In Honor Of Jean Bon Kerouac On The 60th Anniversary Of “On The Road” (1957)- “The King Of The Beats”-Jack Kerouac- The Road Down Hill After “On The Road”-“Big Sur”
In Honor Of Jean Bon Kerouac On The 60th
Anniversary Of “On The Road” (1957)
By Book Critic Zack James
To be honest I know about On The Road Jack Kerouac’s epic tale of his generation’s search for
something, maybe the truth, maybe just kicks, stuff, important stuff has
happened or some such happening strictly second-hand. His generation’s search
looking for a name, found what he, or someone associated with him, maybe the
bandit poet Gregory Corso, king of the mean New York streets, mean, very mean
indeed in a junkie-hang-out world around Times Square when that place was up to
its neck in flea-bit hotels, all night Joe and Nemo’s and the trail of the
“fixer” man on every corner, con men coming out your ass too, called the “beat”
generation. Beat, beat of the jazzed up drum
line backing some sax player searching for the high white note, what somebody
told me, maybe my older brother Alex thy called “blowing to the China seas” out
in West Coast jazz and blues circles, dead beat, run out on money, women, life,
leaving, and this is important no forwarding address for the desolate repo man
to hang onto, dread beat, nine to five, 24/7/365 that you will get caught back
up in the spire wind up like your freaking staid, stay at home parents, beaten
down, ground down like dust puffed away just for being, hell, let’s just call
it being, beatified beat like saintly and all high holy Catholic incense and a
story goes with it about a young man caught up in a dream, like there were not
ten thousand other religions in the world to feast on- you can take your pick
of the meanings, beat time meanings. Hell, join the club they all did, the
guys, and it was mostly guys who hung out on the mean streets of New York, Chi
town, North Beach in Frisco town cadging twenty-five cents a night flea-bag
sleeps, half stirred left on corner coffees and cigarette stubs when the Bull
Durham ran out).
I was too young to have had anything but a vague passing
reference to the thing, to that “beat” thing since I was probably just pulling
out of diapers then, maybe a shade bit older but not much. I got my fill, my
brim fill later through my oldest brother Alex. Alex, and his crowd, more about
that in a minute, but even he was only washed clean by the “beat” experiment at
a very low level, mostly through reading the book (need I say the book was On The Road) and having his mandatory
two years of living on the road around the time of the Summer of Love, 1967 an
event whose 50th anniversary is being commemorated this year as
well. So even Alex and his crowd were really too young to have been washed by
the beat wave that crashed the continent toward the end of the 1950s on the
wings of Allan Ginsburg’s Howl and
Jack’s travel book of a different kind. The kind that moves generations, or I
like to think the best parts of those cohorts. These were the creation
documents the latter which would drive Alex west before he finally settled down
to his career life (and to my sorrow and anger never looked back).
Of course anytime you talk about books and poetry and then add
my brother Alex’s name into the mix that automatically brings up memories of
another name, the name of the late Peter Paul Markin. Markin, for whom Alex and
the rest of the North Adamsville corner boys, Jack, Jimmy, Si, Josh, and a few
others still alive recently had me put together a tribute book for in
connection with that Summer of Love, 1967 just mentioned. Markin was the vanguard guy, the volunteer odd-ball
unkempt mad monk seeker who got several of them off their asses and out to the
West Coast to see what there was to see. To see some stuff that Markin had been
speaking of for a number of years before (and which nobody in the crowd paid
attention to, or dismissed out of hand what they called “could give a rat’s
ass” about in the local jargon which I also inherited in those cold, hungry bleak
1950s cultural days in America) and which can be indirectly attributed to the
activities of Jack, Allen Ginsburg, Gregory Corso, that aforementioned bandit
poet who ran wild on the mean streets among the hustlers, conmen and whores of
the major towns of the continent, William Burroughs, the Harvard-trained junkie
and a bunch of other guys who took a
very different route for our parents who were of the same generation as them but
of a very different world.
But it was above all Jack’s book, Jack’s book which had
caused a big splash in 1957, and had ripple effects into the early 1960s (and
even now certain “hip” kids acknowledge the power of attraction that book had
for their own developments, especially that living simple, fast and hard part).
Made the young, some of them anyway have to spend some time thinking through
the path of life ahead by hitting the vagrant dusty sweaty road. Maybe not
hitchhiking, maybe not going high speed high through the ocean, plains,
mountain desert night but staying unsettled for a while anyway.
Like I said above Alex was out two years and other guys,
other corner boys for whatever else you wanted to call them that was their
niche back in those days and were recognized as such in the town not always to
their benefit, from a few months to a few years. Markin started first back in
the spring of 1967 but was interrupted by his fateful induction into the Army
and service, if you can call it that, in Vietnam and then several more years
upon his return before his untimely end. With maybe this difference from
today’s young who are seeking alternative roads away from what is frankly bourgeois
society and was when Jack wrote although nobody except commies and pinkos
called it that. Alex, Frankie Riley the acknowledged leader, Jack Callahan and
the rest, Markin included, were strictly from hunger working class kids who
when they hung around Tonio Pizza Parlor were as likely to be thinking up ways
to grab money fast any way they could or of getting into some hot chick’s pants as anything else. Down at
the base of society when you don’t have enough of life’s goods or have to
struggle too much to get even that little “from hunger” takes a big toll on
your life. I can testify to that part because Alex was not the only one in the
James family to go toe to toe with the law, it was a close thing for all us
boys as it had been with Jack when all is said and done. But back then dough
and sex after all was what was what for corner boys, maybe now too although you
don’t see many guys hanging on forlorn Friday night corners anymore.
What made this tribe different, the Tonio Pizza Parlor
corner boys, was mad monk Markin. Markin called by Frankie Riley the “Scribe” from
the time he came to North Adamsville from across town in junior high school and
that stuck all through high school. The name stuck because although Markin was
as larcenous and lovesick as the rest of them he was also crazy for books and
poetry. Christ according to Alex, Markin was the guy who planned most of the
“midnight creeps” they called then. Although nobody in their right minds would
have the inept Markin actually execute the plan that was for smooth as silk Frankie
to lead. That operational sense was why Frankie was the leader then (and maybe
why he was a locally famous lawyer later who you definitely did not want to be
on the other side against him). Markin was also the guy who all the girls for
some strange reason would confide in and thus was the source of intelligence
about who was who in the social pecking order, in other words, who was
available, sexually or otherwise. That sexually much more important than
otherwise. See Markin always had about ten billion facts running around his head
in case anybody, boy or girl, asked him about anything so he was ready to do
battle, for or against take your pick.
The books and the poetry is where Jack Kerouac and On The Road come into the corner boy
life of the Tonio’s Pizza Parlor life. Markin was something like an antennae
for anything that seemed like it might help create a jailbreak, help them get
out from under. Later he would be the guy who introduced some of the guys to
folk music when that was a big thing. (Alex never bought into that genre, still
doesn’t, despite Markin’s desperate pleas for him to check it out. Hated whinny
Dylan above all else) Others too like Kerouac’s friend Allen Ginsburg and his
wooly homo poem Howl from 1956 which
Markin would read sections out loud from on lowdown dough-less, girl-less
Friday nights. And drive the strictly hetero guys crazy when he insisted that
they read the poem, read what he called a new breeze was coming down the road.
They could, using that term from the times again, have given a rat’s ass about
some fucking homo faggot poem from some whacko Jewish guy who belonged in a
mental hospital. (That is a direct quote from Frankie Riley at the time via my brother
Alex’s memory bank.)
Markin flipped out when he found out that Kerouac had grown
up in Lowell, a working class town very much like North Adamsville, and that he
had broken out of the mold that had been set for him and gave the world some
grand literature and something to spark the imagination of guys down at the
base of society like his crowd with little chance of grabbing the brass ring.
So Markin force-marched the crowd to read the book, especially putting pressure
on my brother who was his closest friend then. Alex read it, read it several
times and left the dog- eared copy around which I picked up one day when I was
having one of my high school summertime blues. Read it through without stopping
almost like he wrote the final version of the thing on a damn newspaper scroll.
So it was through Markin via Alex that I got the Kerouac bug. And now on the 60th
anniversary I am passing on the bug to you.
Click on title to link to YouTube's film clip of Jack Kerouac reading from his work. Always a treat whatever his literary fate.
Book Review
Big Sur, Jack Kerouac, Penguin Books, New York, 1992
Some of the general points made below have been used in other reviews of books and materials by and about Jack Kerouac.
As I have explained in another entry in this space in a DVD review of the film documentary “The Life And Times Of Allen Ginsberg”, recently I have been in a “beat” generation literary frame of mind. I think it helps to set the mood for commenting on Jack Kerouac’s lesser work under review here, “Big Sur”, that it all started last summer when I happened to be in Lowell, Massachusetts on some personal business. Although I have more than a few old time connections with that now worn out mill town I had not been there for some time. While walking in the downtown area I found myself crossing a small park adjacent to the site of a well-known mill museum and restored textile factory space. Needless to say, at least for any reader with a sense of literary history, at that park I found some very interesting memorial stones inscribed with excerpts from a number of his better known works dedicated to Lowell’s ‘bad boy’, the “king of the 1950s beat writers”.
And, just as naturally, when one thinks of Kerouac then, “On The Road”, his classic modern physical and literary ‘search’ for the meaning of America for his generation which came of age in post-World War II , readily comes to mind. No so well known, however, is the fact that that famous youthful novel was merely part of a much grander project, an essentially autobiographical exposition by Kerouac in many volumes starting from his birth in 1922, to chart and vividly describe his relationship to the events, great and small, of his times. The series, of which the book under review, “Big Sur”, bears the general title “The Legend Of Duluoz”. So that is why we today, in the year of the forty anniversary of Kerouac’s death, are under the sign of “Big Sur”.
The action of this novel, a relatively short narrative expression of Kerouac’s now famous spontaneous writing style, takes place in San Francisco and along California’s central coastline at Big Sur. Kerouac was there as a self-imposed retreat by him after the whirlwind of ‘success” of his major work “On The Road” in 1957 and the media’s subsequent proclamation of him as “King of The Beats”. Along the way he talks about the trials and tribulations surrounding his losing fight against alcoholism, his paranoias, his attempts to dry out, and his patterned misadventures, with and without women, mainly as a desperate response to the pressures and other problems associated with his new found, but not necessarily wanted, fame,
I have mentioned, in a DVD review of the excellent film documentary “What Happened To Kerouac?” that part of Kerouac’s “fall from grace” was using so much youthful autobiographical material composed, in retrospect, of basically similar experiences that there was only so much that the market could bear, especially the volatile youth market that would make up the mass base of his audience. That factor and the intense media blitz to single out the ONE authentic voice of the “beats”, his (because he was articulate, at least in the beginning, and handsome in a very television camera-friendly way unlike some of the other wild boys), for which his whole prior personal history left him ill-equipped. In any case he came crashing down.
“Big Sur” is, to my mind, an almost tragically self-conscious literary expression of that fall. And here the points just made really come into play. Sure, there is plenty of Kerouac introspective, some of it very perceptive as always. Of course, there will be plenty of evocative word play, be-bop feeling and other literary tidbits that add to our stock of literary language (including as an addendum, a poem/ranting/ocean sound bite- “Sea” (Sounds Of The Pacific Ocean At Big Sur). Naturally,as well, the cast of characters include a round-up of the usual suspects like Neal Cassady (here under the name Cody), his wife, his mistress, assorted lumpen-proletarian types and the literary West Coast “beats” that have peopled his previous works. But that is exactly the problem. These are no longer the poster boys of the post-World War II cultural scene. Pranks, misadventures, pratfalls and, oh yes, their Kerouac literary presentation as the voice of the “beats” don’t age well as the characters age. Cassady, at least partially, was able to adjust to the new winds blowing in the 1960s. Kerouac could not, or would not. Here is the simplest way I can put it- “On The Road” I NEEDED to read at one long sitting, “Big Sur” I took at small samples over a few days. Jack, I think, knew that was where he was, I now know it and you will too.
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