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Jack Kerouac ( ; March 12, 1922 – October 21, 1969) was an Americanmarker author, poet and painter. Alongside William S. Burroughs and Allen Ginsberg, he is considered a pioneer of the Beat Generation.

Like many great writers, Kerouac's work is very popular today even though it received little critical acclaim during his lifetime. Today, he is considered an important and influential writer who inspired others, including Hunter S. Thompson, Tom Robbins, Lester Bangs, Will Clarke, Richard Brautigan, Ken Kesey, Haruki Murakami, Tom Waits and writers of the New Journalism.

Kerouac's best-known books are On the Road, The Dharma Bums, Big Sur, The Subterraneans, Desolation Angels, and Visions of Cody.


Family and childhood

Jack Kerouac was born Jean Louis Kerouac in Lowell, Massachusettsmarker, to French-Canadian parents, Léo-Alcide Kerouac and Gabrielle-Ange Lévesque, natives of the province of Quebecmarker, Canada. Through his father he was a descendant of Zacharie Cloutier. Like many other Québécois of their generation, the Lévesques and Kerouacs were part of the Quebec emigration to New Englandmarker to find employment. His father was related to Brother Marie-Victorin (né Conrad Kirouac), one of Canada's most prominent botanists and his mother was second cousin to future Quebec premier René Lévesque.

Kerouac often gave conflicting stories about his family history and the origins of his surname. Though his father was born to a family of potato farmers in the village of Saint-Hubert-de-Rivière-du-Loupmarker, he often claimed aristocratic descent, sometimes from a Breton noble granted land after the Battle of Quebecmarker, whose sons all married Native Americans. However, research has shown him to be the descendant of a middle-class merchant settler, whose sons married French Canadians. He also had various stories on the etymology of his surname, usually tracing it back to Irish, Breton, or other Celtic roots. In one interview he claimed it was the name of a dead Celtic language and in another said it was from the Irish for "language of the water" and related to "Kerwick." Kerouac, derived from Kervoac, is the name of one hamlet situated in Brittany in Lanmeur, near Morlaix. Deleuze and Guattari cited Kerouac as a literary example of an oscillation from revolutionary left-wing expressions to fascist expressions. They said he "took a revolutionary 'flight'" with his on the road journeys, but later finds himself in the "old fascist dream" of searching for "his Breton ancestors of the superior race".

Kerouac did not start to learn English until the age of six, and at home, he and his family spoke French. When he was four, he was profoundly affected by the death of his nine-year-old brother, Gérard, from rheumatic fever, an event later described in his novel Visions of Gerard. Some of Kerouac's poetry was written in French, and in letters written to friend Allen Ginsberg towards the end of his life, he expressed his desire to speak his parents' native tongue again. Recently, it was discovered that Kerouac first started writing On the Road in French, a language in which he also wrote two unpublished novels. The writings are in dialectal Quebec French.

There were few African-Americans in Lowell, so the young Kerouac was not raised in an environment of racial hatred as many were at the time, though he was exposed to great degree of anti-Semitism, a movement that was on the rise in 1930s America. Kerouac once recalled to Ted Berrigan, in an interview with the Paris Review, an incident from the 1940s, in which his mother and father were walking together in a Jewish neighborhood in the Lower East Sidemarker of New York, saying "And here comes a whole bunch of rabbis walking arm in arm... teedah- teedah - teedah... and they wouldn't part for this Christian man and his wife. So my father went POOM! and knocked a rabbi right in the gutter.... Now if you don't like that, Berrigan, that's the history of my family."

Kerouac's athletic prowess led him to become a 100-meter hurdler on his local high school track team, and his skills as a running back in American football earned him scholarship offers from Boston Collegemarker, Notre Damemarker and Columbia University. He entered Columbia University after spending a year at Horace Mann Schoolmarker, where he earned the requisite grades to matriculate to Columbia. Kerouac cracked a tibia playing football during his freshman season, and he argued constantly with coach Lou Little who kept him benched. While at Columbia, Kerouac wrote several sports articles for the student newspaper, the Columbia Daily Spectator. He also studied at The New School.

Early adulthood

When his football career at Columbia soured, especially because of conflict withLou Little, Kerouac dropped out of the university. He continued to live for a period on New York City's Upper West Sidemarker with his girlfriend, Edie Parker. It was during this time that he met the people—now famous—with whom he would always be associated, the subjects injected into many of his novels: the so-called Beat Generation, including Allen Ginsberg, Neal Cassady, John Clellon Holmes, Herbert Huncke and William S. Burroughs. Kerouac joined the United States Merchant Marine in 1942, and in 1943 joined the United States Navy, but was honorably discharged during World War II on psychiatric grounds (he was of "indifferent character" with a diagnosis of "schizoid personality").

In 1944, Kerouac was arrested as a material witness in the murder of David Kammerer, who had been stalking Kerouac's friend Lucien Carr since Carr was a teenager in St. Louis. (William Burroughs was himself a native of St. Louis, and it was through Carr that Kerouac came to know both Burroughs and Allen Ginsberg.) When Kammerer's obsession with Carr turned aggressive, Carr stabbed him to death and turned to Kerouac for help. Together, they disposed of evidence. As advised by Burroughs, they turned themselves in. Kerouac's father refused to pay his bail. Kerouac then agreed to marry Edie Parker if she'd pay it. Their marriage was annulled a year later, and Kerouac and Burroughs briefly collaborated on a novel about the Kammerer killing entitled And the Hippos Were Boiled in Their Tanks. Though the book was not published during the lifetimes of either Kerouac or Burroughs, an excerpt eventually appeared in Word Virus: A William S. Burroughs Reader (and as noted below, the novel was finally published late 2008). Kerouac also later wrote about the killing in his novel Vanity of Duluoz.

Later, he lived with his parents in the Ozone Parkmarker neighborhood of Queensmarker, after they, too, moved to New York. He wrote his first novel, The Town and the City, and, according to at least John Clellon Holmes, began the famous On the Road around 1949 while living there. His friends jokingly called him "The Wizard of Ozone Park," a spoof of Thomas Edison's "Wizard of Menlo Park" nickname while simultaneously alluding to the title character of the film The Wizard of Oz and a shortened form of the word "ozone."

Early career 1950–1957

Kerouac tended to write constantly, carrying a notebook with him everywhere. Letters to friends and family members tended to be long and rambling, including great detail about his daily life and thoughts. Prior to becoming a writer, he tried a varied list of careers. He was a sports reporter for The Lowell Sun; a temporary worker in construction and food service; a United States Merchant Marine and he joined the United States Navy twice.

The Town and the City was published in 1950 under the name "John Kerouac," and, though it earned him a few respectable reviews, the book sold poorly. Heavily influenced by Kerouac's reading of Thomas Wolfe, it reflects on the generational epic formula and the contrasts of small town life versus the multi-dimensional, and larger, city. The book was heavily edited by Robert Giroux; some 400 pages were taken out.

For the next six years, Kerouac wrote constantly. Building upon previous drafts tentatively titled "The Beat Generation" and "Gone on the Road," Kerouac completed what is now known as On the Road in April 1951 while living at 454 West 20th Street in Manhattan with his second wife, Joan Haverty. The book was largely autobiographical and describes Kerouac's road-trip adventures across the United States and Mexico with Neal Cassady in the late-40's, as well as his relationships with other Beat writers and friends. He completed the first version of the novel during a three-week extended session of spontaneous confessional prose. Before beginning, Kerouac cut sheets of tracing paper into long strips, wide enough for a type-writer, and taped them together into a long roll he then fed into the machine. This allowed him to type continuously without the interruption of reloading pages. The resulting manuscript contained no chapter or paragraph breaks and was much more explicit than what would eventually be printed. Though "spontaneous," Kerouac had prepared long in advance before beginning to write. In fact, according to his Columbia professor and mentor Mark Van Doren, he had outlined much of the work in his journals over the several preceding years.

Though the work was completed quickly, Kerouac had a long and difficult time finding a buyer. Publishers rejected the manuscript due to its experimental writing style and its sympathetic tone towards minorities and marginalized social groups of post-War America. Many editors were also uncomfortable with the idea of publishing a book that contained what were, for the era, graphic descriptions of drug-use and homosexual behavior, a move that could result in obscenity charges being filed, a fate that later befell Burroughs' Naked Lunch and Ginsberg's Howl.

In late 1951, Joan Haverty left and divorced Kerouac while pregnant. In February 1952, she gave birth to Kerouac's only child Jan Kerouac, though he refused to acknowledge her as his own until a blood test confirmed it 9 years later. For the next several years Kerouac continued writing and traveling, taking extensive trips throughout the U.S. and Mexico and often fell into bouts of depression and heavy drug and alcohol use. During this period he finished drafts for what would become 10 more novels, including The Subterraneans, Doctor Sax, Tristessa, and Desolation Angels, which chronicle many of the events of these years.

In 1954, Kerouac discovered Dwight Goddard's A Buddhist Bible at the San Josemarker Library, which marked the beginning of his immersion into Buddhism. In 1955 Kerouac wrote a biography of Siddhartha Gautama, entitled Wake Up, which was unpublished during his lifetime but eventually serialised in Tricycle: The Buddhist Review, 1993–95. It was published by Viking in September 2008.

In 1957, after being rejected by several other firms, On the Road was finally purchased by Viking Press, which demanded major revisions prior to publication. Many of the more sexually explicit passages were removed and, fearing libel suits, pseudonyms were used for the books "characters." These revisions have often led to criticisms as to the actual spontaneity of Kerouac's style.

Later career 1957–1969

In July 1957, Kerouac moved to a small house at 1418½ Clouser Avenue in the College Park section of Orlando, Floridamarker, to await the release of On the Road. A few weeks later, the review appeared in the New York Times proclaiming Kerouac the voice of a new generation. Kerouac was hailed as a major American writer. His friendship with Allen Ginsberg, William S. Burroughs and Gregory Corso, among others, became a notorious representation of the Beat Generation. His fame would come as an unmanageable surge that would ultimately be his undoing. Kerouac's novel is often described as the defining work of the post-World War II Beat Generation and Kerouac came to be called "the king of the beat generation," a term that he never felt comfortable with. He once observed, "I'm not a beatnik, I'm a Catholic."

The success of On the Road brought Kerouac instant fame. He soon found he had little taste for celebrity status. After nine months, he no longer felt safe in public. He was badly beaten by three men outside the San Remo Bar in New York one night. Neal Cassady, possibly as a result of his new notoriety as the central character of the book, was set up and arrested for selling marijuana.

Publishers were eager for a quick "sequel" to capitalize on On the Road's success. In response, Kerouac chronicled parts of his own experience with Buddhism, as well as some of his adventures with Gary Snyder and other San Franciscomarker-area poets, in The Dharma Bums, set in Californiamarker and Washingtonmarker and published in 1958. It was written in Orlando between November 26 and December 7, 1957. To begin writing Dharma Bums, Kerouac typed onto a ten-foot length of teletype paper, to avoid interrupting his flow for paper changes, as he had done six years previously for On the Road.

Kerouac was demoralized by criticism of Dharma Bums from such respected figures in the American field of Buddhism as Zen teacher Ruth Fuller Sasaki and Alan Watts. He wrote to Snyder, referring to a meeting with D. T. Suzuki, that "even Suzuki was looking at me through slitted eyes as tho I was a monstrous imposter." He passed up the opportunity to reunite with Snyder in California, and explained to Whalen, "I'd be ashamed to confront you and Gary now I've become so decadent and drunk and dontgiveashit. I'm not a Buddhist any more."

Kerouac also wrote and narrated a "Beat" movie entitled Pull My Daisy in 1959. Originally to be called "The Beat Generation," the title was changed at the last moment when MGM released a film by the same name which sensationalized "beatnik" culture.

John Antonelli's 1985 documentary Kerouac, the Movie begins and ends with footage of Kerouac reading from On the Road and Visions of Cody on The Tonight Show with Steve Allen in 1957. Kerouac appears intelligent but shy. "Are you nervous?" asks Steve Allen. "Naw," says Kerouac, sweating and fidgeting.

Kerouac developed something of a friendship with the scholar Alan Watts (cryptically named Arthur Wayne in Kerouac's novel Big Sur, and Alex Aums in Desolation Angels). Kerouac moved to Northport, New Yorkmarker in March 1958, six months after releasing On the Road, to care for his aging mother Gabrielle and to hide from his new-found celebrity status.


In his later life, Kerouac was a politically conservative Catholic, especially under the influence of his mother and father. He supported the Vietnam War and was friendly with William F. Buckley.


Kerouac died on October 21, 1969 at St. Anthony's Hospital in St. Petersburgmarker, Floridamarker, one day after being rushed with severe abdominal pain from his St. Petersburg home by ambulance.
His death, at the age of 47, resulted from an internal hemorrhage (bleeding esophageal varices) caused by cirrhosis, the result of a lifetime of heavy drinking. Kerouac is buried in his home town of Lowellmarker and was honored posthumously with a Doctor of Letters degree from his hometown's University of Massachusetts Lowell on June 2, 2007.

At the time of his death, he was living with his third wife, Stella Sampas Kerouac, and his mother, Gabrielle. Kerouac's mother inherited most of his estate. When she died in 1973, Stella inherited the rights to his works under a purported will. Family members challenged the will and, on July 24, 2009, a judge in Pinellas County, Floridamarker ruled that the will of Gabrielle Kerouac was a forgery.

In 2007, to coincide with the 50th anniversary of On the Road's publishing, Viking issued two new editions: On the Road: The Original Scroll, and On the Road: 50th Anniversary Edition. By far the more significant is Scroll, a transcription of the original draft typed as one long paragraph on sheets of tracing paper which Kerouac taped together to form a scroll. The text is more sexually explicit than Viking allowed to be published in 1957, and also uses the real names of Kerouac's friends rather than the fictional names he later substituted. Indianapolis Colts owner Jim Irsay paid $2.43 million for the original scroll and is allowing an exhibition tour that will conclude at the end of 2009. The other new issue, 50th Anniversary Edition, is a reissue of the 40th anniversary issue under an updated title.

In March 2008, Penguin Books announced that the Kerouac/Burroughs manuscript, And the Hippos Were Boiled in Their Tanks would be published for the first time in November 2008. Previously, a fragment of the manuscript had been published in the Burroughs compendium, Word Virus. Grove Press published the first American edition of the novel on Nov. 1, 2008.

Works, style, and innovations


Kerouac is generally considered to be the father of the Beat movement, although he actively disliked such labels, and, in particular, regarded the subsequent Hippie movement with some disdain. Kerouac's method was heavily influenced by the prolific explosion ofJazz, especially the Bebop genre established by Charlie Parker, Dizzy Gillespie, Miles Davis, Thelonious Monk, and others. Later, Kerouac would include ideas he developed in hisBuddhist studies, beginning with Gary Snyder. He called this style Spontaneous Prose, a literary technique akin to stream of consciousness. Although Kerouac’s prose was spontaneous and purportedly without edits, he primarily wrote autobiographical novels (or Roman à clef) based upon actual events from his life and the people with whom he interacted.Many of his books exemplified this approach including On the Road, Visions of Cody, Visions of Gerard, Big Sur, and The Subterraneans. The central features of this writing method were the ideas of breath (borrowed from Jazz and from Buddhist meditation breathing), improvising words over the inherent structures of mind and language, and not editing a single word (much of his work was edited by Donald Merriam Allen, a major figure in Beat Generation poetry who also edited some of Ginsberg's work as well). Connected with his idea of breath was the elimination of the period, preferring to use a long, connecting dash instead. As such, the phrases occurring between dashes might resemble improvisational jazz licks. When spoken, the words might take on a certain kind of rhythm, though none of it pre-meditated.

Kerouac greatly admired Gary Snyder, many of whose ideas influenced him. The Dharma Bums contains accounts of a mountain climbing trip Kerouac took with Snyder, and also whole paragraphs from letters Snyder had written to Kerouac. While living with Snyder outside Mill Valley, Californiamarker in 1956, Kerouac was working on a book centering around Snyder, which he was thinking of calling Visions of Gary. (This eventually became Dharma Bums, which Kerouac described as "mostly about [Snyder].") That summer, Kerouac took a job as a fire lookout on Desolation Peak in the North Cascades in Washington, after hearing Snyder's and Philip Whalen's accounts of their own lookout stints. Kerouac described the experience in his novel Desolation Angels.

He would go on for hours, often drunk, to friends and strangers about his method. Allen Ginsberg, initially unimpressed, would later be one of its great proponents, and indeed, he was apparently influenced by Kerouac's free flowing prose method of writing in the composition of his masterpiece "Howl." It was at about the time that Kerouac wrote The Subterraneans that he was approached by Ginsberg and others to formally explicate exactly how he wrote it; how he did Spontaneous Prose. Among the writings he set down specifically about his Spontaneous Prose method, the most concise would be Belief and Technique for Modern Prose, a list of thirty "essentials."

  1. Scribbled secret notebooks, and wild typewritten pages, for your own joy
  2. Submissive to everything, open, listening
  3. Try never get drunk outside your own house
  4. Be in love with your life
  5. Something that you feel will find its own form
  6. Be crazy dumbsaint of the mind
  7. Blow as deep as you want to blow
  8. Write what you want bottomless from bottom of the mind
  9. The unspeakable visions of the individual
  10. No time for poetry but exactly what is
  11. Visionary tics shivering in the chest
  12. In tranced fixation dreaming upon object before you
  13. Remove literary, grammatical and syntactical inhibition
  14. Like Proust be an old teahead of time
  15. Telling the true story of the world in interior monolog
  16. The jewel center of interest is the eye within the eye
  17. Write in recollection and amazement for yourself
  18. Work from pithy middle eye out, swimming in language sea
  19. Accept loss forever
  20. Believe in the holy contour of life
  21. Struggle to sketch the flow that already exists intact in mind
  22. Don't think of words when you stop but to see picture better
  23. Keep track of every day the date emblazoned in yr morning
  24. No fear or shame in the dignity of yr experience, language & knowledge
  25. Write for the world to read and see yr exact pictures of it
  26. Bookmovie is the movie in words, the visual American form
  27. In praise of Character in the Bleak inhuman Loneliness
  28. Composing wild, undisciplined, pure, coming in from under, crazier the better
  29. You're a Genius all the time
  30. Writer-Director of Earthly movies Sponsored & Angeled in Heaven

Some believed that at times Kerouac's writing technique did not produce lively or energetic prose. Truman Capote famously said about Kerouac's work, "That's not writing, it's typing." Despite such criticism, it should be kept in mind that what Kerouac said about writing and how he wrote are sometimes seen to be separate. According to Carolyn Cassady and other people who knew him he rewrote and rewrote. Some claim his own style was in no way spontaneous. However it should be taken into account that throughout most of the '50s, Kerouac was constantly trying to have his work published, and consequently he often revised and re-arranged manuscripts in an often futile attempt to interest publishers, as is clearly documented in his collected letters (which are in themselves wonderful examples of his style). The Subterraneans and Visions of Cody are possibly the best examples of Kerouac's free-flowing spontaneous prose method.

Although the body of Kerouac's work has been published in English, recent research has suggested that, aside from already known correspondence and letters written to friends and family, he also wrote unpublished works of fiction in French. A manuscript entitled Sur le Chemin (On the road) completed in five days in Mexico during December 1952 is a telling example of Kerouac's attempts at writing in Joual, a dialect typical of the French-Canadian working class of the time, which can be summarized as a form of expression utilising both old patois and modern French mixed with modern English words (windshield being a modern English expression used casually by some French Canadians even today). Set in 1935, mostly on the American east coast, The short manuscript (50 pages), explores some of the recurring themes of Kerouac's literature by way of a narrative very close to, if not identical to the spoken word. It tells the story of a group of men who agree to meet in New York, including a young 13-year-old Kerouac whom he refers to as Ti-Jean. Ti-Jean and his father Leo (Kerouac's father's real name) leave Boston by car, traveling to assist friends looking for a place to stay in the city. The story actually follows two cars and their passengers, one driving out of Denver and the other from Boston until they eventually meet in a dingy bar in New York's Chinatown. In it, Kerouac's "French" is written in a form which has little regard for grammar or spelling, relying often on phonetics in order to render an authentic reproduction of his French-Canadian vernacular. Kerouac does not only use Joual freely but frequently confuses grammatical word genders and verb tenses, a phenomenon typical to the francophone speech pattern of the assimilated French Canadians of the American east coast at the time. Even though this work shares the same title as one of his best known English novels, it is rather the original French version of a short text that would later become Old bull in the Bowery (also unpublished) once translated to English prose by Kerouac himself. Sur le Chemin is Kerouac's second known French manuscript, the first being La nuit est ma Femme written in early 1951 and completed a few days before he began the original English version of On the Road.


Kerouac's technique was heavily influenced by Jazz, especially Bebop, and later, Buddhism, as well as the famous "Joan Anderson letter" authored by Neal Cassady.

The Diamond Sutra was the most important Buddhist text for Kerouac, and "probably one of the three or four most influential things he ever read." In 1955, he began an intensive study of this sutra, in a repeating weekly cycle, devoting one day to each of the six Pāramitās, and the seventh to the concluding passage on Samādhi. This was his sole reading on Desolation Peak, and he hoped by this means to condition his mind to emptiness, and possibly to have a vision.


Kerouac is considered by some as the "King of the Beats," a title with which Kerouac himself was deeply uncomfortable.

Kerouac's plainspeak manner of writing prose, as well as his nearly long-form free verse style of novelistic "neologism," inspired countless beat writers and neo-beat writers and artists, such as painter George Condo, as well as poets and philosophers such as Roger Craton and filmmaker John McNaughton, etc.

In 1974 the Jack Kerouac School of Disembodied Poetics was opened in his honor by Allen Ginsberg and Anne Waldman at Naropa Universitymarker, a private Buddhist University in Boulder, Coloradomarker. The school offers an MFA in Writing & Poetics, a BA in Writing and Literature, a Summer Writing Program, and MFA in Creative Writing. From 1978 to 1992, Joy Walsh published 28 issues of a magazine devoted to Kerouac, Moody Street Irregulars.

In 1997, the house on Clouser Avenue where The Dharma Bums was written was purchased by a newly formed non-profit group entitled The Jack Kerouac Writers in Residence Project of Orlando, Inc. This group continues to this day to provide aspiring writers to live in the same house Kerouac was inspired in, with room and board covered, for three months.

In 2007, Kerouac was awarded a posthumous honorary degree from the University of Massachusetts Lowellmarker.

In 1987 the band 10,000 Maniacs released the album In My Tribe, which included the song Hey Jack Kerouac, written by Robert Buck and Natalie Merchant. The song became one of the band's best known works.

Kerouac is mentioned in the Seth James song, "Two for Tuesday," on his 2009 album That Kind of Man.

Kerouac is mentioned in the Our Lady Peace song, "All for You," on their 2002 album Gravity.

Kerouac, other beat writers, and the subject matter of beat literature (especially blues, jazz and mysticism) have all had a significant influence on the work of Van Morrison. His 1991 album Hymns to the Silence, contains the song On Hyndford Street which includes: '...reading Mr Jelly Roll and Big Bill Broonzy and 'Really the Blues' by Mezz Mezzrow and 'Dharma Bums' by Jack Kerouac over and over again.' On the 1982 album Beautiful Vision, the song "Cleaning Windows" includes: '...I heard Leadbelly and Blind Lemon on the street where I was born. Sonny Terry, Brownie McGhee, Muddy Waters singing 'I'm a rolling stone'. I went home and read my Christmas Humphreys book on Zen. Curiosity killed the cat, Kerouac's Dharma Bums and On the Road.'

In 2009, a movie entitled "One Fast Move or I'm Gone - Kerouac's Big Sur" was released. It chronicles the time in Kerouac's life which led to his novel Big Sur. The movie documents various actors, writers, artists, and close friends giving their insight into the book. The movie also sheds light on the real people and places on which Kerouac based his characters and settings, including the cabin in Bixby Canyon. An album was released to accompany the movie, titled "One Fast Move or I'm Gone". If features Benjamin Gibbard (Death Cab for Cutie) and Jay Farrar (Son Volt) who perform songs based on Kerouac's Big Sur.


Studio albums

Compilation albums


  2. Moore, D., 'The Breton Traveller', in Wills, D. (ed.) Beatdom Vol. 4 (Mauling Press: Dundee, 2009)
  3. Deleuze and Guattari (1972) Anti-Oedipus pp. 305, 144
  4. Miles 1998, pg. 8
  5. Berrigan 1968, pg. 14
  7. Suiter 2002, pg. 237
  8. Berrigan 1968, pg. 19–20
  9. Suiter 2002, pg. 233
  10. Suiter 2002, pp. 242–243
  11. American Museum of Beat Art
  12. "Judge Rules Kerouac Will a Forgery" Associated Press (July 28, 2009)
  13. Suiter 2002, pg. 186
  14. Suiter 2002, pg. 189
  15. Suiter 2002, pg. 228
  16. He refers to it in a letter addressed to Neil Cassady (who is commonly known as his inspiration for the character of Dean Moriarty) written on January 10, 1953
  17. The novel starts: Dans l'mois d'Octobre 1935, y'arriva une machine du West, de Denver, sur le chemin pour New York. Dans la machine était Dean Pomeray, un soûlon; Dean Pomeray Jr., son ti fils de 9 ans et Rolfe Glendiver, son step son, 24. C'était un vieille Model T Ford, toutes les trois avaient leux yeux attachez sur le chemin dans la nuit à travers la windshield.
  18. Suiter 2002, pg. 191
  19. Suiter 2002, pg. 210

Further reading

  • Amburm, Ellis. Subterranean Kerouac: The Hidden Life of Jack Kerouac. St. Martin's Press, 1999. ISBN 0-312-20677-1
  • Amram, David. Offbeat: Collaborating with Kerouac. Thunder's Mouth Press, 2002.ISBN 1-56025-362-2
  • Bartlett, Lee (ed.) The Beats: Essays in Criticism. London: McFarland, 1981.
  • Beaulieu, Victor-Lévy. Jack Kerouac: A Chicken Essay. Coach House Press, 1975.
  • Brooks, Ken. The Jack Kerouac Digest. Agenda, 2001.
  • Cassady, Carolyn. Neal Cassady Collected Letters, 1944-1967. Penguin, 2004. ISBN 0-14-200217-8
  • Cassady, Carolyn. Off the Road: Twenty Years with Cassady, Kerouac and Ginsberg. Black Spring Press, 2007.
  • Challis, Chris. Quest for Kerouac. Faber & Faber, 1984.
  • Charters, Ann. Kerouac. San Francisco: Straight Arrow Books, 1973.
  • Charters, Ann (ed.) The Portable Beat Reader. New York: Penguin, 1992.
  • Charters, Ann (ed.) The Portable Jack Kerouac. New York: Penguin, 1995.
  • Christy, Jim. The Long Slow Death of Jack Kerouac. ECW Press, 1998.
  • Clark, Tom. Jack Kerouac. Harcourt, Brace, Jovanovich, 1984.
  • Coolidge, Clark. Now It's Jazz: Writings on Kerouac & the Sounds. Living Batch, 1999.
  • Cook, Bruce. The Beat Generation. Charles Scribner's Sons, 1971. ISBN 0-684-12371-1
  • Dagier, Patricia; Quéméner, Hervé. Jack Kerouac: Au Bout de la Route ... La Bretagne. An Here, 1999.
  • Dagier, Patricia ; Quéméner Hervé. Jack Kerouac, Breton d'Amérique. Editions Le Télégramme, 2009.
  • Edington, Stephen. Kerouac's Nashua Roots. Transition, 1999.
  • Ellis, R.J., Liar! Liar! Jack Kerouac - Novelist. Greenwich Exchange, 1999.
  • French, Warren. Jack Kerouac. Boston: Twayne Publishers, 1986.
  • Gaffié, Luc. Jack Kerouac: The New Picaroon. Postillion Press, 1975.
  • Giamo, Ben. "Kerouac, The Word and The Way". Southern Illinois University Press, 2000.
  • Gifford, Barry. "Kerouac's Town". Creative Arts, 1977.
  • Gifford, Barry; Lee, Lawrence. "Jack's Book: An Oral Biography of Jack Kerouac". St. Martin's Press, 1978. ISBN 0-14-005269-0
  • Goldstein, N.W., "Kerouac's On the Road." Explicator 50.1. 1991.
  • Haynes, Sarah, Exploration of Jack Kerouac's Buddhism:Text and Life"
  • Heller, Christine Jack Kerouac and Gary Snyder: Chasing Zen Clouds
  • Hemmer, Kurt. "Encyclopedia of Beat Literature: The Essential Guide to the Lives and Works of the Beat Writers". Facts on File, Inc., 2007.
  • Hipkiss, Robert A., "Jack Kerouac: Prophet of the New Romanticism". Regents Press, 1976.
  • Holmes, John Clellon. "Visitor: Jack Kerouac in Old Saybrook". tuvoti, 1981.
  • Holmes, John Clellon. "Gone In October: Last Reflections on Jack Kerouac". Limberlost, 1985.
  • Holton, Robert. "On the Road: Kerouac's Ragged American Journey". Twayne, 1999.
  • Hrebeniak, Michael. "Action Writing: Jack Kerouac"s Wild Form," Carbondale IL., Southern Illinois UP, 2006.
  • Huebel, Harry Russell. "Jack Kerouac". Boise State Universitymarker, 1979. available online
  • Hunt, Tim. "Kerouac's Crooked Road". Hamden: Archon Books, 1981.
  • Jarvis, Charles. "Visions of Kerouac". Ithaca Press, 1973.
  • Johnson, Joyce. "Minor Characters: A Young Woman's Coming-Of-Age in the Beat Orbit of Jack Kerouac". Penguin Books, 1999.
  • Johnson, Joyce. "Door Wide Open: A Beat Love Affair in Letters, 1957-1958". Viking, 2000.
  • Johnson, Ronna C., "You're Putting Me On: Jack Kerouac and the Postmodern Emergence". College Literature. 27.1 2000.
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