When he was a young man he travelled around the country with On the Road, the 'Bible of the Beat Generation,' in his rucksack, just as Kerouac had with Dwight Goddard's ABuddhist Bible in his. Now the young man is old. Now when he travels he carries a different light paperback, the plain old Bible.
And he says a prayer for the soul of a lonesome traveller who quit the via dolorosa on this date 46 years ago thereby securing his release from the samsaric meat wheel and the granting of his wish:
The wheel of the quivering meat conception . . . . . . I wish I was free of that slaving meat wheel and safe in heaven dead. (Mexico City Blues, 1959, 211th Chorus).
. . . and we say farewell once again to Jack Kerouac, cat man and mama's boy, as he prepares to "leave all San Francisco behind and go back home across autumn America" proving once again to his romantic predecessor Thomas Wolfe that one can go back home again where "it'll all be like it was in the beginning — Simple golden eternity blessing all . . . My mother'll be waiting for me glad — the corner of the yard where Tyke is buried will be a new and fragrant shrine making my home more homelike somehow — On soft Spring nights I'll stand in the yard under the stars — Something good will come out of all things yet — And it will be golden and eternal just like that – There's no need to say another word." (Big Sur, 1962, last lines, last page.)
It's a good last word: something good will come of it all: of all of the wandering, all of the searching, all of the pain, and misery, and drunken folly, and lonely nights, and broken dreams. The vanity will give way to vision. The beat will taste beatitude. The road will end and the restless will rest.
Jack Kerouac quit the mortal coil 45 years ago today, securing his release from the wheel of the quivering meat conception, and the granting of his wish:
The wheel of the quivering meat conception . . . . . . I wish I was free of that slaving meat wheel and safe in heaven dead. (Mexico City Blues, 1959, 211th Chorus).
The Last Interview, 12 October 1969. "I'm not a beatnik. I'm a Catholic." "I just sneak into church now, at dusk, at vespers. But yeah, as you get older you get more … genealogical."
As much of a screw-up and sinner as he was, as irresponsible, self-indulgent, and self-destructive, Kerouac was a deeply religious man. He went through a Buddhist phase, but at the end he came home to Catholicism.
I own the 1953 first-edition Ace Books paperback depicted to the left. Price in 1953: 60 cents. I must have acquired my copy in the late '60s or early '70s for not much more than that. Originally published under the pen-name of William Lee, the "Old Bull Lee" of Kerouac's On the Road. The foreword is by Carl Solomon. According to the Wikipedia article just referenced, Solomon is also responsible for the Publisher's Note which serves in part as an apologia for the "sordid" narrative about to be put before the reader.
Remember, this is 1953, a time and place light-years from the present, culturally speaking. What would be celebrated as 'transgressive' today by our benighted cultural elites, was recognized then as trash whose publication had to be justified:
We realized that here was a document which could forearm the public more effectively than anything yet printed about the drug menace. The picture it paints of a sordid netherworld was all the more horrifying for being so authentic in language and point of view. For the protection of the reader, we have inserted occasional parenthetical notes to indicate where the author clearly departs from accepted medical fact or makes other unsubstantiated statements in an effort to justify his actions.
London Ed, taking a break from logic and philosophy of language, is now reading Burroughs:
I finished Junky, which was entertaining, and now onto Naked Lunch, which is terrible. Meanwhile, some extracts from Junky below, which challenge the idea that Burroughs was some kind of ‘gay writer’. Obviously he was gay, although he predates that term, and would have called himself ‘queer’. He alludes to his queerness in the book, but I find the passages below difficult to explain. They are surely not intended as ironic, there is a real hatred, possibly self-hatred there. I can find no critical study of Burroughs that mentions these passages.
The only equivalent I can think of for that period is Raymond Chandler. Supposedly Chandler was a repressed homosexual. But there is the same ‘homophobic’ streak in his work. You recall the Geiger character in The Big Sleep, who is characterised as both homosexual and unpleasant. Chandler writes somewhere about there being ‘no iron’ in a ‘fairy's’ punch, and about the vicious and unpleasant way that a ‘fairy party’ can end. I will try and find the quotes. In the same place I also have quotes from William Cobbett (supposed father of English socialism) which are virulently anti-semitic.
Burroughs quotations culled by Ed:
The hipster-bebop junkies never showed at 103rd Street. The 103rd Street boys were all old timers — thin, sallow faces; bitter, twisted mouths; stiff-fingered, stylized gestures. (There is a junk gesture that marks the junky like the limp wrist marks the fag: the hand swings out from the elbow stiff-fingered, palm up.)
In the French Quarter there are several queer bars so full every night the fags spill out on to the sidewalk. A room full of fags gives me the horrors. They jerk around like puppets on invisible strings, galvanized into hideous activity that is the negation of everything living and spontaneous. The live human being has moved out of these bodies long ago. But something moved in when the original tenant moved out. Fags are ventriloquists' dummies who have moved in and taken over the ventriloquist. The dummy sits in a queer bar nursing his beer, and uncontrollably yapping out of a rigid doll face.
Occasionally, you find intact personalities in a queer bar, but fags set the tone of these joints, and it always brings me down to go into a queer bar. The bringdown piles up. After my first week in a new town I have had about all I can take of these joints, so my bar business goes somewhere else, generally to a bar in or near Skid Row.
[…]
I ordered a drink at the bar and looked around. Three Mexican fags were posturing in front of the jukebox. One of them slithered over to where I was standing, with the stylized gestures of a temple dancer, and asked for a cigarette. There was something archaic in the stylized movements, a depraved animal grace at once beautiful and repulsive. 1 could see him moving in the light of campfires, the ambiguous gestures fading out into the dark. Sodomy is as old as the human species. One of the fags was sitting in a booth by the jukebox, perfectly immobile with a stupid animal serenity.
[…]
I looked around and noticed how the hips stood out as a special group, like the fags who were posturing and screeching in one comer of the yard. The junkies were grouped together, talking and passing the junkie gesture back and forth, the arm swinging out from the elbow palm up, a gesture of separateness and special communion like the limp wrist of the fag.
I’m reading more than at almost any time in my life but spending less time reading online. The two facts have a common source – a festering impatience with shoddy writing. My literary gut, when young, was goat-like — tough and indiscriminate. I read everything remotely of interest and felt compelled to finish every book I started. This makes sense: Everything was new, and how could I knowledgeably sift wheat from chaff without first milling, baking and ingesting? Literary prejudice, in a healthy reader, intensifies with age. I know and trust my tastes, and no longer need to read William Burroughs to figure out he wrote sadistic trash.
I've read my fair share of Burroughs and I concur that his stuff is trash: Junkie, Naked Lunch, The Soft Machine, Exterminator. All in my library. But there is a place for literary trash. It has its uses as do the pathologist's slides and samples. But put on your mental gloves before handling the stuff.
Kerouac alone of the Beat Triumvirate moves me, though I surely don't consider him a great writer. In fact, I would go so far as to say that there really shouldn't be any university courses on Kerouac or Dylan or other culturally influential recent figures since their material is easily accessible and easily understandable. Universities ought not pander. They should remain — or rather return to being — institutions whose sacred task is the preservation and transmission of HIGH culture, great culture, culture which is not easily understood and requires expert guidance to penetrate and appreciate. The thought is extended in Inheritance and Appropriation.
We associate pieties with sentimental religion, holy medals and such, when in fact they often arrive in the form of sociopathic earnestness. Take Williams Burroughs – not the sort of fellow you would have wanted living next door. Burroughs was a deviant by any standard – a thief, a wife-killer, an Olympic-class drug abuser, a sexual pervert and a man who seldom failed to indulge any hateful impulse that entered the black hole of his egotism. As a writer, Burroughs celebrated his pathologies and never transcended his pulp origins – all good career moves in an age when professors and critics use “transgressive” as an accolade.
Jack Kerouac in a letter from 17 January 1962: "Everybody is making money off my ideas, like those "Route 66" TV producers, everybody except me . . . ." (Selected Letters 1957-1969, ed, Charters, Viking 1999, p. 326; see also p. 461 and pp. 301-302.) Here is the Nelson Riddle theme music from the TV series. And here is part of an episode from the series which ran from 1960-1964. George Maharis bears a striking resemblance to Jack, wouldn't you say? And notice Maharis is riding shotgun. Kerouac wasn't a driver. Neal Cassady was the driver.
Now dig Bobby Troup. And if that's too cool for you, here is Depeche Mode. Chuck Berry, the RollingStones, Dr. Feelgood, and others have covered the tune.
Chilly nights, good for sleeping with windows open, warm dry days of lambent desert light. October's sad paradise passes too soon but its dying light ushers in November, the month of gratitude in my personal liturgy.
Savor each day, each moment, each sunrise and moonset, moonrise and sunset. Drink green tea in the gloaming with Kerouac on your knee.
Enjoy each thing as if for the first time — and the last.
Bob Dylan, High Water. This is a late-career Dylan gem from Love and Theft (2001). A tribute to Charley Patton. Demonstrates Dylan's mastery of the arcana of Americana. Our greatest and deepest singer-songwriter. Here is some fairly good analysis by Kees de Graaf:
“I got a cravin’ love for blazing speed, got a hopped-up Mustang Ford, jump into the wagon, love, throw your panties overboard. I can write you poems, make a strong man lose his mind, I’m no pig without a wig, I hope you treat me kind, things are breakin’ up out there, high water everywhere”. When the world is under threat of being wiped out, one may expect that man will repent. But that is usually not the case. On the contrary, in the Apocalypse, the low natural tendencies of man seem to thrive like never before. The saying “let’s eat and drink and be merry, because tomorrow we die” (1 Corinthians 15:32) rings true. This is expressed in various ways in the song. First in “a cravin’ love for blazing speed”; the word ‘craving’ indicates that this love for blazing speed has something of a compulsion neurosis. The words “A hopped up Mustang Ford” in combination with “craving love” and “blazing speed” is a brilliant pun. A Mustang Ford is said to be a “speedy car, but “speed” is also a drug for which you may be “craving”. So you may be “craving” for the drug “speed”, but you may also have a craving love for blazing “speed”” – that is for driving very fast. The reason why the Mustang Ford is called “hopped up” is because it is a very “speed-y”, fast car. By the way, speed (methamphetamine) is a dangerous and unpredictable drug, sometimes lethal, representing the fastest growing drug abuse threat in America today. Speed is a potent and addictive central nervous system stimulant, closely related chemically to amphetamine, but with greater central nervous system effects. “Hopped up” means ‘high’ or ‘stoned’, the word is derived from “hop", a nickname for heroin and/or opium, but it can refer to the effects of any drug. . . .
My favorite verse:
Well, George Lewis told the Englishman, the Italian and the Jew You can't open up your mind, boys, to every conceivable point of view They got Charles Darwin trapped out there on Highway 5 Judge says to the High Sheriff, "I want them dead or alive" Either one, I don't care, high water everywhere.
Nosiree, Bob, you can't open up your mind to every conceivable point of view, especially when its not dark yet, but it's getting there.
Jimi Hendrix, May This Be Love. I had forgotten the wonderful guitar solo.
Karla Bonoff, The Water is Wide. I listened to a lot of Bonoff in the early '80s. She does a great job with this traditional song.
Bill Monroe and Doc Watson, Banks of the Ohio. Joan Baez's version from an obscure 1959 album, Folksingers 'Round Harvard Square.
Similar theme though not water-related: Doc Watson, Tom Dooley. Doc and family in a BBC clip.
Standells, Dirty Water. Boston and the River Charles. My mecca in the '70s, the Athens of America, the Hub of the Universe, etc. A great town to be young in. But when it comes time to own property and pay taxes, then a right-thinking man high tails it for the West.
Simon and Garfunkel, Bridge Over Troubled Water. A beautiful song. May it provide some solace for New Jersey Governor Chris Christie.
Henry Mancini, Moon River. This was Jack Kerouac's favorite song. Ellis Amburn, Subterranean Kerouac (St. Martin's 1998), p. 324:
One night he [Kerouac, during a 1962 visit to Lowell, Mass.] left a bar called Chuck's with Huck Finneral, a reedy, behatted eccentric who carried a business card that read: "Professional killer . . . virgins fixed . . . orgies organized, dinosaurs neutered, contracts & leases broken." Huck's philosophy of life was: "Better a wise madness than a foolish sanity." They drove to a friend's house in Merrimack, New Hampshire, and on the way, Jack sang "Moon River," calling it his favorite song. Composed by Henry Mancini and Johnny Mercer, "Moon River" was the theme song of the popular Audrey Hepburn movie Breakfast at Tiffany's. Sobbed by a harmonica, later swelling with strings and chorus, the plaintive tune's gentle but epic-like lyrics describe a dreamer and roamer not unlike Kerouac.
Indeed they do. A restless dreamer, a lonesome traveller, a dharma seeker, a desolation angel passing through this vale of mist, a drifter on the river of samsara hoping one day to cross to the Far Shore. Here is another version of the tune with some beautiful images.
Doc Watson, Moody River. A moodier version than the Pat Boone hit. Clever YouTube comment: "It might be a little early in the day for an Am7." But this here's Saturday night and I'm working on my second wine spodiodi. Chords minor and melancholy go good 'long about now.
I told myself that, come November, I'd put Jack back in his box until next October. But Kerouac month has bled over into November probably because seeing the movie Big Sur got me all stoked up again.
Here is Herbert Gold's review of the book (Saturday Review, 22 September 1962).
And here is nastly slap at Jack from a writer not much better, Edward Abbey: "Jack Kerouac, like a sick refrigerator, worked too hard at keeping cool and died on his mama's lap from alcohol and infantilism."
Cactus Ed on Updike:
John Updike: our greatest suburban chic-boutique man of letters. A smug and fatal complacency has stunted his growth beyond hope of surgical repair. Not enough passion in his collected works to generate steam in a beer can. Nevertheless, he is considered by some critics to be America's finest *living* author: Hold a chilled mirror to his lips and you will see, presently, a fine and dewy moisture condensing–like a faery breath!–upon the glass.
It debuted hereabouts in Scottsdale this morning at 11:00 AM at Harkins 14. There were exactly three souls in attendance, mine included. Beautifully done and especially moving for this native Californian Kerouac aficionado who knows the book and the road and the bridge and the views and has had his own remarkable experiences at Big Sur. Gazing out at the Pacific over 40 years ago I felt as if locked into the same nunc stans that I had glimpsed a few months before at Playa del Rey on the southern California coast. Nature in the extremity of her beauty has the power to unhinge the soul from the doorjambs of what passes for sanity.
The following from Chapter 11 of Big Sur, emphasis added. After three weeks alone in Big Sur in Lawrence Ferlinghetti's Bixby canyon cabin, Kerouac, freaked out by the solitude and his metaphysical and religious brooding amidst the starkness of nature, hitch hikes for the last time in his life north on Highway 1 toward Monterey and San Francisco where he receives another 'sign':
The next sign is in Frisco itself where after a night of perfect sleep in an old skid row hotel room I go to see Monsanto [Ferlinghetti] at his City Lights bookstore and he's smiling and glad to see me, says "We were coming out to see you next weekend you should have waited, " but there's something else in his expression — When we're alone he says "Your mother wrote and said your cat is dead. "
Ordinarily the death of a cat means little to most men, a lot to fewer men, but to me, and that cat, it was exactly and no lie and sincerely like the death of my little brother — I loved Tyke with all my heart, he was my baby who as a kitten just slept in the palm of my hand with his little head hanging down, or just purring, for hours, just as long as I held him that way, walking or sitting — He was like a floppy fur wrap around my wrist, I just twist him around my wrist or drape him and he just purred and purred and even when he got big I still held him that way, I could even hold this big cat in both hands with my arms outstretched right over my head and he'd just purr, he had complete confidence in me — And when I'd left New York to come to my retreat in the woods I'd carefully kissed him and instructed him to wait for me, 'Attends pour mue kitigingoo" — But my mother said in the letter he had died the NIGHT AFTER I LEFT! — But maybe you'll understand me by seeing for yourself by reading the letter:
"Sunday 20 July 1960, Dear Son, I'm afraid you wont like my letter because I only have sad news for you right now. I really dont know how to tell you this but Brace up Honey. I'm going through hell myself. Little Tyke is gone. Saturday all day he was fine and seemed to pick up strength, but late at night I was watching TV a late movie. Just about 1: 30 A. M. when he started belching and throwing up. I went to him and tried to fix him up but to no availe. He was shivering like he was cold so I rapped him up in a Blanket then he started to throw up all over me. And that was the last of him. Needless to say how I feel and what I went through. I stayed up till "day Break" and did all I could to revive him but it was useless. I realized at 4 A. M. he was gone so at six I wrapped him up good in a clean blanket — and at 7 A. M. went out to dig his grave. I never did anything in my whole life so heart breaking as to bury my beloved little Tyke who was as human as you and I. I buried him under the Honeysuckle vines, the corner, of the fence. I just cant sleep or eat. I keep looking and hoping to see him come through the cellar door calling Ma Wow. I'm just plain sick and the weirdest thing happened when I buried Tyke, all the black Birds I fed all Winter seemed to have known what was going on. Honest Son this is no lies. There was lots and lots of em flying over my head and chirping, and settling on the fence, for a whole hour after Tyke was laid to rest — that's something I'll never forget — I wish I had a camera at the time but God and Me knows it and saw it. Now Honey I know this is going to hurt you but I had to tell you somehow… I'm so sick not physically but heart sick… I just cant believe or realize that my Beautiful little Tyke is no more — and that I wont be seeing him come through his little "Shanty" or Walking through the green grass … PS. I've got to dismantle Tyke's shanty, I just cant go out there and see it empty — as is. Well Honey, write soon again and be kind to yourself. Pray the real "God" — Your old Mom XXXXXX."
So when Monsanto told me the news and I was sitting there smiling with happiness the way all people feel when they come out of a long solitude either in the woods or in a hospital bed, bang, my heart sank, it sank in fact with the same strange idiotic helplessness as when I took the unfortunate deep breath on the seashore — All the premonitions tying in together.
Monsanto sees that I'm terribly sad, he sees my little smile (the smile that came over me in Monterey just so glad to be back in the world after the solitudes and I'd walked around the streets just bemusedly Mona Lisa'ing at the sight of everything) — He sees now how that smile has slowly melted away into a mawk of chagrin — Of course he cant know since I didn't tell him and hardly wanta tell it now, that my relationship with my cat and the other previous cats has always been a little dotty: some kind of psychological identification of the cats with my dead brother Gerard who'd taught me to love cats when I was 3 and 4 and we used to lie on the floor on our bellies and watch them lap up milk — The death of "little brother" Tyke indeed — Monsanto seeing me so downcast says "Maybe you oughta go back to the cabin for a few more weeks — or are you just gonna get drunk again" — "I'm gonna get drunk yes"
[. . .]
It was the most happy three weeks of my life [the three weeks at Ferlinghetti's cabin in Bixby canyon] dammit and now this has to happen, poor little Tyke — You should have seen him a big beautiful yellow Persian the kind they call calico" — "Well you still have my dog Homer, and how was Alf out there? " — "Alf the Sacred Burro, he ha, he stands in groves of trees in the afternoon suddenly you see him it's almost scarey, but I fed him apples and shredded wheat and everything" (and animals are so sad and patient I thought as I remembered Tyke's eyes and Alf's eyes, ah death, and to think this strange scandalous death comes also to human beings, yea to Smiler [Ferlinghetti] even, poor Smiler, and poor Homer his dog, and all of us) — I'm also depressed because I know how horrible my mother now feels all alone without her little chum in the house back there three thousand miles (and indeed by Jesus it turns out later some silly beatniks trying to see me broke the windowpane in the front door trying to get in and scared her so much she barricaded the door with furniture all the rest of that summer).
Sweet gone Jack really did try to be a good boy and give up the booze and dissipation and all the near occasions of sin & temptation that fame brought him once he made it in '57 with the publication of On the Road. Here he is arrived at Lawrence Ferlinghett's (Lorenzo Monsanto's) cabin in Bixby Canyon, Big Sur:
And in the flush of the first few days of joy I confidently tell myself (not expecting what I'll do in three weeks only) "no more dissipation, it's time for me to quietly watch the world and even enjoy it, first in woods like these, then just calmly walk and talk among people of the world, no booze, no drugs, no binges, no bouts with beatniks and drunks and junkies and everybody, no more I ask myself the question O why is God torturing me, that's it, be a loner, travel, talk to waiters only, in fact, in Milan, Paris, just talk to waiters, walk around, no more self-imposed agony . . . it's time to think and watch and keep concentrated on the fact that after all this whole surface of the world as we know it now will be covered with the silt of a billion years in time.. . Yay, for this, more aloneness" — "Go back to childhood, just eat apples and read your Cathechism — sit on curbstones, the hell with the hot lights of Hollywood" (remembering that awful time only a year earlier when I had to rehearse my reading of prose a third time under the hot lights of the Steve Allen Show in the Burbank studio, one hundred technicians waiting for me to start reading, Steve Allen watching me expectant as he plunks the piano, I sit there on the dunce's stool and refuse to read a word or open my mouth, "I dont have to R E H E A R S E for God's sake Steve! " — "But go ahead, we just wanta get the tone of your voice, just this last time, I'll let you off the dress rehearsal" and I sit there sweating not saying a word for a whole minute as everybody watches, finally I say, "No I cant do it, " and I go across the street to get drunk) (but surprising everybody the night of the show by doing my job of reading just fine, which surprises the producers and so they take me out with a Hollywood starlet who turns out to be a big bore trying to read me her poetry and wont talk love because in Hollywood man love is for sale)… So even that marvelous, long remembrances of life all the time in the world to just sit there or lie there or walk about slowly remembering all the details of life which now because a million lightyears away have taken on the aspect (as they must've for Proust in his sealed room) of pleasant movies brought up at will and projected for further study — And pleasure — As I imagine God to be doing this very minute, watching his own movie, which is us. (Big Sur, ch. 6, pp. 24-25)
. . .
from the wheel of the quivering meat conception and the granting of your wish:
"The wheel of the quivering meat conception . . . . . . I wish I was free of that
slaving meat wheel and safe in heaven dead." (Mexico City Blues, 1959,
211th Chorus).
In 1955, The Paris Review paid a struggling Jack Kerouac fifty dollars for an excerpt from a then unpublished manuscript. The excerpt appeared as a short story titled “The Mexican Girl” and, after much acclaim, was picked up a year later by Martha Foley’s The Best American Short Stories. Due in large part to the success of “The Mexican Girl,” On the Road was soon accepted by Viking Press; the full novel was published in 1957. (reference)
Here is an audio clip of "The Mexican Girl." Meanwhile, the Mexican Girl, Bea Franco, has been found, written up, and assumes her place in the Beat pantheon.
Lest we forget, however, "Pretty girls make graves." (The Dharma Bums)
I thought of Carolyn in September and I thought I ought to check the obituaries. She died September 20th at age 90, her longevity as if in counterpoise to the short tenures of her main men, wildman Neal Cassady, the Dean Moriarty of Kerouac's 1957 On the Road, and the brooding Jack Kerouac himself. Carolyn played the stabilizer to the mania of the one and the melancholy of the other. Both quit the sublunary before the '60s had run their course. The tale of Jack's end has been told too many times, though I will tell it again on 21 October, the 44th anniversary of his exit from the "slaving meat wheel." Neal's demise is less frequently recounted.
Neal
died in February of 1968, also of substance abuse, having quaffed a nasty
concotion of pulque and Seconals, while walking the railroad tracks near San Miguel de
Allende, Mexico. Legend has it that Cassady had been counting the ties and that
his last word was "64, 928." (Cf. William Plummer, The Holy Goof: A
Biography of Neal Cassady, Paragon, 1981, pp. 157-158.)
Carolyn kept the beat while the wildmen soloed, seeking ecstasy where it cannot be found.
May all who sincerely seek beatitude find it. Kerouac: "I want to be sincere." May Jack with his visions of Gerard, of Cody, finally enjoy the ultimate beat vision, the visio beata.
A tip of the beret to Monterey Tom, fellow Kerouac aficionado, Octoberite, native Californian, and fellow lonesome traveller along Highway One for alerting me to the arrival of Big Sur, the movie, based on the eponymous novel by Jack Kerouac. Appropriately enough, it is scheduled to open here in the Valle del Sol on November 1st, All Saints' Day on the Catholic calendar. If you live hereabouts it will debut locally at the Harkins Shea 14 in Scottsdale. I think I'll catch the 11:00 AM performance, then have lunch at an authentic Jewish delicatessen Peter L. introduced me to: Goldman's Deli near the corner of N. Hayden and E. Indian Bend.
