Jack Kerouac’s On the Road Revisited

Jack Kerouac's On the Road Revisited

A SPRIGHTLY 55

Whether it’s a Jonathan Franzen novel or an AMC TV show we won’t know how good Freedom or Mad Men truly are for some years to come. Only with the test of time can we tell if a work of art is still remembered, enjoyed, talked about. In lieu of the recent Pulitzer debacle, it seems reasonable to ask how many literary prize winners are remembered ten years down the road, never mind fifty.

If just a few years seems old in the book world (try naming that Giller winner from 2007), consider what a feat it is forOn the Road to turn fifty-five this year. And how sprightly and agile it looks for its age! Here’s a book being put up on the big screen at Cannes this week by Francis Ford Coppola’s production company, a book that still find its way onto Staff Pick’s tables in bookstores across the country, a book that both Time Magazine and the Modern Library included in their best novels of the twentieth century lists a few years ago.

How does Jack Kerouac’s most famous novel do it? There are the academic reasons, of course. On the Road put a name and a stamp on the generation he called Beat. It can serve as an historical/gossipy document of poets and writers disguised in name only, and barely, with Allen Ginsberg (Howl) as Carlo Marx and William S. Burroughs (Naked Lunch) as Old Bull Lee. Kerouac himself stands in as the tale’s narrator, Sal Paradise, while Neal Cassady, a kind of living legend we would likely have never known if Kerouac hadn’t immortalized him in the wild and dizzying character so much at the centre of On the Road, Dean Moriarty.

Then there is the mythic legend of the book’s creation: that Kerouac spun the whole thing out in a drug-fuelled writing binge that spanned but three weeks. It was to that myth – as more than one Kerouac biography has discovered – that Truman Capote (In Cold Blood) famously rejoined, “That’s not writing, it’s typing.” The reality is that while Kerouac did indeed produce one famously long scroll of a draft written in three weeks, he had been writing early drafts of the novel from three years prior.

 Read the complete Jack Kerouac’s On the Road Revisited article

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John Irving’s In One Person – A Review

John Irving's In One Person: A Review We are formed by what we desire. In less than a minute of excited, secretive longing, I desired to become a writer and to have sex with Miss Frost – not necessarily in that order.

Billy Abbott is the teenage boy who wants to become a writer and be with an older woman, a librarian, Miss Frost, when In One Person opens in the fictional town of First Sister, Vermont in the 1950s. Miss Frost is one of a number of characters this adolescent will lust after in the early part of the book. If you are familiar with John Irving’s work you already see how well this fits his oeuvre. The international bestselling author’s themes are so well known Wikipedia has a literal checklist: the New England setting, a central character who is (or will become) a writer and, in the case of In One Person, quite a few of what Wikipedia categorizes as “sexual variations,”  to name a few.

Irving, who turns 70 this year, is brave. That’s what I kept thinking as I read In One Person, a book that long before its release had buzz as a “return to form” for an author who already has a National Book Award (for The World According to Garp) and an Oscar (for his adaption of his novel The Cider House Rules) to his credit. Like a great actor (and this book is filled with thespians) Irving throws himself into the role of his protagonist, Billy Abbott, the teenage boy so in love with that librarian, Miss Frost and in so doing, immerses us in his vivid world.

As the novel’s narrator we slip, like the author, into Billy’s shoes and join him as he develops this crush on the older woman. She doesn’t have large breasts, but Billy doesn’t mind. Nor does he find it a problem how starkly in contrast Miss Frost’s girlish chest is with her “broad shoulders,” “her mannish size and obvious physical strength.” All this to say that when Irving reveals that Miss Frost, Alberta is her first name, is not actually a woman, or wasn’t born that way, it doesn’t much matter. Irving has to convincingly taken us into this improbable relationship that we’re in it the whole way with our narrator. So what if Alberta was once an Albert? Billy sure doesn’t. He’s a bisexual, hence the novel’s title.

Read the entire review of John Irving’s In One Person

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Katherine Boo’s Behind the Beautiful Forevers – A Review

Katherine Boo's Behind the Beautiful Forevers - A Review

WHAT LIES BEHIND

…January 2008. It was about as hopeful a season as there had been in the years since a bitty slum popped up in the biggest city of a country that holds one-third of the planet’s poor. A country dizzy now with development and circulating money.

Mumbai’s international airport is surrounded by an ever expanding collection of luxury hotels. Driving into the city’s centre, you’d pass the Sheratons and Hyatts and a long high wall with an advertisement for Italian ceramic tiles. The ad on that wall reads: “Beautiful Forever, Beautiful Forever, Beautiful Forever.” In an interview with the CBC’s Anna Maria Tremonti, the Pulitzer Prize-winning author of Behind the Beautiful Forevers, Katherine Boo, described how when driving in a car, you wouldn’t be able to see behind this wall where that “bitty” slum lies : 3,000 people packed into 335 huts, the eastern border of which is a lake “of sewage and petro-chemicals and illegally dumped materials.”

This slum, and all that surrounds it, is what Behind the Beautiful Forevers is all but exclusively concerned with.

 

AN AMERICAN IN INDIA 

Married to an Indian, Boo has spent the last ten years splitting her time between India and the States, and devoted almost four full years to documenting the lives of a half dozen residents of this small slum known as Annawadi. Having spent the majority of her journalism career documenting the poor and disadvantaged back in her native USA for The Washington Post and now at The New Yorker where she serves as a staff writer, she comes by her subject honestly enough. Thus with video cameras and audio tape, using written notes and still cameras, with tremendous access to huge stacks of official documents and working for years alongside two translators, Boo did more than just sit down and conduct lengthy interviews with the half dozen central characters that populate this book. She made a point of going with these people as they did their work, as they lived their daily lives. In other words, she got to know these slum dwellers as well as a fiction author must know the main characters of their novel.

Read the full Review of Katherine Boo’s Behind the Beautiful Forevers.

 

 

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