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Summary
Summary
On the Road chronicles Kerouac's years traveling the North American continent-from East Coast to West Coast to Mexico-with his friend Neal Cassady, "a sideburned hero of the snowy West."
Read by Will Patton
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Author Notes
Jack Kerouac was born in Lowell, Massachusetts, in 1922. His first novel, The Town and the City, was published in 1950. He considered all of his "true story novels," including On the Road, to be chapters of "one vast book," his autobiographical Legend of Duluoz.
He died in St. Petersburg, Florida, in 1969 at the age of forty-seven.
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Reviews (4)
Publisher's Weekly Review
Fans of Kerouac get the whole beautiful, groovy deal with this new recording of the radically hip novel that many consider the heart of the Beat movement. Poetic, open and raw, Kerouac's prose lays out a cross-country adventure as experienced by Sal Paradise, an autobiographical character. A writer holed up in a room at his aunt's house, Paradise gets inspired by Dean Moriarty (a character based on Kerouac's friend Neal Cassady) to hit the road and see America. From the moment he gets on the seven train out of New York City, he takes the reader through the highs and lows of hitchhiking, bonding with fellow explorers and opting for beer before food. First published in 1957, Kerouac's perennially hot story continues to express the restless energy and desire for freedom that makes people rush out to see the world. The tale is only improved by Dillon's well-paced, articulate reading as he voices the flow of images and graveled reality of Paradise's search for the edge. (c) Copyright PWxyz, LLC. All rights reserved All rights reserved.
Booklist Review
With writers such as poet Allen Ginsberg, Kerouac founded the Beat movement, and this novel, about a group of the aimless and alienated wandering across the U.S., speaks for ``the Beat generation.'' [BKL S 1 57]
New York Review of Books Review
In 1951, Jack Kerouac feverishly pounded out the first draft of "On the Road" in three weeks on a single huge roll of paper. This believe-it-or-not item earns a place on the heroic roster of spontaneous literary combustions - Stendhal writing "The Charterhouse of Parma" in 52 days, for example. It also stands alongside the image of Jackson Pollock - in the series of photographs taken of him by Hans Namuth just a few months before Kerouac's siege of the typewriter - dripping and flinging and flecking paint on a horizontal canvas, fighting and dancing his work into being. Writing is not usually thought of as excessively physical, which is why some writers feel the need to compensate by racing bulls or whatever, but feeding that 120-foot roll through the typewriter seems like a feat of strength. Most writers merely produce effete works on paper, you might say, but Kerouac went and wrestled with the tree itself. Jack Kerouac at the Seven Arts Cafe in New York, 1959. Contrary to legend, the scroll was not a roll of teletype paper but a series of large sheets of tracing paper that Kerouac cut to fit and taped together, and it is not unpunctuated - merely unparagraphed, which makes a certain physical demand on the reader, who is deprived of the usual rest stops. Also contrary to received ideas, Kerouac by his own admission fueled his work with nothing stronger than coffee. The scroll is slightly longer than the novel as it was finally published, after three subsequent conventionally formatted drafts, in 1957. The biggest immediate difference between the first draft and the finished product, though, is that while we know "On the Road" as a novel - the great novel of the Beat Generation - the scroll is essentially nonfiction, a memoir that uses real names and is far less self-consciously literary. It is a dazzling piece of writing for all of its rough edges, and, stripped of affectations that in the novel can sometimes verge on bathos, as well as of gratuitous punctuation supplied by editors more devoted to rules than to music, it seems much more immediate and even contemporary. In some ways, the differences are minor. "On the Road" in all of its versions is the story of a series of cross-country trips made by Kerouac between 1948 and 1950 - "trips" rather than "travels," because they are all about covering ground, whether by hitchhiking, by bus or by drive-away car. The cardinal points are New York City, Denver and San Francisco, with spikes down to New Orleans, the San Joaquin Valley and finally Mexico. The trips are sometimes motored by impatience - if only the Rockies began on the other side of the Lincoln Tunnel! - but most often Kerouac revels in speed as an ecstatic medium, a way of concentrating as much experience and as many aesthetic and spiritual highs as possible into a week or less. Essential to the whole enterprise is Kerouac's relationship with Neal Cassady (called Dean Moriarty in the novel), who is one of the greatest characters in American literature without any need for imaginative tinkering on the part of the author. A writer sufficiently attuned to an idea can find all the materials required for its fulfillment lying around in the street. Kerouac, a working-class French Canadian boy from Massachusetts who won a football scholarship to Columbia but decided before long that he was less interested in sports than in writing, had given evidence of his obsession with the road as early as 1940. Meeting Neal Cassady, though, made it possible for him to write the mid-20th century's answer to "Huckleberry Finn." Cassady, with his need to move, his vast yahooing enthusiasm and his insatiable priapic drive, could have stepped out of Western legend. That he compulsively stole cars instead of guiding wagon trains and achieved enlightenment in bebop clubs rather than medicine lodges was merely a function of history. But he wasn't a primitive, and was rather more than a found object. He read books and wrote sometimes spectacular letters, and he was more on top of the Zeitgeist than his big-city admirers. He was a born hero and a euphoric lover of the world, who gave the Beats their soul, saving them - if just barely - from choking on their own mysticism. In "On the Road" he is the love object, as Kerouac chases him from one coast to the other, and as well as being Kerouac's Huck he is also his Virgil and his Dr. Johnson. He is the book's biggest voice, a matter much more apparent in the scroll, where the voice is allowed to wail and swoop and riff without the commas that hobble it in the novel. For example: "Jack when I was working for the New Era Laundry in Los Angeles 1945 I made a trip to Indianapolis Indiana for the express purpose of seeing the Memorial Day races hitch hiking by day and stealing cars by night to make time. I was coming thru one of these towns we passed with a set of license plates under my shirt when a sheriff picked me up on suspicion." It may not be immediately apparent from a brief excerpt out of context how the lack of punctuation replicates the speaking voice - the frantic rush of 16th-notes that will finally be punctuated halfway down the page by a thunderous "Yes!" or "Yass!" Not only did the editors of the novel add six unnecessary commas, but Kerouac himself can be charged with interpolating one sentence, two phrases, and an adjective (the sheriff is "nosy," he "accosted" Moriarty "on the main drag," and the plates are somehow intended for legitimate use) that groom and housebreak the character as well as his jazz. Besides changing all the names (arguably necessary for legal reasons) and cutting or veiling the depictions of sex (very necessary in 1957), Kerouac altered the scroll to make it a novel mostly by garnishing it with sprigs and drizzles of literature. One of the most famous passages in the novel appears here - the ellipses are Kerouac's - as "the only people that interest me are the mad ones, the ones who are mad to live, mad to talk, desirous of everything at the same time, the ones that never yawn or say a commonplace thing ... but burn, burn, burn like roman candles across the night." In the novel he inserts "mad to be saved," while the roman candles become "fabulous" and they are "exploding like spiders across the stars and in the middle you see the blue centerlight pop and everybody goes 'Awww!'" Concerned that he might not have sufficiently overegged the pudding, Kerouac then adds, "What did they call such young people in Goethe's Germany?" None of this sort of eager-beaver poeticizing litters the scroll, which just keeps its head down and runs, and is all the more authentically literary thereby. In the scroll the use of the word "holy" must be 80 percent less than in the novel, and psalmodic references to the author's unique generation are down by at least two-thirds; uses of the word "beat," for that matter, clearly favor the exhausted over the beatific. While such things may not assist the Kerouac legend or brand name, they help the book immeasurably. The scroll clarifies the book's connection to the past - to Mark Twain and tramp narratives and Woody Guthrie and cowboy sagas - and underlines the features it shares with its nearest contemporaneous cultural relative, Robert Frank's great photographic road book "The Americans." The novel that "On the Road" became was inarguably the book that young people needed in 1957, but the sparse and unassuming scroll is the living version for our time. Luc Sante is the author of, most recently, "Kill All Your Darlings: Pieces 1990-2005" and the editor and translator of Félix Fénéon's "Novels in Three Lines."
Library Journal Review
Who hasn't wished to be ``on the road,'' free from daily responsibilities, crossing vast geographical distances, preoccupied largely with sex, music, alcohol, and conversation with friends? Kerouac carved a place in American literature by capturing that common longing with his characters Sal and Dean and their intermittent, rambling trips throughout the Western United States and Mexico. On the Road is an excellent choice for the audio format, since Kerouac's use of language seems even richer when the words are spoken aloud. Narrator David Carridine's nonchalant manner is a perfect match to the work's tone. A necessary addition to most collections. Be aware, however, that this is a reissue of a 1986 recording.-- Jeanne P. Leader, Western Nebraska Community Coll. Lib., Scottsbluff (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Excerpts
Excerpts
part one 1 I first met Dean not long after my wife and I split up. I had just gotten over a serious illness that I won't bother to talk about, except that it had something to do with the miserably weary split-up and my feeling that everything was dead. With the coming of Dean Moriarty began the part of my life you could call my life on the road. Before that I'd often dreamed of going West to see the country, always vaguely planning and never taking off. Dean is the perfect guy for the road because he actually was born on the road, when his parents were passing through Salt Lake City in 1926, in a jalopy, on their way to Los Angeles. First reports of him came to me through Chad King, who'd shown me a few letters from him written in a New Mexico reform school. I was tremendously interested in the letters because they so naively and sweetly asked Chad to teach him all about Nietzsche and all the wonderful intellectual things that Chad knew. At one point Carlo and I talked about the letters and wondered if we would ever meet the strange Dean Moriarty. This is all far back, when Dean was not the way he is today, when he was a young jailkid shrouded in mystery. Then news came that Dean was out of reform school and was coming to New York for the first time; also there was talk that he had just married a girl called Marylou. One day I was hanging around the campus and Chad and Tim Gray told me Dean was staying in a cold-water pad in East Harlem, the Spanish Harlem. Dean had arrived the night before, the first time in New York, with his beautiful little sharp chick Marylou; they got off the Greyhound bus at 50th Street and cut around the corner looking for a place to eat and went right in Hector's, and since then Hector's cafeteria has always been a big symbol of New York for Dean. They spent money on beautiful big glazed cakes and creampuffs. All this time Dean was telling Marylou things like this: "Now, darling, here we are in New York and although I haven't quite told you everything that I was thinking about when we crossed Missouri and especially at the point when we passed the Boon ville reformatory which reminded me of my jail problem, it is absolutely necessary now to postpone all those leftover things concerning our personal lovethings and at once begin thinking of specific worklife plans . . ." and so on in the way that he had in those early days. I went to the cold-water flat with the boys, and Dean came to the door in his shorts. Marylou was jumping off the couch; Dean had dispatched the occupant of the apartment to the kitchen, probably to make coffee, while he proceeded with his love-problems, for to him sex was the one and only holy and important thing in life, although he had to sweat and curse to make a living and so on. You saw that in the way he stood bobbing his head, always looking down, nodding, like a young boxer to instructions, to make you think he was listening to every word, throwing in a thousand "Yeses" and "That's rights." My first impression of Dean was of a young Gene Autry--trim, thin-hipped, blue-eyed, with a real Oklahoma accent--a sideburned hero of the snowy West. In fact he'd just been working on a ranch, Ed Wall's in Colorado, before marrying Marylou and coming East. Marylou was a pretty blonde with immense ringlets of hair like a sea of golden tresses; she sat there on the edge of the couch with her hands hanging in her lap and her smoky blue country eyes fixed in a wide stare because she was in an evil gray New York pad that she'd heard about back West, and waiting like a longbodied emaciated Modigliani surrealist woman in a serious room. But, outside of being a sweet little girl, she was awfully dumb and capable of doing horrible things. That night we all drank beer and pulled wrists and talked till dawn, and in the morning, while we sat around dumbly smoking butts from ashtrays in the gray light of a gloomy day, Dean got up nervously, paced around, thinking, and decided the thing to do was to have Marylou make breakfast and sweep the floor. "In other words we've got to get on the ball, darling, what I'm saying, otherwise it'll be fluctuating and lack of true knowledge or crystallization of our plans." Then I went away. During the following week he confided in Chad King that he absolutely had to learn how to write from him; Chad said I was a writer and he should come to me for advice. Meanwhile Dean had gotten a job in a parking lot, had a fight with Marylou in their Hoboken apartment--God knows why they went there--and she was so mad and so down deep vindictive that she reported to the police some false trumped-up hysterical crazy charge, and Dean had to lam from Hoboken. So he had no place to live. He came right out to Paterson, New Jersey, where I was living with my aunt, and one night while I was studying there was a knock on the door, and there was Dean, bowing, shuffling obsequiously in the dark of the hall, and saying, "Hel-lo, you remember me--Dean Moriarty? I've come to ask you to show me how to write." "And where's Marylou?" I asked, and Dean said she'd apparently whored a few dollars together and gone back to Denver--"the whore!" So we went out to have a few beers because we couldn't talk like we wanted to talk in front of my aunt, who sat in the living room reading her paper. She took one look at Dean and decided that he was a madman. In the bar I told Dean, "Hell, man, I know very well you didn't come to me only to want to become a writer, and after all what do I really know about it except you've got to stick to it with the energy of a benny addict." And he said, "Yes, of course, I know exactly what you mean and in fact all those problems have occurred to me, but the thing that I want is the realization of those factors that should one depend on Schopenhauer's dichotomy for any inwardly realized . . ." and so on in that way, things I understood not a bit and he himself didn't. In those days he really didn't know what he was talking about; that is to say, he was a young jailkid all hung-up on the wonderful possibilities of becoming a real intellectual, and he liked to talk in the tone and using the words, but in a jumbled way, that he had heard from "real intellectuals" --although, mind you, he wasn't so naive as that in all other things, and it took, him just a few months with Carlo Marx to become completely in there with all the terms and jargon. Nonetheless we understood each other on other levels of madness, and I agreed that he could stay at my house till he found a job and furthermore we agreed to go out West sometime. That was the winter of 1947. One night when Dean ate supper at my house--he already had, the parking-lot job in New York--he leaned over my shoulder as I typed rapidly away and said, "Come on man, those girls won't wait, make it fast." I said, "Hold on just a minute, I'll be right with you soon as I finish this chapter," and it was one of the best chapters in the book. Then I dressed and off we flew to New York to meet some girls. As we rode in the bus in the weird phosphorescent void of the Lincoln Tunnel we leaned on each other with fingers waving and yelled and talked excitedly, and I was beginning to get the bug like Dean. He was simply a youth tremendously excited with life, and though he was a con-man, he was only conning because he wanted so much to live and to get involved with people who would otherwise pay no attention to him. He was conning me and I knew it (for room and board and "how-to-write," etc.), and he knew I knew (this has been the basis of our relationship), but I didn't care and we got along fine--no pestering, no catering; we tiptoed around each other like heartbreaking new friends. I began to learn from him as much as he probably learned from me. As far as my work was concerned he said, "Go ahead, everything you do is great." He watched over my shoulder as I wrote stories, yelling, "Yes! That's right! Wow! Man!" and "Phew!" and wiped his face with his handkerchief. "Man, wow, there's so many things to do, so many things to write! How to even begin to get it all down and without modified restraints and all hung-up on like literary inhibitions and grammatical fears . . ." "That's right, man, now you're talking." And a kind of holy lightning I saw flashing from his excitement and his visions, which he described so torrentially that people in buses looked around to see the "overexcited nut." In the West he'd spent a third of his time in the poolhall, a third in jail, and a third in the public library. They'd seen him rushing eagerly down the winter streets, bareheaded, carrying books to the poolhall, or climbing trees to get into the attics of buddies where he spent days reading or hiding from the law. We went to New York--I forget what the situation was, two colored girls--there were no girls there; they were supposed to meet him in a diner and didn't show up. We went to his parking lot where he had a few things to do--change his clothes in the shack in back and spruce up a bit in front of a cracked mirror and so on, and then we took off. And that was the night Dean met Carlo Marx. A tremendous thing happened when Dean met Carlo Marx. Two keen minds that they are, they took to each other at the drop of a hat. Two piercing eyes glanced into two piercing eyes--the holy con-man with the shining mind, and the sorrowful poetic con-man with the dark mind that is Carlo Marx. From that moment on I saw very little of Dean, and I was a little sorry too. Their energies met head-on, I was a lout compared, I couldn't keep up with them. The whole mad swirl of everything that was to come began then; it would mix up all my friends and all I had left of my family in a big dust cloud over the American Night. Carlo told him of Old Bull Lee, Elmer Hassel, Jane: Lee in Texas growing weed, Hassel on Riker's Island, Jane wandering on Times Square in a benzedrine hallucination, with her baby girl in her arms and ending up in Bellevue. And Dean told Carlo of unknown people in the West like Tommy Snark, the clubfooted poolhall rotation shark and cardplayer and queer saint. He told him of Roy Johnson, Big Ed Dunkel, his boyhood buddies, his street buddies, his innumerable girls and sex-parties and pornographic pictures, his heroes, heroines, adventures. They rushed down the street together, digging everything in the early way they had, which later became so much sadder and perceptive and blank. But then they danced down the streets like dingledodies, and I shambled after as I've been doing all my life after people who interest me, because the only people for me are the mad ones, the ones who are mad to live, mad to talk, mad to be saved, desirous of everything at the same time, the ones who never yawn or say a commonplace thing, but burn, burn, burn like fabulous yellow roman candles exploding like spiders across the stars and in the middle you see the blue centerlight pop and everybody goes "Awww!" What did they call such young people in Goethe's Germany? Wanting dearly to learn how to write like Carlo, the first thing you know, Dean was attacking him with a great amorous soul such as only a con-man can have. "Now, Carlo, let me speak--here's what I'm saying . . .". I didn't see them for about two weeks, during which time they cemented their relationship to fiendish allday-allnight talk proportions. Then came spring, the great time of traveling, and everybody in the scattered gang was getting ready to take one trip or another. I was busily at work on my novel and when I came to the halfway mark, after a trip down South with my aunt to visit my brother Rocco, I got ready to travel West for the very first time. Dean had already left. Carlo and I saw him off at the 34th Street Greyhound station. Upstairs they had a place where you could make pictures for a quarter. Carlo took off his glasses and looked sinister. Dean made a profile shot and looked coyly around. I took a straight picture that made me look like a thirty-year-old Italian who'd kill anybody who said anything against his mother. This picture Carlo and Dean neatly cut down the middle with a razor and saved a half each in their wallets. Dean was wearing a real Western business suit for his big trip back to Denver; he'd finished his first fling in New York. I say fling, but he only worked like a dog in parking lots. The most fantastic parking-lot attendant in the world, he can back a car forty miles an hour into a tight squeeze and stop at the wall, jump out, race among fenders, leap into another car, circle it fifty miles an hour in a narrow space, back swiftly into tight spot, hump, snap the car with the emergency so that you see it bounce as he flies out; then clear to the ticket shack, sprinting like a track star, hand a ticket, leap into a newly arrived car before the owner's half out, leap literally under him as he steps out, start the car with the door flapping, and roar off to the next available spot, arc, pop in, brake, out, run; working like that without pause eight hours a night, evening rush hours and after-theater rush hours, in greasy wino pants with a frayed fur-lined jacket and beat shoes that flap. Now he'd bought a new suit to go back in; blue with pencil stripes, vest and all--eleven dollars on Third Avenue, with a watch and watch chain, and a portable typewriter with which he was going to start writing in a Denver rooming house as soon as he got a job there. We had a farewell meal of franks and beans in a Seventh Avenue Riker's, and then Dean got on the bus that said Chicago and roared off into the night. There went our wrangler. I promised myself to go the same way when spring really bloomed and opened up the land. And this was really the way that my whole road experience began, and the things that were to come are too fantastic not to tell. Yes, and it wasn't only because I was a writer and needed new experiences that I wanted to know Dean more, and because my life hanging around the campus had reached the completion of its cycle and was stultified, but because, somehow in spite of our difference in character, he reminded me of some long-lost brother; the sight of his suffering bony face with the long sideburns and his straining muscular sweating neck made me remember my boyhood in those dye-dumps and swim-holes and riversides of Paterson and the Passaic. His dirty workclothes clung to him so gracefully, as though you couldn't buy a better fit from a custom tailor but only earn it from the Natural Tailor of Natural Joy, as Dean had, in his stresses. And in his excited way of speaking I heard again the voices of old companions and brothers under the bridge, among the motorcycles, along the wash-lined neighborhood and drowsy doorsteps of afternoon where boys played guitars while their older brothers worked in the mills. All my other current friends were "intellectuals"--Chad the Nietzschean anthropologist, Carlo Marx and his nutty surrealist low-voiced serious staring talk, Old Bull Lee and his critical anti-everything drawl--or else they were slinking criminals like Elmer Hassel, with that hip sneer; Jane Lee the same, sprawled on the Oriental cover of her couch, sniffing at the New Yorker. But Dean's intelligence was every bit as formal and shining and complete, without the tedious intellectualness. And his "criminality" was not something that sulked and sneered; it was a wild yea-saying overburst of American joy; it was Western, the west wind, an ode from the Plains, something new, long prophesied, long a-coming (he only stole cars for joy rides). Besides, all my New York friends were in the negative, nightmare position of putting down society and giving their tired bookish or political or psychoanalytical reasons, but Dean just raced in society, eager for bread and love; he didn't care one way or the other, "so long's I can get that lil ole gal with that lil sumpin down there tween her legs, boy," and "so long's we can eat, son, y'ear me? I'm hungry, I'm starving, let's eat right now!"--and off we'd rush to eat, whereof, as saith Ecclesiastes, "It is your portion under the sun." A western kinsman of the sun, Dean. Although my aunt warned me that he would get me in trouble, I could hear a new call and see a new horizon, and believe it at my young age; and a little bit of trouble or even Dean's eventual rejection of me as a buddy, putting me down, as he would later, on starving sidewalks and sickbeds--what did it matter? I was a young writer and I wanted to take off. Somewhere along the line I knew there'd be girls, visions, everything ; somewhere along the line the pearl would be handed to me. 2 In the month of July 1947, having saved about fifty dollars from old veteran benefits, I was ready to go to the West Coast. My friend Remi Boncoeur had written me a letter from San Francisco, saying I should come and ship out with him on an around-the-world liner. He swore he could get me into the engine room. I wrote back and said I'd be satisfied with any old freighter so long as I could take a few long Pacific trips and come back with enough money to support myself in my aunt's house while I finished my book. He said he had a shack in Mill City and I would have all the time in the world to write there while we went through the rigmarole of getting the ship. He was living with a girl called Lee Ann; he said she was a marvelous cook and everything would jump. Remi was an old prep-school friend, a Frenchman brought up in Paris and a really mad guy--I didn't know how mad at this time. So he expected me to arrive in ten days. My aunt was all in accord with my trip to the West; she said it would do me good, I'd been working so hard all winter and staying in too much; she even didn't complain when I told her I'd have to hitchhike some. All she wanted was for me to come back in one piece. So, leaving my big half-manuscript sitting on top of my desk, and folding back my comfortable home sheets for the last time one morning, I left with my canvas bag in which a few fundamental things were packed and took off for the Pacific Ocean with the fifty dollars in my pocket. I'd been poring over maps of the United States in Paterson for months, even reading books about the pioneers and savoring names like Platte and Cimarron and so on, and on the roadmap was one long red line called Route 6 that led from the tip of Cape Cod clear to Ely, Nevada, and there dipped down to Los Angeles. I'll just stay on 6 all the way to Ely, I said to myself and confidently started. To get to 6 I had to go up to Bear Mountain. Filled with dreams of what I'd do in Chicago, in Denver, and then finally in San Fran, I took the Seventh Avenue subway to the end of the line at 242nd Street, and there took a trolley into Yonkers; in downtown Yonkers I transferred to an outgoing trolley and went to the city limits on the east bank of the Hudson River. If you drop a rose in the Hudson River at its mysterious source in the Adiron dacks, think of all the places it journeys by as it goes out to sea forever--think of that wonderful Hudson Valley. I started hitching up the thing. Five scattered rides took me to the desired Bear Mountain Bridge, where Route 6 arched in from New England. It began to rain in torrents when I was let off there. It was mountainous. Route 6 came over the river, wound around a traffic circle, and disappeared into the wilderness. Not only was there no traffic but the rain came down in buckets and I had no shelter. I had to run under some pines to take cover; this did no good; I began crying and swearing and socking myself on the head for being such a damn fool. I was forty miles north of New York; all the way up I'd been worried about the fact that on this, my big opening day, I was only moving north instead of the so-longed-for west. Now I was stuck on my northernmost hangup. I ran a quarter-mile to an abandoned cute English-style filling station and stood under the dripping eaves. High up over my head the great hairy Bear Mountain sent down thunderclaps that put the fear of God in me. All I could see were smoky trees and dismal wilderness rising to the skies. "What the hell am I doing up here?" I cursed, I cried for Chicago. "Even now they're all having a big time, they're doing this, I'm not there, when will I get there!"--and so on. Finally a car stopped at the empty filling station; the man and the two women in it wanted to study a map. I stepped right up and gestured in the rain; they consulted; I looked like a maniac, of course, with my hair all wet, my shoes sopping. My shoes, damn fool that I am, were Mexican huaraches, plantlike sieves not fit for the rainy night of America and the raw road night. But the people let me in and rode me north to Newburgh, which I accepted as a better alternative than being trapped in the Bear Mountain wilderness all night. "Besides," said the man, "there's no traffic passes through 6. If you want to go to Chicago you'd do better going across the Holland Tunnel in New York and head for Pittsburgh," and I knew he was right. It was my dream that screwed up, the stupid hearthside idea that it would be wonderful to follow one great red line across America instead of trying various roads and routes. In Newburgh it had stopped raining. I walked down to the river, and I had to ride back to New York in a bus with a delegation of schoolteachers coming back from a weekend in the mountains--chatter-chatter blah-blah, and me swearing for all the time and the money I'd wasted, and telling myself, I wanted to go west and here I've been all day and into the night going up and down, north and south, like something that can't get started. And I swore I'd be in Chicago tomorrow, and made sure of that, taking a bus to Chicago, spending most of my money, and didn't give a damn, just as long as I'd be in Chicago tomorrow. 3 It was an ordinary bus trip with crying babies and hot sun, and countryfolk getting on at one Penn town after another, till we got on the plain of Ohio and really rolled, up by Ashtabula and straight across Indiana in the night. I arrived in Chi quite early in the morning, got a room in the Y, and went to bed with a very few dollars in my pocket. I dug Chicago after a good day's sleep. The wind from Lake Michigan, bop at the Loop, long walks around South Halsted and North Clark, and one long walk after midnight into the jungles, where a cruising car followed me as a suspicious character. At this time, 1947, bop was going like mad all over America. The fellows at the Loop blew, but with a tired air, because bop was somewhere between its Charlie Parker Ornithology period and another period that began with Miles Davis. And as I sat there listening to that sound of the night which bop has come to represent for all of us, I thought of all my friends from one end of the country to the other and how they were really all in the same vast backyard doing something so frantic and rushing-about. And for the first time in my life, the following afternoon, I went into the West. It was a warm and beautiful day for hitchhiking. To get out of the impossible complexities of Chicago traffic I took a bus to Joliet, Illinois, went by the Joliet pen, stationed myself just outside town after a walk through its leafy rickety streets behind, and pointed my way. All the way from New York to Joliet by bus, and I had spent more than half my money. My first ride was a dynamite truck with a red flag, about thirty miles into great green Illinois, the truckdriver pointing out the place where Route 6, which we were on, intersects Route 66 before they both shoot west for incredible distances. Along about three in the afternoon, after an apple pie and ice cream in a roadside stand, a woman stopped for me in a little coupe. I had a twinge of hard joy as I ran after the car. But she was a middle-aged woman, actually the mother of sons my age, and wanted somebody to help her drive to Iowa. I was all for it. Iowa! Not so far from Denver, and once I got to Denver I could relax. She drove the first few hours, at one point insisted on visiting an old church somewhere, as if we were tourists, and then I took over the wheel and, though I'm not much of a driver, drove clear through the rest of Illinois to Davenport, Iowa, via Rock Island. And here for the first time in my life I saw my beloved Mississippi River, dry in the summer haze, low water, with its big rank smell that smells like the raw body of America itself because it washes it up. Rock Island--railroad tracks, shacks, small downtown section; and over the bridge to Davenport, same kind of town, all smelling of sawdust in the warm midwest sun. Here the lady had to go on to her Iowa hometown by another route, and I got out. The sun was going down. I walked, after a few cold beers, to the edge of town, and it was a long walk. All the men were driving home from work, wearing railroad hats, baseball hats, all kinds of hats, just like after work in any town anywhere. One of them gave me a ride up the hill and left me at a lonely crossroads on the edge of the prairie. It was beautiful there. The only cars that came by were farmer-cars; they gave me suspicious looks, they clanked along, the cows were coming home. Not a truck. A few cars zipped by. A hotrod kid came by with his scarf flying. The sun went all the way down and I was standing in the purple darkness. Now I was scared. There weren't even any lights in the Iowa countryside; in a minute nobody would be able to see me. Luckily a man going back to Davenport gave me a lift downtown. But I was right where I started from. I went to sit in the bus station and think this over. I ate another apple pie and ice cream; that's practically all I ate all the way across the country, I knew it was nutritious and it was delicious, of course. I decided to gamble. I took a bus in downtown Davenport, after spending a half-hour watching a waitress in the bus-station café, and rode to the city limits, but this time near the gas stations. Here the big trucks roared, wham, and inside two minutes one of them cranked to a stop for me. I ran for it with my soul whoopeeing. And what a driver--a great big tough truckdriver with popping eyes and a hoarse raspy voice who just slammed and kicked at everything and got his rig under way and paid hardly any attention to me. So I could rest my tired soul a little, for one of the biggest troubles hitchhiking is having to talk to innumerable people, make them feel that they didn't make a mistake picking you up, even entertain them almost, all of which is a great strain when you're going all the way and don't plan to sleep in hotels. The guy just yelled above the roar, and all I had to do was yell back, and we relaxed. And he balled that thing clear to Iowa City and yelled me the funniest stories about how he got around the law in every town that had an unfair speed limit, saying over and over again, "Them goddam cops can't put no flies on my ass!" Just as we rolled into Iowa City he saw another truck coming behind us, and because he had to turn off at Iowa City he blinked his tail lights at the other guy and slowed down for me to jump out, which I did with my bag, and the other truck, acknowledging this exchange, stopped for me, and once again, in the twink of nothing, I was in another big high cab, all set to go hundreds of miles across the night, and was I happy! And the new truckdriver was as crazy as the other and yelled just as much, and all I had to do was lean back and roll on. Now I could see Denver looming ahead of me like the Promised Land, way out there beneath the stars, across the prairie of Iowa and the plains of Nebraska, and I could see the greater vision of San Francisco beyond, like jewels in the night. He balled the jack and told stories for a couple of hours, then, at a town in Iowa where years later Dean and I were stopped on suspicion in what looked like a stolen Cadillac, he slept a few hours in the seat. I slept too, and took one little walk along the lonely brick walls illuminated by one lamp, with the prairie brooding at the end of each little street and the smell of the corn like dew in the night. He woke up with a start at dawn. Off we roared, and an hour later the smoke of Des Moines appeared ahead over the green cornfields. He had to eat his breakfast now and wanted to take it easy, so I went right on into Des Moines, about four miles, hitching a ride with two boys from the University of Iowa; and it was strange sitting in their brand-new comfortable car and hearing them talk of exams as we zoomed smoothly into town. Now I wanted to sleep a whole day. So I went to the Y to get a room; they didn't have any, and by instinct I wandered down to the railroad tracks--and there're a lot of them in Des Moines--and wound up in a gloomy old Plains inn of a hotel by the locomotive roundhouse, and spent a long day sleeping on a big clean hard white bed with dirty remarks carved in the wall beside my pillow and the beat yellow windowshades pulled over the smoky scene of the railyards. I woke up as the sun was reddening; and that was the one distinct time in my life, the strangest moment of all, when I didn't know who I was--I was far away from home, haunted and tired with travel, in a cheap hotel room I'd never seen, hearing the hiss of steam outside, and the creak of the old wood of the hotel, and footsteps upstairs, and all the sad sounds, and I looked at the cracked high ceiling and really didn't know who I was for about fifteen strange seconds. I wasn't scared; I was just somebody else, some stranger, and my whole life was a haunted life, the life of a ghost. I was halfway across America, at the dividing line between the East of my youth and the West of my future, and maybe that's why it happened right there and then, that strange red afternoon. Excerpted from On the Road by Jack Kerouac All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.
