Remembering Neal Cassady

4 Feb

“I recently heard a quote in a play, the source I forget: ‘A man’s measure is not from the amount of love he gives to others but the amount he is loved.’ I have to think about that, but Neal was/is certainly loved.”

~ Carolyn Cassady

Just a few days shy of his forty-second birthday, Neal Cassady passed away. On February 3, 1968, he left a wedding party in Mexico, where he’d taken a barbiturate known for its hypnotic effects, and began walking along the railroad tracks in San Miguel to reach the next town. Somewhere along the way, he passed out. He was found in a coma the next morning. He was taken to a hospital, but died a few hours later. The autopsy report read: “general congestion in all systems.” He was apparently cremated.

Popular imagination most readily remembers Neal Cassady as a muse, a character in novels, the man behind the wheel of the bus Further in grainy film footage. Check him out in these “Beat” novels:

  • Dean Moriarty in On the Road by Jack Kerouac
  • Dean in Jazz of the Beat Generation by Jack Kerouac
  • Cody Pomeray in Visions of Cody by Jack Kerouac
  • Cody Pomeray in Book of Dreams by Jack Kerouac
  • Cody Pomeray in Desolation Angels by Jack Kerouac
  • Cody Pomeray in Book of Sketches by Jack Kerouac
  • Neal Pomeray in Neal and the Three Stooges by Jack Kerouac
  • Leroy in The Subterraneans by Jack Kerouac
  • Hart Kennedy in Go by John Clellon Holmes

Ken Kesey, Hunter S. Thompson, and The Grateful Dead also wrote about their experiences with Cassady.

Jack Kerouac’s First Novel Translated in Persian, and It’s Not “On the Road”

3 Feb

dharma

More than fifty years after he rose to literary stardom in America, a novel by Jack Kerouac is being published in Persian for the first time, according to Iran Book News Agency.

Rozaneh Publications hired Farid Qadami to translate Kerouac’s The Dharma Bums.

Apparently you can get Farsi subtitles to the film adaptation of On the Road but the novel hasn’t been translated into Persian yet.

Although this may be the first time a novel by Kerouac is being translated into Farsi, the Iran Book News Agency reported in 2010 that Kerouac’s poetry volume Book of Haikus was translated into Persian by poet Alireza Abiz, a story that David S. Wills covered for Beatdom.

In his now famous interview with Ted Berrigan published by The Paris Review, Kerouac claimed to have Persian origins:

And it’s a Cornish name, which in itself means cairnish. And according to Sherlock Holmes, it’s all Persian. Of course you know he’s not Persian. Don’t you remember in Sherlock Holmes when he went down with Dr. Watson and solved the case down in old Cornwall and he solved the case and then he said, “Watson, the needle! Watson, the needle . . .” He said, “I’ve solved this case here in Cornwall. Now I have the liberty to sit around here and decide and read books, which will prove to me . . . why the Cornish people, otherwise known as the Kernuaks, or Kerouacs, are of Persian origin.”

Here is a story about Houman Harouni translating Allen Ginsberg’s “Howl” into Farsi, which I found via the Allen Ginsberg Project.

 

Salon Wonders: Is “On the Road” a Classic?

3 Feb

salonOh, hey, that’s an ad for my book on Salon!

What makes a book a classic,” wonders Laura Miller in Salon.

Wouldn’t you know it, Jack Kerouac’s On the Road gets a mention, amongst works by Seamus Heaney, Kurt Vonnegut, David Foster Wallace, Daphne du Maurier, P.G. Wodehouse, Toni Morrison, J. R. R. Tolkien, and Alexandre Dumas. Miller writes:

And what about “On the Road” which to the same reader might seem like an incontestable classic at age 17 and sadly or sentimentally jejune at 45?

Her question in regard to Kerouac’s most famous novel raises some questions of its own:

  • Does our definition of “classic” change with our age?
  • Is On the Road definitively insignificant after age 45?
  • Does content matter more than literary style even for the classics?

But let’s go back to the discussion at hand for a moment to build some context. In her article, Miller points to an interesting discussion on Goodreads:

A fascinating Goodreads discussion on this topic shows participants tossing out all the most common defining characteristics of a classic book. It has stood the test of time. It is filled with eternal verities. It captures the essence and flavor of its own age and had a significant effect on that age. It has something important to say. It achieves some form of aesthetic near-perfection. It is “challenging” or innovative in some respect. Scholars and other experts endorse it and study it. It has been included in prestigious series, like the Modern Library, Penguin Classics or the Library of America, and appears on lists of great books. And last but not least, some people define a classic by highly personal criteria.

She also references an essay by an Italian journalist, translated by Patrick Creagh in 1986:

Perhaps the most eloquent consideration of this question is Italo Calvino’s essay, “Why Read the Classics?,” in which he defines a classic as “a book that has never finished saying what it has to say,” among a list of other qualities.

So does On the Road fit these contrived attributes of a classic?

  • Has On the Road stood the test of time?
  • Does On the Road hold eternal truths?
  • Does On the Road capture its era, the 1940s and ‘50s?
  • Did On the Road have a significant effect on the 1950s?
  • Does On the Road have something important to say?
  • Does On the Road achieve some form of aesthetic near-perfection? Side question: Is aesthetic near-perfection something we can define or is it subjective??
  • Is On the Road challenging? Side question: Does challenging mean from a reading-level standpoint? From a philosophical standpoint?
  • Is On the Road innovative?
  • Has On the Road been included in a prestigious literary series?
  • Has On the Road appeared on a list of great books?
  • Does On the Road fit your own personal criteria of classic?
  • Has On the Road ever finished saying what it’s had to say?

Okay, many of these can be objectively answered as “yes.” One can point to numerous sources that show that Kerouac’s road novel rocked the era in which it was published and continues to be discussed by scholars and pop culture alike today. A few seem debatable, but I would argue that anyone knowledgeable of literary history and criticism would agree—from a literary standpoint—that On the Road is innovative (read Burning Furiously Beautiful for in depth analysis of Kerouac’s literary style) and therefore challenging in both style and content. It also speaks to eternal verities (notably the search for it, for meaning) and therefore has something important to say and continues saying it afresh to new readers. The two questions that remain because they are the most subjective are:

  • Does On the Road achieve some form of aesthetic near-perfection?
  • Does On the Road fit your own personal criteria of classic?

I’d love to hear your thoughts on wrestling with these questions. Is On the Road a classic?

One thing that struck me—hard!—when I was reading Miller’s thought-provoking article is that I immediately agreed that David Foster Wallace’s work is a classic, but was put off by J. R. R. Tolkien being included. While this shows my own personal bias, if pressed I would concede that Lord of the Rings is “a classic” but not “a Classic.” It is, after all, fantasy—genre fiction. And in my mind, as in many other people’s mind, there is a distinction, a dividing line in literature. For some reason, I can concur that magical realism can fall under the category of classic but have a more difficult time with fantasy. Yet, if I hold Lord of the Rings up to the same questions as On the Road, I’m hard-pressed to deny it’s a classic. So what is a classic? What standards should we agree to when defining a work as classic? Are there classics and Classics?

And why do Lord of the Rings nerds get a free pass for liking Tolkien well into their adult years while society derides Kerouac as a novel just for teenagers??

Friday Links: Link Love

31 Jan

Link Love

Happy Fridaaaaaaay! Any fun plans for this weekend? I’m attending a friend’s apartment-warming and hopefully hitting up an art museum, in addition to doing some editing work.

I added a new page to my website called Link Love. There I’m posting websites related to the Beats, Greece and Greek America, the writing and publishing world, and other things I typically blog about.

You can find it here. It’s also in the tool bar banner above.

What websites do you visit on a regular basis? Do you have any recommendations for blogs I should be following?

PS: You can find past Friday Links here.

Which Decade Do I Actually Belong In??

30 Jan

quizimage via Buzzfeed

I’m kind of a sucker for personality quizzes, so naturally I took Buzzfeed’s “Which Decade Do You Actually Belong In?” quiz.

Anyone who knew me in high school would probably venture to say I should’ve been around in the ’60s. I became obsessed with The Beatles early on in high school, listening to all their greatest hits, watching their movies, learning how to play their songs on my guitar, and reading book after book about them. I wore bellbottoms and parted my hair down the middle. I thought Mary Quant was a genius. I hosted my own Woodstock party.

On top of my cultural tastes, I had what many East Coasters deemed to be a low-key, chill vibe that seemed to gel with the hippie mentality. I wouldn’t say I was all peace, love, and happiness. I was a teenager, after all, and my mother will gladly tell you I was moody. But, even so, if I was left alone I could easily just lay in the grass outside and ponder life.

But I didn’t get the 1960s; I got the 1950s.

I’d say maybe all reading and studying of Jack Kerouac rubbed off on me, but check out what Buzzfeed had to say about the person who belongs in the ’50s:

You yearn for a simpler time when people were polite, curt, and followed the rules. Maybe people say you’re a conformist, but you know you just like things to stay a certain way. Home is where the heart is.

Yep. That sounds about right. I’m a rule follower through and through and crave stability. Maybe that’s why I’ve always been so drawn to so-called counter-cultural movements and people who rebel against expectations. It’s escapism for me. I admire people who march to the beat of their own drum. I want to be like that. But I’m a cross your “t”s and dot your “i”s type of person. Literally. My career is founded upon anal-retentive attention to detail and to making texts conform to style.

But there is another part of me that does defy rules and expectations. I’ve always been sure of who I am and been true to myself in the greater scheme of life. Tell me I have to participate in class to get ahead, and I will stubbornly keep my mouth because I don’t want to play by society’s rules of social behavior. Expect me to be flaky in business matters because I’m an artist, and I’ll get all type A on you because I really care about my art and understand I have to treat it like a business.

We’re all like that deep down. Complex and individualistic. Not tethered to labels. The same goes for the so-called Beat Generation. Cultural critics argue that Beat writers eroded the pleasantries of the 1950s, but if you really look at the decade and if you really read their works you’ll see it was much more complex than that. The 1950s weren’t all separate twin beds for married couples and Leave It to Beaver childhoods. Jack Kerouac didn’t desire an aimless life on the road; he yearned for a ranch and family life.

Sorry. I didn’t mean to get all philosophical and literary over a Buzzfeed quiz! Anyway, I still think that if I could go back in time I’d want to go back to the 1960s.

What decade did you get? Which decade would you want to live in?

Dani Shapiro Explains Memoir Is Not Autobiography

29 Jan

devotion

When I tell people I write memoir, they tell me that they don’t think they could ever write memoir. Their lives are too normal. No one would want to read about their boring lives. The implication is that they think I must be pretty hot on myself if I’m writing memoir.

But that’s not what memoir is about.

In her excellent “Open letter from Dani Shapiro: ‘Dear Disillusioned Reader Who Contacted Me on Facebook‘” on Salon, Shapiro provides clarity on what memoir is and isn’t and why we read it:

Memoir is not autobiography. You did not pick up my 1998 memoir “Slow Motion” because I’m an important, influential or even controversial person. You did not pick it up because I am, say, running for office, or just won an Academy Award, or am on Death Row. No. You picked up my book because –– whether you know it or not –– you wanted to read a good story shaped out of a lived life. You wanted to sink into a narrative that redeems chaos and heartache and pain by crafting it into something that makes sense.

Read that last sentence again:

You wanted to sink into a narrative that redeems chaos and heartache and pain by crafting it into something that makes sense.

Beautiful. A lot of memoir writing and reading is about understanding ourselves and our life stories better.

She goes on to further explain that memoir tells an aspect of one’s life through a specific viewpoint:

The memoirist looks through a single window in a house full of windows. After all, we can’t look out of all the windows at once, can we?  We choose a view. We pick a story to tell. We shift through the ever-changing sands of memory, and in so doing create something hopefully beautiful, by which I mean universal. We try to tell the truth – by which I do not mean the facts. Listen to me closely, because here is where I apparently have enflamed you so: it is not the job of the memoirist to present you with a dossier. If you want a dossier, go to a hall of records.

I spent a lot of my time talking about the differences between memoir and autobiography while getting my MFA, and I’ve had a lot of people ask me point blank if writing memoir means I can just make things up. Um, no. If I wanted to make things up, I’d fiction, which frankly, sounds more appealing. Who really wants to write about themselves, to open their lives up for others’ critique? No, memoir sticks to the truth, but it is not journalism. We create dialogue out of the cobwebs of our memory, not through a transcribed secret recording of our entire lives. There are things we leave out, not because we are necessarily hiding things, but because they are irrelevant to the story we are telling. The reader doesn’t need to hear about my commute, for example, unless of course something about my commute is interesting or is relevant to understanding who I am or is a metaphor.

I recommend reading Shapiro’s article in full if you’re interested in memoir as a genre. Also, check out her great blog.

Correcting My Joisey Accent

28 Jan

q_95_1

image via Harvard Dialect Study

“You’re from Joisey!” all the West Coasters would exclaim when I moved out to Los Angeles for college and told them I had come from New Jersey. That’s what I said, “New Jersey.” Not “New Joisey.” Yet they hoisted the accent upon me anyway.

My finger nails may have been a tad too long and I may have grown up spending every Saturday at the Garden State Plaza, but I definitely didn’t speak like some chick who over Aqua-Net her hair. In fact, no one I knew spoke that way.

…Well, at least I thought we didn’t. No one I knew pronounced “hamburger” like “hamboiger” or anything as nails-to-the-chalkboard as that, but when I really listened to the way my friends talked, I noticed there was maybe a slight accent to a few words. Some of my friends pronounced “water” as “wooter.” I also noticed I had a certain way of crunching words. “Orange juice” became “ornch juice.” “Drawers” became “joors.”

I was always a little sensitive about the issue of accents. As an immigrant with a thick Greek accent, my father sometimes was misunderstood by waitresses at restaurants, which infuriated me because I could understand what he was saying perfectly and when others couldn’t I believed it to be deliberate xenophobia. But it wasn’t just my father who had an accent. My mother was from Minnesota, another state beleaguered by accent stereotypes. My mother did not talk like any of the characters in Fargo, but she did say “melk” for “milk” and “tall” for “towel.” That’s how my siblings and I grew up speaking, and I made a concerted effort to rectify my speech.

Actually, the school system made a concerted effort to rectify my accent: I was put in speech therapy in elementary school. It was humiliating. I was the shyest kid in my grade—and probably the entire state—and yet the few times I opened my mouth I was punished by being singled out and removed from my normal class to have a therapist teach me how to talk “correctly.” That was enough to keep me silent throughout most of elementary school. Now, I had a real reason to fear talking and stay quiet. I was afraid that if I were to speak up, no one would be able to understand me.

In the school’s defense, I really did need speech therapy. As this eHow article on How to Speak with a New Jersey Accent teaches, I dropped all my “r”s—to the point that certain words, like “art,” became incomprehensible. My accent wasn’t just the issue though. On top of having a foreigner for a father and, let’s face it, as a Midwesterner my mom was pretty much a foreigner too, I had pretty severe hearing issues, which had impacted my speech. I had to have surgery twice as a kid to have tubes put in my ears.

I’m not sure if this was related, but a lot of what I did hear, I took literally instead of as an accent. I remember my speech therapist asking me what type of shoes I wore, and I said, “tenner shoes.” I think I knew that meant “tennis shoes,” but I remember thinking in that moment that I had definitely answered “wrong.” I felt so stupid as she questioned me if I played tennis. From then on, I knew the correct label for my shoes was “sneakers.” How could I have been so stupid as to call them tenner shoes? I taunted myself afterwards. I’d never even picked up a tennis racket. I blamed my mom. She was the one who called them that.

Worse, in 6th grade, the music teacher gave us a pop quiz on the lyrics to “The Star Spangled Banner.” When I got my test, it was clear she thought I was a horrible speller. I was relieved because this meant I got a better grade than I should have. I was also shocked that she thought someone could spell that poorly. Suddenly, I realized how “dumb” some of my classmates really must be, if I’d been given that much credit for my botched lyrics. In reality, I’d been misunderstanding lyrics the entire time. I thought “dawn’s early light” was “donzerly light.” I wasn’t sure of the exact definition of “donzerly,” but I pictured it as hazy white fireworks, since that’s what often accompanied the national anthem and seemed to coincide with what “bombs bursting in air” would’ve looked like.

So when that New York Times dialect quiz, based on the linguistics project Harvard Dialect Study, spread like wildfire over Facebook, I took it figuring it would identify me as having some random accent. But nope, it identified me as being from Newark/Paterson, Jersey City, and—somewhat inexplicably since it’s in northern California—Fremont.

Once a Jersey girl, always a Jersey girl.

What accent did you get?

Also, you might like:

 

Kerouac Pub Crawl Set in Alabama

23 Jan

WP_20131011_020a photo of a bar in Lowell, MA, where there are also Kerouac pub crawls

Anyone up for a Kerouac-inspired road trip to Alabama?!

There’s an On the Road pub crawl in Gadsden, Alabama, on March 12 at 5pm. David Murdock, an English instructor at Gadsden State Community College, will be giving a lecture on Jack Kerouac’s On the Road at the Back Forty Beer Company and then the group will begin a pub crawl.

There will also be a poetry contest for “beat-style” poems “preferably in ‘stream-of-consciousness'” for those who have pre-registered. You can sign up for the event (seating is limited) with Carol York at carol@gadsdenlibrary.org.

I’ll let anyone who wants to duke out what “beat-style” poetry means do so in the comments section. Here’s a hint: it does not mean saying “man” over and over again while you pound a bongo drum. Want another hint? The poets associated with the Beat Generation each had their own style and voice.

It is, apparently, Gadsden‘s longest running literary pub crawl series. Other authors highlighted in the past have included Hunter S. Thompson, John Milton, and Flannery O’Connor.

For more information on the On the Road pub crawl, visit Al.com.

Oh, and if you’re into beer culture, the story of Back Forty Beer Company is worth checking out. Here’s just a snippet on their name:

Back Forty Beer Company’s name is inspired by an old agricultural term referring to the 40 acres of land situated furthest from the barn. The back 40 acres are historically the most challenging land to maintain and are often overlooked due to their remote location.

Likewise, Alabama is widely seen as the wasteland for craft beer in America. With mass produced light beer being the drink of choice for many Southerners, the craft beer market here has been largely ignored.

However, if you dig a little deeper into the story of the back 40 you will see that because the soil is rarely used, it’s very fertile and is actually capable of producing a tremendous yield.  And just like the farm, the Deep South’s craft beer culture is fertile and primed for harvest.

I visited Alabama once. I saw more Confederate flags and livestock than classic novels and craft beer. Obviously there are probably a lot of different opinions, but I’d be really interested to hear how Kerouac is generally perceived there.

Immigrants à Gogo

22 Jan

 

garychangimage via Vulture

Discussing how all immigrant writing is dystopian, the unique pressures of being the children of immigrants, and critiquing their own cultures, Boris Kachka’s interview with Chang-rae Lee and Gary Shteyngart in New York magazine offers brilliant insight on the state of immigrant literature.

Here’s a quote from Shteyngart that particularly resonated with me:

And to jump off of that, I teach Native Speaker in my “Immigrants à Gogo” fiction class at Columbia. I read it every year, and there are phrases like “my mother’s happy kimchi breath” that bowl me over. I didn’t know one had permission to write like this about one’s ethnicity. I was absolutely shocked that one could get away with that. And I didn’t see that with a lot of immigrant writers. I still don’t. I can think of Junot Díaz, a few other immigrant writers, but there’s a lot of this sort of endless overcoming of obstacles, racism, the triumph over adversity, and off we go. And that’s not what Chang-rae writes.

Growing up, I wasn’t at all interested in immigrant fiction because I so often found it to be depressing studies of being the Other. Or else, the overriding factor of the book was ethnic pride or the mystery and allure of that culture. As Lee said:

And the people leading those ethnic pride parades are those members of your group that you probably least admire.

Kachka’s interview with Lee and Shteyngart brings to the forefront many of the concepts I’ve been thinking about for my own memoir, which deals not so much with a personal immigrant experience but more so with expectations and identity from a tangential viewpoint.

You can read the full interview here.

THE Beach to Visit in 2014

21 Jan

BeforeMidnight

Greece—specifically Arillas Beach in Corfu—is listed by Fodor’s as one of the 15 Best Beaches for 2014. …And so is the Jersey Shore, with a shout-out to Ocean Grove. It’s like they’re just listing the beaches of my childhood.

Can I give you an insider tip, though? For a less touristy, more authentic beach visit, check out Lagouvardos Beach. It’s in the Peloponnese, on the mainland of Greece. It’s become especially popular with surfers.

It also happens to be where Before Midnight was filmed.

And just check out these pictures I took there at sunset!

What’s your favorite beach? Coney Island??