Later Works

In the six years that passed between the composition and publication of On the Road, Kerouac traveled extensively; experimented with Buddhism; and wrote many novels that went unpublished at the time. His next published novel, The Dharma Bums (1958), described Kerouac's clumsy steps toward spiritual enlightenment on a mountain climb with friend Gary Snyder, a Zen poet. Dharma was followed that same year by the novel The Subterraneans, and in 1959, Kerouac published three novels: Dr. Sax, Mexico City Blues and Maggie Cassidy.

Kerouac's most famous later novels include Book of Dreams (1961), Big Sur (1962), Visions of Gerard (1963) and Vanity of Duluoz (1968). Kerouac also wrote poetry in his later years, composing mostly long-form free verse as well as his own version of the Japanese haiku form. Additionally, Kerouac released several albums of spoken word poetry during his lifetime.

Final Years

Despite maintaining a prolific pace of publishing and writing, Kerouac was never able to cope with the fame he achieved after On the Road, and his life soon devolved into a blur of drunkenness and drug addiction. He married Edie Parker in 1944, but their marriage ended in divorce after only a few months. In 1950, Kerouac married Joan Haverty, who gave birth to his only daughter, Jan Kerouac, but this second marriage also ended in divorce after less than a year. Kerouac married Stella Sampas, who was also from Lowell, in 1966. He died from an abdominal hemorrhage three years later, on October 21, 1969, at the age of 47, in St. Petersburg, Florida.

Assessment

Kerouac’s insistence upon “First thought, best thought” and his refusal to revise was controversial. He felt that revision was a form of literary lying, imposing a form farther away from the truth of the moment, counter to his intentions for his “true-life” novels. For the composition of haiku, however, Kerouac was more exacting. Yet he accomplished the task of revision by rewriting. Hence, there exist several variations of On the Road, the final one being the 1957 version that was a culmination of Kerouac’s own revisions as well as the editing of his publisher. Significantly, Kerouac never saw the final manuscript before publication. Still, many critics found the long sweeping sentences of On the Road ragged and grammatically derelict.

Kerouac explained his quest for pure, unadulterated language—the truth of the heart unobstructed by the lying of revision—in two essays published in the Evergreen Review: “Essentials of Spontaneous Prose” (1958) and “Belief and Technique for Modern Prose” (1959). On the grammatically irreverent sentences, Kerouac extolled a “method” eschewing conventional punctuation in favour of dashes. In “Essentials of Spontaneous Prose” he recommended the “vigorous space dash separating rhetorical breathing (as jazz musician drawing breath between outblown phrases)”; the dash allowed Kerouac to deal with time differently, making it less prosaic and linear and more poetic. He also described his manner of developing an image, which began with the “jewel center,” from which he wrote in a “semi-trance,” “without consciousness,” his language governed by sound, by the poetic effect of alliteration and assonance, until he reached a plateau. A new “jewel center” would be initiated, stronger than the first, and would spiral out as he riffed (in an analogy with a jazz musician). He saw himself as a horn player blowing one long note, as he told interviewers for The Paris Review. His technique explains the unusual organization of his writing, which is not haphazard or sloppy but systematic in the most individualized sense. In fact, Kerouac revised On the Road numerous times by recasting his story in book after book of The Legend of Duluoz. His “spontaneity” allowed him to develop his distinct voice.

More than four decades after his death, Jack Kerouac continues to capture the imagination of wayward and rebellious youth. One of the most enduring American novels of all time, On the Road appears on virtually every list of the 100 greatest American novels. Kerouac's words, spoken through the narrator Sal Paradise, continue to inspire today's youth with the power and clarity with which they inspired the youth of his own time: "The only people for me are the mad ones, the ones who are mad to live, mad to talk, mad to be saved, desirous of everything at the same time, the ones who never yawn or say a commonplace thing, but burn, burn like fabulous yellow roman candles."