Jack Kerouac: Visions of Cody, Visions of Gerard, Big Sur: (Library of America #262), by Jack Kerouac
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Jack Kerouac: Visions of Cody, Visions of Gerard, Big Sur: (Library of America #262), by Jack Kerouac
Ebook Download : Jack Kerouac: Visions of Cody, Visions of Gerard, Big Sur: (Library of America #262), by Jack Kerouac
An authoritative edition of three Beat novels by the legendary author of On the Road. The third volume in The Library of America’s edition of the writings of Jack Kerouac opens with Visions of Cody, the groundbreaking work originally written in the early 1950s and published posthumously in 1972, in which Kerouac first treats the material later immortalized in On the Road. In it he moves beyond his early literary models to discover his own unique “bop prosody,” mixing closely observed description, free-form scats, and transcribed conversation to create an impassioned and hallucinatory portrait of his friend and idol Neal Cassady, here reimagined as Cody Pomeray. Visions of Gerard (1963) is a deeply moving meditation on Kerouac’s older brother, who died at nine of rheumatic fever, and who for Kerouac became an emblem of saintliness. The intensely focused and harrowing Big Sur (1962) finds fictional alter ego Jack Duluoz returning to California to escape fame and celebrity, a fateful decision that leads to a dangerous affair with Pomeray’s mistress, a nightmarish alcohol-fueled breakdown, and a desperate struggle for sobriety.
Jack Kerouac: Visions of Cody, Visions of Gerard, Big Sur: (Library of America #262), by Jack Kerouac- Amazon Sales Rank: #327612 in Books
- Brand: Kerouac, Jack/ Tietchen, Todd (EDT)
- Published on: 2015-03-17
- Released on: 2015-03-17
- Original language: English
- Number of items: 1
- Dimensions: 8.12" h x 1.26" w x 5.22" l, 1.00 pounds
- Binding: Hardcover
- 864 pages
About the Author TODD TIETCHEN is a professor of English at the University of Massachusetts, Lowell, and the author of The Cubalogues: Beat Writers in Revolutionary Havana (2010). He edited Jack Kerouac’s The Haunted Life and Other Writings (2014).
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8 of 8 people found the following review helpful. Another superb addition to Library of America (Jack Kerouac) By Paul Maher Jr. I interviewed the editor, Professor Todd Tietchen for this superb collection:Is there a schedule by Library of America toward publishing Kerouac’s works?I can’t really speak for Library of America’s schedule for publishing the remaining Kerouac novels. I simply don’t know. I am editing another Kerouac volume for them, O Rich and Unbelievable Life!: Uncollected Prose Writings of Jack Kerouac, scheduled for publication in September 2016. Some highlights of that volume include: I Wish I Were You; Memory Babe; The August-November 1951 VA hospital journal; and English translations of La Nuit est Ma Femme and Sur Le Chemin (trans. by J.C. Cloutier of UPenn, who also discovered the manuscript of the lost Claude McKay novel).This volume shall constitute a major contribution to the public corpus of Kerouac’s work, and I think more generally that the association with Library of America helps affix Kerouac with an authorial legitimacy that many still seem hesitant to acknowledge. I don’t know if that also speaks to my “overall intention” in participating in these editorial projects, though I do see the canonization they connote as worthy of effort and care, and hoped to present these works in the best possible light (as did everyone else involved).I believe that Kerouac was one of the most important experimental American writers of the Cold War period, that his influence resonates throughout U.S. expressive culture in ways that have yet to be properly acknowledged, and I hope that these volumes might help foment such an acknowledgement.Was there a concern to create an “established text” such as that prepared by Noel Polk with Faulkner? What was your overall intention going forward when editing this volume?In terms of the Visions of Cody, etc., volume, the goal was to publish authoritative texts of all three works, along with critical apparatus (endnotes, character key) that could support the needs and curiosities of general readers, Kerouac aficionados, and scholars, which I suppose is to say that it’s a scholarly project conceived for a general readership (LoA’s guiding public humanities goal as I understand it). I also think the volume is particularly well-suited for use in university classrooms.Which novel posed the biggest challenge in preparation of notes? Why?Visions of Cody was the most challenging volume. As you’re already aware, the Tape section alone is thick with literary, musical, pop cultural, and philosophical allusions. As challenging as documenting those allusions might have been, they also opened Kerouac to me in this new way, as I got to see the breadth of his influences and interests with the objectivity characteristic of bibliographic and textual scholarship.Visions of Cody also required the most attentive line-by-line editing as a result of its publication history. While the grounding text for this edition is the ’72 publication, there were some differences between that edition, the Laughlin edition, and the typed manuscript in the Berg Collection. Those were my three orienting texts and some changes were made to the ’72 based on the Laughlin and manuscript.Here are three examples of those changes. First, Laughlin typeset Kerouac’s dashes in a markedly different fashion than the ’72 edition. Based on Kerouac’s typing style in the manuscript, and the fact that Kerouac was alive and involved in the New Directions edition, a decision was made to try to replicate Laughlin’s dashes as closely as possible. Second, the abstract drawing has been printed upside-down for years, since the ’72 version. It was rotated back to its original coordinates (180 degrees) as Kerouac inserted it within his typescript. Finally, Kerouac used rows of dollar signs throughout the typescript as editorial directions (marking section breaks). They were not to be printed in the actual text. Yet for some reason, early on in the ’72 edition (and subsequent editions) a line of oversized dollar signs was printed early on in the text as if it was a textual element (around page 21 or so). There’s no justification for this; it was an (overly enthusiastic?) editorial error that has been perpetuated in the subsequent editions. So that has also been eliminated. As we’ve discussed before, I’ve also wondered whether the misconceptions of Kerouac as “anything goes improvisatory word-slinger” contributed to a history of editorial/typographical errors across his published corpus.The other two books had a more stable publication history and I tried to adhere to their first editions (including reinserting the illustrations into Gerard, as I think they’re important to the text’s history and to the reader’s experience of the text). Some alterations were made to both (corrections of typographical errors) and those are spelled out in the “Notes on Texts” section.
6 of 6 people found the following review helpful. The Great Rememberer And The Library of America By Robin Friedman The Library of America has helped Americans find a better understanding of their country through its volumes of American literature, history, criticism, philosophy, and more. The LOA has not been afraid to make controversial choices. It has published the works of well-known, canonical writers, such as Melville and Whitman, together with unknown writers who deserve to be remembered, for example the novelist Dawn Powell, and forms of genre writing which tend to be slighted, such as noir, as in the LOA's collection of fiction by David Goodis. Among the LOA's more controversial decisions will be the three volumes it has now devoted to Jack Kerouac (1922 -- 1969). The first volume, published in 2007 and edited by Douglas Brinkley, collected five Kerouac "Road Novels", including his most famous book "On the Road" and another popular work, "The Dharma Bums". The second volume, published in 2012 and edited by Marilene Phipps-Kettlewell, was a broad collection of Kerouac's poetry, including "Mexico City Blues" and "The Scripture of the Golden Eternity". The LOA has now published a third collection of Kerouac edited by Todd Tietchen, Assistant Professor of English at the University of Massachusetts in Kerouac's home town of Lowell. The volume includes three novels, "Visions of Cody", "Visions of Gerard", and "Big Sur" that are likely to be known only to devoted Kerouac readers. These books are erratic and mixed in their merit and content.It is tempting to seek a common thread in these three books. Each is heavily autobiographical, but this is so for all Kerouac's novels. The books offer Kerouac's portrayal of his life at different times, from his childhood in Lowell to his heady days as a young man which resulted in "On the Road" to his deterioration from alcohol and drug abuse in the 1960s. Each book features as its main character an individual loosely based on Kerouac named Jack Duluoz. Kerouac intended all his books to form part of what he called "The Duluoz Legend" and claimed that he intended to return to and edit his writings in his old age. In a short preface to "Big Sur", Kerouac wrote:"[My novels] are just chapters in the whole work which I call The Duluoz Legend. In my old age I intend to collect all my work and re-insert my pantheon of uniform names, leave the long shelf full of books there, and die happy. The whole thing forms one enormous comedy, seen through the eyes of poor Ti Jean (me), otherwise known as Jack Duluoz, the world of raging action and folly and also of gentle sweetness seen through the keyhole of his eye."In an introductory essay to "Visions of Cody" titled "The Great Rememberer", included at the end of this volume, Allen Ginsberg reflected on Kerouac's writings as remembering and chronicling his life as well as an America of the 1930s and 1940s that had vanished. Ginsberg saw Kerouac's writings as celebrating the value and visions of an earlier United States. For example, Ginsberg wrote:" Mortal America's here ... disappearing Elevated, diners, iceboxes, dusty hat racks preserved from oblivion ... Larimer Street itself this year in ruins resurrected spectral through Visions of Cody -- And the poolhall itself gone to parking lot & Fun Adult Movies the heritage of Neal's sex fantasies on the bench watching Watson shoot snooker --)"******"I don't think it's possible to proceed further in America without first understanding Kerouac's tender brooding compassion for bygone scene & personal Individuality odidity'd therein".Kerouac as a "great rememberer" pervades these novels which I will discuss briefly in what follows.The largest and most ambitious book in this volume is "Visions of Cody" which Kerouac completed in 1952 but which was not published in full until 1972, three years after Kerouac's death. This sprawling, maddening work celebrates Neal Cassady, here named Cody Pomeray, as well as Kerouac's own life. Cassady, named Dean Moriarty, was the travelling companion and main character of Kerouac, named Sal Paradise, in "On the Road". Kerouac worked to write additional sections for this novel, but soon realized that his manuscript had become so long that it formed its own independent book. "Visions of Cody" is a mixture of depiction and legend as Kerouac imagines and recreates Cassady's early life in Denver slums. poolhalls, and reform schools. In its opening and closing sections "Visions of Cody" includes passages of beauty and perception, together with materials on sex, scatology and drug use that were unpublishable in its day. The middle section of the book consists of transcriptions of taped conversations between Kerouac and Cassady when both were high or drunk. Some of these tapes include valuable, rambling stories of the participant's experiences and life, but with their length, they disrupt the flow of the book. Still, this book offers an extraordinary portrayal of Cassady, as Kerouac saw and projected him. Kerouac regarded "Visions of Cody" as his best book, and he may have been right.The second "visionary" book, "Visions of Gerard" was published in 1962 but written in 1956. It consists of Kerouac's remembrances of his beloved older brother, Gerard, who died at the age of nine when Kerouac himself was four. Kerouac idealized has brother as a potential saint who loved animals, taught non-judgment, and had a deep, pantheistic religious sense. The novel captures the grief attendant upon the death of a young child. It is also about Kerouac himself, about working class Lowell in the 1920s, and about Kerouac's family. The text in this volume includes the drawings by James Spanfeller which accompanied the original publication. The drawings add to the appeal of the book.The final novel in this volume, "Big Sur" also was published in 1962. The book describes Kerouac's wish to escape publicity and fame by travelling to California to recover his sobriety and balance at a cottage owned by his friend, Lawrence Ferlinghetti, in California's beautiful Big Sur. The book shifts in scene between Big Sur and the streets and bars of San Francisco where Kerouac meets old friends, including Cassady, just released from prison, and his wife. Kerouac is painfully honest and self-lacerating in this book, which describes his inability to form a lasting relationship with a woman, his self-centeredness, and, most importantly his alcoholism. The climactic scene of the novel consists of a vivid portrayal of a hallucinating Kerouac suffering from delirium tremens. In 2013, Michael Polish directed and wrote the screenplay for a moderately successful film version of "Big Sur".Some readers will be hesitant about these books. After some reflection, I am grateful to the Library of America for including them in this volume and in its series. The books capture a distinctive American voice which is worth preserving. Todd Tietchen's notes to the volume are detailed and capture the breadth of Kerouac's readings and of his allusions to popular culture. The volume's also includes a "character key" which identifies the named characters in the novels with the characters in Kerouac's life and a chronology of Kerouac's life, which is identical to the chronology in the LOA's earlier Kerouac volumes. The LOA kindly provided me with a review copy of this title.Robin Friedman
0 of 2 people found the following review helpful. Five Stars By johnjdorfner GOOD STUFF...
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