Just in time for the scheduled May premiere of the first
adaptation of Jack Kerouac's On the Road at the Cannes Film
Festival, Penguin books is reissuing Jack's Book: An Oral Biography of
Jack Kerouac by Barry Gifford and Lawrence Lee with a short new
introductory essay by Gifford. The 1978
biography combines commentary from the author's friends and lovers, the famous
and the notorious, most of whom had found their way thinly disguised into
Kerouac's published work under pseudonyms with connective tissue provided by
Gifford and Lee. If Kerouac's books
taken altogether form one long narrative ("one vast book") of his
life as he saw it (an idea he often seems to have expressed in conversation),
Jack's Book creates a portrait of that life as those around
him saw it.
Gifford points out that when Allen Ginsberg read the galley's
of the book his first thought was: "My god it's just like
Rashomon--everybody lies and the truth comes out." The idea that people view the world
subjectively and truth is relative is not particularly new, nor is the idea
that something closer to the objective truth can emerge from the collection of
these subjective truths. These people
all knew Kerouac, but in a very real sense they knew the Kerouac they wanted
him to be. Just as he created a mythic
figure out of a womanizing, petty car thief, they created a larger than life
genius tormented by demons, a dark soul too beautiful for the world. This would
seem to be the collective truth that emerges from those who knew him; readers
will have to come to their own conclusions.
Gifford also points out that this book not intended as a
definitive biography. Much of his
life—the early days in Lowell and the last years--is covered very sketchily. There is some conversation with his boyhood
friends, but nothing in the kind of detail devoted to his arrival in New York
to attend Columbia University and his friendship with Neal Cassady. In fact, there are long passages where Cassady
is really the center of attention and Kerouac almost forgotten. To the extent that Kerouac turned Cassady
into one of the iconic figures of 20th century literature the
attention is certainly merited, but it does reinforce the notion that Jack's
Book is something other than the last word on the life of Jack
Kerouac.
What the book does best is provide insights into what a wide
variety of people saw in him. John
Clellon Holmes, author of Go calls Kerouac somewhat
paradoxically "a terribly simple and conventional genius." Musician David Amram remembers Kerouac
telling him "a writer should be like a shadow, just be part of the
sidewalk like a shadow."Gore Vidal, obviously less taken with Kerouac
talks about his bisexuality and claims he "was not above using it, and his
physical charms to get his way." Ginsberg saw him as more Puritanical
about his sexuality. William Burroughs
and Gregory Corso describe the way he wrote, intense periods of composition
with the words seemingly pouring out of him in a Thomas Wolfe kind of rhapsody.
Some people object to the way they were portrayed in his
writing, taking the opportunity to tell their side of the story. It is understandable considering that it has
been very easy for readers to identify most of the real life models for
Kerouac's characters and they are not always pleasing portraits. His publishers were often concerned about the
possibility of legal action as a result of some of the unflattering material. Interestingly,
Gifford and Lee provide an appendix identifying the fictional counterparts of
many of those who appear in the book for.
Jack's
Book is an impressive picture of Kerouac and his relations with those
around him. He was many things to many people, but there were few who failed to
be captivated by his dynamism and passion.
While it is probably true that the more familiar a reader is with
Kerouac's work, the more meaningful this book will be, there will as likely be
a good many that will be led to read
those books they have yet to read as a
result of meeting the man who wrote them.
The Kerouac of Jack's Book is much the dark romantic
genius (simple and conventional as that might seem to some) burning as many
ends of life's candle as he could manage.
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