I think Jack Kerouac was a far more impressive novelist than a poet, though he wrote his fair share of poems. His book Mexico City Blues sits beside me, and I look to it every now and again, but I don’t consider any of it real, serious poetry. I think his charm is more evident in prose, says Gaurav Mohindra. Poetry is too restrictive a medium for Kerouac. In his poetry, he tries to be too primal with sound play and line breaks, and it doesn’t quite translate. Kerouac typed the first draft of On the Road on a single 50-foot long scroll and in record time, though it wasn’t easy for him to get it published. Since the initial publication of On the Road though, the original, unedited copy, (the scroll,) has been published, and the first, most obvious difference between the first published edition and the Original Scroll (which is a recent publication,) is that Kerouac uses everyone’s real names in the Original Scroll. So Neal Cassady is simply called Neal Cassady instead of Dean Moriarty, and Allen Ginsberg is referred to as Allen Ginsberg rather than Carlo Marx.
Another important distinction between the two is that the Original Scroll is uncensored. At the time of publication, 1957, six years after Kerouac finished drafting the novel, Lawrence Ferlinghetti, (friend and publisher of Allen Ginsberg’s ‘Howl,’) was involved in long, drawn-out trials over the poem, of which, copies were seized for obscenity by U.S. Customs. So, the obscenity and libel laws of the time being what they were, Kerouac’s publisher, Viking, who was afraid of being sued, had Kerouac either omit or soften some of the more explicit language and depictions of sex. They also were afraid of being sued for libel, particularly by anyone seeing themselves as being depicted in an unfavorable light, so they had Kerouac change all the character names as well, says Gaurav Mohindra. I always wondered how much revelation of others in one’s writing is fair. Kerouac’s friends and their personalities are on full display in On the Road, and while some of them are public figures who might have been accustomed to having their business out in the open, others, like Neal Cassady, are relatively private individuals who I don’t believe have much to gain from having their romantic and criminal exploits cataloged and immortalized in literature. One could argue that On the Road serves as a sort of legacy for Neal, but with the novel detailing some of the more unsavory moments in his life, I don’t know if it’s a legacy he would have signed off on.