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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The Okie directed us to his brother in the flats outside town.

We pulled up at noon in front of a little rose-covered shack, and the Okie went in and talked with some women. We waited fifteen minutes. "I'm beginning to think this guy has no more money than I have," said Dean. "We get more hung-up! There's probably nobody in the family that'll give him a cent after that fool escapade." The Okie came out sheepishly and directed us to town.

" Hot damn, I wish I could find my brother." He made inquiries. He probably felt he was our prisoner. Finally we went to a big bread bakery, and the Okie came out with his brother, who was wearing coveralls and was apparently the truck mechanic inside. He talked with his brother a few minutes. We waited in the car. Okie was telling all his relatives his adventures and about the loss of his guitar. But he got the money, and he gave it to us, and we were all set for Frisco. We thanked him and took off.

Next stop was Tulare. Up the valley we roared. I lay in the back seat, exhausted, giving up completely, and sometime in the afternoon, while I dozed, the muddy Hudson zoomed by the tents outside Sabinal where I had lived and loved and worked in the spectral past. Dean was bent rigidly over the wheel, pounding the rods. I was sleeping when we finally arrived in Tulare; I woke up to hear the insane details. "Sal, wake up! Alfred found his aunt's grocery store, but do you know what happened? His aunt shot her husband and went to jail. The store's closed down. We didn't get a cent. Think of it! The things that happen; the Okie told us the same likewise story, the troubles on all sides, the complications of events – whee, damn!" Alfred was biting his fingernails. We were turning off the Oregon road at Madera, and there we made our farewell with little Alfred. We wished him luck and Godspeed to Oregon. He said it was the best ride he ever had.

It seemed like a matter of minutes when we began rolling in the foothills before Oakland and suddenly reached a height and saw stretched out ahead of us the fabulous white city of San Francisco on her eleven mystic hills with the blue Pacific and its advancing wall of potato-patch fog beyond, and smoke and goldenness in the late afternoon of time. "There she blows!" yelled Dean. "Wow! Made it! Just enough gas! Give me water! No more land! We can't go any further 'cause there ain't no more land! Now Marylou, darling, you and Sal go immediately to a hotel and wait for me to contact you in the morning as soon as I have definite arrangements made with Camille and call up Frenchman about my railroad watch and you and Sal buy the first thing hit town a paper for the want ads and workplans." And he drove into the Oakland Bay Bridge and it carried us in. The downtown office buildings were just sparkling on their lights; it made you think of Sam Spade. When we staggered out of the car on O'Farrell Street and sniffed and stretched, it was like getting on shore after a long voyage at sea; the slopy street reeled under our feet; secret chop sueys from Frisco Chinatown floated in the air. We took all our things out of the car and piled them on the sidewalk.

Suddenly Dean was saying good-by. He was bursting to see Camille and find out what had happened. Marylou and I stood dumbly in the street and watched him drive away. "You see what a bastard he is?" said Marylou. "Dean will leave you out in the cold any time it's in his interest."

"I know," I said, and I looked back east and sighed. We had no money. Dean hadn't mentioned money. "Where are we going to stay?" We wandered around, carrying our bundles of rags in the narrow romantic streets. Everybody looked like a broken-down movie extra, a withered starlet; disenchanted stunt-men, midget auto-racers, poignant California characters with their end-of-the-continent sadness, handsome, decadent, Casanovaish men, puffy-eyed motel blondes, hustlers, pimps, whores, masseurs, bellhops – a lemon lot, and how's a man going to make a living with a gang like that?

10

Nevertheless Marylou had been around these people – not far from the Tenderloin – and a gray-faced hotel clerk let us have a room on credit. That was the first step. Then we had to eat, and didn't do so till midnight, when we found a nightclub singer in her hotel room who turned an iron upside down on a coathanger in the wastebasket and warmed up a can of pork and beans. I looked out the window at the winking neons and said to myself, Where is Dean and why isn't he concerned about our welfare? I lost faith in him that year. I stayed in San Francisco a week and had the beatest time of my life. Marylou and I walked around for miles, looking for food-money. We even visited some drunken seamen in a flophouse on Mission Street that she knew; they offered us whisky.

In the hotel we lived together two days. I realized that, now Dean was out of the picture, Marylou had no real interest in me; she was trying to reach Dean through me, his buddy. We had arguments in the room. We also spent entire nights in bed and I told her my dreams. I told her about the big snake of the world that was coiled in the earth like a worm in an apple and would someday nudge up a hill to be thereafter known as Snake Hill and fold out upon the plain, a hundred miles long and devouring as it went along. I told her this snake was Satan. "What's going to happen?" she squealed; meanwhile she held me tight.

"A saint called Doctor Sax will destroy it with secret herbs which he is at this very moment cooking up in his underground shack somewhere in America. It may also be disclosed that the snake is just a husk of doves; when the snake dies great clouds of seminal-gray doves will flutter out and bring tidings of peace around the world." I was out of my mind with hunger and bitterness.

One night Marylou disappeared with a nightclub owner. I was waiting for her by appointment in a doorway across the street, at Larkin and Geary, hungry, when she suddenly stepped out of the foyer of the fancy apartment house with her girl friend, the nightclub owner, and a greasy old man with a roll. Originally she'd just gone in to see her girl friend. I saw what a whore she was. She was afraid to give me the sign, though she saw me in that doorway. She walked on little feet and got in the Cadillac and off they went. Now I had nobody, nothing.

I walked around, picking butts from the street. I passed a fish-n-chips joint on Market Street, and suddenly the woman in there gave me a terrified look as I passed; she was the proprietress, she apparently thought I was coming in there with a gun to hold up the joint. I walked on a few feet. It suddenly occurred to me this was my mother of about two hundred years ago in England, and that I was her footpad son, returning from gaol to haunt her honest labors in the hashery. I stopped, frozen with ecstasy on the sidewalk. I looked down Market Street. I didn't know whether it was that or Canal Street in New Orleans: it led to water, ambiguous, universal water, just as 42nd Street, New York, leads to water, and you never know where you are. I thought of Ed Dunkel's ghost on Times Square. I was delirious. I wanted to go back and leer at my strange Dickensian mother in the hash joint. I tingled all over from head to foot. It seemed I had a whole host of memories leading back to 1750 in England and that I was in San Francisco now only in another life and in another body. "No," that woman seemed to say with that terrified glance, "don't come back and plague your honest, hard-working mother. You are no longer like a son to me – and like your father, my first husband. 'Ere this kindly Greek took pity on me." (The proprietor was a Greek with hairy arms.) "You are no good, inclined to drunkenness and routs and final disgraceful robbery of the fruits of my 'umble labors in the hashery. O son! did you not ever go on your knees and pray for deliverance for all your sins and scoundrel's acts? Lost boy! Depart! Do not haunt my soul; I have done well forgetting you. Reopen no old wounds, be as if you had never returned and looked in to me – to see my laboring humilities, my few scrubbed pennies – hungry to grab, quick to deprive, sullen, unloved, mean-minded son of my flesh. Son! Son!" It made me think of the Big Pop vision in Graetna with Old Bull. And for just a moment I had reached the point of ecstasy that I always wanted to reach, which was the complete step across chronological time into timeless shadows, and wonderment in the bleakness of the mortal realm, and the sensation of death kicking at my heels to move on, with a phantom dogging its own heels, and myself hurrying to a plank where all the angels dove off and flew into the holy void of uncreated emptiness, the potent and inconceivable radiancies shining in bright Mind Essence, innumerable lotus-lands falling open in the magic mothswarm of heaven. I could hear an indescribable seething roar which wasn't in my ear but everywhere and had nothing to do with sounds. I realized that I had died and been reborn numberless times but just didn't remember especially because the transitions from life to death and back to life are so ghostly easy, a magical action for naught, like falling asleep and waking up again a million times, the utter casualness and deep ignorance of it. I realized it was only because of the stability of the intrinsic Mind that these ripples of birth and death took place, like the action of wind on a sheet of pure, serene, mirror-like water. I felt sweet, swinging bliss, like a big shot of heroin in the mainline vein; like a gulp of wine late in the afternoon and it makes you shudder; my feet tingled. I thought I was going to die the very next moment. But I didn't die, and walked four miles and picked up ten long butts and took them back to Marylou's hotel room and poured their tobacco in my old pipe and lit up. I was too young to know what had happened. In the window I smelled all the food of San Francisco. There were seafood places out there where the buns were hot, and the baskets were good enough to eat too; where the menus themselves were soft with foody esculence as though dipped in hot broths and roasted dry and good enough to eat too. Just show me the bluefish spangle on a seafood menu and I'd eat it; let me smell the drawn butter and lobster claws. There were places where they specialized in thick red roast beef au jus , or roast chicken basted in wine. There were places where hamburgs sizzled on grills and the coffee was only a nickel. And oh, that pan-fried chow mein flavored air that blew into my room from Chinatown, vying with the spaghetti sauces of North Beach, the soft-shell crab of Fisherman's Wharf – nay, the ribs of Fillmore turning on spits! Throw in the Market Street chili beans, redhot, and french-fried potatoes of the Embarcadero wino night, and steamed clams from Sausalito across the bay, and that's my ah-dream of San Francisco. Add fog, hunger-making raw fog, and the throb of neons in the soft night, the clack of high-heeled beauties, white doves in a Chinese grocery window…

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