Jack Kerouac

Jack Kerouac

Jack Kerouac was born on March 12, 1922 in Lowell, Massachusetts. As the author of the infamous novel, On the Road, Kerouac became a leader and a spokesperson for the Beat Movement.

He was educated at Columbia University and the novel, On the Road – a semi-autobiographical tome of prose – exemplified the carefree, Beat lifestyle. The main character in this story hitchhikes across the country with his friend Dean Moriarty (inspired by fellow Beat adventurer, Neal Cassady) and enjoys casual friendships, love affairs and experiences. The non-materialistic lifestyles of the protagonists were embraced by many readers and helped propel Kerouac’s status into an almost mythical realm.

He learned English as a second language: his parents were French-Canadian. He also spent some time in the Navy where he was then discharged due to possessing a schizoid personality. Soon after, he became a merchant seaman and then decided on the life of a vagabond, from which he obtained inspiration for his later novels.

His first book was published in 1950 and titled The Town and the City. It is said that Kerouac struggled with conformity and rejected the then contemporary fictional standards. On the Road was written in less than three weeks and demonstrated a fresh style. This new writing was spontaneous and seemed to be at times unedited. It possessed a strange energy that shocked more established writers but only brought Kerouac well-deserved recognition.

Practically all of Kerouac’s books are said to be autobiographical. That seems almost redundant since the writer’s life obviously has some influence on his or her work. Kerouac, along with other notable writers and artists such as Ginsberg, Corso, Burroughs and Snyder led the lifestyles celebrated by his novels and were all writers of the Beat Generation whose influence on American Literature is of notable importance.


211th Chorus, from Mexico City Blues

The wheel of the quivering meat conception
Turns in the void expelling human beings,
Pigs, turtles, frogs, insects, nits,
Mice, lice, lizards, rats, roan
Racinghorses, poxy bubolic pigtics,
Horrible, unnameable lice of vultures,
Murderous attacking dog-armies
Of Africa, Rhinos roaming in the jungle,

Vast boars and huge gigantic bull
Elephants, rams, eagles, condors,
Pones and Porcupines and Pills-
All the endless conception of living beings
Gnashing everywhere in Consciousness
Throughout the ten directions of space
Occupying all the quarters in & out,
From super-microscopic no-bug
To huge Galaxy Lightyear Bowell
Illuminating the sky of one Mind-
Poor! I wish I was fee
of that slaving meat wheel
and safe in heaven dead

On The Road (excerpt)

‘… one night we suddenly went mad together again; we went to see Slim Gaillard in a little Frisco nightclub. Slim Gaillard is a tall, thin Negro with big sad eyes who’s always saying ‘Right-orooni’ and ‘How ’bout a little bourbon-arooni.’ In Frisco great eager crowds of young semi-intellectuals sat at his feet and listened to him on the piano, guitar and bongo drums. When he gets warmed up he takes off his undershirt and really goes. He does and says anything that comes into his head. He’ll sing ‘Cement Mixer, Put-ti Put-ti’ and suddenly slow down the beat and brood over his bongos with fingertips barely tapping the skin as everybody leans forward breathlessly to hear; you think he’ll do this for a minute or so, but he goes right on, for as long as an hour, making an imperceptible little noise with the tips of his fingernails, smaller and smaller all the time till you can’t hear it any more and sounds of traffic come in the open door. Then he slowly gets up and takes the mike and says, very slowly, ‘Great-orooni … fine-ovauti … hello-orooni … bourbon-orooni … all-orooni … how are the boys in the front row making out with their girls-orooni … orooni … vauti … oroonirooni …” He keeps this up for fifteen minutes, his voice getting softer and softer till you can’t hear. His great sad eyes scan the audience.

Dean stands in the back, saying, ‘God! Yes!’ — and clasping his hands in prayer and sweating. ‘Sal, Slim knows time, he knows time.’ Slim sits down at the piano and hits two notes, two C’s, then two more, then one, then two, and suddenly the big burly bass-player wakes up from a reverie and realizes Slim is playing ‘C-Jam Blues’ and he slugs in his big forefinger on the string and the big booming beat begins and everybody starts rocking and Slim looks just as sad as ever, and they blow jazz for half an hour, and then Slim goes mad and grabs the bongos and plays tremendous rapid Cubana beats and yells crazy things in Spanish, in Arabic, in Peruvian dialect, in Egyptian, in every language he knows, and he knows innumerable languages. Finally the set is over; each set takes two hours. Slim Gaillard goes and stands against a post, looking sadly over everybody’s head as people come to talk to him. A bourbon is slipped into his hand. ‘Bourbon-orooni — thank-you-ovauti …’ Nobody knows where Slim Gaillard is. Dean once had a dream that he was having a baby and his belly was all bloated up blue as he lay on the grass of a California hospital. Under a tree, with a group of colored men, sat Slim Gaillard. Dean turned despairing eyes of a mother to him. Slim said, ‘There you go-orooni.’ Now Dean approached him, he approached his God; he thought Slim was God; he shuffled and bowed in front of him and asked him to join us. ‘Right-orooni,’ says Slim; he’ll join anybody but won’t guarantee to be there with you in spirit. Dean got a table, bought drinks, and sat stiffly in front of Slim. Slim dreamed over his head. Every time Slim said, ‘Orooni,’ Dean said ‘Yes!’ I sat there with these two madmen. Nothing happened. To Slim Gaillard the whole world was just one big orooni.’

Dharma Bums (excerpt)

At seven-thirty my Zipper came in and was being made up by the switchmen and I hid in the weeds to catch it, hiding partly behind a telephone pole. It pulled out, surprisingly fast I thought, and with my heavy fifty-pound rucksack I ran out and trotted along till I saw an agreeable drawbar and took a hold of it and hauled on and climbed straight to the top of the box to have a good look at the whole train and see where my flatcar’d be. Holy smokes goddamn and all ye falling candles of heaven smash, but as the train picked up tremendous momentum and tore out of that yard I saw it was a bloody no-good eighteen-car sealed sonofabitch and at almost twenty miles an hour it was do or die, get off or hang on to my life at eighty miles per (impossible on a boxcar top) so I had to scramble down the rungs again but first I had to untangle my strap clip from where it had caught in the catwalk on top so by the time I was hanging from the lowest rung and ready to drop off we were going too fast now. Slinging the rucksack and holding it hard in one hand calmly and madly I stepped off hoping for the best and turned everything away and only staggered a few feet and I was safe on ground.

But now I was three miles into the industrial jungle of L.A. in mad sick sniffling smog night and had to sleep all that night by a wire fence in a ditch by the tracks being waked up all night by rackets of Southern Pacific and Santa Fe switchers bellyaching around, till fog and clear of midnight when I breathed better (thinking and praying in my sack) but then more fog and smog again and horrible damp white cloud of dawn and my bag too hot to sleep in and outside too raw to stand, nothing but horror all night long, except at dawn a little bird blessed me.

The only thing to do was to get out of L.A. According to my friend’s instructions I stood on my head, using the wire fence to prevent me from falling over. It made my cold feel a little better. Then I walked to the bus station (through tracks and side streets) and caught a cheap bus twenty-five miles to Riverside. Cops kept looking at me suspiciously with that big bag on my back. Everything was far away from the easy purity of being with Japhy Ryder in that high rock camp under peaceful singing stars.

Comments are closed.