Early works

By the time Kerouac and Burroughs met in 1944, Kerouac had already written a million words. His boyhood ambition had been to write the “great American novel.” His first novel, The Town & the City (1950), received favourable reviews but was considered derivative of the novels of Thomas Wolfe, whose Time and the River (1935) and You Can’t Go Home Again (1940) were then popular. In his novel Kerouac articulated the “New Vision,” that “everything was collapsing,” a theme that would dominate his grand design to have all his work taken together as “one vast book”—The Legend of Duluoz.

Yet Kerouac was unhappy with the pace of his prose. The music of bebop jazz artists Thelonious Monk and Charlie Parker began to drive Kerouac toward his “spontaneous bop prosody,” as Ginsberg later called it, which took shape in the late 1940s through various drafts of his second novel, On the Road. The original manuscript, a scroll written in a three-week blast in 1951, is legendary. He also hoped to publish the novel as a scroll so that the reader would not be encumbered by having to turn the pages of a book. Rejected for publication at first, it finally was printed in 1957. In the interim, Kerouac wrote several more “true-life” novels, Doctor Sax (1959), Maggie Cassidy (1959), and Tristessa (1960) among them.

'On the Road'

Another of Kerouac's New York friends in the late 1940s was Neal Cassady; the two took several cross-country road trips to Chicago, Los Angeles, Denver, and even Mexico City. These trips provided the inspiration for Kerouac's next and greatest novel, On the Road, a barely fictionalized account of these road trips packed with sex, drugs and jazz. Kerouac's writing of On the Road in 1951 is the stuff of legend: He wrote the entire novel over one three-week bender of frenzied composition, on a single scroll of paper that was 120 feet long.

Like most legends, the story of the whirlwind composition of On the Road is part fact and part fiction. Kerouac did, in fact, write the novel on a single scroll in three weeks, but he had also spent several years making notes in preparation for this literary outburst. Kerouac termed this style of writing "spontaneous prose" and compared it to the improvisation of his beloved jazz musicians. Revision, he believed, was akin to lying and detracted from the ability of prose to capture the truth of a moment.

However, publishers dismissed Kerouac's single-scroll manuscript, and the novel remained unpublished for six years. When it was finally published in 1957, On the Road became an instant classic, bolstered by a review in The New York Times that proclaimed, "Just as, more than any other novel of the '20s, The Sun Also Rises came to be regarded as the testament of the 'Lost Generation,' so it seems certain that On the Road will come to be known as that of the 'Beat Generation'." As Kerouac's girlfriend at the time, Joyce Johnson, put it, "Jack went to bed obscure and woke up famous."

Readers often confused Kerouac with Sal Paradise, the amoral hipster at the centre of his novel. The critic Norman Podhoretz famously wrote that Beat writing was an assault against the intellect and against decency. This misreading dominated negative reactions to On the Road. Kerouac’s rebellion, however, is better understood as a quest for the solidity of home and family, what he considered “the hearthside ideal.” He wanted to achieve in his writing that which he could find neither in the promise of America nor in the empty spirituality of Roman Catholicism; he strived instead for the serenity that he had discovered in his adopted Buddhism. Kerouac felt that the Beat label marginalized him and prevented him from being treated as he wanted to be treated, as a man of letters in the American tradition of Herman Melville and Walt Whitman.