>
>
Those of you my age, may remember in the early 1970's, the Moody Blues put
>
out an album, and there was a song on it titled, I think, "Seventh
>
Sojourn," in which they sang the lyrics, "Timothy Leary's dead,"
over and
>
over. I recently heard that the members of the group recently had
>
telephone conference call with Dr. Leary and sang to him over the phone,
>
"Timothy Leary's Alive." I thought that was really wonderful.
>
>
Thanks for your time,
>
>
Mary Beth
>
=========================================================================
Date: Mon, 6 May 1996 09:12:36 +0300
Reply-To: "BEAT-L: Beat Generation List"
<BEAT-L@CUNYVM.BITNET>
Sender: "BEAT-L: Beat Generation
List" <BEAT-L@CUNYVM.BITNET>
From: Michael Czarnecki
<peent@SERVTECH.COM>
Subject: Re: Beat writing...
>jonathan
wrote:
>I
had a really groovy experience tonight..I just sat down, and I had so
>much
to think about, and so much running through my mind, so I just
>pulled
up MSWord and started to type and type and type and not bother to
>go
back and fix little things unless I wanted to and just run on and run
>on. It was just a complete outpouring of my mind
onto paper, like some
>of
Neal's letters, so packed and so full of stuff...wow! It was quite an
>experience
to actually do, to let it just happen and flow...has anyone
>else
had this similiar experience? Where
they just sat down and WROTE?
>I'd
be interested in discussing this further...
Great
to hear of your experience! Sounds like it has changed you in some
way.
Keep on.
I've
done a bit of writing that way. I'll sit down, turn on the computer,
set up
a page and just start writing. Take the first thought to enter my
mind
and just go with it till I finish a page. That's it. One page flowing
out
from somewhere onto the screen. Started a few years ago and do so every
once in
a while. One screen's worth of stream stuff.
I
remember reading somewhere recently that Jack would carry a small pocket
notebook
around and some of his poetry, the blues stuff, SF and Mex City,
were
written to fit a page in the little book. Form limited in size by what
written
on! Computer screens, pocket notebooks.
Some
people see spontaneous writing as just an exercise but I strongly
disagree
with them. The letting it go, letting it come out as it does, the
more
you do it the easier it gets, like with most things. There's the craft
of
writing, which is important, and then there's the pure
creative/spiritual
side of it which to me is where the real excitement
lies.
The spontaneous writing, when we really allow the spontaneity without
our
self critic looking over our shoulder at each line we write, allows
that
pure creative/spiritual aspect to surface more often.
Keep
letting it flow.
Michael
=========================================================================
Date: Mon, 6 May 1996 09:27:27 -0400
Reply-To: "BEAT-L: Beat Generation List"
<BEAT-L@CUNYVM.BITNET>
Sender: "BEAT-L: Beat Generation
List" <BEAT-L@CUNYVM.BITNET>
From: Robert Peltier
<robert.peltier@MAIL.TRINCOLL.EDU>
Subject: Re: Beat writing...
the craft
>of
writing, which is important, and then there's the pure
>creative/spiritual
side of it which to me is where the real excitement
>lies.
The spontaneous writing, when we really allow the spontaneity without
>our
self critic looking over our shoulder at each line we write, allows
>that
pure creative/spiritual aspect to surface more often.
>
This
may be therapeutic, but if you intend to publish, don't torture your
readers
with every random thought that pops out of your head. Stream of
consciousness
is prose that suggests thought at a preverbal level, but in
order
to do that, you must edit carefully and construct that consciousness.
Read
Joyce's _Ulysses_ and _Finnegan's Wake_ as well as Faulkner's _The
Sound
and the Fury_ (esp. the first two sections).
I think
most writers try to rid themselves of the "self critic" (I know I
do),
but it is much more difficult than it sounds.
When it happens, go!
But
when you're done, revise, and when you're done revising, edit.
=========================================================================
Date: Mon, 6 May 1996 08:44:15 +0000
Reply-To: "BEAT-L: Beat Generation List"
<BEAT-L@CUNYVM.BITNET>
Sender: "BEAT-L: Beat Generation
List" <BEAT-L@CUNYVM.BITNET>
From: "John W. Hasbrouck"
<jhasbro@TEZCAT.COM>
Subject: Re: Cassady-Kerouac
Jon
Schwartz wrote:
>
> Hi
John H.!
>
>
Thanks for the tip on the new edition of "The First Third." Do you or does
>
anyone have price and format info on it?
>
>
Best regards to all,
>
>
Jon
>
TFT is
in print from City Lights Books and is usually available at the
big
superstores like Border's and Barnes & Noble. Shop by phone!
John H.
Chicago
=========================================================================
Date: Mon, 6 May 1996 08:48:18 +0000
Reply-To: "BEAT-L: Beat Generation List"
<BEAT-L@CUNYVM.BITNET>
Sender: "BEAT-L: Beat Generation
List" <BEAT-L@CUNYVM.BITNET>
From: "John W. Hasbrouck"
<jhasbro@TEZCAT.COM>
Subject: Re: The Last Time I Committed Suicide
Dear
John I.
The
Cassady Rap under discussion can be found at the following URL:
ftp://gdead.berkeley.edu/pub/gdead/miscellaneous/Cassady-Rap
Later,
John H.
Chicago
=========================================================================
Date: Mon, 6 May 1996 08:54:39 +0000
Reply-To: "BEAT-L: Beat Generation List"
<BEAT-L@CUNYVM.BITNET>
Sender: "BEAT-L: Beat Generation
List" <BEAT-L@CUNYVM.BITNET>
From: "John W. Hasbrouck"
<jhasbro@TEZCAT.COM>
Subject: Re: Keroassady...
Matthew
S Sackmann wrote:
>
> I found some awesome books in a used
book store today. I was
>
wondering what you guys think about the prices. $25 for a first edition
> of
Visions of Cody, hardcover. $30 for a
1rst ed. of Maggie Cassidy,
>
soft. And $60 for the 1rst british ed.
of Maggie Cassidy, 1rst hardcover
>
ed. I didnt buy these but i did buy
Satori in Paris & Pic, Grace beats
>
Karma (finally, ive found some of neals writings), On the Road (a copy
>
for my brother), No nature (Snyder), Look Homeward, Angel (Wolfe), and a
>
book that contains poems by Bukowski and Phillip Lamantia. All in all it
>
was a very successful outing!
>
Goodnight
>
>
---------------------------------------------------------------------------
>
matt
>
$25 for
1st ed. VOC is fantastic. Buy it immediately. I've seen it for
$100.
MC in softcover isn't worth a penny more than $30 nowadays. It
depends
on the condition. If it's perfect and you want it, get it.
Don't
know about the British edition.
John H.
Chicago
=========================================================================
Date: Mon, 6 May 1996 10:40:46 EST
Reply-To: "BEAT-L: Beat Generation List"
<BEAT-L@CUNYVM.BITNET>
Sender: "BEAT-L: Beat Generation
List" <BEAT-L@CUNYVM.BITNET>
From: SPOTS OF TIME
<breithau@KENYON.EDU>
Subject: Re: Beat writing...
Jonathan,
that is supposedly the way Whitman wrote the first draft of Leaves of
Grass.
This first non-stream writing is published in a seperate Penguin edition
with an
interesting forward by Malcom Cowley about "trance writing." Give it
a
look.
Dave B.
=========================================================================
Date: Mon, 6 May 1996 14:14:19 -0500
Reply-To: "BEAT-L: Beat Generation List"
<BEAT-L@CUNYVM.BITNET>
Sender: "BEAT-L: Beat Generation
List" <BEAT-L@CUNYVM.BITNET>
From: Matthew S Sackmann
<msackma@MAILHOST.TCS.TULANE.EDU>
Subject: I'm moving...
Comments:
To: "BEAT-L: Beat Generation List"
<BEAT-L%CUNYVM.BITNET@cunyvm.cuny.EDU>
In-Reply-To: <009A1EC0.F2A51420.26@kenyon.edu>
Im
going home today and my email is changing, but i want to stay on the list.
Could
someone please send me info to :
lsackma@UOFT02.UTOLEDO.EDU
i guess
ill just subscribe again. but i forgot
how to, so id love it if
someone
sent me the information to the above address.
Thanks a lot!!
---------------------------------------------------------------------------
matt
"Jesus
was all virtue, and acted from impulse, not from rules."
-William Blake
=========================================================================
Date: Mon, 6 May 1996 16:39:44 -0400
Reply-To: "BEAT-L: Beat Generation List"
<BEAT-L@CUNYVM.BITNET>
Sender: "BEAT-L: Beat Generation
List" <BEAT-L@CUNYVM.BITNET>
From: "Michael E. Frank" <ATRANE207@AOL.COM>
Subject: Re: Enjoy This
Hi;
Just a
few thoughts on "Chaos & Cyber Culture" List...I mailed the list
to a
friend
and he commented "I seem to fit in all the categories but looking back
it
seems (the list) a bit shallower than I remember". I tend to agree
although
I can only identify with the years ' 54
- ' 75 since I opted for
the
"rat-race" in ' 72 when my daughter was born. No regrets but I don't
remember
anything after ' 75. Since the counter-culture of the "beats" &
sixties
weren't created in a vacuum I thought it might be historically
interesting
to regress the list to include "The Lost Generation"
(ex-patriates,
G. Stein, Paris, etc.) Surrealists (auto-writing, painting
etc),
dada, etc. as far back as one can create a list of the genealogy of
rebellion
and counter-culture. Expand it to include anything of creative
interest
that Leary didn't envision. Also, since
i'm new to this discussion,
I
apoligise to anyone infuriated with my leaving (expanding) the Beat topic.
Let me
know if I'm not relevant to the subject matter.
>See
where you fit in the scheme from Toimothy Leary's Chaos & Cyber
Culture,
Berkeley, CA: Ronin, 1994.
Evolution
of Counter Culture
Beats
(1950-1965)
Mood: Cool, laid back.
Aesthetics-Erotics:
Artistic, literate, hip. Interested in poetry, drugs,
jazz.
Attitude:
Sarcastic, cynical.
Brain-Tech:
Low-tech, but early psychedelic explorers.
Intellectual
viewpoint: Well-informed, skeptical, street-smart.
Humanist
Quotient: tolerant of race and gay rights, but often male
chauvinist.
Politics:
Bohemian, anti-establishment.
Cosmic
View: Romantic pessimism, Buddhist cosmology.
Hippies
(1965-1975)
Mood:
Blissed out.
Aesthetics-Erotics:
Earthy, horny, free-love oriented. pot, LSD, acid rock.
Attitude:
Peaceful, idealistic.
Brain-tech:
Spychedelic, but anti-high-tech.
Intellectual
Viewpoint: Know-it-all, anti-intellectual.
Humanist
Quotient: Male chauvinist, sometimes sexits, but socially
tolerant and global village
visionary.
Politics:
Classless, irreverent, passivist, but occasionally activist.
Cosmit
View: Acceptance of chaotic nature of universe, but via Hindu
passivity. Unscientific,
occult minded, intuitive
etc.
etc. etc..
=========================================================================
Date: Mon, 6 May 1996 18:44:08 -0500
Reply-To: "BEAT-L: Beat Generation List"
<BEAT-L@CUNYVM.BITNET>
Sender: "BEAT-L: Beat Generation
List" <BEAT-L@CUNYVM.BITNET>
From: MS GAYLE M ALSTROM
<gm_alstrom@PRODIGY.COM>
Subject: Mail List
Please
remove my name from your mailing list.
gm_alstrom@prodigy.com
=========================================================================
Date: Mon, 6 May 1996 23:06:11 -0400
Reply-To: "BEAT-L: Beat Generation List"
<BEAT-L@CUNYVM.BITNET>
Sender: "BEAT-L: Beat Generation
List" <BEAT-L@CUNYVM.BITNET>
From: Julie Hulvey <JHulvey@AOL.COM>
Subject: The only cows for me are the mad ones
I can't
quite jibe Leary's description of Beats with Beat writing.
E.g.:
>Mood: Cool, laid back.
the
beat principals strike me more as leaning into rather than laid back,
with
the possible exception of Burroughs
>Attitude:
Sarcastic, cynical.
No. But
then again, I'm thinking about the writers and writing, he's talking
about
the culture.
>Cosmic
View: Romantic pessimism, Buddhist cosmology.
Again,
I'm not sure about the pessimism. Off the top of my head, I can't
remember
reading any pessimistic Kerouac; sad, tortured, yes, but not
pessimistic.
Ginsberg, no - in fact, the two cosmic views selected by Leary
seem
exactly opposed. But again, Burroughs, yes.
Where's
the beatific in Leary's summary?
Just
thinkin' out loud......and pouting 'cause I wanted to see Wm. T.
Vollmann
in Chicago today, and didn't get to....
Jules
=========================================================================
Date: Mon, 6 May 1996 21:40:52 -0700
Reply-To: "BEAT-L: Beat Generation List"
<BEAT-L@CUNYVM.BITNET>
Sender: "BEAT-L: Beat Generation
List" <BEAT-L@CUNYVM.BITNET>
From: Jonathan Kratter
<jonkrat@NUEVA.PVT.K12.CA.US>
Subject: Re: Beat writing...
In-Reply-To:
<v01530500adb343f59b90@[204.181.15.86]>
Exactly...you
just let it flow...much like the style that On the Road was
written
in only moreso, more like Catcher in The Rye, which is mocked
spontaneous
prose, the spontaneous prose of Holden Caulfield, but done by
Salinger...
drink
deeply,
jonathan
-------------
Jonathan
Kratter
jonkrat@nueva.pvt.k12.ca.us
"I can't use
contractions..."
=========================================================================
Date: Tue, 7 May 1996 04:11:03 EDT
Reply-To: "BEAT-L: Beat Generation List"
<BEAT-L@CUNYVM.BITNET>
Sender: "BEAT-L: Beat Generation
List" <BEAT-L@CUNYVM.BITNET>
From: joe
<100106.1102@COMPUSERVE.COM>
Subject: celestine prophecy
the
book 'celestine prophecy' was mentioned on this list lately. i'd never
heard
about it (i'm in the uk) but at the time it was mentioned, i met a white
south-african
girl in spain who had read it and recommended it quite highly.
sooo, i
went out and bought it, just finished reading it and would like some
off-list
ideas from beat readers who have also read it.
so
anyone out there read it please e-mail me on
100106.1102@compuserve.com or
joe.carney@unn.ac.uk
cheers
joe
=========================================================================
Date: Tue, 7 May 1996 07:57:50 -0400
Reply-To: "BEAT-L: Beat Generation List"
<BEAT-L@CUNYVM.BITNET>
Sender: "BEAT-L: Beat Generation
List" <BEAT-L@CUNYVM.BITNET>
From: "Michael E. Frank"
<ATRANE207@AOL.COM>
Subject: Re: Enjoy This
Hi;
Just a
few thoughts on "Chaos & Cyber Culture" List...I mailed the list
to a
friend
and he commented "I seem to fit in all the categories but looking back
it
seems (the list) a bit shallower than I remember". I tend to agree
although
I can only identify with the years ' 54
- ' 75 since I opted for
the
"rat-race" in ' 72 when my daughter was born. No regrets but I don't
remember
anything after ' 75. Since the counter-culture of the "beats" &
sixties
weren't created in a vacuum I thought it might be historically
interesting
to regress the list to include "The Lost Generation"
(ex-patriates,
G. Stein, Paris, etc.) Surrealists (auto-writing, painting
etc),
dada, etc. as far back as one can create a list of the genealogy of
rebellion
and counter-culture. Expand it to include anything of creative
interest
that Leary didn't envision. Also, since
i'm new to this discussion,
I
apoligise to anyone infuriated with my leaving (expanding) the Beat topic.
Let me
know if I'm not relevant to the subject matter.
>See
where you fit in the scheme from Toimothy Leary's Chaos & Cyber
Culture,
Berkeley, CA: Ronin, 1994.
Evolution
of Counter Culture
Beats
(1950-1965)
Mood: Cool, laid back.
Aesthetics-Erotics:
Artistic, literate, hip. Interested in poetry, drugs,
jazz.
Attitude:
Sarcastic, cynical.
Brain-Tech:
Low-tech, but early psychedelic explorers.
Intellectual
viewpoint: Well-informed, skeptical, street-smart.
Humanist
Quotient: tolerant of race and gay rights, but often male
chauvinist.
Politics:
Bohemian, anti-establishment.
Cosmic
View: Romantic pessimism, Buddhist cosmology.
Hippies
(1965-1975)
Mood:
Blissed out.
Aesthetics-Erotics:
Earthy, horny, free-love oriented. pot, LSD, acid rock.
Attitude:
Peaceful, idealistic.
Brain-tech:
Spychedelic, but anti-high-tech.
Intellectual
Viewpoint: Know-it-all, anti-intellectual.
Humanist
Quotient: Male chauvinist, sometimes sexits, but socially
tolerant and global village
visionary.
Politics:
Classless, irreverent, passivist, but occasionally activist.
Cosmit
View: Acceptance of chaotic nature of universe, but via Hindu
passivity. Unscientific,
occult minded, intuitive
etc.
etc. etc..
==============
End part 2 ============================
=========================================================================
Date: Tue, 7 May 1996 08:48:06 -0400
Reply-To: "BEAT-L: Beat Generation List"
<BEAT-L@CUNYVM.BITNET>
Sender: "BEAT-L: Beat Generation
List" <BEAT-L@CUNYVM.BITNET>
From: William Miller <KenWNC@AOL.COM>
Subject: Look Homeward, Matt.
Hello
folks. William Miller here. Back on the list after an absence.
Matthew
S Sackmann wrote:
>
> I found some awesome books in a used
book store today. I was
>
wondering what you guys think about the prices. $25 for a first edition
> of
Visions of Cody, hardcover. $30 for a
1rst ed. of Maggie Cassidy,
>
soft. And $60 for the 1rst british ed.
of Maggie Cassidy, 1rst hardcover
>
ed. I didnt buy these but i did buy
Satori in Paris & Pic, Grace beats
>
Karma (finally, ive found some of neals writings), On the Road (a copy
>
for my brother), No nature (Snyder), Look Homeward, Angel (Wolfe), and a
>
book that contains poems by Bukowski and Phillip Lamantia. All in all it
>
was a very successful outing!
>
Goodnight
>
>
---------------------------------------------------------------------------
>>
matt
Matt,
I'm interested.... did you buy a 1st edition of Look Homeward Angel, or
not. Please e-mail me directly and let me know if
you bought a 1st, and if
so,
what you paid for it. Being part of the
best used bookstore in Wolfe's
hometown
(the setting for most of LHA) I am always interested in knowing what
LHA is
fetching.
Thanks.
William
Miller
=========================================================================
Date: Tue, 7 May 1996 10:11:44 EDT
Reply-To: "BEAT-L: Beat Generation List"
<BEAT-L@CUNYVM.BITNET>
Sender: "BEAT-L: Beat Generation
List" <BEAT-L@CUNYVM.BITNET>
From: "Peter R. McGahey"
<PRM95003@UCONNVM.UCONN.EDU>
Subject: Salinger
Someone
mentioned Salinger - what does everyone think of him in relation
to the
Beats? They were contemporaries, but
Salinger did what Jack may have
wanted
to do, get away from the screaming fans.
I think that Salinger's
explorations
of Buddhism, particularly in his good works (Franny & Zooey,
Raise
High . . .) would put him in some connection even though it is rather
tenuous. Why was Buddhism such a rave thing
then? Eliot et al were into
Hindu
etc because the Bagavad Gita (mis-spelled, I know) was recently
translated.
=========================================================================
Date: Tue, 7 May 1996 11:42:13 EST
Reply-To: "BEAT-L: Beat Generation List"
<BEAT-L@CUNYVM.BITNET>
Sender: "BEAT-L: Beat Generation
List" <BEAT-L@CUNYVM.BITNET>
From: "J.D. P. Lafrance"
<J.D._P._Lafrance@RIDLEY.ON.CA>
Organization:
Ridley College
Subject: Visions of Cody - Revisited
I've finally gotten around to reading
Kerouac's "Visions of Cody"... It's my
first
time tackling this book (although not the first Kerouac book I've read)
and I
am simply amazed at the amount of detail contained within... For example,
the
book opens with a description of a diner and everything in it:
"Grill
is ancient and dark and emits an odor which is really succulent, like you
would
expect from the black hide of an old ham or an old pastrami beef -- The
lunchcart
has stools with smooth slickwood tops -- there are wooden drawers for
where
you find the long loaves of sandwich bread. The countermen: either Greeks
or have
big red drink noses." (p.3)
Incredible
stuff. I often find myself going over certain passages again in an
attempt
to absorb all the details... Another thing that blows me away about this
book,
is the sense of history Kerouac gives to the simplest descriptions....
"...Cody
imagined Watson slept like the little boys in fleecy nightgowns in
mattress
advertisements of the Saturday Evening Post, which he realized now he
was
confusing with a rubber tire ad that shows a little boy wandering out of bed
with a
candle on New Year's Eve but expresses the same tender comfort of angels
and
vision of American children (ah poor Cody who'd seen this vision in those
soaked
magazines that have been dried by the sun and stand on tattered edges
among
weeds and cundrums of backlots)," (p. 62)
I think
the power of Kerouac's prose is his ability to create such a vivid
picture
of what he's talking about/describing in your mind... like a little
movie
that only you can imagine... I've only read about 90 or so pages and it
find it
to be a captivating read. wow.
bfn,
JDL
=========================================================================
Date: Tue, 7 May 1996 11:02:25 -0700
Reply-To: "BEAT-L: Beat Generation List"
<BEAT-L@CUNYVM.BITNET>
Sender: "BEAT-L: Beat Generation
List" <BEAT-L@CUNYVM.BITNET>
From: Timothy Gallaher
<gallaher@HSC.USC.EDU>
Subject: Re: Visions of Cody - Revisited
> I've finally gotten around to reading
Kerouac's "Visions of Cody"... It's
>my
>first
time tackling this book (although not the first Kerouac book I've read)
>and
I am simply amazed at the amount of detail contained within... For example,
>the
book opens with a description of a diner and everything in it:
>
>"Grill
is ancient and dark and emits an odor which is really succulent, like
>you
>would
expect from the black hide of an old ham or an old pastrami beef -- The
>lunchcart
has stools with smooth slickwood tops -- there are wooden drawers for
>where
you find the long loaves of sandwich bread. The countermen: either Greeks
>or
have big red drink noses." (p.3)
>
>Incredible
stuff. I often find myself going over certain passages again in an
>attempt
to absorb all the details... Another thing that blows me away about
>this
>book,
is the sense of history Kerouac gives to the simplest descriptions....
>
>"...Cody
imagined Watson slept like the little boys in fleecy nightgowns in
>mattress
advertisements of the Saturday Evening Post, which he realized now he
>was
confusing with a rubber tire ad that shows a little boy wandering out of
>bed
>with
a candle on New Year's Eve but expresses the same tender comfort of angels
>and
vision of American children (ah poor Cody who'd seen this vision in those
>soaked
magazines that have been dried by the sun and stand on tattered edges
>among
weeds and cundrums of backlots)," (p. 62)
>
>I
think the power of Kerouac's prose is his ability to create such a vivid
>picture
of what he's talking about/describing in your mind... like a little
>movie
that only you can imagine... I've only read about 90 or so pages and it
>find
it to be a captivating read. wow.
>
>bfn,
>JDL
Only 90
pages so far...Keep going (though I doubt I have to exhort you to
do
this.
Your
points are good. These things are why
kerouac is a great writer and
has
lasted and will last. I think the
classic writers put these details
in. They do two things at least which are
provide the details of life in
their
time--including seemingly mundane things like drawers in a diner
where
the long loaves of bread are kept, and also proovide their personal
stories
and thoughts going on with the characters in context of their real
world.
It's
like taking a little chunk of existence of certain times and lifes and
laminating
it or bronzing it or somehow making it available for posterity.
It is
not inlike a portrait or photograph.
The writing you described above
is an
example of kerouac's sketching method of writing he developed as
inspired
by his architect friend (Ed White? Alan
Temko?--I can't remember
whom,
but I do know it was the one who had his letters from kerouac
recently
published in Missouri Review). The
architect friend kept a pad
and
when he saw buildings of interest to him he pulled it out and sketched
them. kerouac borrowed this technique and puled
out a notepad and
"sketched"
the things he saw--eg a diner. Much of
the first part of
Visions
of Cody is this sketching. Parts of
this book were first published
in a
book called "The Moderns" edited by LeRoi Jones (who now calls
himself
Amiri
Baraka and hangs out with Farakan). The
samples from Visions of Cody
in The
Moderns was called New York Scenes. Of
interest is that if you read
the
published Visions of Cody and compare it to the part published as New
York
Scenes you see that Jones added a sentence or two to Kerouacs writing
that
make overt sociopolitical points.
Interesting how Kerouac always
fought
to not have his writings snipped by editors but in this case
something
was added to his writing. Wonder what
Kerouac thought of this.
If
you're on page 90 now just wait.
Whereas so far you've read strong
descriptive
prose, albeit dense in words and sentence structure, you will
come to
some wild and wooly rivers in the next few hundred pages. The
first
couple sections are downright realistic and down to Earth, when the
third
part (I hope I am remembering the sections correctly--I haven't read
the
book in years and don't have a copy of it), the third section is a
transcript
of a tape recording which ostensibly would be more realism but
it
turns out to be more surreal. And then
the fourth part called imitation
of the
tape moves into the realm of pure thought and free association and
mind
wandering--full of the beauty of language and imagery of an educated
mind (a
multi-lingual one at that).
So the
book moves from realistic to surrealistic (for lack of a better term
I'm
using surrealistic).
Well,
you get the idea, I think I'm becoming (as if I haven't been the
whole
time) boring. It many ways the book is
like Dr. Sax with
straightforward
descriptions of real life (as straightforward, that is, as
Kerouac's
dense prose allows) combined with the hyperrealistic nongrounded
in
objective reality parts. They combine
to create a whole.
Also I
am wondering if anyone has any info as to what was included in the
initial
1960 new Directions abridged version of Visions of Cody? Did they
include
the new york scenes part of the book but leave out the more far-out
parts
such as the Imitation of the Tape section?
If so it reminds me of
the
initial offer made to Kerouac concerning Dr. Sax where the potential
publisher
(Wyn?) suggested the fantastic parts of Sax be removed to leave a
narrative
of boyhood.
Zai
jian,
Tim
=========================================================================
Date: Tue, 7 May 1996 15:07:56 EDT
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<BEAT-L@CUNYVM.BITNET>
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From: Bill Gargan
<WXGBC@CUNYVM.BITNET>
Subject: Re: The only cows for me are the mad
ones
In-Reply-To: Message of Mon, 6 May 1996 23:06:11 -0400
from <JHulvey@AOL.COM>
I think
Leary is right about a certain pessimism inherent in Kerouac.
Kerouac
was particularly pessimistic about the fate of America or the
loss of
America's promise. He referred to the
later half of the 20th
century
in America as a period of "Late Empire." Look at Lonesome
Traveler--"the
woods are full of wardens."
Ginsberg is more optimistic,
if only
because he expects some kind of miracle, some redemption through
tender
heartedness. Nevertheless, there's a
lot of pain and fear and
disappointment
about America in all the major poems.
=========================================================================
Date: Tue, 7 May 1996 15:34:18 EDT
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From: Bill Gargan
<WXGBC@CUNYVM.BITNET>
Subject: Re: Salinger
In-Reply-To: Message of Tue, 7 May 1996 10:11:44 EDT from
<PRM95003@UCONNVM.UCONN.EDU>
I think
there are some connections. In fact, I
once wrote some notes for an ar
ticle
comparing K and Salinger. Hmmm! Maybe, I'll see if I can dig them up.
=========================================================================
Date: Tue, 7 May 1996 15:33:23 -0400
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From: Phil Chaput <Philzi@TIAC.NET>
Subject: Re: Visions of Cody - Revisited
This is
true Kerouac. Wouldn't it be great to hear Jack read this book.I
read or
heard somewhere that he thought this was his best book. Does anyone
else
have opinions about that? My 14 year old son was talking about food one
day and
I had him read that very passage where he talks about Hectors deli
and he
was smiling all the way through it. Phil
At
11:42 AM 5/7/96 EST, you wrote:
> I've finally gotten around to reading
Kerouac's "Visions of Cody"...
It's my
>first
time tackling this book (although not the first Kerouac book I've read)
>and
I am simply amazed at the amount of detail contained within... For example,
>the
book opens with a description of a diner and everything in it:
>
>"Grill
is ancient and dark and emits an odor which is really succulent,
like
you
>would
expect from the black hide of an old ham or an old pastrami beef -- The
>lunchcart
has stools with smooth slickwood tops -- there are wooden drawers for
>where
you find the long loaves of sandwich bread. The countermen: either Greeks
>or
have big red drink noses." (p.3)
>
>Incredible
stuff. I often find myself going over certain passages again in an
>attempt
to absorb all the details... Another thing that blows me away about
this
>book,
is the sense of history Kerouac gives to the simplest descriptions....
>
>"...Cody
imagined Watson slept like the little boys in fleecy nightgowns in
>mattress
advertisements of the Saturday Evening Post, which he realized now he
>was
confusing with a rubber tire ad that shows a little boy wandering out
of bed
>with
a candle on New Year's Eve but expresses the same tender comfort of angels
>and
vision of American children (ah poor Cody who'd seen this vision in those
>soaked
magazines that have been dried by the sun and stand on tattered edges
>among
weeds and cundrums of backlots)," (p. 62)
>
>I
think the power of Kerouac's prose is his ability to create such a vivid
>picture
of what he's talking about/describing in your mind... like a little
>movie
that only you can imagine... I've only read about 90 or so pages and it
>find
it to be a captivating read. wow.
>
>bfn,
>JDL
>
>
=========================================================================
Date: Tue, 7 May 1996 16:10:34 -0700
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From: Jonathan Kratter
<jonkrat@NUEVA.PVT.K12.CA.US>
Subject: Re: Salinger
In-Reply-To:
<960507.101447.EDT.PRM95003@UConnVM.UConn.Edu>
oh oh
oh! Teacher, teacher, call on me,
teacher! No, actually, we were
discussing
this in english today, and everyone called the Beats
beatniks...that
bugs me, ya know? It just seems so
degrading to Jack and
Allen
and Neal and others...anyways...Salinger's relationship to the
Beats,
I think, is really strong in "Catcher in the Rye" with Holden
Caulfield's
exasperation with materialism and J.D. Salinger's simulated
spontaneous
prose and the entire attitude of the book, that is, how
someone
actually thinks and talks...
jonathan
-------------
Jonathan
Kratter
jonkrat@nueva.pvt.k12.ca.us
"What kind of sordid business are
you on now? I mean, man,
whither goest thou? Whither goest thou, America, in thy shiny
car in
the night?"
-On the Road, Jack Kerouac
On Tue,
7 May 1996, Peter R. McGahey wrote:
>
Someone mentioned Salinger - what does everyone think of him in relation
> to
the Beats? They were contemporaries,
but Salinger did what Jack may have
>
wanted to do, get away from the screaming fans. I think that Salinger's
> explorations
of Buddhism, particularly in his good works (Franny & Zooey,
>
Raise High . . .) would put him in some connection even though it is rather
>
tenuous. Why was Buddhism such a rave
thing then? Eliot et al were into
>
Hindu etc because the Bagavad Gita (mis-spelled, I know) was recently
>
translated.
>
=========================================================================
Date: Tue, 7 May 1996 18:12:47 EST
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<BEAT-L@CUNYVM.BITNET>
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From: "J.D. P. Lafrance"
<J.D._P._Lafrance@RIDLEY.ON.CA>
Organization:
Ridley College
Subject: Re: Visions of Cody - Revisited
Timothy
Gallaher <gallaher@HSC.USC.EDU>,Internet writes:
Also I
am wondering if anyone has any info as to what was included in the
initial
1960 new Directions abridged version of Visions of Cody? Did they
include
the new york scenes part of the book but leave out the more far-out
parts
such as the Imitation of the Tape section?
If so it reminds me of
the
initial offer made to Kerouac concerning Dr. Sax where the potential
publisher
(Wyn?) suggested the fantastic parts of Sax be removed to leave a
narrative
of boyhood.
Yeah,
I've heard of Kerouac's sketching technique.. didn't he first use it on
"October
in the Railroad Earth"? Not sure... Hmm.. the copy of "Visions of
Cody"
that I
have (a very recent version) has a great article in the back written by
Allen
Ginsberg called "Visions of the Great Rememberer," where he annotates
much
of the
book... I've been reading some of them as I come across them.. he makes
some
very interesting observations...
bfn,
JDL
=========================================================================
Date: Tue, 7 May 1996 18:16:27 EST
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From: "J.D. P. Lafrance"
<J.D._P._Lafrance@RIDLEY.ON.CA>
Organization:
Ridley College
Subject: Re: Visions of Cody - Revisited
Phil
Chaput <Philzi@TIAC.NET>,Internet writes:
This is
true Kerouac. Wouldn't it be great to hear Jack read this book.I
read or
heard somewhere that he thought this was his best book. Does anyone
else
have opinions about that? My 14 year old son was talking about food one
day and
I had him read that very passage where he talks about Hectors deli
and he
was smiling all the way through it. Phil
I agree
with you that it would be great to hear Kerouac read this book and in
fact,
in the Jack Kerouac collection of his spoken word stuff there is some
passages
from "Visions of Cody" that he recorded... well, there's the most
famous
bit that he did on the Steve Allen Show where he mixed "Cody" with
"On
the
Road" but there are also some bits he did called, "Visions of Neal:
Neal and
the
Three Stooges" which, I believe, are from "Visions of Cody," but
I can't be
sure..
I'd have to check the booklet again...
bfn,
JDL
=========================================================================
Date: Tue, 7 May 1996 21:37:11 -0500
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From: George Morrone
<gmorrone@PROLOG.NET>
Subject: Beatnik, Sputnik & F. Scott
Fitzgerald
>From:
Jonathan Kratter <jonkrat@NUEVA.PVT.K12.CA.US> wrote:
>
>oh
oh oh! Teacher, teacher, call on me,
teacher! No, actually, we were
>discussing
this in english today, and everyone called the Beats
>beatniks...that
bugs me, ya know?
The
columnist (I think it was Herb Caen of the San Francisco examiner)
coined
the phrase "beatnik" as a put-down, to imply leftist,
"pink," or
communist
tendencies. (I suppose based on "sputnik.") It was during the
Cold
War at it's worst. By the way, was Kerouac ever interviewed by Ben
Hecht?
Not remembered today, Hecht was a famous reporter and screenwriter,
and
Kerouac was drunk for the interview. I thought I read the incident in
Hecht's
memoir, "Child of the Century," but couldn't locate it in the book
later
on.
By the
way, anyone care to discuss parallels between Kerouac and F. Scott
Fitzgerald?
They had similar styles, and "This Side of Paradise" reminded
me of
Kerouac's writing. They had much else in common, too: Catholicism,
alcoholism,
early death. Both also made frequent allusions to death and the
supernatural,
associating sex and death. Why does the word "mournful" occur
so
frequently in Jack's writing? What function does it serve? Not that I
expect
definitive answers; but I'd like help in framing the questions
better.
gmorrone@prolog.net
(George Morrone)
=========================================================================
Date: Tue, 7 May 1996 21:48:20 -0700
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From: "bs@UBC"
<sbent@UNIXG.UBC.CA>
Subject: Salinger
In-Reply-To:
<960507.101447.EDT.PRM95003@UConnVM.UConn.Edu>
On Tue,
7 May 1996, Peter R. McGahey wrote:
>
Someone mentioned Salinger - what does everyone think of him in relation
> to
the Beats? They were contemporaries,
but Salinger did what Jack may have
>
wanted to do, get away from the screaming fans. I think that Salinger's
>
explorations of Buddhism, particularly in his good works (Franny & Zooey,
>
Raise High . . .) would put him in some connection even though it is rather
>
tenuous. Why was Buddhism such a rave
thing then? Eliot et al were into
>
Hindu etc because the Bagavad Gita (mis-spelled, I know) was recently
>
translated.
Among
critics, esp. in the late fifties the Salinger/Kerouac comparison
was a
commonplace. See f.ex. Leslie Fiedler's essay "The Eye of
Innocence",
which is mostly a discussion of Twain and Salinger's
figuration
of the child, but which brings in Kerouac as a negative
comparison
in the discussion of what Fiedler calls the Good Bad Boy.
Here's
some of it:
"In
Catcher in the Rye, Holden comes to the dead end of ineffectual revolt
in a
breakdown out of which he is impelled to fight his way by the Good
Good
Girl, in the guise of the Pure Little Sister, from whose hands he
passes
directly into the hands of psychiatrist. In On the Road, whose
characters
heal themselves as they go by play-therapy, the inevitable
adjustment
to society is only promised, not delivered; we must wait for
the
next installment to tell how the Square Hipster makes good by acting
out his
role (with jazz accompaniment) in a New York night club, or even,
perhaps,
how he has sold his confessions of a Bad Boy to the movies.
[...]
To be
sure it is Zen Buddhism rather than Unitarianism or neo-Orthodoxy
which
attracts the Square Hipster and New Yorker contributor alike,
binding
together as improbable co-religionists Salinger and Kerouac;
indeed,
if James Dean had not yet discovered this particular kick before
he
smashed up in a sports car, it is because he died just a little too
soon.
Past the bongo drums and the fiddling around with sculpture it was
waiting
for him, the outsider's religion in a day when there is room
inside
for the outsider himself, provided he, too, goes "to the church of
his
choice""
Another
critic, Dan Wakefield, was even more vicious in his comparison:
"Moral
senility can come at any age, or need not come at all, and we have
recently
borne painful witness through the howls of the writers of the
"Beat
Generation" that moral senility can afflict quite young men and
women.
This group dismisses the search of Salinger on the grounds that he
is
"slick" (he writes for The New Yorker, and as any sensitive person
can
tell,
it is printed on a slick type of paper). But now that the roar from
the
motorcycles of Jack Kerouac's imagination has begun to subside, we
find
that the highly advertised search of the Beat has ended, at least
literarily,
not with love but with heroin. The appropriate nature of the
symbol
can be seen in the fact that the physiological experience of
heroin
is one of negation (it is the ultimate tranquilizer), releasing
the
user during the duration of his "high" from the drive for sex, for
love
and for answers. Fortunately for the rest of us, the characters in
Salinger's
fiction have found no such simple formula as a "fix" for
relief
from their troubles.
Sixteen-year-old
Holden Caulfield was (just like Jack Kerouac) sickened
by the
material values and the inhumanity of the world around him. That
sickness,
however, marked the beginning and not the end of the search of
Salinger's
characters to find an order of morality and a possibility of
love
within the world." (From "The Search For Love")
Let us
not forget that Salinger himself has commented on the Beats in one
of his
stories, "Seymour: An Introduction", albeit through the words of
his
narrator character, Buddy Glass. Critics have discussed at length how
closely
Salinger identified himself with this narrator - he certainly
gave
him some of his own biography. Here is the quote (Buddy is talking
to his
imagined reader):
"In
this entre-nous spirit, then, old confidant, before we join the
others,
the grounded everywhere, including, I'm sure, the middle-aged
hot-rodders
who insist on zooming us to the moon, the Dharma Bums, the
makers
of cigarette filters for thinking men, the Beat and the Sloppy and
the
Petulant, the chosen cultists, all the lofty experts who know so well
what we
should or shouldn't do with our poor little sex organs, all the
bearded,
proud, unlettered young men and unskilled guitarists and
Zen-killers
and incorporated aethetic Teddy boys who look down their
thoroughly
unenlightened noses at this splendid planet where (please
don't
shut me up) Kilroy, Christ, and Shakespeare all stopped - before we
join
these others, I privately say to you, old friend (unto you, really,
I'm
afraid), please accept from me this unpretentious bouquet of very
early-blooming
parentheses: (((())))." (p. 97-98 Little & Brown ed.)
That, I
believe, is what is nowadays called a rant, and a damn fine one, too
-
though of course elitist and borderline psychotic....
Regards,
Bent
Sorensen
Visiting
Grad. Student, Dept. of English, UBC
Ph.D.
Student, Aalborg University, Denmark
<http://hum.auc.dk/i12/org/medarb/bent.uk.html>
=========================================================================
Date: Tue, 7 May 1996 22:19:46 -0700
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<BEAT-L@CUNYVM.BITNET>
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From: Bent Sorensen
<sbent@UNIXG.UBC.CA>
Subject: Robert Hunter and Kerouac
Thanks
to a tip off Levi's Beat News page I checked Grateful Dead
lyricist,
Robert Hunter's homepage. Among lots of amazing stuff I found
this
piece with direct Beat relevance. I hope you enjoy it and that
Robert
doesn't mind my lifting it. Check out the rest of at the URL
following
this:
http://grateful.dead.net/RobertHunterArchive.html/files/journal/6journal_
4.30.96.html
>
Journal 4/24 - 4/30 1996
>
>
4/24
>
>
Got a call from the Kerouac estate today about me doing a two hour
>
taping of selections from 'Visions of Cody.' Did a short reading for
> a
tape that will be released along with a lot of other readers
>
including Allen Ginsberg, Hunter Thompson, Wm.Burroughs, Patti
>
Smith, Jim Carroll, and, yes, Johnny Depp. Many others I don't have
> on
the tip of my mind right now. I'll add 'em when my memory is
>
refreshed.
>
>
Reason they want me is, I got the Cassady roll down. I know how he'd
>
say things. He lived with a bunch of us at the Waverley Street house
> in
Palo Alto for awhile, during the Acid Test days, and I spent a
>
good amount of time being talked at by the old boy. Reckon I could
> do
it good as anyone, better'n most. Harumph. Yas.
>
>
The first tape I mentioned was an interesting trip. I looked and
>
looked for something to read and couldn't settle on anything. So
>
what I did was, I woke up the next morning with a good idea. I
>
hopped out of bed, grabbed 'Visions of Cody' and a portable DAT
>
machine, got in my car and drove down to the parking lot of Amazing
>
Grace Music, which is situated in an island between two busy lanes
> of
traffic. I opened all the windows, put a tape I have of Jack
>
singing "Foggy London Town" in be-bop scat on the car's tape
>
machine, and read a random section of "Visions" with stereo traffic
>
whizzing by. Some angel honked right at the end. I didn't even
>
bother to check to see if I had a good take. If the spirits of Jack
>
and Neal weren't with me during those few minutes, there's no
>
meaning to such a statement. I could about hear both of them
>
laughing and it was a golden feeling.
>
> It
isn't for sure I get to do it. They check with Viking for
>
approval tomorrow. I said "If they want me to do it fine. If they
>
don't, no problem. I'm a busy man."
>
>
4/25
>
>
Just heard from Jim Sampas of the Kerouac estate again. He'd
>
proposed me to Viking/Penguin this morning, but it seems they, in
>
their infinite wisdom, have decided to go with Graham Parker. They
>
feel Cassady with an english accent would be interesting, besides
>
they've already put out promo on it. They offered me "Book of Blues"
> to
record instead. Sure, I'll do it, though I don't have the JFK
> accent
Kerouac had. Maybe I should put out my own recording of
>
"Visions" audio on the net. 45 megabyte download anyone?
Regards,
Bent
Sorensen
=========================================================================
Date: Wed, 8 May 1996 07:59:38 EST
Reply-To: "BEAT-L: Beat Generation List"
<BEAT-L@CUNYVM.BITNET>
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From: SPOTS OF TIME
<breithau@KENYON.EDU>
Subject: Re: Visions of Cody - Revisited
If I
remember correctly, there is a more complete recording of Jack reading
from
Visions of Cody in Allen Ginsberg's archives (on a reel-to-reel tape) but
as far
as I know, has never been made available commercially.
Dave B.
=========================================================================
Date: Wed, 8 May 1996 08:35:18 -0500
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<BEAT-L@CUNYVM.BITNET>
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From: "P.G. Springer"
<hloosn8@PRAIRIENET.ORG>
Subject: Re: Beatnik, Sputnik & F. Scott
Fitzgerald
In-Reply-To:
<v01510101adb5b548ab7e@[204.186.21.51]>
On Tue,
7 May 1996, George Morrone wrote:
>
Cold War at it's worst. By the way, was Kerouac ever interviewed by Ben
>
Hecht? Not remembered today, Hecht was a famous reporter and screenwriter,
>
and Kerouac was drunk for the interview. I thought I read the incident in
The
audio recording of the interview is on a CD compilation "The Beat
Generation"
=========================================================================
Date: Wed, 8 May 1996 09:34:58 EDT
Reply-To: "BEAT-L: Beat Generation List"
<BEAT-L@CUNYVM.BITNET>
Sender: "BEAT-L: Beat Generation
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From: Bill Gargan
<WXGBC@CUNYVM.BITNET>
Subject: Re: Beatnik, Sputnik & F. Scott
Fitzgerald
In-Reply-To: Message of Tue, 7 May 1996 21:37:11 -0500
from
<gmorrone@PROLOG.NET>
Yea,
there are lots of obvious comparisons between Fitz and Kerouac. The use o
f the
narrator in OTR & Gatsby and their treatments of the American Dream are t
wo
major similarities.
=========================================================================
Date: Wed, 8 May 1996 09:44:05 EDT
Reply-To: "BEAT-L: Beat Generation List"
<BEAT-L@CUNYVM.BITNET>
Sender: "BEAT-L: Beat Generation
List" <BEAT-L@CUNYVM.BITNET>
From: Bill Gargan
<WXGBC@CUNYVM.BITNET>
Subject: Re: Salinger
In-Reply-To: Message of Tue, 7 May 1996 21:48:20 -0700
from
<sbent@UNIXG.UBC.CA>
Thanks,
Bent for those interesting excerpts.
There's also a book by
Robert
Hipkiss -- Jack Kerouac: Prophet of the New Romanticism -- which
makes
comparisons to Salinger and others.
It's not very good in my
opinion
but it might be worth a look anyway.
=========================================================================
Date: Wed, 8 May 1996 09:49:02 EDT
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<BEAT-L@CUNYVM.BITNET>
Sender:
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From: Bill Gargan
<WXGBC@CUNYVM.BITNET>
Subject: Re: Robert Hunter and Kerouac
In-Reply-To: Message of Tue, 7 May 1996 22:19:46 -0700
from
<sbent@UNIXG.UBC.CA>
If
Robert Hunter is listening, I'd sure like to hear that tape. If you
make
that cd, they will buy it!
=========================================================================
Date: Wed, 8 May 1996 11:06:26 EDT
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From: "Peter R. McGahey"
<PRM95003@UCONNVM.UCONN.EDU>
Subject: Fitzgerald and Kerouac
Aside
from the standard Lost Generation - Beat Generation connections,
I think
it is rather facinating that so many assume that Kerouac's entire
canon
is a big drug fest just like they assume all of Fitzgerald's canon is
one big
alcoholic party. By reading
"Babylon revisted" one can see the
obvious
error in this image of Fitzgerald and I think we all know that
Kerouac's
canon goes much deeper than the beatnik image.
=========================================================================
Date: Wed, 8 May 1996 09:21:20 -0700
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From: Levi Asher
<brooklyn@NETCOM.COM>
Subject: Re: Beatnik, Sputnik & F. Scott
Fitzgerald
In-Reply-To: <v01510101adb5b548ab7e@[204.186.21.51]>
from "George Morrone" at
May 7, 96 09:37:11 pm
> By
the way, anyone care to discuss parallels between Kerouac and F. Scott
>
Fitzgerald? They had similar styles, and "This Side of Paradise"
reminded