BOOK REVIEW: “Scattered Poems” by Jack Kerouac

Scattered PoemsScattered Poems by Jack Kerouac
My rating: 4 of 5 stars

Publisher Site – Open Road Media

Kerouac is best known as a novelist, particularly as the author of the groundbreaking Beat work, On the Road, but he did publish one poetry collection during his lifetime, Mexico City Blues. This book, Scattered Poems, was the first of a glut of posthumously released poetry collections. With posthumously released editions, one usually has to wonder how close the book is to the poet’s ideal, given the author’s lack of input into the final product but — given Kerouac’s penchant for spontaneous composition and airing pieces as they fell from the mind — it’s probable these poems wouldn’t have been highly edited. (Note: A number of the pieces were previously published, but many were obtained from private correspondence — notably letters to Allen Ginsberg.)

The poems are mostly free verse, and the rhyming verse (e.g. “Pull My Daisy”) is usually short line or doggerel lines falling into longer poems. The poems deal in both Kerouac’s birth religion, Christianity, and Buddhism, a philosophy which had a major influence on his thinking throughout his adult life. Some have a Zen quality that makes it hard to determine whether they are nonsense or a conduit from satori (or both.) To enjoy these poems, one must have a love of spontaneity. Readers expecting a polished collection may be displeased but will certainly have missed Kerouac’s philosophy of writing which strove to emulate the improvisation of Jazz.

I enjoyed this collection, and I think the publisher did a good job of showing the arrangement of the poems as written. I’d highly recommend this work for poetry readers who enjoy stream of consciousness experimental poetry or anyone interested in the work of the Beats.

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BOOK REVIEW: Naked Lunch [the Restored Text] by William S. Burroughs

Naked Lunch: The Restored TextNaked Lunch: The Restored Text by William S. Burroughs
My rating: 4 of 5 stars

Amazon.in page

This isn’t a novel so much as a series of heroin-fueled fever dreams. While that makes it sound incoherent and unreadable, there’s a great deal of visceral imagery and clever language in it. What there’s not is a thread that carries the reader through a series of events constituting a coherent narrative arc. The book reads like dystopian fiction, but that’s merely Beat-style lingo and heroin addict worldview applied to a combination of Burrough’s world and the surreal mind-space of the addict on a fix.

As is also true of Joyce’s “Ulysses,” if you’re a reader who needs a coherent story and the avoidance of experimental language, you probably won’t like this book. Furthermore, readers who’re uncomfortable with pornographic imagery will also find the book objectionable. However, if you enjoy books that are prose poem-like in their use of language and if you don’t mind the disjointed strangeness necessary to convey the addict’s mental experience, then you’ll probably get a kick out of this book. It’s worth recognizing that what makes the book a challenging read is simultaneously what makes it such a masterpiece of the drug-addled experience. If it were more lucid, it’d be tepid and purposeless.

This is the restored text edition. This is one of the few cases in which I’d recommend reading all the backmatter. It includes some “outtakes” from the earliest drafts, but (more usefully) some essays by Burroughs that offer important insights. When one finishes this book, there’s a tendency to think, “What was that? What did I just read?” The appendices help one understand the book better. Here we read Burrough’s claim that he had no recollection of composing the original draft, and a later statement in which he clarifies that his earlier statement was an exaggeration – that he did have some memories of it.

I found this book to be an engrossing read. As I say, while it’s bizarre, outlandish, and frequently pornographic, it also lends insight into a state of mind that most of us – fortunately – will never experience.

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