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Kerouac, Jack,--1922-1969.--Mexico City blues, Kerouac, Jack,--1922-1969--Poetic works, Beat generation in literature, Mexico in literature.
publication date
:
1992
lcc
:
PS3521.E735M435 1993eb
ddc
:
811/.54
subject
:
Kerouac, Jack,--1922-1969.--Mexico City blues, Kerouac, Jack,--1922-1969--Poetic works, Beat generation in literature, Mexico in literature.
Page iii
A Map of Mexico City Blues
Jack Kerouac as Poet
James T. Jones
Southern Illinois University Press Carbondale and Edwardsville
Page iv
Copyright 1992 by the Board of Trustees, Southern Illinois University All rights reserved Printed in the United States of America Edited by Carol M. Besler Designed by Mary Rohrer Production supervised by Natalia Nadraga 95 94 93 92 4 3 2 1
Grateful acknowledgment is made to quote excerpts from Jack Kerouac, Mexico City Blues, published by Grove Press, 1959.
Library of Congress Cataloging-in-Publication Data
Jones, James T., 1948 A map of Mexico City blues: Jack Kerouac as poet / James T. Jones. p. cm. Includes bibliographical references and indexes. 1. Kerouac, Jack, 19221969. Mexico City blues. 2. Kerouac, Jack, 19221969Poetic works. 3. Mexico in literature. I. Title. PS3521.E735M435 1992 811'.54dc20 91-40769 ISBN 0-8093-1828-8 CIP
The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences Permanence of Paper for Printed Library Materials, ANSI Z39.48-1984.
Page v
For Allen Ginsberg and Anne Waldman, cofounders of the Jack Kerouac School of Disembodied Poetics
Page vii
In him those holy antique hours are seen, Without all ornament, itself and true, Making no summer of another's green, Robbing no old to dress his beauty new. And him as for a map doth Nature store, To show false Art what beauty was of yore. Shakespeare, Sonnet 68
Page ix
Contents
Acknowledgements
xi
1. Introduction
1
2. The Novelist as Poet
7
3. Auto/Biography
22
4. Kerouac in Mexico, Mexico in Kerouac
51
5. From Signing the Blues to Singing the Blues
78
6. Kerouac's Religion(s)
102
7. The Tradition of Spontaneity
136
8. Finding the Form
162
9. Conclusion
184
Works Cited and Consulted
189
General Index
193
Index of Choruses
199
Page xi
Acknowledgments
Every scholarly book is a complex collaboration, but a scholarly book on Jack Kerouac may be even more complex than most. Kerouac's status as a cult hero for three generations of Americans has created a network of aficionados, devotees, and collectors that constitutes an oral resource infinitely greater in volume and detail than the relatively refined collection of documents in even the most elaborate research library. One of the many distinct pleasures of writing this book lay in discovering the extent of the Kerouac network and in meeting many of the people who are active in it. Without the finely focused insights of the readers who keep Kerouac's writing alive outside the classroom, my work would have been difficult and, at best, unrewarding.
I want to thank particularly the faculty, staff, and students of the Naropa Institute in Boulder, Colorado, where I spent two exciting and productive summers. Anne Waldman, director of the Poetics Department at Naropa, actually made the suggestion that I come to Boulder in 1988 to work with Allen Ginsberg on what at that time promised to be merely a single essay on Kerouac's poetry. During the many hours we spent together that summer and the next, Allen gave me a rich practical insight into his most immediate poetic influence: the verse of Jack Kerouac. Many of Kerouac's old friends and associates who were passing through Boulder also took time to give me guidance. I owe special thanks in this respect to Gregory Corso, William S. Burroughs, Michael McClure, and Harry Smith,
Page xii
bishop of Boulder. Andy Hoffman and Eliot Greenspan handled many of the institutional arrangements for my two visits. Several young poets I met in Boulder who have been profoundly influenced by Kerouac helped me see the potential value of my work for future writers: Steve Creson, Tom Peters, Clint Frakes, Daniel Pirofsky, and Chris Ide (tell Jack in heaven that I've drunk my port wine, Chris). The library staff at Naropa also facilitated my access to the Institute's invaluable collection of tapes and ephemera relating to Kerouac, the Beats, and experimental writing in general.
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91-40769