According to Kerouac, the members of this new generation are direct descendants of the "Breton, Wiking, Irishman, Indian, madboy" (359) who surface in the present as "hipsters" whose "long outlines of personal experience and vision . . . had become illicit and repressed by War" yet endure as the "stirrings, rumblings of a new soul (that same old human soul)" (362). According to his analysis, Kerouac's joy rises out of "an underground subculture that departed entirely from the dominant middle-class mores . . . and instead offered as an ideal the sense of release and joy experienced by the less materially privileged segments of the society" ("Joy" 419). According to the terms of melodrama as identified by Keith Newlin, the "reliance upon one or two motivating forces to propel its plots" and "the repeated employment of coincidence" stand out as melodramatic features naturalist writers such as London use to structure their writing because doing so "sharpens its clarity of outline and coherence of vision" (9). According to Labor, the import of Coxey's failure had soaked in by May 21, when "Jack's diary entries become increasingly dispirited" (73).