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<h2 class='date-header'><span>Saturday, October 03, 2009</span></h2>

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<h2 class='date-header'><span>Wednesday, August 02, 2006</span></h2>

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<p class=MsoNormal><span style='color:black'><img height="416" id="_x0000_i1025" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh4.googleusercontent.com/proxy/DbkFzAAfvI33z1SbnMvLsG6fWylUSQC2i9hYEdKdscMC5yiqO7nb4VGJeML5HJk4963sL47RHfVIrdjRuga1ygKC1DSr89vu%3Ds0-d" width="300"><o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Here, in its entirety, is the history of Jack Kerouac&#8217;s <i style='mso-bidi-font-style:normal'>Book of Sketches </i>as given in that book itself:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>In 1951, it was suggested to Jack Kerouac by his friend Ed White that he &#8220;<span class=GramE>sketch</span> in the streets like a painter but with words.&#8221; In August of the following year, Kerouac began writing down prose poem &#8220;sketches&#8221; in small notebooks that he kept in the breast pockets of his shirts. For two years he recorded travels, observations, and meditations on art and life as he moved across </span><st1:country-region><st1:place><span   style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>America</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'> and down to </span><st1:country-region><st1:place><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Mexico</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'> and back. In 1957, Kerouac sat down with the fifteen handwritten sketch notebooks he had accumulated and typed them into a manuscript called <i style='mso-bidi-font-style:normal'>Book of Sketches</i>; he included a handful of new sketches he had written that year.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>This information comes not from an editor&#8217;s forward, but rather on the front jacket flap. If there is an editor here, he or she has gone the <a href="http://en.wikipedia.org/wiki/Alan_Smithee"><span style='color:black'>Alan <span class=SpellE>Smithee</span></span></a> route and chosen to remain anonymous. What introductory essay there is here is by painter and onetime William Burroughs collaborator <a href="http://www.artseensoho.com/Art/HEARN/burcon98/burcon.html"><span style='color:black'>George Condo</span></a>. Here is Condo at his most analytic:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Read this <i style='mso-bidi-font-style:normal'>Book of Sketches </i>and you&#8217;ll be amazed at what a genius Jack Kerouac was.<o:p></o:p></span></p> 

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>It&#8217;s a good thing, given that Kerouac&#8217;s work appears to be in the hands of what could be charitably described as people unfamiliar with handling substantial literary archives. There are a million questions here, many of which have to do with the relationship between the 15 small notebooks, the eventual typescript and what appears here on the page, short stanzas of print that don&#8217;t look much like prose at all, tho they read Kerouac&#8217;s version thereof:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Saturday afternoon in Rocky<br>
Mt. woods &#8211; in a <span class=SpellE>tankling</span><br>
gray coupe the young father<br>
crosses the crossroads with<br>
his 4 dotters piled on the<br>
seat beside him all eyes<br>
&#8211; The drowsy store the<br>
great watermelons sit <span class=SpellE>dis</span>-<br>
posed in the sun, on the<br>
concrete, by the fish box,<br>
like so many fruit in<br>
an artist&#8217;s bowl &#8211;<br>
watermelon&#8217;s plain green<br>
&amp; the watermelon with<br>
the snaky rills all<br>
tropical &amp; fat to burst<br>
on the ground &#8211; came<br>
from <span class=SpellE>viney</span> bottoms of<br>
all this green fertility &#8211; <br>
Behind Fats&#8217; little shack,<br>
under waving tendrils<br>
of a pretty tree, the<br>
smalltime Crapshooters<br>
with <span class=SpellE>strawhats</span> &amp; overalls<br>
are shooting for 10&#162;<br>
stakes &#8211; as peaceful &amp;<br>
<span class=SpellE>regardant</span> as deer in<br>
the morning, or New<br>
England boys sitting in<br>
the high grass waiting for<br>
the afternoon to pass.<br>
Paul Blake ambles over<br>
across the road to watch<br>
the game, stands<br>
back, arm on three<span class=GramE>,</span><br>
watching smiling silence.<br>
Cars pull up, men<br>
squat &#8211; there goes Jack<br>
to join them, everywhere<br>
you look in the enormity<br>
of this peaceful scene<br>
you see him walking, on<br>
soft white shoes, bemused<br>
-- Last night a few<br>
hotshots &amp; local sailors<br>
on leave grabbed those<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>There is a line break right here, tho the sentence itself continues onward, a typical detail that makes you wonder if this reflects the typescript, the notebook, both, neither, or what precisely. There is no way here to tell. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>In his introduction, Condo writes &#8220;These poems just breathe and flow&#8230;&#8221; tho the book itself carries (in what I take to be Kerouac&#8217;s own hand) a frontispiece that reads parenthetically &#8220;(Proving that sketches <span class=SpellE>aint</span> verse).&#8221; The only other clue comes from a half-title page that reads:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Printed Exactly As They Were Written<br>
On the Little Pages in the Notebooks<br>
I Carried in My Breast Pocket 1952<br>
Summer to 1954 December &#8230;&#8230;&#8230;<br>
<br>
<span style='mso-spacerun:yes'>        </span>(Not Necessarily Chronological)<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>You can see Kerouac&#8217;s bulging breast pocket in the infamous <i style='mso-bidi-font-style:normal'>Kerouac wore khakis </i>ad &amp; as someone who periodically writes on the street, in public transportation, even in office meetings, I&#8217;m completely sympathetic with Kerouac&#8217;s occasional comments about what a weirdo this makes him seem at times to others. When I worked in the Tenderloin in the late 1970s, where I would occasionally find myself writing away in a notebook in a residential hotel that served as a shooting gallery while a septuagenarian drug dealer was going around the lobby with a literal TV tray full of offerings &#8211; as if it were dim sum or the dessert tray at a restaurant &#8211; the only way I could get away with writing was because everybody there already knew me &amp; understood that I wasn&#8217;t a <span class=SpellE>narc</span>, even if I wasn&#8217;t a buyer either. No one has captured this aspect of writing so well as Kerouac &#8211; in some <span class=GramE>ways,</span> I&#8217;ve never tried simply because he ensured that I didn&#8217;t need to do so.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>So <i style='mso-bidi-font-style:normal'>Book of Sketches </i>proves to be, like so many recent additions to the published Kerouac oeuvre, half a loaf. On the one hand &#8211; and this is the most critical point &#8211; it is great to have this in print, it&#8217;s a fabulous read, a chance to watch Kerouac actively thinking about honing specific details of his obsessive, but quite freehand craft. On the other hand, it&#8217;s a poorly done version that stands as a placeholder for a properly edited and contextualized publication that won&#8217;t appear for decades, if at all. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Kerouac noted to his friends that by the time <i style='mso-bidi-font-style:normal'>On the Road </i>made him famous overnight in 1957, he had already written a lifetime of work over the previous decade, much of it in the compacted 1950-57 timeframe, between the good critical reviews and total lack of sales of his first (and most conventional) novel, <i style='mso-bidi-font-style:normal'>The Town and the City, </i>and the actually over-edited Legend of Duluoz books that were issued in the wake of <i style='mso-bidi-font-style:normal'>The Road&#185;. </i>Watching Kerouac invent fiction, invent prose, completely rethink the task of the writer from the ground up is the real story here, much more so than the romantic tale of the questing Beat guru whose beatific surface barely covers over the thick sludge of sentimental (or worse) stereotypes that represent the worst of Catholic working class culture in the Northeast. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><i style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial;color:black'>Sketches </span></i><span style='font-size:10.0pt;font-family:Arial;color:black'>partakes of both sides of Kerouac &#8211; there are passages here that could easily convince a woman never to read him again, a man who could have taken sensitivity training from Archie Bunker &#8211; and there is the careful, utterly honest crafter of observations trying to fathom how best to put down everything (note that depiction of watermelon or the comparison of craps players with deer &amp; especially Kerouac&#8217;s use of the French form <span class=SpellE><i style='mso-bidi-font-style:normal'>regardant</i></span><i style='mso-bidi-font-style:normal'> </i>there), with just an occasional hint of the alcoholism that would overwhelm Kerouac in just a few short years, robbing him of his ability to think &amp; see well before it killed him. Unlike Jack Spicer, who was killed by booze even more quickly than Kerouac, but who wrote his very best work at the end, Kerouac was a writer who dwindled throughout his final decade, becoming more &amp; more pathetic in stages.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>So <i style='mso-bidi-font-style:normal'>Sketches </i>is still Kerouac on the ascent &amp;, as such, represents a major publication of one of the towering talents of the past 50 years. But as a publication, <i style='mso-bidi-font-style:normal'>Sketches </i>also  reminds the careful reader of all that can go wrong with the works of a major author. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:8.0pt;font-family:Arial;color:black'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:8.0pt;font-family:Arial;color:black'>&#185; An unexpurgated version of <i style='mso-bidi-font-style:normal'>On the Road </i>is due to be released next year, on the 50<sup>th</sup> anniversary of the first publication. <o:p></o:p></span></p>
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<br /><img alt="" src="file%3A///Users/Lynn/Desktop/silliman2a.jpg" / /><img alt="" src="file%3A///Users/Lynn/Library/Caches/TemporaryItems/moz-screenshot.png" / /><span style="color: #990000; font-weight: bold;">RON SILLIMAN</span> has written and edited 40 books, and had his poetry and criticism translated into 16 languages. Silliman was a 2012 Kelly Writers House Fellow, the 2010 recipient of the Levinson Prize from the Poetry Foundation, a 2003 Literary Fellow of the National Endowment for the Arts, a 2002 Fellow of the Pennsylvania Arts Council, and a 1998 Pew Fellow in the Arts. Silliman has a plaque in the walk dedicated to poetry in his home town of Berkeley and a sculpture in the Transit Center of Bury, Lancaster, a part of the Irwell Sculpture Trail. He lives in Chester County, Pennsylvania and teaches at the University of Pennsylvania.<br /><br /><br /><br /><br /><br /><br />(c) 2002-2019 by Ron Silliman.
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