Question: What type of profession does Alexandra David-Néel and Jack Kerouac have in common?

When I Was Cool: My Life at the Jack Kerouac School is Sam Kashner's autobiographical account of his experience as the first student at the Jack Kerouac School of Disembodied Poetics, which was founded by Allen Ginsberg and Anne Waldman in honor of their late friend, Jack Kerouac.  As he describes in his book, Kashner was a disgruntled Long Island teenager in the 1970s who was obsessed with the poetry and prose of the Beat generation of the 1950s. <SEP> Jack Kerouac ( or , born Jean-Louis Kérouac (though he called himself Jean-Louis Lebris de Kérouac); March 12, 1922 – October 21, 1969) was an American novelist and poet. <SEP>  She is most known for her 1924 visit to Lhasa, Tibet when it was forbidden to foreigners.  David-Néel wrote over 30 books about Eastern religion, philosophy, and her travels, including "Magic and Mystery in Tibet" which was published in 1929. Alexandra David-Néel, born Louise Eugénie Alexandrine Marie David (24 October 1868 – 8 September 1969), was a Belgian–French explorer, spiritualist, Buddhist, anarchist and writer.  Her teachings influenced the beat writers Jack Kerouac and Allen Ginsberg, the populariser of Eastern philosophy Alan Watts, and the esotericist Benjamin Creme. <SEP> Old Angel Midnight is a long narrative poem by American novelist and poet Jack Kerouac.  It was culled from five notebooks spanning from 1956 to 1959, while Kerouac was fully absorbed by his studies of Buddhism and Buddhist philosophy.  Kerouac initially experimented with Old Angel Midnight (then called "Lucien Midnight") in 1953 in his diary titled "1953.  Notes again."  In entries dated from November 20 to December 3, 1953, he made notes on "Lucien Midnight" which was to be originally conceptualized in what he called "book movie" form, when he closed his eyes and projected onto paper a cinematic sense of what he heard.  A bookmovie, he explained in Some of the Dharma, is a "prose concentration camera-eye visions of a definite movie of the mind with fade-ins, pans, close-ups, and fade-outs."  Kerouac's notes on Lucien Midnight were written while staying in the Lower East Side where he initially heard sounds coming through a tenement window from the wash court below.  He then heard voices coming from kitchens of the other occupants in nearby apartment buildings and a man named Paddy arriving home drunk, and even a junky stirring in his bed.  Kerouac conceptualized an idea of developing a work based on James Joyce’s experimental novel "Finnegans Wake" (not "Ulysses" as indicated by Ann Charters in her introduction to "Old Angel Midnight" for Grey Fox Press) where the “sounds of the universe” became the chief “plot” with all of its associated “neologisms, mental associations, puns and wordmixes” that stewed a plethora of languages and “nonlanguages.”  Kerouac determinedly “scribbled out in a strictly intuitional discipline at breakneck speed” the fledgling prose that would finally comprise the finished book for City Lights's Pocket Poet series eight years later.  Kerouac's one dogma was to compose Lucien Midnight strictly in pencil by candlelight.  Lucien Midnight differs from his sketching method of writing because it is based upon an aural experience, and not visual.  The bookmovie approach was abandoned in 1953 in favor of a different approach he had stylistically achieved by 1956.