Visions of Cody
by Jack Kerouac
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Book Summary Information
Author: Jack KerouacEdition: Paperback
Audio: English (Unknown); English (Original Language); English (Published)
Published: 1993-08-01
ISBN: 0140179070
Number of pages: 448
Publisher: Penguin (Non-Classics)
Book Reviews of Visions of Cody
Book Review: Spontaneous Autonomy Or Muddled Proustian?
Summary: 2 Stars
Allan Ginsberg wrote in August 1972: "Some of Kerouac's writings of '52, particularly his Visions of Cody, are some of the most brilliant texts written about the psychedelic experience, especially the description of him and Neal Cassidy on Peyote." AND From October 26, 1974, Ginsberg writes of himself, which he learned from Kerouac: What I mean by "polish the mind," in that you actually do get an increasing awareness either through meditative or poetry which is another yoga, of the actual stuff, cita. And then it becomes a matter of being a very faithful secretary. You can't get everything, so you get as much as you can so you have something solid to work with. In other words, you're not doing something arbitrary, romantic, babble, bullsh*t, you're actually dealing with your mind stuff just like a painter's working with an actual landscape. Solid in the sense that it's real, it's objective, it isn't even your subjectivity any more, you're just objectively watching something move. So there's no long any question of egotism or self-expression or personal expression. All those theoretical things are like nonpracticing questions. But if you're actually practicing there's a real thing to work with, which is your thought-forms."
"Chogyam Trungpa's principle of "First thought, best thought." That was kerouac's basic principle for his spontaneous writing, for the same Buddhist reasons of practical inquiry into the operation of the mind. Both Kerouac and Trungpa realized, and teach, a very simple thing, which is that the first way that you flash on a thing is the unselfconscious, naked, real first-mind way, which is totally private and odd, eccentric to you, but is so direct that anybody can understand it."
At first, this book was way too muddled to be of much use for myself, not receiving much out of the book and feeling that I have invested way too much time for the read, but I think that's because I've been reading it as a novel like "On The Road," and this is more poetry or jazz style spontaneous prose. Actually, this book is from flashing mental thoughts that are suddenly inspired within the self. This book is not some preplanned novel and storyline and not at all the robotic, mechanical mindset of the propogandized America and therefore represents a breakthrough in American thinking, thinking for the autonomous self.
I think if this book were given the publisher to publish before "On The Road" they would have agreed here on such being garbled and overly Proustian in attempt of remembrance. However, to the person looking for poetry or verbal prose over a story, and in this we have a jazz type expression of bebop in words and that makes this book a major change from the herd mentality of the masses. Hey, this is the beat rhythmic language, not Melville or Dostoevsky, but Proust and Celine.
Now to be fair, there are some good descriptions and well written feelings through out the book, but not in volume. Now don't get me wrong, I'm a Beat Hipster I would like to think, a Nietzschian, a mystical, philosophical seeker into spiritual, psychedelic and karmic realms, but maybe not the existential, Benzedine type. This book is largely garbled ramblings?? Or is just too poetic for me? I can appreciate the long "bird" Parker-like jazz of the spontaneous sentence styles, the overly descriptive emphasis on observable flashes of insight, but this story has no story line, ok-it's poetry or electic prose. So it's verbal dynamics in avant garde, not a novel then, and I guess I'm failing to fully appreciate it.
When Kerouac gets Celine-ian he works very well, but when he enters his Proustian attempt at daily observations, he becomes cloudy in tangent ramblings of private memories, non-relating to his current observations that are over detailed and nonsensical in the first place. His dope-riddled conversations and past remembrances enter back doorways in winding pathways of the red neon lights.
Now Ginsberg's introduction to the book, that I found both enjoyable and very understandable. Allen Ginsberg in a November 26th 1968 interview, from the book, Spontaneous Mind, page 132, writes on Robert Creeley and Kerouac's style of writing:
"Creeley was talking about how his writing was determined by the typewriter, neurasthenias of his habit; mine is determined by the physical circumstances of writing, i.e., literally that. And I got that actually from Kerouac, who was that simple and straight about it. If he had a short notebook he wrote little ditties and if he had a long . . . a big typewriter page, he wrote big long sentences like Proust."
I think this agrees with Visions of Cody, in consisting of either short "ditties" or "long sentences like Proust," all depending on the writing pad Kerouac was using at the time of writing. To me this makes a whole lot of sense in the arbitrary, elusive and haphazard style of this book.
What appears to me as the Kerouac trademark: a jazz styled prose of spontaneous expression from the "real," non-conditioned, non-image-to-portray self, an existential life of despair in fast paced living with the rush of jazz, drink, sex, travel, under the literary and scholarly ideals of avant garde sophistication, adventure, desires, seeking new discoveries, walking places one never has been before, risk taking and traveling, all so under this empty void of utter lonely existence, devoid of substantial meanings of foundational holds and securities, walking in the desert not knowing when water will appear and if it does, if this water will sustain life or poison it. So there's this emptiness, this sadness of it all in the modern man and woman, both subterranean and beatnik.
Remember-able observances in my mind: Kerouac's staring up at a man in an apartment building watching and writing and suddenly the light goes off! He saw him!; a description of a church that failed all gothic tests into the modern brown brick suburban model of tackiness with the stupidest shrubbery to boot; Cody's (Cassidy's) hobo father walking the train tracks looking for a fix; Cody's pool hustling and challenged football playing from a jump out of the car, left on the side of the road.
Summary of Visions of Cody
Written during 1951-52, this novel was an underground legend by the time it was finally published in 1972. Written in an experimental form, Kerouac created the ultimate account of his voyages with Neal Cassady, which he captured in a different form for On the Road.Literary Books
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