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Why Kerouac Matters: The Lessons of On the Road (They're Not What You Think)

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Amazon.com: There is a great legend around the composition of On the Road. What parts are true and what parts aren't? Leland: The legend is that Kerouac wrote the book in three frenzied weeks on a scroll of tracing paper. In truth... See more » Amazon.com: There is a great legend around the composition of On the Road. What parts are true and what parts aren't? Leland: The legend is that Kerouac wrote the book in three frenzied weeks on a scroll of tracing paper. In truth he had already written a couple drafts, and had written and re-written many of the scenes in his notebooks and letters to friends, which he kept in scrupulous order. I liken the three-week spree to a jazz musician improvising a solo using riffs and phrases he has worked out in the woodshed: it's part spontaneous composition, but building on mountains of practice and planning. Amazon.com: In Why Kerouac Matters you make the against-the-grain argument that On the Road is not an ode to permanent adolescent transience and rebellion but rather a guide in moving toward adult responsibility. Could you explain? Leland: Like any good book, On the Road sustains at least two threads. The one that gets the most attention is the book of Dean Moriarty (Neal Cassady), the wild, yea-saying overburst of American joy who sounds an irresistible call to adventure. Dean is the circus that every boy dreams of joining. Deans road is pure carnal excitement, all speed and jazz and sex. But there's also the book of Sal Paradise, the narrator, who follows Dean out onto the road but then ultimately outgrows him, finishing the book off the road. Sal comes to recognize Dean's road as destructive and limiting--as long as Dean keeps going through the same motions, leaving a new baby and a new ex-wife in every town, he isn't really on the road, he's stuck in a rut. Sal, by contrast, is learning to be a man and a writer, searching for meaning and a home. For all its frantic adventures, the book ends with Sal nesting with his new love, Laura (Joan Haverty, Kerouac's second wife) and ready to write the book we're still reading. Amazon.com: Do you think its enduring popularity comes from the appeal of Dean's endless summer or from Sal's development? (In other words, do you think people like it for the wrong reasons or the right ones?) Leland: Dean is one of the most compelling characters in American literature; we'll always be drawn to him. The speed of the prose encourages us not to ask to questions, just be cool and enjoy the ride. Sal is a much more recessive character, shambling behind his friends "as Ive been doing all my life after people who interest me." Kerouac regretted that so many readers saw only Dean's wild ride. But I think much of the book's power comes from the tension between these two ideas of manhood. Amazon.com: You quote a line from David Gates, "A 21-year-old applying to a writing program is as ill-advised to cite Jack Kerouac as an influence as O. Henry or H.P. Lovecraft." Has On the Road been a novel more for readers than for writers? Leland: Writers who try to write like Kerouac are bound for trouble. More bad prose has been committed in his name than good. His famous dicta, "No revisions" and "You're a genius all the time," obscure the discipline and erudition behind his work. But theres another way to read On the Road, as a tale of a writer in search of his voice. On Sal's first journey, he arrives in Denver and imagines himself in his friends' eyes, "strange and ragged like the Prophet who has walked across the land to bring the dark Word, and the only Word I had was 'Wow!'" He's not ready to tell his story. But by the end, after Dean abandons him with dysentery in Mexico, Sal receives his writerly mission, from a character Kerouac called the Great Walking Saint, who tells him, "Go moan for man." Now he's ready to write, and compelled to do so. Writers who take Kerouac's work as a license to develop their own voices have greatly benefited, even if they don't sound anything like Kerouac. For the others, there's always bongos and reruns of The Many Loves of Dobie Gillis. Amazon.com: To what extent do you think On the Road is a different book to readers 50 years later? Leland: We're now longer shocked by the sex and drugs. The slang is passé and at times corny. Some of the racial sentimentality is See less »

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Why Kerouac Matters: The Lessons of On the Road (They're Not What You Think)

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