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On the Road Paperback – Deckle Edge, June 1, 1999
Purchase options and add-ons
The legendary novel of freedom and the search for authenticity that defined a generation, now in a striking new Pengiun Classics Deluxe Edition
Inspired by Jack Kerouac's adventures with Neal Cassady, On the Road tells the story of two friends whose cross-country road trips are a quest for meaning and true experience. Written with a mixture of sad-eyed naiveté and wild ambition and imbued with Kerouac's love of America, his compassion for humanity, and his sense of language as jazz, On the Road is the quintessential American vision of freedom and hope, a book that changed American literature and changed anyone who has ever picked it up.
- Print length293 pages
- LanguageEnglish
- PublisherPenguin Classics
- Publication dateJune 1, 1999
- Grade level12 and up
- Reading age18 years and up
- Dimensions8.42 x 5.62 x 0.82 inches
- ISBN-109780140283297
- ISBN-13978-0140283297
- Lexile measure940L
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Editorial Reviews
Review
"On the Road has the kind of drive that blasts through to a large public. . . . What makes the novel really important, what gives it that drive is a genuine new, engaging and exciting prose style. . . . What keeps the book going is the power and beauty of the writing." —Kenneth Rexroth, San Francisco Chronicle
"A highly euphoric and intensely readable story about a group of wandering young hedonists who cross the country in endless search of kicks." —Leonard Feather, Downbeat
"On the Road is perhaps the supreme American romance . . . a mystical and poignant reminder of lost youth, and those sublime years when everyone feels immortal." —The Guardian, "The 100 Best Novels"
"[On the Road] changed my life like it changed everyone else's . . . It speeds by like a freight train . . . You grabbed ahold of the train, hopped on and went along with him, hanging on for dear life." —Bob Dylan
"Kerouac turned up the temperature in American letters, and it's never gone down since." —John Updike
"[On the Road] showed me that you could do things that weren't sypposed to be done. Suddenly, I realized I wasn't the only one to think I was a nut because I had strange thoughts. Finally, here was somebody telling the truth." —David Bowie
"If [Kerouac] hadn't written On the Road, The Doors would have never existed . . . that sense of freedom, spirituality, and intellectuality—that's what I wanted in my own work." —Ray Manzarek
"My teenage years were soaked in Kerouac. I wanted to go on a road trip with Neal Cassady. The expanse of the American West became implanted in my imagination." —Colum McCann
"On the Road, The Dharma Bums . . . That was my starting point, the Beats putting poetry—spoken word—and jazz together." —Van Morrison
About the Author
Excerpt. © Reprinted by permission. All rights reserved.
1
I first met Dean not long after my wife and I split up. I had just gotten over a serious illness that I won’t bother to talk about, except that it had something to do with the miserably weary split-up and my feeling that everything was dead. With the coming of Dean Moriarty began the part of my life you could call my life on the road. Before that I’d often dreamed of going West to see the country, always vaguely planning and never taking off. Dean is the perfect guy for the road because he actually was born on the road, when his parents were passing through Salt Lake City in 1926, in a jalopy, on their way to Los Angeles. First reports of him came to me through Chad King, who’d shown me a few letters from him written in a New Mexico reform school. I was tremendously interested in the letters because they so naively and sweetly asked Chad to teach him all about Nietzsche and all the wonderful intellectual things that Chad knew. At one point Carlo and I talked about the letters and wondered if we would ever meet the strange Dean Moriarty. This is all far back, when Dean was not the way he is today, when he was a young jailkid shrouded in mystery. Then news came that Dean was out of reform school and was coming to New York for the first time; also there was talk that he had just married a girl called Marylou.
One day I was hanging around the campus and Chad and Tim Gray told me Dean was staying in a cold-water pad in East Harlem, the Spanish Harlem. Dean had arrived the night before, the first time in New York, with his beautiful little sharp chick Marylou; they got off the Greyhound bus at 50th Street and cut around the corner looking for a place to eat and went right in Hector’s, and since then Hector’s cafeteria has always been a big symbol of New York for Dean. They spent money on beautiful big glazed cakes and creampuffs.
All this time Dean was telling Marylou things like this: “Now, darling, here we are in New York and although I haven’t quite told you everything that I was thinking about when we crossed Missouri and especially at the point when we passed the Boon ville reformatory which reminded me of my jail problem, it is absolutely necessary now to postpone all those leftover things concerning our personal lovethings and at once begin thinking of specific worklife plans . . .” and so on in the way that he had in those early days.
I went to the cold-water flat with the boys, and Dean came to the door in his shorts. Marylou was jumping off the couch; Dean had dispatched the occupant of the apartment to the kitchen, probably to make coffee, while he proceeded with his love-problems, for to him sex was the one and only holy and important thing in life, although he had to sweat and curse to make a living and so on. You saw that in the way he stood bobbing his head, always looking down, nodding, like a young boxer to instructions, to make you think he was listening to every word, throwing in a thousand “Yeses” and “That’s rights.” My first impression of Dean was of a young Gene Autry—trim, thin-hipped, blue-eyed, with a real Oklahoma accent—a sideburned hero of the snowy West. In fact he’d just been working on a ranch, Ed Wall’s in Colorado, before marrying Marylou and coming East. Marylou was a pretty blonde with immense ringlets of hair like a sea of golden tresses; she sat there on the edge of the couch with her hands hanging in her lap and her smoky blue country eyes fixed in a wide stare because she was in an evil gray New York pad that she’d heard about back West, and waiting like a longbodied emaciated Modigliani surrealist woman in a serious room. But, outside of being a sweet little girl, she was awfully dumb and capable of doing horrible things. That night we all drank beer and pulled wrists and talked till dawn, and in the morning, while we sat around dumbly smoking butts from ashtrays in the gray light of a gloomy day, Dean got up nervously, paced around, thinking, and decided the thing to do was to have Marylou make breakfast and sweep the floor. “In other words we’ve got to get on the ball, darling, what I’m saying, otherwise it’ll be fluctuating and lack of true knowledge or crystallization of our plans.” Then I went away.
During the following week he confided in Chad King that he absolutely had to learn how to write from him; Chad said I was a writer and he should come to me for advice. Meanwhile Dean had gotten a job in a parking lot, had a fight with Marylou in their Hoboken apartment—God knows why they went there—and she was so mad and so down deep vindictive that she reported to the police some false trumped-up hysterical crazy charge, and Dean had to lam from Hoboken. So he had no place to live. He came right out to Paterson, New Jersey, where I was living with my aunt, and one night while I was studying there was a knock on the door, and there was Dean, bowing, shuffling obsequiously in the dark of the hall, and saying, “Hel-lo, you remember me—Dean Moriarty? I’ve come to ask you to show me how to write.”
“And where’s Marylou?” I asked, and Dean said she’d apparently whored a few dollars together and gone back to Denver—“the whore!” So we went out to have a few beers because we couldn’t talk like we wanted to talk in front of my aunt, who sat in the living room reading her paper. She took one look at Dean and decided that he was a madman.
In the bar I told Dean, “Hell, man, I know very well you didn’t come to me only to want to become a writer, and after all what do I really know about it except you’ve got to stick to it with the energy of a benny addict.” And he said, “Yes, of course, I know exactly what you mean and in fact all those problems have occurred to me, but the thing that I want is the realization of those factors that should one depend on Schopenhauer’s dichotomy for any inwardly realized . . .” and so on in that way, things I understood not a bit and he himself didn’t. In those days he really didn’t know what he was talking about; that is to say, he was a young jailkid all hung-up on the wonderful possibilities of becoming a real intellectual, and he liked to talk in the tone and using the words, but in a jumbled way, that he had heard from “real intellectuals” —although, mind you, he wasn’t so naive as that in all other things, and it took, him just a few months with Carlo Marx to become completely in there with all the terms and jargon. Nonetheless we understood each other on other levels of madness, and I agreed that he could stay at my house till he found a job and furthermore we agreed to go out West sometime. That was the winter of 1947.
One night when Dean ate supper at my house—he already had, the parking-lot job in New York—he leaned over my shoulder as I typed rapidly away and said, “Come on man, those girls won’t wait, make it fast.”
I said, “Hold on just a minute, I’ll be right with you soon as I finish this chapter,” and it was one of the best chapters in the book. Then I dressed and off we flew to New York to meet some girls. As we rode in the bus in the weird phosphorescent void of the Lincoln Tunnel we leaned on each other with fingers waving and yelled and talked excitedly, and I was beginning to get the bug like Dean. He was simply a youth tremendously excited with life, and though he was a con-man, he was only conning because he wanted so much to live and to get involved with people who would otherwise pay no attention to him. He was conning me and I knew it (for room and board and “how-to-write,” etc.), and he knew I knew (this has been the basis of our relationship), but I didn’t care and we got along fine—no pestering, no catering; we tiptoed around each other like heartbreaking new friends. I began to learn from him as much as he probably learned from me. As far as my work was concerned he said, “Go ahead, everything you do is great.” He watched over my shoulder as I wrote stories, yelling, “Yes! That’s right! Wow! Man!” and “Phew!” and wiped his face with his handkerchief. “Man, wow, there’s so many things to do, so many things to write! How to even begin to get it all down and without modified restraints and all hung-up on like literary inhibitions and grammatical fears . . .”
“That’s right, man, now you’re talking.” And a kind of holy lightning I saw flashing from his excitement and his visions, which he described so torrentially that people in buses looked around to see the “overexcited nut.” In the West he’d spent a third of his time in the poolhall, a third in jail, and a third in the public library. They’d seen him rushing eagerly down the winter streets, bareheaded, carrying books to the poolhall, or climbing trees to get into the attics of buddies where he spent days reading or hiding from the law.
We went to New York—I forget what the situation was, two colored girls—there were no girls there; they were supposed to meet him in a diner and didn’t show up. We went to his parking lot where he had a few things to do—change his clothes in the shack in back and spruce up a bit in front of a cracked mirror and so on, and then we took off. And that was the night Dean met Carlo Marx. A tremendous thing happened when Dean met Carlo Marx. Two keen minds that they are, they took to each other at the drop of a hat. Two piercing eyes glanced into two piercing eyes—the holy con-man with the shining mind, and the sorrowful poetic con-man with the dark mind that is Carlo Marx. From that moment on I saw very little of Dean, and I was a little sorry too. Their energies met head-on, I was a lout compared, I couldn’t keep up with them. The whole mad swirl of everything that was to come began then; it would mix up all my friends and all I had left of my family in a big dust cloud over the American Night. Carlo told him of Old Bull Lee, Elmer Hassel, Jane: Lee in Texas growing weed, Hassel on Riker’s Island, Jane wandering on Times Square in a benzedrine hallucination, with her baby girl in her arms and ending up in Bellevue. And Dean told Carlo of unknown people in the West like Tommy Snark, the clubfooted poolhall rotation shark and cardplayer and queer saint. He told him of Roy Johnson, Big Ed Dunkel, his boyhood buddies, his street buddies, his innumerable girls and sex-parties and pornographic pictures, his heroes, heroines, adventures. They rushed down the street together, digging everything in the early way they had, which later became so much sadder and perceptive and blank. But then they danced down the streets like dingledodies, and I shambled after as I’ve been doing all my life after people who interest me, because the only people for me are the mad ones, the ones who are mad to live, mad to talk, mad to be saved, desirous of everything at the same time, the ones who never yawn or say a commonplace thing, but burn, burn, burn like fabulous yellow roman candles exploding like spiders across the stars and in the middle you see the blue centerlight pop and everybody goes “Awww!” What did they call such young people in Goethe’s Germany? Wanting dearly to learn how to write like Carlo, the first thing you know, Dean was attacking him with a great amorous soul such as only a con-man can have. “Now, Carlo, let me speak—here’s what I’m saying . . .”. I didn’t see them for about two weeks, during which time they cemented their relationship to fiendish allday-allnight talk proportions.
Then came spring, the great time of traveling, and everybody in the scattered gang was getting ready to take one trip or another. I was busily at work on my novel and when I came to the halfway mark, after a trip down South with my aunt to visit my brother Rocco, I got ready to travel West for the very first time.
Dean had already left. Carlo and I saw him off at the 34th Street Greyhound station. Upstairs they had a place where you could make pictures for a quarter. Carlo took off his glasses and looked sinister. Dean made a profile shot and looked coyly around. I took a straight picture that made me look like a thirty-year-old Italian who’d kill anybody who said anything against his mother. This picture Carlo and Dean neatly cut down the middle with a razor and saved a half each in their wallets. Dean was wearing a real Western business suit for his big trip back to Denver; he’d finished his first fling in New York. I say fling, but he only worked like a dog in parking lots. The most fantastic parking-lot attendant in the world, he can back a car forty miles an hour into a tight squeeze and stop at the wall, jump out, race among fenders, leap into another car, circle it fifty miles an hour in a narrow space, back swiftly into tight spot, hump, snap the car with the emergency so that you see it bounce as he flies out; then clear to the ticket shack, sprinting like a track star, hand a ticket, leap into a newly arrived car before the owner’s half out, leap literally under him as he steps out, start the car with the door flapping, and roar off to the next available spot, arc, pop in, brake, out, run; working like that without pause eight hours a night, evening rush hours and after-theater rush hours, in greasy wino pants with a frayed fur-lined jacket and beat shoes that flap. Now he’d bought a new suit to go back in; blue with pencil stripes, vest and all—eleven dollars on Third Avenue, with a watch and watch chain, and a portable typewriter with which he was going to start writing in a Denver rooming house as soon as he got a job there. We had a farewell meal of franks and beans in a Seventh Avenue Riker’s, and then Dean got on the bus that said Chicago and roared off into the night. There went our wrangler. I promised myself to go the same way when spring really bloomed and opened up the land.
And this was really the way that my whole road experience began, and the things that were to come are too fantastic not to tell.
Yes, and it wasn’t only because I was a writer and needed new experiences that I wanted to know Dean more, and because my life hanging around the campus had reached the completion of its cycle and was stultified, but because, somehow in spite of our difference in character, he reminded me of some long-lost brother; the sight of his suffering bony face with the long sideburns and his straining muscular sweating neck made me remember my boyhood in those dye-dumps and swim-holes and riversides of Paterson and the Passaic. His dirty workclothes clung to him so gracefully, as though you couldn’t buy a better fit from a custom tailor but only earn it from the Natural Tailor of Natural Joy, as Dean had, in his stresses. And in his excited way of speaking I heard again the voices of old companions and brothers under the bridge, among the motorcycles, along the wash-lined neighborhood and drowsy doorsteps of afternoon where boys played guitars while their older brothers worked in the mills. All my other current friends were “intellectuals”—Chad the Nietzschean anthropologist, Carlo Marx and his nutty surrealist low-voiced serious staring talk, Old Bull Lee and his critical anti-everything drawl—or else they were slinking criminals like Elmer Hassel, with that hip sneer; Jane Lee the same, sprawled on the Oriental cover of her couch, sniffing at the New Yorker. But Dean’s intelligence was every bit as formal and shining and complete, without the tedious intellectualness. And his “criminality” was not something that sulked and sneered; it was a wild yea-saying overburst of American joy; it was Western, the west wind, an ode from the Plains, something new, long prophesied, long a-coming (he only stole cars for joy rides). Besides, all my New York friends were in the negative, nightmare position of putting down society and giving their tired bookish or political or psychoanalytical reasons, but Dean just raced in society, eager for bread and love; he didn’t care one way or the other, “so long’s I can get that lil ole gal with that lil sumpin down there tween her legs, boy,” and “so long’s we can eat, son, y’ear me? I’m hungry, I’m starving, let’s eat right now!”—and off we’d rush to eat, whereof, as saith Ecclesiastes, “It is your portion under the sun.”
A western kinsman of the sun, Dean. Although my aunt warned me that he would get me in trouble, I could hear a new call and see a new horizon, and believe it at my young age; and a little bit of trouble or even Dean’s eventual rejection of me as a buddy, putting me down, as he would later, on starving sidewalks and sickbeds—what did it matter? I was a young writer and I wanted to take off.
Somewhere along the line I knew there’d be girls, visions, everything ; somewhere along the line the pearl would be handed to me.
2
In the month of July 1947, having saved about fifty dollars from old veteran benefits, I was ready to go to the West Coast. My friend Remi Boncœur had written me a letter from San Francisco, saying I should come and ship out with him on an around-the-world liner. He swore he could get me into the engine room. I wrote back and said I’d be satisfied with any old freighter so long as I could take a few long Pacific trips and come back with enough money to support myself in my aunt’s house while I finished my book. He said he had a shack in Mill City and I would have all the time in the world to write there while we went through the rigmarole of getting the ship. He was living with a girl called Lee Ann; he said she was a marvelous cook and everything would jump. Remi was an old prep-school friend, a Frenchman brought up in Paris and a really mad guy—I didn’t know how mad at this time. So he expected me to arrive in ten days. My aunt was all in accord with my trip to the West; she said it would do me good, I’d been working so hard all winter and staying in too much; she even didn’t complain when I told her I’d have to hitchhike some. All she wanted was for me to come back in one piece. So, leaving my big half-manuscript sitting on top of my desk, and folding back my comfortable home sheets for the last time one morning, I left with my canvas bag in which a few fundamental things were packed and took off for the Pacific Ocean with the fifty dollars in my pocket.
I’d been poring over maps of the United States in Paterson for months, even reading books about the pioneers and savoring names like Platte and Cimarron and so on, and on the roadmap was one long red line called Route 6 that led from the tip of Cape Cod clear to Ely, Nevada, and there dipped down to Los Angeles. I’ll just stay on 6 all the way to Ely, I said to myself and confidently started. To get to 6 I had to go up to Bear Mountain. Filled with dreams of what I’d do in Chicago, in Denver, and then finally in San Fran, I took the Seventh Avenue subway to the end of the line at 242nd Street, and there took a trolley into Yonkers; in downtown Yonkers I transferred to an outgoing trolley and went to the city limits on the east bank of the Hudson River. If you drop a rose in the Hudson River at its mysterious source in the Adiron dacks, think of all the places it journeys by as it goes out to sea forever—think of that wonderful Hudson Valley. I started hitching up the thing. Five scattered rides took me to the desired Bear Mountain Bridge, where Route 6 arched in from New England. It began to rain in torrents when I was let off there. It was mountainous. Route 6 came over the river, wound around a traffic circle, and disappeared into the wilderness. Not only was there no traffic but the rain came down in buckets and I had no shelter. I had to run under some pines to take cover; this did no good; I began crying and swearing and socking myself on the head for being such a damn fool. I was forty miles north of New York; all the way up I’d been worried about the fact that on this, my big opening day, I was only moving north instead of the so-longed-for west. Now I was stuck on my northernmost hangup. I ran a quarter-mile to an abandoned cute English-style filling station and stood under the dripping eaves. High up over my head the great hairy Bear Mountain sent down thunderclaps that put the fear of God in me. All I could see were smoky trees and dismal wilderness rising to the skies. “What the hell am I doing up here?” I cursed, I cried for Chicago. “Even now they’re all having a big time, they’re doing this, I’m not there, when will I get there!”—and so on. Finally a car stopped at the empty filling station; the man and the two women in it wanted to study a map. I stepped right up and gestured in the rain; they consulted; I looked like a maniac, of course, with my hair all wet, my shoes sopping. My shoes, damn fool that I am, were Mexican huaraches, plantlike sieves not fit for the rainy night of America and the raw road night. But the people let me in and rode me north to Newburgh, which I accepted as a better alternative than being trapped in the Bear Mountain wilderness all night. “Besides,” said the man, “there’s no traffic passes through 6. If you want to go to Chicago you’d do better going across the Holland Tunnel in New York and head for Pittsburgh,” and I knew he was right. It was my dream that screwed up, the stupid hearthside idea that it would be wonderful to follow one great red line across America instead of trying various roads and routes.
In Newburgh it had stopped raining. I walked down to the river, and I had to ride back to New York in a bus with a delegation of schoolteachers coming back from a weekend in the mountains—chatter-chatter blah-blah, and me swearing for all the time and the money I’d wasted, and telling myself, I wanted to go west and here I’ve been all day and into the night going up and down, north and south, like something that can’t get started. And I swore I’d be in Chicago tomorrow, and made sure of that, taking a bus to Chicago, spending most of my money, and didn’t give a damn, just as long as I’d be in Chicago tomorrow.
3
It was an ordinary bus trip with crying babies and hot sun, and countryfolk getting on at one Penn town after another, till we got on the plain of Ohio and really rolled, up by Ashtabula and straight across Indiana in the night. I arrived in Chi quite early in the morning, got a room in the Y, and went to bed with a very few dollars in my pocket. I dug Chicago after a good day’s sleep.
The wind from Lake Michigan, bop at the Loop, long walks around South Halsted and North Clark, and one long walk after midnight into the jungles, where a cruising car followed me as a suspicious character. At this time, 1947, bop was going like mad all over America. The fellows at the Loop blew, but with a tired air, because bop was somewhere between its Charlie Parker Ornithology period and another period that began with Miles Davis. And as I sat there listening to that sound of the night which bop has come to represent for all of us, I thought of all my friends from one end of the country to the other and how they were really all in the same vast backyard doing something so frantic and rushing-about. And for the first time in my life, the following afternoon, I went into the West. It was a warm and beautiful day for hitchhiking. To get out of the impossible complexities of Chicago traffic I took a bus to Joliet, Illinois, went by the Joliet pen, stationed myself just outside town after a walk through its leafy rickety streets behind, and pointed my way. All the way from New York to Joliet by bus, and I had spent more than half my money.
My first ride was a dynamite truck with a red flag, about thirty miles into great green Illinois, the truckdriver pointing out the place where Route 6, which we were on, intersects Route 66 before they both shoot west for incredible distances. Along about three in the afternoon, after an apple pie and ice cream in a roadside stand, a woman stopped for me in a little coupe. I had a twinge of hard joy as I ran after the car. But she was a middle-aged woman, actually the mother of sons my age, and wanted somebody to help her drive to Iowa. I was all for it. Iowa! Not so far from Denver, and once I got to Denver I could relax. She drove the first few hours, at one point insisted on visiting an old church somewhere, as if we were tourists, and then I took over the wheel and, though I’m not much of a driver, drove clear through the rest of Illinois to Davenport, Iowa, via Rock Island. And here for the first time in my life I saw my beloved Mississippi River, dry in the summer haze, low water, with its big rank smell that smells like the raw body of America itself because it washes it up. Rock Island—railroad tracks, shacks, small downtown section; and over the bridge to Davenport, same kind of town, all smelling of sawdust in the warm midwest sun. Here the lady had to go on to her Iowa hometown by another route, and I got out.
The sun was going down. I walked, after a few cold beers, to the edge of town, and it was a long walk. All the men were driving home from work, wearing railroad hats, baseball hats, all kinds of hats, just like after work in any town anywhere. One of them gave me a ride up the hill and left me at a lonely crossroads on the edge of the prairie. It was beautiful there. The only cars that came by were farmer-cars; they gave me suspicious looks, they clanked along, the cows were coming home. Not a truck. A few cars zipped by. A hotrod kid came by with his scarf flying. The sun went all the way down and I was standing in the purple darkness. Now I was scared. There weren’t even any lights in the Iowa countryside; in a minute nobody would be able to see me. Luckily a man going back to Davenport gave me a lift downtown. But I was right where I started from.
I went to sit in the bus station and think this over. I ate another apple pie and ice cream; that’s practically all I ate all the way across the country, I knew it was nutritious and it was delicious, of course. I decided to gamble. I took a bus in downtown Davenport, after spending a half-hour watching a waitress in the bus-station café, and rode to the city limits, but this time near the gas stations. Here the big trucks roared, wham, and inside two minutes one of them cranked to a stop for me. I ran for it with my soul whoopeeing. And what a driver—a great big tough truckdriver with popping eyes and a hoarse raspy voice who just slammed and kicked at everything and got his rig under way and paid hardly any attention to me. So I could rest my tired soul a little, for one of the biggest troubles hitchhiking is having to talk to innumerable people, make them feel that they didn’t make a mistake picking you up, even entertain them almost, all of which is a great strain when you’re going all the way and don’t plan to sleep in hotels. The guy just yelled above the roar, and all I had to do was yell back, and we relaxed. And he balled that thing clear to Iowa City and yelled me the funniest stories about how he got around the law in every town that had an unfair speed limit, saying over and over again, “Them goddam cops can’t put no flies on my ass!” Just as we rolled into Iowa City he saw another truck coming behind us, and because he had to turn off at Iowa City he blinked his tail lights at the other guy and slowed down for me to jump out, which I did with my bag, and the other truck, acknowledging this exchange, stopped for me, and once again, in the twink of nothing, I was in another big high cab, all set to go hundreds of miles across the night, and was I happy! And the new truckdriver was as crazy as the other and yelled just as much, and all I had to do was lean back and roll on. Now I could see Denver looming ahead of me like the Promised Land, way out there beneath the stars, across the prairie of Iowa and the plains of Nebraska, and I could see the greater vision of San Francisco beyond, like jewels in the night. He balled the jack and told stories for a couple of hours, then, at a town in Iowa where years later Dean and I were stopped on suspicion in what looked like a stolen Cadillac, he slept a few hours in the seat. I slept too, and took one little walk along the lonely brick walls illuminated by one lamp, with the prairie brooding at the end of each little street and the smell of the corn like dew in the night.
He woke up with a start at dawn. Off we roared, and an hour later the smoke of Des Moines appeared ahead over the green cornfields. He had to eat his breakfast now and wanted to take it easy, so I went right on into Des Moines, about four miles, hitching a ride with two boys from the University of Iowa; and it was strange sitting in their brand-new comfortable car and hearing them talk of exams as we zoomed smoothly into town. Now I wanted to sleep a whole day. So I went to the Y to get a room; they didn’t have any, and by instinct I wandered down to the railroad tracks—and there’re a lot of them in Des Moines—and wound up in a gloomy old Plains inn of a hotel by the locomotive roundhouse, and spent a long day sleeping on a big clean hard white bed with dirty remarks carved in the wall beside my pillow and the beat yellow windowshades pulled over the smoky scene of the railyards. I woke up as the sun was reddening; and that was the one distinct time in my life, the strangest moment of all, when I didn’t know who I was—I was far away from home, haunted and tired with travel, in a cheap hotel room I’d never seen, hearing the hiss of steam outside, and the creak of the old wood of the hotel, and footsteps upstairs, and all the sad sounds, and I looked at the cracked high ceiling and really didn’t know who I was for about fifteen strange seconds. I wasn’t scared; I was just somebody else, some stranger, and my whole life was a haunted life, the life of a ghost. I was halfway across America, at the dividing line between the East of my youth and the West of my future, and maybe that’s why it happened right there and then, that strange red afternoon.
Product details
- ASIN : 0140283293
- Publisher : Penguin Classics (June 1, 1999)
- Language : English
- Paperback : 293 pages
- ISBN-10 : 9780140283297
- ISBN-13 : 978-0140283297
- Reading age : 18 years and up
- Lexile measure : 940L
- Grade level : 12 and up
- Item Weight : 12.8 ounces
- Dimensions : 8.42 x 5.62 x 0.82 inches
- Best Sellers Rank: #15,079 in Books (See Top 100 in Books)
- #97 in Biographical Fiction (Books)
- #545 in Classic Literature & Fiction
- #1,467 in Literary Fiction (Books)
- Customer Reviews:
About the author

Jack Kerouac (1922-1969), the central figure of the Beat Generation, was born in Lowell, Massachusetts, in 1922 and died in St. Petersburg, Florida, in 1969. Among his many novels are On the Road, The Dharma Bums, Big Sur, and Visions of Cody.
Photo by USGov (National Archives) [Public domain], via Wikimedia Commons.
Customer reviews
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Learn more how customers reviews work on AmazonCustomers say
Customers find the book engaging and enjoyable. They appreciate the clear writing style with poetic touches. Many describe it as a classic that takes readers on an interesting journey into life in the 1950s. However, some customers feel the story lacks a real plot and is repetitive.
AI-generated from the text of customer reviews
Customers enjoy the book's writing style and find it engaging. They say it's a classic novel that explores a carefree lifestyle and postwar America. The journey across America is fascinating at every turn, and the author's experience is evident.
"...This book proves that point and beyond. An excellent read!!!!" Read more
"...This book deserves to be canonized as one of the best works of modern literature." Read more
"...Hailed as a definitive Beat Generation novel, it chronicles Sal's exploration for meaning, self-identity and independence...." Read more
"...It was a really interesting book, in many ways: the writing style is captivating and different, the themes belong to a different generation than my..." Read more
Customers find the writing style captivating and different. They appreciate the clear sentences with poetic touches. The reading is excellent, with a fine narrator. The pace and descriptions combine to give a good, fast read.
"...Style can turn an ordinary story into a magic one. Here, sentences are clear, yet enhanced now and then by poetic touches : a misleading simplicity,..." Read more
"...Kerouac's semi-autobiographical prose is quite poetic...." Read more
"...Kerouac's description of the places and the people make the journeys very authentic and real...." Read more
"This cheap version reads like a poor scan...." Read more
Customers enjoy the book's story. They find it autobiographical and a fascinating journey into life in the 1950s. The themes are different from their own generation, and the writing style is free-form and immediate. Readers appreciate the historical importance of the book as one of the first to introduce Beat culture.
"...All so beautiful and heartbreaking !..." Read more
"...Hailed as a definitive Beat Generation novel, it chronicles Sal's exploration for meaning, self-identity and independence...." Read more
"...: the writing style is captivating and different, the themes belong to a different generation than my own, and the story is simply fun...." Read more
"...this novel in 3 weeks time, writing 7 years of his life into this great story...." Read more
Customers enjoy the book's travel value. They find it a relevant read for travelers and spontaneous adventurers today. The story takes them to many places, transporting them into the road adventure. The cities and countryside are magnificent, inspiring readers to travel and go on road trips.
"The roads less traveled are usually the more exciting ones than the roads everyone else goes down. This book proves that point and beyond...." Read more
"...manage to survive, all while experiencing amazing people and amazing places, but at the same time made me feel happy that I never experienced the..." Read more
"...primary characters were unlikable and the ideas and philosophies projected were rather shallow...." Read more
"...and there were sections I did enjoy, particularly the scenes of Sal traveling cross-country...." Read more
Customers have different views on the character development. Some find the characters interesting and charismatic, while others dislike them. The first introduction of the characters is chaotic, and some feel unable to connect with them.
"...However, the primary characters were unlikable and the ideas and philosophies projected were rather shallow...." Read more
"...Overall (3 stars) - Overall, I enjoyed the frenzied writing, Dean's character, and the window into the Beat culture...." Read more
"...'m tricked into the story, I'm merely stating that the characters have no redeemable features, so why should I care about them?..." Read more
"...Likewise, the book presents an enjoyable story, with a memorable cast of characters and a pleasing variety of places...." Read more
Customers have mixed opinions about the book's insight. Some find it easy to read and provides a good glimpse into the Beat Generation, open spaces, and minds. Others describe it as an incoherent rambling about nothing with poor structure.
"...total immaturity to run from one's responsibilities are well highlighted by this reckless, uninhibited, and immature writing style...." Read more
"...This is not literature, this is the memoirs of a drug fiend runaway, of which the issue of running away from your problems aren't barely even..." Read more
"...(4 stars) - The pace and descriptions combine together to give the reader a good glimpse into what it was like to be on the American road and in a..." Read more
"...K is not a great prose stylist, but he was a keen observer, with a much more ironic viewpoint than he was credited with...." Read more
Customers find the book boring and repetitive. They say it's not engaging enough, with a stale and tiresome presentation. Some readers feel the content is vulgar and without merit. The book becomes a chore after 100 pages, with occasional bursts of charm.
"...He's selfish, irresponsible, and untrustworthy. He was also an absent father and a womanizer, just to name a few...." Read more
"...fresh experience" is great, but the way it's presented here is stale and repetitive...." Read more
"...In spots the repetitiveness did get tiresome, as did some of the eye-rolling driving techniques that suggested that the characters were just..." Read more
"...Not at all in fact he hated it, hated the characters and found it boring. Doesn’t matter still a great book...." Read more
Customers find the story shallow and lacking a clear plot. They find the characters annoying and the book hard to stomach. The plot wanders and lacks direction, leaving readers with no real life lessons.
"...And what for? What are his new experiences worth? There are no real life lessons, they learn nothing, Dean and Sal both go on about the majesty and..." Read more
"...But I grew frustrated with the wandering plot. It felt like much could have been condensed without losing the essence." Read more
"...I can taste the wide open vistas, the mesmerizing monotony of endless roads over perfectly flat land, the sense of emptiness in this under populated..." Read more
"This book may not be for everyone. There isn't a real plot...." Read more
Reviews with images

I recommend with caution!
Top reviews from the United States
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- Reviewed in the United States on March 19, 2025The roads less traveled are usually the more exciting ones than the roads everyone else goes down.
This book proves that point and beyond.
An excellent read!!!!
- Reviewed in the United States on August 10, 2015I started reading Jack Kerouac’s On the Road, and about time, you might say. All my life, I had expected this book to be a sort of hysterical gospel of the beat generation. In a way, it is, but above all it’s a hymn to the United States, its vastness, its sadness, its poetry and melancholy. It’s got something of John Steinbeck’s Travels with Charlie with, in the background, Ennio Moricone’s music for Once upon a time in the West. I’m glad I first went from Arkansas to Missouri, Iowa, South Dakota, then New Mexico and Arizona before I read this book. I can taste the wide open vistas, the mesmerizing monotony of endless roads over perfectly flat land, the sense of emptiness in this under populated country. Also, I understand somewhat better Aaron Copeland’s Fanfare for the common Man. All so beautiful and heartbreaking ! Like Kerouac, but under much more comfortable circumstances, I enjoyed the impact of unexpected encounters : an Indian in New Mexico, for instance, at a service station. He’d noticed my Little Rock, Razorback T-shirt, and we started talking. “I just spent several years in Little Rock” he said. “Now, I’m going home” : a simple statement, as moving as a haiku. You could never be friends with these people ; here now, gone a few seconds later, yet they stay with you all your life.
Kerouac’s style has a lot to do with the fascination one quickly feels for the novel. Style can turn an ordinary story into a magic one. Here, sentences are clear, yet enhanced now and then by poetic touches : a misleading simplicity, and no mean feat.
The major drawback lies in Kerouac’s obsession with booze, beer and getting drunk. Characters in the novel - including the main character - are always complaining that they are short of money, and it’s very true that they are not exactly rolling in it, but if they didn’t drink so much, they would have enough to get by, most of the time. The story takes place in 1947. By the time I went to live in North America (Canada is the same) it hadn’t changed. For me, the year was 1963. If a man managed to take a girl to a motel with him, he also had to bring in a bottle of whiskey. Apparently, it’s still like that. What a sad, sad outlook on sex ! Getting drunk on cheap booze instead of getting drunk on each other ! When the body is fighting with 6 shots of Bourbon, orgasms are reduced to the mere release of biological tensions instead of the last movement in a grand symphony of sensations and emotions.
In California, Jack meets a lovely Mexican girl with blue eyes, which prompts an old farmer to say that, at some point, “the bull jumped over the fence.” You just know that their affair is not going to last, even if it keeps on for a few weeks. Jack Kerouac’s talent means that, as a reader, you are more in love with the girl than the author ever was. There is great sadness at their parting (there is great sadness throughout the book), but love, real love, deep love is never an element of the story, and that makes it even more poignant. On the Road is a drifting odyssey of self-centred people who are not even aware that they are self-centred. It’s an ode to complicated losers.
- Reviewed in the United States on January 11, 2010This wild ride of a novel had me wondering about mortality- not so much my own mortality, but that of some of the characters within. Sal Paradise/Jack Kerouac shares with us his search for...I don't know what. ON THE ROAD recounts some of Kerouac's traveling adventures but the true mystique lies in the fast, reckless, irresponsible, and dangerous lives he and his beatnik buddies lead. Apparently, in the late 1940's, a broke, semi-homeless hitchhiker was the cool thing to be. Kerouac's semi-autobiographical prose is quite poetic. But I hope there is more fiction than fact in this tale, because the characters in this novel are a bunch of misfits.
In the midst of these road trips across America (and Mexico at the novel's climax) there's a lot of drugs, alcohol, womanizing, and stealing going on; all the things your mommy tells you not to do. Yet what I find most fascinating are some of the characters Jack partied with, some of whom became pioneers in the beatnik literary movement.
Here's a little breakdown on who's who:
Dean Moriarty=Neal Cassady
Carlo Marx=Allan Ginsberg
Bull Lee=William Burroughs
Each of these literary figures partied way too hard and it's their life spans that amaze me.
Dean Moriarty/Neal Cassady was a major drinker and the biggest A-hole in literature. He's selfish, irresponsible, and untrustworthy. He was also an absent father and a womanizer, just to name a few. But you can't help loving the guy because he knows how to have a good time. Cassady died in 1968 at the age of 41. The cause of his death was unknown but drugs were involved. No surprise there.
Sal Paradise/Jack Kerouac died in 1969 at the age of 47 from an internal hemorrhage. A lifetime of drinking was the cause.
Carlo Marx/Allan Ginsberg, to my shock, also a heavy drinker and drug user, died in 1997 at the age of 70.
Here's the real kicker: Bull Lee/William Burroughs died in 1997 at age 83. Not only was he a big drinker, but he was a heroin addict. He also got away with "accidentally" shooting his wife in the head in Mexico during what he says was a drunken game of William Tell. Go figure.
ON THE ROAD really focuses most on Dean Moriarty. Sal Paradise is obsessed with Dean's free spirit. This book deserves to be canonized as one of the best works of modern literature.
Top reviews from other countries
- Louis TownsendReviewed in Canada on January 5, 2025
5.0 out of 5 stars I'm glad I read this classic
I found it to be an intriguing story, which starts off a bit slow but starts getting better in the second half. It's about a series of road trips towards the end of the 1940s, also providing a perspective about the Beat Generation.
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NicollyReviewed in Brazil on July 17, 2023
5.0 out of 5 stars Muito Satisfeita!
Veio em 4 dias mesmo com a entrega padrão, bem embalado, e sem amassados!
Kerouac é um clássico! O livro é um retrato da geração beat!
NicollyMuito Satisfeita!
Reviewed in Brazil on July 17, 2023
Kerouac é um clássico! O livro é um retrato da geração beat!
Images in this review
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ValentinaReviewed in Italy on February 4, 2025
5.0 out of 5 stars Ottimo libro
Ottimo libro
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Janke9359Reviewed in Sweden on December 10, 2023
5.0 out of 5 stars On the road kommer att bli en Julklapp till min dotter.
Julklapp till min dotter!
- juan ybarraReviewed in Spain on January 21, 2022
5.0 out of 5 stars Keep moving
An amazing tale of friendship, jazz, sadness and the life on the road. A must read!