。
If kerouac is the beat generation's saint ginsberg is certainly their poet laureate.
如果凯鲁亚克是垮掉的一代中的圣人，那么金斯堡当然就是他们中的桂冠诗人。
Jack Kerouac wrote this in response to Gary Snyder's suggestion that he write his first Sutra.
杰克•克鲁亚克写了这个作为对加里·斯奈德建议他写下第一本经书的回应。
Overlapping that pejorative label in time was the Beat Generation, so named by the writer Jack Kerouac in the '50s.
同被贬低的还有垮掉的一代，这是作家杰克。克鲁亚克50年代创造的。
So, this is not yet that idealized speech that Kerouac is dreaming of when he writes the list of Essentials for Spontaneous Prose.
所以说，这还不是凯鲁·雅克写自发性散文的要素那张单子时，所理想中的语言。
It allows us to delete, shift sections around and continually edit, in the way that Kerouac, writing on his lengthy scrolls, could not.
它使我们能够进行删除、前后调换段落、反复编辑等操作功能，这是凯鲁亚克在他长长的纸卷无法实现的。
Kerouac was criticising 1950s consumerism, of course, but his description captures what makes a city thrive: millions hustling for a buck.
凯鲁亚克通过这段文字批判20世纪50年代盛行美国的利益主义，当然，他的文字抓住了一座城市兴旺的关键：数以百万计为养家糊口奔波的人。
That question, posed by Jack Kerouac on behalf of the Beat generation half a century ago, is the biggest uncertainty hanging over the world economy.
半个世纪前，杰克·凯鲁亚克代表垮掉的一代提出了这个问题。它表明了当今世界经济的最不确定性，也反映了美国选民们的最大担忧。
Barry Miles is the author of biographies of Allen Ginsberg, Jack Kerouac, William Burroughs, Charles Bukowski and other books about the Beat Generation.
巴里·迈尔斯是艾伦·金斯堡、杰克·凯鲁亚克、威廉·巴勒斯、查尔斯·布考斯基的人物传记的作者，还写过一些其他的关于“垮掉的一代”的书。
The Chinese press did tout me as a sixties icon, however, and posted my picture all over the place with Joan Baez, Che Guevara, Jack Kerouac and Allen Ginsberg.
中国新闻媒体，的确是把我吹捧为一个60年代的偶像，并张贴了我与琼贝兹、切格瓦拉、杰克·凯鲁亚克、艾伦·金斯堡等人的照片。
This is the original typescript put into pages, but, as I think I mentioned in my first lecture, Kerouac 120-foot roll of paper. He just stuck it in the typewriter.
这是把原始的手稿打印成了页面的纸张，但就像我讲第一课时候提到的，《在路上》的手稿是在一张，，Kerouac，wrote，the，manuscript，for，On，the，Road，on，one，long，120英尺长的纸卷上写的，然后把它交给了打字机。
When my sons are with their mother I like to imagine that they think I'm reading Jack Kerouac, cheering on Arsenal and listening to Kings of Leon (in reality it's Nicola Roberts).
当我的儿子们和他们母亲在一起的时候，我希望他们在想我在读杰克·凯鲁亚克的书，庆祝阿森纳的胜利，听莱昂国王乐队的歌(实际上我听的是Nicola Roberts)。
Holy Peter holy Allen holy Solomon holy Lucien holy Kerouac holy Huncke holy Burroughs holy Cassady holy the unknown buggered and suffering beggar holy the hideous human angels!
神圣的彼得神圣的艾伦神圣的所罗门·吕西安·凯鲁雅克，神圣的汉克神圣的宝来神圣的凯萨迪神圣未知的同性恋，受苦的乞丐神圣丑恶的人类天使！
Unhappy with his first draft of on the Road, Jack Kerouac stuck together 12ft reels of paper and typed flat out for 20 days to achieve the spontaneous composing technique he wanted.
不满意《在路上》一书的初稿，美国“垮掉一代”的代表作家杰克·凯鲁亚克在120英尺的打字机用纸上，连续敲了20天字，没有任何分段，达到他向往的自发性写作的效果。
Chapter four analyzes the Spontaneous Prose Method of Kerouac, which is based on the sound and effect of oral English, suggesting that sound is the key of reconstruction of literature truthfulness.
第四章对凯鲁亚克基于英语口语声效的“自发散文”创作方法进行了分析，指出“声音”是他重现文学真实的关键。
Chapter four analyzes the Spontaneous Prose Method of Kerouac, which is based on the sound and effect of oral English, suggesting that sound is the key of reconstruction of literature truthfulness.
第四章对凯鲁亚克基于英语口语声效的“自发散文”创作方法进行了分析，指出“声音”是他重现文学真实的关键。
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