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• W2764221440 abstract "Reviews 371 of sadness, the result one gathers of disappointment in love or some other lack of fulfillment. That particular emotion, the basis for much romantic poetry, can be the beginning poet’s downfall. To Ms. Manfred’s credit, it must be said that she treats this emotion with a dignity and restraint that precludes bathos. The satisfying sounds of Original Sound suggest that Marya Manfred may well have the “right stuff” to be a significant poet. Particularly by stu­ dents of the literature of the American West, this poet of the plains will bear watching. GEORGE F. DAY University of Northern Iowa Kerouac’s Crooked Road: Development of a Fiction. By Tim Hunt. (Hamden, C T: Archon Books, 1981. 262 pages, $19.50.) The Holy Goof: A Biography of Neal Cassady. By William Plummer. (Engle­ wood cliffs, N. J.: Prentice-Hall, 1981. 162 pages $9.95.) Last summer many of the surviving Beats gathered at the Naropa Insti­ tute to celebrate the twenty-fifth anniversary of the publication of On the Road. There are complex nostalgias here: not only of the Beats for the years of Neal and Jack, but of younger men and women for the 1960s. A genera­ tion, Scott Fitzgerald observed, takes its ideas from the madmen and outlaws of the generation before. A generation grown middle-aged now writes scholarly books about the heroes of its youth. These books are a fascinating pair, squinting from different sides at Neal Cassady, that epic Beat wanderer, and Jack Kerouac, who celebrated Neal as Dean Moriarty and Cody Pomeray. Tim Hunt tries to divorce the literary accomplishment from the legends in his study of On the Road and the novel it became, Visions of Cody. In Hunt’s reading of the evidence (the manuscripts themselves are not avail­ able for study), Visions of Cody is the last of many rewrites of the Road story, and the one Kerouac thought of as the “real” On the Road. The work we know by that title, which made Kerouac famous, Hunt calls his last apprentice work. Nevertheless, Hunt’s analysis shows it to be much more artful than it seemed to its first readers, and solidly in the American tradi­ tion of Melville and Twain, upon which Kerouac deliberately drew. Hunt believes (as does Kerouac’s biographer Ann Charters) that Visions of Cody is Kerouac’s best work, and his claim to a lasting reputation. The novel is the mature consequence of his discovery of “spontaneous prose,” a book “about Cody [Neal] and simultaneously a book about the problems of expressing Cody.” It was, further, much more influential than has been 372 Western American Literature recognized. Read in manuscript by other Beats, it, rather than Howl or Naked Lunch, is the central text of the movement, and establishes Kerouac as the “father” of the New Journalism, which developed in the next decade. Hunt’s work is intelligent and important, but its technical, Derridainspired language, as well as its stiff price, will likely restrict its use to scholars reading in university libraries. William Plummer writes for a wider audience. His prose is graceful and supple, both learned and hip. He is well equipped for this task, which was Kerouac’s own : the expression of Neal. Cassady, whom Kerouac called “king” and “the brother I lost,” is for Plummer the muse of the Beats, the essential catalyst who made Kerouac’s achievement possible. This is a fine, even moving book, told with scarcely a false stroke. Yet the reader feels the difficulty of capturing the protean Cassady in the biographer’s net. If, as Plummer claims, Cassady created Kerouac, surely Kerouac created Cassady. There is pathos in the scene, retold by Plummer, of Cassady’s appearance on Ken Kesey’s lawn, as if summoned by Kesey’s vision of McMurphy, a char­ acter so like himself. Cassady was the romantic artist manqué, a legendary character who could not record his legend, and who now seems scarcely to have existed, except in the words of others. CHARLES L. CROW Bowling Green State University The Nirvana Blues. By John Nichols. (New York: Holt, Rinehart and Winston, 1981. 527 pages, $14.95.) The Nirvana Blues, the..." @default.
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• W2764221440 title "Kerouac’s Crooked Road: Development of a Fiction by Tim Hunt, and The Holy Goof: A Biography of Neal Cassady by William Plummer" @default.
• W2764221440 doi "https://doi.org/10.1353/wal.1983.0003" @default.
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