Jack Kerouac - On The Road

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Jack Kerouac's On the Road is one of the most controversial American novels of the 20th century. When critics concede that the book and its author were instrumental in triggering the rucksack revolution, this is to damn with praise, as Kerouac is reduced to a one-book author (though he published some twenty volumes containing a wide range of prose and poetry). Moreover, the spiteful acknowledgement of a sociohistorical fact imports an aesthetic grudge against a novel that a close reading reveals to be far more conventional than most of its adversaries would would care to realize. Nor does the book propagate the shameless adoration of libidinous licentiousness for which it has been castigated in conservative quarters.
Kerouac, too, never understood what his book meant to the hordes of youngsters taking to the highways after the fashion of the characters peopling the narrative; but then, he was ill-fitted to grasp what his book had kindled in generations of young readers who felt stifled by the limitations of their parental homes. He never realized that he had prefigured their longings.
Born, in 1922, in Lowell MA and baptized Jean-Louis Lebris de Kerouac, he learned English only as a second language. His parents, French Canadian immigrants, provided for a parochial, Catholic conservative, working-class background dominated by the mother who, in keeping with her heritage, felt more comfortable at speaking to her children in her French-Canadian dialect. The father, a printer, lost his job in the Great Depression and never recovered his standing. “Ti-Jean” (as Jack was pet-named by his mother) was a brooding, introverted child, a voracious, if indiscriminate reader. In high school, he was a minor sensation on the football field, the performanance at half-back, rather than academic excellence, earning him a scholarship to Columbia University after a preparatory year at Horace Mann, a private high school in New York City. College football, however, was more competitive than high-school games, and after breaking a leg in practice, he could not establish himself as a starter on the team. He also was in academic difficulties and had to make up for failing grades with extracurricular work during summer vacation. Kerouac left Columbia during his sophomore year, came back for a brief spell the following year, and after various odd jobs at gas stations and an honorable discharge from the Navy for an “indifferent character,” he joined the merchant marine in 1942.
Jack, who claimed he had completed his first novel at age eleven, had written for his high-school paper, contributed articles on local college sports to the Columbia Spectator, and, “… inspired by a new enthusiasm for the novels of Thomas Wolfe” (Ann Charters, Kerouac), began to keep extensive journals. Onboard the S.S. George Weems, “bound for Liverpool with 500-pound bombs in her hold, flying the red dynamite flag” (Charters), he wrote The Sea Is My Brother, which remained unpublished. After the war restless years followed, as Jack grew involved in the emerging underground scene of New York. (In part he was to record those experiences in On the Road.) During the winters he lived in his mother’s apartment in Ozone Park, L.I. (the father had died in the spring of 1946), from where he set out on frequent drinking bouts, often lasting for several days, to Times Square bars or to parties in Greenwich Village; the summers he spent roaming the country between New York, San Francisco, and Mexico City. Intermittently he worked on what was to become The Town And the City; accepted by Harcourt, Brace Co. in 1949, the book appeared the following year and received lukewarm critical appraisal: “More often than not, the depth and breadth of his vision triumph decisively over his technical weaknesses,” the New York Times Book Review noted in November 1950.
During the spring of 1951 Kerouac completed, in a three-week burst of writing, a typescript entitled variously “Beat Generation” and “On the Road,” different names for “… a scroll of paper three inches thick made up of one single-spaced, unbroken 120 feet long paragraph,…” as a friend recalls. In spite of several revisions and persistent efforts, Kerouac could not find a publisher for what he, according to Ann Charters, “… knew immediately… was the best writing he had ever done.” Editors were more interested in stories dealing with the scandalous lifestyle of these young, “Beat” bohemians than in their artistic work, until, in late 1955, Malcolm Cowley, senior adviser at Viking, accepted the book on the proviso that he and Kerouac go over the script together. When On the Road finally came out in 1957, the original typescript had been cut by one-third and amended to approximate the text to literary, orthographic, and printing conventions. “… Cowley riddled the original style of the manuscript there, without my power to complain,…,” Kerouac indicted later in an interview for The Paris Review. (The tangled genesis of the text prior to publication-some seven typescript versions are known to exist-may well prove futile all attempts at establishing a definitive edition.)
In the wake of the clamor raised over the publication of Allen Ginsberg's “Howl” (the poem is dedicated to Kerouac, among others),On the Road made the bestseller lists and, except for a short lag in the early sixties, has continued to sell at a steady pace in America and Western Europe. The commercial success of On the Road prompted Viking to bring out more of Kerouac’s writings. By 1958 he had completed several manuscripts (Visions of Cody, Doctor Sax, and The Subterraneans, to name but a few), all autobiographical, loose in form, and written in the new prose style which he had developed in the meanwhile and called “Spontaneous Prose”: long, unpremeditated sentences full of associations, put to paper in the way they came to his mind; highly personal, often idiosyncratic accounts which were at times inherently contradictory; as he phrased it himself, in the vaguely programmatic “Essentials of Spontaneous Prose”:
No pause to think of proper word but the infantile pileup of scatological buildup words till satisfaction is gained, which will turn out to be a great appending rhythm to a thought and be in accordance with Great Law of timing.
The editors insisted on something conventional and chose The Dharma Bums because it was close to On the Road in scope, contents, and method of presentation. The book was inspired by Kerouac’s friendship with the Californian poet Gary Snyder, who became the model for Japhy Ryder, the hero of The Dharma Bums. Snyder had introduced Kerouac to Buddhist texts, the influence of which is traceable in On the Road and, more conspicuously, in The Dharma Bums. But Kerouac 'a infatuation with Eastern mysticism and religions was only transitory. At heart he always remained a devout Catholic, in his own personal way. He writes in “The Origins of the Beat Generation,” an article for Playboy:
I am not ashamed to wear the crucifix of my Lord. It is because I am Beat, that is, I believe in beatitude and that God so loved the world that he gave his own begotten son to it… So you people don’t believe in God. So you're all big smart know-it-all Marxists and Freudians, hey? Why don’t you come back in a million years and tell me all about it, angels?
Kerouac had always been an introverted, brooding, melancholic loner who preferred watching from the side over actively participating in his friends' hullabaloos; during the Sixties, his health deteriorating from continuous abuse of alcohol and benzedrine, he became utterly estranged from the world and retreated to his mother's home. He felt his work was misunderstood by the reading public, for whom he had become, due to his semi-fictitious heroes Dean Moriarty and Japhy Ryder, a cult figure and a pioneer of the newly emerging liberal movement. His political attitude was diametrically opposed to that of the majority of his readers as well as to that of his former close friend Allen Ginsberg. Kerouac spoke out in favor of the American engagement in Vietnam; in the interview for The Paris Review he explained:
I’m pro-American and the radical political involvements seem to tend elsewhere… The country gave my Canadian family a good break, more or less, and we see no reason to demean said country.
Shadows of fatalism and a profound pessimism permeate his later writing, for instance, The Vanity of Duluoz. Resignation, that all is “vanity,” rings through the last attempt at reshaping the legend he had begun with The Town And the City. Conspicuously, the two books cover roughly the same period of time, from the last years in Lowell to the father's death in New York City; while not exactly cheerful, the tone of The Town And the City, characterized by a longing to restore the happy days of childhood, had to give way to a deep sense of irrevocable loss. He wrote in the preface of Visions of Cody: “My work comprises one vast book like Proust's Remembrance of Things Past, except my remembrances are written on the run instead of afterwards in a sickbed.” The comparison, half-correct at best, sheds a distinct light on the author’s ambitions and misperceptions.
Jack Kerouac died on October 21, 1969, “of hemorrhaging esophageal varices, the classic drunkard’s death,” according to Gerald Nicosia, the author of Memory Babe, a near-definitive critical biography.

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We hit all the dull bars in the French Quarter with Old Bull and went back home at midnight. That night Marylou took everything in the books; she took tea, goofballs, benny, liquor, and even asked Old Bull for a shot of M, which of course he didn't give her; he did give her a martini. She was so saturated with elements of all kinds that she came to a standstill and stood goofy on the porch with me. It was a wonderful porch Bull had. It ran clear around the house; by moonlight with the willows it looked like an old Southern mansion that had seen better days. In the house Jane sat reading the want ads in the living room; Bull was in the bathroom taking his fix, clutching his old black necktie in his teeth for a tourniquet and jabbing with the needle into his woesome arm with the thousand holes; Ed Dunkel was sprawled out with Galatea in the massive master bed that Old Bull and Jane never used; Dean was rolling tea; and Marylou and I imitated Southern aristocracy.

"Why, Miss Lou, you look lovely and most fetching tonight."

"Why, thank you, Crawford, I sure do appreciate the nice things you do say."

Doors kept opening around the crooked porch, and members of our sad drama in the American night kept popping out to find out where everybody was. Finally I took a walk alone to the levee. I wanted to sit on the muddy bank and dig the Mississippi River; instead of that I had to look at it with my nose against a wire fence. When you start separating the people from their rivers what have you got? "Bureaucracy!" says Old Bull; he sits with Kafka on his lap, the lamp burns above him, he snuffs, thfump . His old house creaks. And the Montana log rolls by in the big black river of the night. " Tain't nothin but bureaucracy. And unions! Especially unions!" But dark laughter would come again.

7

It was there in the morning when I got up bright and early and found Old Bull and Dean in the back yard. Dean was wearing his gas-station coveralls and helping Bull. Bull had found a great big piece of thick rotten wood and was desperately yanking with a hammerhook at little nails imbedded in it. We stared at the nails; there were millions of them; they were like worms.

"When I get all these nails out of this I'm going to build me a shelf that'll last a thousand years !" said Bull, every bone shuddering with boyish excitement. "Why, Sal, do you realize the shelves they build these days crack under the weight of knickknacks after six months or generally collapse? Same with houses, same with clothes. These bastards have invented plastics by which they could make houses that last forever. And tires. Americans are killing themselves by the millions every year with defective rubber tires that get hot on the road and blow up. They could make tires that never blow up. Same with tooth powder. There's a certain gum they've invented and they won't show it to anybody that if you chew it as a kid you'll never get a cavity for the rest of your born days. Same with clothes. They can make clothes that last forever. They prefer making cheap goods so's everybody'll have to go on working and punching timeclocks and organizing themselves in sullen unions and floundering around while the big grab goes on in Washington and Moscow." He raised his big piece of rotten wood. "Don't you think this'll make a splendid shelf?"

It was early in the morning; his energy was at its peak. The poor fellow took so much junk into his system he could only weather the greater proportion of his day in that chair with the lamp burning at noon, but in the morning he was magnificent. We began throwing knives at the target. He said he'd seen an Arab in Tunis who could stick a man's eye from forty feet. This got him going on his aunt, who went to the Casbah in the thirties. "She was with a party of tourists led by a guide. She had a diamond ring on her little finger. She leaned on a wall to rest a minute and an Ay-rab rushed up and appropriated her ring finger before she could let out a cry, my dear. She suddenly realized she had no little finger. Hi-hi-hi-hi-hi!" When he laughed he compressed his lips together and made it come out from his belly, from far away, and doubled up to lean on his knees. He laughed a long time. "Hey Jane!" he yelled gleefully. "I was just telling Dean and Sal about my aunt in the Casbah!"

"I heard you," she said across the lovely warm Gulf morning from the kitchen door. Great beautiful clouds floated overhead, valley clouds that made you feel the vastness of old tumbledown holy America from mouth to mouth and tip to tip. All pep and juices was Bull. "Say, did I ever tell you about Dale's father? He was the funniest old man you ever saw in your life. He had paresis, which eats away the forepart of your brain and you get so's you're not responsible for anything that comes into your mind. He had a house in Texas and had carpenters working twenty-four hours a day putting on new wings. He'd leap up in the middle of the night and say, 'I don't want that goddam wing; put it over there.' The carpenters had to take everything down and start all over again. Come dawn you'd see them hammering away at the new wing. Then the old man'd get bored with that and say, 'Goddammit, I wanta go to Maine!' And he'd get into his car and drive off a hundred miles an hour – great showers of chicken feathers followed his track for hundreds of miles. He'd stop his car in the middle of a Texas town just to get out and buy some whisky. Traffic would honk all around him and he'd come rushing out of the store, yelling, 'Thet your goddam noith, you bunth of bathats!' He lisped; when you have paresis you lips, I mean you lisps. One night he came to my house in Cincinnati and tooted the horn and said, 'Come on out and let's go to Texas to see Dale.' He was going back from Maine. He claimed he bought a house – oh, we wrote a story about him at college, where you see this horrible shipwreck and people in the water clutching at the sides of the lifeboat, and the old man is there with a machete, hackin at their fingers. 'Get away, ya bunth a bathats, thith my cottham boath!' Oh, he was horrible. I could tell you stories about him all day. Say, ain't this a nice day?"

And it sure was. The softest breezes blew in from the levee; it was worth the whole trip. We went into the house after Bull to measure the wall for a shelf. He showed us the dining-room table he built. It was made of wood six inches thick. "This is a table that'll last a thousand years!" said Bull, leaning his long thin face at us maniacally. He banged on it.

In the evenings he sat at this table, picking at his food and throwing the bones to the cats. He had seven cats. "I love cats. I especially like the ones that squeal when I hold 'em over the bathtub." He insisted on demonstrating; someone was in the bathroom. "Well," he said, "we can't do that now. Say, I been having a fight with the neighbors next door." He told us about the neighbors; they were a vast crew with sassy children who threw stones over the rickety fence at Dodie and Ray and sometimes at Old Bull. He told them to cut it out; the old man rushed out and yelled something in Portuguese. Bull went in the house and came back with his shotgun, upon which he leaned demurely; the incredible simper on his face beneath the long hatbrim, his whole body writhing coyly and snakily as he waited, a grotesque, lank, lonely clown beneath the clouds. The sight of him the Portuguese must have thought something out of an old evil dream.

We scoured the yard for things to do. There was a tremendous fence Bull had been working on to separate him from the obnoxious neighbors; it would never be finished, the task was too much. He rocked it back and forth to show how solid it was. Suddenly he grew tired and quiet and went in the house and disappeared in the bathroom for his pre-lunch fix. He came out glassy-eyed and calm, and sat down under his burning lamp. The sunlight poked feebly behind the drawn shade. "Say, why don't you fellows try my orgone accumulator? Put some juice in your bones. I always rush up and take off ninety miles an hour for the nearest whorehouse, hor-hor-hor!" This was his "laugh" laugh – when he wasn't really laughing. The orgone accumulator is an ordinary box big enough for a man to sit inside on a chair: a layer of wood, a layer of metal, and another layer of wood gather in orgones from the atmosphere and hold them captive long enough for the human body to absorb more than a usual share. According to Reich, orgones are vibratory atmospheric atoms of the life-principle. People get cancer because they run out of orgones. Old Bull thought his orgone accumulator would be improved if the wood he used was as organic as possible, so he tied bushy bayou leaves and twigs to his mystical outhouse. It stood there in the hot, flat yard, an exfoliate machine clustered and bedecked with maniacal contrivances. Old Bull slipped off his clothes and went in to sit and moon over his navel. "Say, Sal, after lunch let's you and me go play the horses over to the bookie joint in Graetna." He was magnificent. He took a nap after lunch in his chair, the air gun on his lap and little Ray curled around his neck, sleeping. It was a pretty sight, father and son, a father who would certainly never bore his son when it came to finding things to do and talk about. He woke up with a start and stared at me. It took him a minute to recognize who I was. "What are you going to the Coast for, Sal?" he asked, and went back to sleep in a moment.

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