John Leland - Why Kerouac Matters: The Lessons of On the Road (Theyre Not What You Think)
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*Raskolnikov is the protagonist of Dostoyevskys Crime and Punishment. Stephen Dedalus is the hero of Joyces A Portrait of the Artist as a Young Man. George Webber belongs to Thomas Wolfes You Cant Go Home Again and The Web and the Rock. Duluoz is Kerouacs own fictionalized name.
* In spring 1949, Burroughs was serving time for possessing illegal drugs and guns in New Orleans. Ginsberg was locked up for handling stolen goods in New York. So were Herbert Huncke, a Times Square thief and heroin addict who gave the group the word Beat, and Vicki Russell, who taught them how to use over-the-counter Benzedrine inhalers. Kerouac had not heard from Cassady and imagined he was in jail as well.
* Carl Solomon, to whom Ginsberg dedicated Howl, accepted and then rejected Kerouacs manuscripts for his uncles publishing company, Ace paperbacks. Robert Giroux bonded with Kerouac while editing The Town and the City but rejected On the Road.
* In the scroll draft these are piss and pukeno telling why Kerouac got all arty about it.
Hip: The History
THE LESSONS OF ON THE ROAD
(theyre not what you think)
viking
VIKING
Published by the Penguin Group
Penguin Group (USA) Inc., 375 Hudson Street, New York, New York 10014, U.S.A. Penguin Group (Canada), 90 Eglinton Avenue East, Suite 700, Toronto, Ontario, Canada M4P 2Y3 (a division of Pearson Penguin Canada Inc.) Penguin Books Ltd, 80 Strand, London WC2R 0RL, England Penguin Ireland, 25 St. Stephens Green, Dublin 2, Ireland (a division of Penguin Books Ltd) Penguin Books Australia Ltd, 250 Camberwell Road, Camberwell, Victoria 3124, Australia (a division of Pearson Australia Group Pty Ltd) Penguin Books India Pvt Ltd, 11 Community Centre, Panchsheel Park, New Delhi110 017, India Penguin Group (NZ), 67 Apollo Drive, Rosedale, North Shore 0745, Auckland, New Zealand (a division of Pearson New Zealand Ltd.) Penguin Books (South Africa) (Pty) Ltd, 24 Sturdee Avenue, Rosebank, Johannesburg 2196, South Africa
Penguin Books Ltd, Registered Offices: 80 Strand, London WC2R 0RL, England
First published in 2007 by Viking Penguin, a member of Penguin Group (USA) Inc.
Copyright John Leland, 2007
All rights reserved
Grateful acknowledgment is made for permission to reprint excerpts from the following copyrighted works:
On the Road by Jack Kerouac. Copyright John Sampas, Literary Representative, the Estate of Stella Sampas Kerouac; John Lash, Executor of the Estate of Jan Kerouac; Nancy Bump; and Anthony M. Sampas, 1955, 1957. Used by permission of Viking Penguin, a member of Penguin Group (USA) Inc.
Selected Letters (Volumes 1 and 2) by Jack Kerouac, edited by Ann Charters (Viking). Copyright the Estate of Stella Kerouac, John Sampas, Literary Representative, 1995, 1999. By permission of John Sampas, Executor, the Estate of Stella Sampas Kerouac.
Windblown World: The Journals of Jack Kerouac 19471954, edited by Douglas Brinkley. Copyright the Estate of Stella Kerouac, John Sampas, Literary Representative, 2004. Used by permission of Viking Penguin, a member of Penguin Group (USA) Inc.
LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA
Leland, John, 1959
Why Kerouac matters: the lessons of On the road (theyre not what you think) / John Leland.
p. cm.
Includes bibliographical references.
ISBN: 978-1-1012-0265-4
1. Kerouac, Jack, 19221969. On the road. 2. Autobiographical fiction, AmericanHistory and criticism. 3. Beat generation in literature. I. Title.
PS3521.E73505347 2007
813'.54dc22 2007006040
Without limiting the rights under copyright reserved above, no part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording, or otherwise), without the prior written permission of both the copyright owner and the above publisher of this book.
The scanning, uploading, and distribution of this book via the Internet or via any other means without the permission of the publisher is illegal and punishable by law. Please purchase only authorized electronic editions and do not participate in or encourage electronic piracy of copyrightable materials. Your support of the authors rights is appreciated.
FOR ROBERT P. LELAND, 19212004
The fact of the matter is, Im not a bestseller because people arent educated enough yet: just wait and see what the Astronauts of the Year 2,000 B.C . [sic] will be reading on Venus and Mars (twont be James Michener).
Letter to Stella Sampas, 1965
[I] dont know how to drive, just typewrite.
Letter to Neal Cassady, 1953
THE EDUCATION OF SAL PARADISE
Growing Up Kerouac
The Parable of the Wet Hitchhiker
What Would Jack Do?
Who are you indeed who would talk or sing to America? Have you studied out the land, its idioms and men?
Walt Whitman, By Blue Ontarios Shore
Ill have seen 41 states in all. Is that enough for an American novelist?
Kerouac, letter to sister, Caroline (Nin), 1947
IN October 1948, Jack Kerouac wrote to his friend Hal Chase that he had started a new novel, an American-scene picaresque about two boys hitchhiking to California, one for a girl, the other for Hollywood stardust. The characters would work crap jobs across the country, arriving finally in California where there is nothing and return home. The idea for the book obsessed him, he told Chase; it burst out of him in bars among strangers and in letters to friends across town.
Over the next two and a half years, he started and stopped the book, testing out different characters and situations. He tried Red Moultrie, a former minor-league outfielder and sometime safecracker; Warren Beauchamp, raised on a California ranch; Ray Smith, a hipster Boswell with natty clothes; Vern Pomeroy, a motherless child seeking his hobo father. Their early adventures included a stoner tea party and a pulpy jail episode among cons named Yogi and the Hook, and Big Czech and Rocco and all the gunmen of Blood Inc. One draft began with a supplication to God, like a prayer or a Homeric epic.
But Kerouac held constant about what the book should do. [M]y writing is a teaching, he noted in his journal, and this was the point, even if readers didnt get it at first. One of the greatest incentives of the writer is the long business of getting his teachings out and accepted. He was twenty-six when he started composing the novel, shaking off a brief failed marriage and the death of his father, embarking on the next phase of his life. The new book would teach the way. To prepare, he wrote down eleven true thoughts about himself, many of them vanities he hoped to overcome along his characters travels. Im ready to grow up if theyll let me, he wrote. The product of his labors, he was sure, would be a powerful and singularly gloomy bookbut good.
The book, of course, is On the Road , its title punning on Neal Cassadys phrase for being highgone on the road. By the time he sat down in April 1951 and speed-typed the tale on a 120-foot scroll of taped-together tracing paper, the characters had become Jack and Nealunder their real namesand the hoosegow and Big Czech were discarded, along with any natty haberdashery. The longest hitchhiking stretch ran only from Chicago to Denver. But the teaching imperative remained. Beneath its wild yea-saying, On the Road is a book about how to live your life.
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