Jack Kerouac

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Early career: 1950–1957

The Town and the City was published in 1950 under the name "John Kerouac"; although it received him a few favorable reviews, the book did not do well. It focuses on Thomas Wolfe's generational epic formula and the differences between small-town life and the city's multi-dimensional, and greater life. Robert Giroux was heavily edited into the book, with around 400 pages taken out.

Kerouac continued to write on a regular basis for the next six years. Kerouac and his second wife, Joan Haverty, lived at 454 West 20th Street in Manhattan with their second wife, who were tentatively titled "The Beat Generation" and "Gone on the Road," according to a draft. The book was largely autobiographical and describes Kerouac's road trips around the United States and Mexico with Neal Cassady in the late 1940s and early 1950s, as well as his friendships with other Beat writers and colleagues. Although some of the book is focused on driving, Kerouac did not have a driver's license, and Cassady did the majority of the cross-country driving. He learned to drive at the age of 34, but never had a valid license.

During a three-week break of spontaneous confessional prose, Kerouac finished the first draft of the book. Kerouac wrote the final draft in 20 days, with Joan, his wife, supplying him with benzedrine, cigarettes, bowls of pea soup, and mugs of coffee to keep him going. Before starting, Kerouac cut tracing paper into long strips, large enough for a typewriter, and taped them together into a 120-foot (37 m) long roll that he then fed into the machine. He could type uninterruptedly without interruption of reloading pages. The resulting book had no chapter or paragraph breaks, and was much more detailed than the one that was eventually published. Though "spontaneous," Kerouac was organized well ahead of starting to write. In fact, Mark Van Doren, a Columbia professor and mentor, had outlined much of the study in his journals over the years.

Although the project was completed quickly, Kerouac had a long and difficult time finding a publisher. Kerouac began working as a "railroad brakeman and fire lookout" before being accepted by Viking Press on the road, earning money on both the East and West coasts of the United States, often finding rest and shade for writing at his mother's house. While working in this capacity, Abe Green, a young freight train jumper who later introduced Kerouac to Herbert Huncke, a Times Square street hustler and one of many Beat Generation writers, was a favorite of many Beat Generation writers.

Publishers turned off On the Road due to its experimental writing style and its sexual content. Many journalists were also concerned with the prospect of publishing a book that contained what seemed to be accurate drug use and homosexual conduct in the 1980s, a development that might result in obscenity charges being filed, according to Naked Lunch and Ginsberg's Howl.

According to Kerouac, On the Road was "actually a tale about two Catholic buddies who were wandering the country in search of God." We found him on the internet. I found him in the sky in Market Street San Francisco (those two visions), and Dean (Neal) had God sweating out of his forehead all the way. THE HOLY MAN must SWEAT FOR GOD, AND there is no other way out: the HOLY MAN must die. And when he has found Him, the Godhood of God is eternal, and must not be talked about." On the Road has been misinterpreted as a tale of companions out looking for thrills, according to his biographer, historian Douglas Brinkley, but the most important thing to note is that Kerouac was an American Catholic author – for example, virtually every page of his diary contained a crucifix, a prayer, or an appeal to Christ to be redeemed.

Joan Haverty left and divorced Kerouac in 1951, while pregnant. After a blood test revealed it nine years later, she gave birth to Kerouac's only child, Jan Kerouac. Kerouac continued writing and traveling for the next five years, making long trips around the United States and Mexico. He had frequent bouts of heavy drinking and depression. During this time, he completed drafts of what would have been ten more books, including The Subterraneans, Doctor Sax, Tristessa, and Desolation Angels, which chronicle many of the events of the years.

He was mainly in New York City in 1953, having a brief but passionate relationship with an African-American woman. This woman was the basis for the character "Mardou" in the book "The Subterraneans' book. Kerouac redesigned the book from New York to San Francisco at the request of his editors.

Kerouac first read the Dwight Goddard's A Buddhist Bible at the San Jose Library in 1954, which marked the start of his Buddhist study. Between 1955 and 1956, he lived on and off with his sister, "Nin," and her husband, Paul Blake, at their home outside of Rocky Mount, N.C. ("Testament, Va."), where he meditated on, and studied Buddhism. While living in Japan, he wrote Some of the Dharma, an imaginative reflection on Buddhism. However, Kerouac had earlier expressed an interest in Eastern thought. He read Heinrich Zimmer's Myths and Symbols in Indian Art and Civilization in 1946. Kerouac wrote Wake Up: A Life of the Buddha, which was unpublished during his lifetime but later published in Tricycle: The Buddhist Review, 1995–199. In September 2008, Viking brought it out.

Kerouac encountered opponents from both political parties, the right shaming his involvement with drugs and sexual libertinism, and the left mocking his anti-communist sentiment and Catholicism; nevertheless, he watched Senator Joseph McCarthy's 1954 Senate McCarthy hearings as he rooted for the anti-Communist crusader. "When I went to Columbia, all they wanted to teach us was Marx, as if I cared" (considering Marxism, like Freudianism), "a desolation angel" was written by Angels.

On the Road was eventually purchased by Viking Press, which requested major revisions prior to publication, after being rejected by several other publishers. Many of the book's "characters" were deleted, and pseudonyms were used for the book's "characters" because of the book's "characters." These revisions have often sparked criticism of Kerouac's style's ostensible spontaneity.

Kerouac first moved to a small house on 141812 Clouser Avenue in Orlando, Florida, in July 1957, awaiting the introduction of On the Road. Gilbert Millstein's book review appeared in The New York Times, naming Kerouac as the voice of a new generation. Kerouac was hailed as a leading American writer. Allen Ginsberg, William S. Burroughs, and Gregory Corso, among other things, became a well-known representation of the Beat Generation. During a talk with fellow novelist Herbert Huncke, Kerouac created the term Beat Generation. Huncke used the term "beat" to describe a person with little wealth and no prospects. He had screamed to his socks. Kerouac's fame came as a result of an unmanageable surge that would eventually be his undoing.

Kerouac's book is often described as the "beginning work of the post-World War II Beat Generation and Kerouac," a term with which he never felt secure. "I'm not a beatnik," he said once. "You know who painted it?" says the reporter. "You know who painted it?" says the Catholic. Me.

Kerouac gained instant fame as a result of On the Road's popularity. Publishers were compelled to publish unwanted manuscripts that had been previously rejected before publication. He no longer felt safe in public after nine months. One night, three men attacked him outside the San Remo Café on 189 Bleecker Street in New York City. Neal Cassady was arrested and arrested for selling marijuana, perhaps as a result of the book's new notoriety as the book's central character.

In reaction, Kerouac chronicled portions of his own Buddhist experience as well as some of his San Francisco-area poets' adventures in The Dharma Bums, which was published in California and Washington in 1958. It was published in Orlando between November 26 and December 7, 1957. As he had done six years for On the Road, Dharma Bums, Kerouac typed, onto a ten-foot length of teleprinter paper to avoid interrupting his flow for paper changes.

Kerouac was demoralized by criticism of Dharma Bums from such respected figures in the American field of Buddhism as Zen scholars Ruth Fuller Sasaki and Alan Watts. He wrote to Snyder, referring to a meeting with D.T. "Even Suzuki was looking at me through slitted eyes as though I were a monstrous imposter," Suzuki said. He passed up the opportunity to reunite with Snyder in California and told Philip Whalen, "I'd be embarrassed to meet you and Gary now because I've become so decadent and inebriated and don't give a shit." I'm no longer a Buddhist. "In reaction to their skepticism, Abe Green's café recitation, Thrasonical Yawning in the Abattoir of the Soul" washed over by the Fountain of Euphoria, and bask like protozoans in the celebrated light."

Pull My Daisy (1959), directed by Robert Frank and Alfred Leslie, was also written and narrated by Kerouac. Allen Ginsberg and Gregory Corso, guitarist David Amram, and painter Larry Rivers were among others among others. The Beat Generation was originally intended to be called The Beat Generation, but the title was changed at the last moment when MGM unveiled a film in July 1959 that dominated beatnik culture.

Two young men "on the road" in a Corvette seeking adventure and fueling their travels by allegedly numerous temporary jobs in the various U.S. locales framing Kerouac's story model for On the Road, according to the television series Route 66 (1960-1964). And Buz and Todd's leads have a similarity to the dark, athletic Kerouac and the blonde Cassady/Moriarty, respectively. Kerouac was shocked that Route 66 creator Stirling Silliphant had ripped him off, and threatened to sue him, CBS, the Screen Gems TV production firm, and Chevrolet, but he was otherwise advised against proceeding with what seemed to be a very valid cause of action.

The film On the Road and Visions of Cody, John Antonelli's 1985 documentary Kerouac, begins and ends with a video of Kerouac reading from On the Road and Visions of Cody. "How will you define the word 'beat,' Allen asks in reaction to Allen's question "how can you determine the word 'beat?' "Well,... sympathetic" Kerouac responds.

I'd really like to read them !

Kerouac's older sister died in 1964 from a heart attack, and his mother suffered a paralyzing stroke in 1966. Neal Cassady died while in Mexico in 1968.

Despite the fact that his literary contributions contributed to the 1960s counterculture movement, Kerouac was outspoken about it. "The commotion, which Kerouac believed was only an excuse to be "spiteful," culminated in him splitting with Ginsberg in 1968.

Kerouac last appeared on television for Firing Line, produced and hosted by William F. Buckley Jr. (a friend of his college). He reiterated his Catholicism and talked about the 1960s counterculture.

Kerouac was working on a book about his father's printing shop in St. Petersburg, Florida, on the morning of October 20, 1969. He immediately felt ill and went to the toilet, where he began to vomit blood. Kerouac was admitted to St. Anthony's Hospital after suffering from an esophageal hemorrhage. He underwent multiple transfusions in an attempt to make up for the blood loss, and doctors performed surgery, but his blood did not clot due to a damaged liver. After the procedure, he never recovered consciousness and died at the hospital at 5:15 the following morning at the age of 47. His cause of death was listed as an internal hemorrhage (bleeding esophageal varices) caused by cirrhosis, which was the result of long-term alcohol use. A potential contributing factor was an untreated hernia who had been involved in a bar fight a few weeks earlier. He is buried at Edson Cemetery in Lowell, Massachusetts, and is buried there.

Stella Sampas Kerouac, his third wife, and his mother, Gabrielle, were living together at the time of his death. The majority of Kerouac's estate was passed down by his mother.

Later career: 1957–1969

Kerouac lived in a tiny house on 141812 Clouser Avenue in Orlando, Florida, in July 1957, while waiting for the introduction of On the Road. In The New York Times, Gilbert Millstein's review of the book revealed that Kerouac is the voice of a new generation. Kerouac was praised as a leading American writer. Allen Ginsberg, William S. Burroughs, and Gregory Corso, among others, became a well-known representation of the Beat Generation. During a talk with fellow novelist Herbert Huncke, Kerouac invented the term Beat Generation. Huncke used the word "beat" to describe a person with little money and few prospects. He had screamed over his socks. Kerouac's fame came as a result of an unstoppable surge that would ultimately be his domination.

Kerouac's book is often described as the defining work of the post-World War II Beat Generation and Kerouac, a term with which he never felt secure. "I'm not a beatnik," he said once. "You know who painted it?" a painting of Pope Paul VI shows the reporter, "You know who painted it?" says the journalist. "I'm me."

On the Road, the Kerouac instant fame was born. Publishers were able to request discarded manuscripts that had been rejected before the publication. He no longer felt secure in public after nine months. One night, three guys at the San Remo Cafe on 189 Bleecker Street in New York City was brutally wounded. Neal Cassady was arrested and jailed for selling marijuana, possibly as a result of his new notoriety as the book's central character.

In reaction, Kerouac chronicled portions of his own experience with Buddhism, as well as some of his adventures with Gary Snyder and other San Francisco-area writers in The Dharma Bums, which was published in California and Washington in 1958. It was published in Orlando between November 26 and December 7, 1957. As he had done six years for On the Road, he began preparing Dharma Bums, Kerouac typed onto a ten-foot length of teleprinter paper to avoid interrupting his flow for paper changes.

Kerouac's demoralization was demotivized by criticism of Dharma Bums from such respected names in the American field of Buddhism as Zen scholars Ruth Fuller Sasaki and Alan Watts. He wrote to Snyder, referring to a meeting with D.T.. "Even Suzuki was looking at me through slitted eyes as though I were a monstrous imposter," Suzuki said. He passed up the opportunity to reunite with Snyder in California and told Philip Whalen, "I'd be ashamed to confront you and Gary now because I've become so decadent and inebriated, and don't give a shit." I'm no longer a Buddhist. "In reaction to their skepticism, Abe Green's café recitation, Thrasonical Yawning in the Abattoir of the Soul": "A deserted, rabid congregation, eager to bathe, is led to the Font of Euphoria, and bask like protozoans in the celebrated light."

Pull My Daisy (1959), directed by Robert Frank and Alfred Leslie, was also written and narrated by Kerouac. Allen Ginsberg and Gregory Corso, guitarist David Amram, and painter Larry Rivers were among the many performers on the program. The Beat Generation was originally intended to be called The Beat Generation, but when MGM announced a film by the same name in July 1959 that sensationalized beatnik culture, beatnik culture was changed at the last moment.

Route 66 (1960–1964), a television series starring two young men "on the road" in a Corvette seeking adventure and fueling their travels by reportedly plentiful temporary workers in the various U.S. cities framing Kerouac's story model for On the Road, gave the appearance of being a commercially sanitized misappropriation of Kerouac's story model for On the Road. And the two leads, Buz and Todd, have a similarity to Kerouac's smoky, athletic Kerouac, and Cassady/Moriarty. Kerouac felt he'd been ripped off by Route 66 creator Stirling Silliphant and threatened to sue him, CBS, the Screen Gems TV production company, and Chevrolet, but was ultimately advised not to proceed with what seemed to be a very strong cause of action.

On the Road and Visions of Cody, John Antonelli's 1985 documentary Kerouac opens and ends with a video of Kerouac reading from On the Road and Visions of Cody. "How can you define the word 'beat,' Allen asked in response to Allen's question." "Well... sympathetic," Kerouac says.

I'd really like to read them !

During these years, Kerouac suffered the death of his older sister in 1964 due to a heart attack, and his mother in 1966 suffered a paralyzing stroke. Neal Cassady died in 1968 while in Mexico.

Despite the fact that his literary contributions fueled the 1960s counterculture movement, Kerouac was remarkably dismissive of it. Arguments over the movement, which Kerouac dismissed as just a ruse to be "spiteful," resulted in him splitting with Ginsberg by 1968.

Kerouac last appeared on television in 1968 for Firing Line, which was also produced and hosted by William F. Buckley Jr. (a friend of his from college). He affirmed his Catholicism and spoke about the 1960s counterculture.

Kerouac, who was working on a book about his father's printing shop, was up in St. Petersburg, Florida, on October 20, 1969. He became ill and went to the toilet, where he began to vomit blood. Kerouac was admitted to St. Anthony's Hospital after suffering from an esophageal hemorrhage. He underwent multiple transfusions in an attempt to make up for the blood loss, and doctors performed surgery, but doctors later discovered a scarred liver prevented his blood from clotting. He never recovered consciousness after the procedure and died at the hospital at 5:15 the next morning at the age of 47. His cause of death was described as an internal hemorrhage (bleeding esophageal varices) caused by cirrhosis, which was the result of long-time alcohol use. A possible contributing factor was an untreated hernia, which had occurred in a bar brawl just weeks before. He is buried in Lowell, Massachusetts, and is buried there.

Stella Sampas Kerouac's third wife and his mother, Gabrielle, were living together at the time of his death. The majority of Kerouac's estate was inherited by his mother.

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