Circle squared

Not sure how I ended up here, but I found myself on the iTunes catalog page for "A Penguin Books Amplified Edition" of "On the Road," where I found these cavils listed on the side:

How depressing is that.

First we have to imagine a universe where someone under 12 listens to audio books. (I have a hard enough time imagining a universe where anyone at all does so, but I hear it's a big market for people who spend a lot of time in traffic or mall-walking, so good for them, but there are no 12-year-olds in either group.) Then we have to imagine that, say, a ten-year-old would pay one bit of attention to the first few pages (or minutes) of "On the Road,' with Dean Moriarty coming to New York and eating creampuffs, living in "a cold water flat" and reminding the narrator of "a young Gene Autry."

Above all, what 10-year-old is going to be interested in something with "mild drug use, infrequent/mild profanity or crude humor"? There is probably more drug use, profanity and crude humor on his own playground.

How it cheapens art when you try to rein it in these bureaucratic categories.

Mythologize your friends -- or just make them up

It's really a very simple strategy. You have a small group of friends and you declare them all to be geniuses and you laud all their work and ascribe to them sweet and stormy qualities worthy of the Greek gods. What you're selling is not just your writing but your personal legends.

That's Edmund White, writing in the Aug. 19, 2010 New York Review of Books, reviewing photographs of the Beat writers by Allen Ginsburg, talking about how Jack Kerouac turned his real-life friends into not just fictional characters but mythical ones.

And when I read that, I immediately thought: Yes, that's just what Bolaño did in The Savage Detectives, which for that reason among others has been compared to On the Road and the rest of Kerouac's work. And in a previous generation Henry Miller did something similar (though most of the weird characters and hangers-on in The Rosy Crucifixion didn't turn out to be famous writers or artists -- not including Anaïs Nin and her crowd who showed up later).

You may think to yourself, right, my friends are just as nutty and proto-famous as that collection of characters in New York in the 1920s/New York in the 1940s/Mexico City in the 1970s. The poet-barista you have a crush on -- surely she's the equal of June Miller. That pretty flash fiction author who reads at every open mike is just like Gregory Corso. The hairy, almost inarticulate author of chapbook verse who hangs out in the park every Sunday is another Ulises Lima.

Or not. Maybe you're singularly unimpressed with the talent around you. Maybe you just realized they do a lot more talking about their art than working on it. Maybe they're boring. Very well. Make up characters -- that's creative writing.

'Lost' Kerouac novel to be published

Publishers Marketplace reports that Harpers has agreed to publish "The Sea is My Brother," a "lost" novel by Jack Kerouac, written in 1942 and based on his experiences in the Merchant Marine. According to the book "Desolate Angel" by Dennis McNally, Kerouac wrote the work while on the Dorchester, where he served in the galley.

A review in Jack Magazine of "Atop an Underwood," the 1999 compendium of Kerouac's early and unpublished writings says that "Underwood" contains "a substantial chunk of the third version of 'The Sea is My Brother'." The biography "Jack Kerouac" by Michael Dittman quotes Kerouac as describing "The Sea is My Brother" as being about "man's simple revolt from society as it is, with the inequalities, frustration, and self-inflicted agonies. Weley Martin loved the sea with a strange, lonely love; the sea is his brother and sentences. He goes down. The story also of another man, in contrast, who escapes society for the sea, but finds the sea a place of terrible loneliness."

Sounds like Kerouac was pretty horny and miserable aboard the Dorchester.

technorati: Jack Kerouac, publishing, book deals