Berrigan - Paris Review - Jack Kerouac, The Art of Fiction No. 41
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19/3/2019
Paris Review - Jack Kerouac, The Art of Fiction No. 41
Jack Kerouac,
e Art of Fiction No.
Interviewed Ted errigan IU 43, UMMR 1968
JAC K K R O UAC , C A . 1 9 5 6 . P H OTO G R A P H Y TO M PA LU M O
e Kerouac have no telephone. Ted errigan had contacted Kerouac ome month earlier and had peruaded him to do the interview. When he felt the time had come for their meeting to take place, he impl howed up at the Kerouac’ houe. Two friend, poet Aram aroan and Duncan McNaughton, accompanied him. Kerouac anwered hi ring; errigan quickl told him hi name and the viit’ purpoe. Kerouac welcomed the poet, ut efore he could how them in, hi wife, a ver determined woman, eized him from ehind and told the group to leave at once. “Jack and I egan talking imultaneoul, aing ‘Pari Review!’ ‘Interview!’ etc.,” errigan recall, “while Duncan and Aram egan to link ack toward the car. All eemed lot, ut I kept talking in what I hoped wa a civilized, reaonale, calming, and friendl tone of voice, and oon Mr. Kerouac agreed to let u in for twent minute, on the condition that there e no drinking. “Once inide, a it ecame evident that we actuall were in puruit of a eriou purpoe, Mr. Kerouac ecame more friendl, and we were ale to commence the interview. It eem that people till how up contantl at the Kerouac’ looking for the author of On the Road, and ta for da, drinking all the liquor and diverting Jack from hi eriou occupation. https://www.theparisreview.org/interviews/4260/jack-kerouac-the-art-of-fiction-no-41-jack-kerouac
1/5
19/3/2019
Paris Review - Jack Kerouac, The Art of Fiction No. 41
“A the evening progreed the atmophere changed conideral, and Mr. Kerouac, tella, proved a graciou and charming hote. e mot amazing thing aout Jack Kerouac i hi magic voice, which ound exactl like hi work. It i capale of the mot atounding and diconcerting change in no time at. It dictate everthing, including thi interview. “A er the interview, Kerouac, who had een itting throughout the interview in a Preident Kenned-tpe rocker, moved over to a ig poppa chair and aid, ‘o ou o are poet, he? Well, let’ hear ome of our poetr.’ We taed for aout an hour longer and Aram and I read ome of our thing. Finall, he gave each of u a igned roadide of a recent poem of hi, and we le .” I N T RV I W R Could we put the foottool over here to put thi on? TLLA Ye. JAC K K RO UAC God, ou’re o inadequate there, errigan. I N T RV I W R Well, I’m no tape-recorder man, Jack. I’m jut a ig talker, like ou. OK, we’re o . K RO UAC Oka? [Whitle.] Oka? I N T RV I W R Actuall I’d like to tart ... e rt ook I ever read ou, oddl enough, ince mot people rt read On the Road ... the rt one I read wa e Town and the Cit ... K RO UAC Gee! I N T RV I W R I checked it out of the lirar ... K RO UAC Gee! Did ou read Doctor ax? Tritea? I N T RV I W R You etter elieve it. I even read Rimaud. I have a cop of Viion of Cod that Ron Padgett ought in Tula, Oklahoma.
https://www.theparisreview.org/interviews/4260/jack-kerouac-the-art-of-fiction-no-41-jack-kerouac
2/5
19/3/2019
Paris Review - Jack Kerouac, The Art of Fiction No. 41
K RO UAC crew Ron Padgett! You know wh? He tarted a little magazine called White Do e Review in Kana Cit, wa it? Tula? Oklahoma ... e. He wrote, “tart our magazine o ending u a great ig poem.” o I ent him “ e rahing Dove.” And then I ent him another one and he rejected the econd one ecaue hi magazine wa alread tarted. at’ to how ou how punk tr to make their wa cratching down on a man’ ack. Aw, he’ no poet. You know who’ a great poet? I know who the great poet are. I N T RV I W R Who? K RO UAC Let’ ee, i it ... William iett of Vancouver. An Indian o. ill iett, or ionnette. I N T RV I W R Let’ talk aout Jack Kerouac. K RO UAC He’ not etter than ill iett, ut he’ ver original. I N T RV I W R Wh don’t we egin with editor. How do ou ... K RO UAC OK. All m editor ince Malcolm Cowle have had intruction to leave m proe exactl a I wrote it. In the da of Malcolm Cowle, with On the Road and e Dharma um, I had no power to tand m tle for etter or for wore. When Malcolm Cowle made endle reviion and inerted thouand of needle comma like, a, “Cheenne, Woming” (wh not jut a “Cheenne Woming” and let it go at that, for intance), wh, I pent ve hundred dollar making the complete retitution of the um manucript and got a ill from Viking Pre called “Reviion.” Ha ho ho. And o ou aked aout how do I work with an editor ... well nowada I am jut grateful to him for hi aitance in proofreading the manucript and in dicovering logical error, uch a date, name of place. For intance, in m lat ook I wrote Firth of Forth then looked it up, on the uggetion of m editor, and found that I’d reall ailed o the Firth of Clde. ing like that. Or I pelled Aleiter Crowle “Aliteir,” or he dicovered little mitake aout the ardage in footall game ... and o forth. not reviing what ou’ve alread written ou impl give the reader the actual working of our mind during the writing itelf: ou confe our thought aout event in our own unchangeale wa ... Well, look, did ou ever hear a gu telling a long wild tale to a unch of men in a ar and all are litening and miling, did ou ever hear that gu top to revie himelf, go ack to a previou entence to improve it, to defra it rhthmic thought impact. ... If he paue to low hi noe, in’t he planning hi next entence? And when he let that next entence looe, in’t it once and for all the wa he wanted to a it? Doen’t he depart from the thought of that entence and, https://www.theparisreview.org/interviews/4260/jack-kerouac-the-art-of-fiction-no-41-jack-kerouac
3/5
19/3/2019
Paris Review - Jack Kerouac, The Art of Fiction No. 41
a hakepeare a, “forever hold hi tongue” on the uject, ince he’ paed over it like a part of a river that ow over a rock once and for all and never return and can never ow an other wa in time? Incidentall, a for m ug againt period, that wa for the proe in Octoer in the Railroad arth, ver experimental, intended to clack along all the wa like a team engine pulling a one-hundred-car freight with a talk caooe at the end, that wa m wa at the time and it till can e done if the thinking during the wi writing i confeional and pure and all excited with the life of it. And e ure of thi, I pent m entire outh writing lowl with reviion and endle rehahing peculation and deleting and got o I wa writing one entence a da and the entence had no FLING. Goddamn it, FLING i what I like in art, not CRAFTIN and the hiding of feeling.
Want to keep reading? ucrie and ave nearl %. U C R I N OW
Alread a ucrier? ign in elow. mail addre Paword IGN IN
Rememer me Link our ucription Forgot paword?
https://www.theparisreview.org/interviews/4260/jack-kerouac-the-art-of-fiction-no-41-jack-kerouac
4/5
19/3/2019
Paris Review - Jack Kerouac, The Art of Fiction No. 41
https://www.theparisreview.org/interviews/4260/jack-kerouac-the-art-of-fiction-no-41-jack-kerouac
5/5
Paris Review - Jack Kerouac, The Art of Fiction No. 41
Jack Kerouac,
e Art of Fiction No.
Interviewed Ted errigan IU 43, UMMR 1968
JAC K K R O UAC , C A . 1 9 5 6 . P H OTO G R A P H Y TO M PA LU M O
e Kerouac have no telephone. Ted errigan had contacted Kerouac ome month earlier and had peruaded him to do the interview. When he felt the time had come for their meeting to take place, he impl howed up at the Kerouac’ houe. Two friend, poet Aram aroan and Duncan McNaughton, accompanied him. Kerouac anwered hi ring; errigan quickl told him hi name and the viit’ purpoe. Kerouac welcomed the poet, ut efore he could how them in, hi wife, a ver determined woman, eized him from ehind and told the group to leave at once. “Jack and I egan talking imultaneoul, aing ‘Pari Review!’ ‘Interview!’ etc.,” errigan recall, “while Duncan and Aram egan to link ack toward the car. All eemed lot, ut I kept talking in what I hoped wa a civilized, reaonale, calming, and friendl tone of voice, and oon Mr. Kerouac agreed to let u in for twent minute, on the condition that there e no drinking. “Once inide, a it ecame evident that we actuall were in puruit of a eriou purpoe, Mr. Kerouac ecame more friendl, and we were ale to commence the interview. It eem that people till how up contantl at the Kerouac’ looking for the author of On the Road, and ta for da, drinking all the liquor and diverting Jack from hi eriou occupation. https://www.theparisreview.org/interviews/4260/jack-kerouac-the-art-of-fiction-no-41-jack-kerouac
1/5
19/3/2019
Paris Review - Jack Kerouac, The Art of Fiction No. 41
“A the evening progreed the atmophere changed conideral, and Mr. Kerouac, tella, proved a graciou and charming hote. e mot amazing thing aout Jack Kerouac i hi magic voice, which ound exactl like hi work. It i capale of the mot atounding and diconcerting change in no time at. It dictate everthing, including thi interview. “A er the interview, Kerouac, who had een itting throughout the interview in a Preident Kenned-tpe rocker, moved over to a ig poppa chair and aid, ‘o ou o are poet, he? Well, let’ hear ome of our poetr.’ We taed for aout an hour longer and Aram and I read ome of our thing. Finall, he gave each of u a igned roadide of a recent poem of hi, and we le .” I N T RV I W R Could we put the foottool over here to put thi on? TLLA Ye. JAC K K RO UAC God, ou’re o inadequate there, errigan. I N T RV I W R Well, I’m no tape-recorder man, Jack. I’m jut a ig talker, like ou. OK, we’re o . K RO UAC Oka? [Whitle.] Oka? I N T RV I W R Actuall I’d like to tart ... e rt ook I ever read ou, oddl enough, ince mot people rt read On the Road ... the rt one I read wa e Town and the Cit ... K RO UAC Gee! I N T RV I W R I checked it out of the lirar ... K RO UAC Gee! Did ou read Doctor ax? Tritea? I N T RV I W R You etter elieve it. I even read Rimaud. I have a cop of Viion of Cod that Ron Padgett ought in Tula, Oklahoma.
https://www.theparisreview.org/interviews/4260/jack-kerouac-the-art-of-fiction-no-41-jack-kerouac
2/5
19/3/2019
Paris Review - Jack Kerouac, The Art of Fiction No. 41
K RO UAC crew Ron Padgett! You know wh? He tarted a little magazine called White Do e Review in Kana Cit, wa it? Tula? Oklahoma ... e. He wrote, “tart our magazine o ending u a great ig poem.” o I ent him “ e rahing Dove.” And then I ent him another one and he rejected the econd one ecaue hi magazine wa alread tarted. at’ to how ou how punk tr to make their wa cratching down on a man’ ack. Aw, he’ no poet. You know who’ a great poet? I know who the great poet are. I N T RV I W R Who? K RO UAC Let’ ee, i it ... William iett of Vancouver. An Indian o. ill iett, or ionnette. I N T RV I W R Let’ talk aout Jack Kerouac. K RO UAC He’ not etter than ill iett, ut he’ ver original. I N T RV I W R Wh don’t we egin with editor. How do ou ... K RO UAC OK. All m editor ince Malcolm Cowle have had intruction to leave m proe exactl a I wrote it. In the da of Malcolm Cowle, with On the Road and e Dharma um, I had no power to tand m tle for etter or for wore. When Malcolm Cowle made endle reviion and inerted thouand of needle comma like, a, “Cheenne, Woming” (wh not jut a “Cheenne Woming” and let it go at that, for intance), wh, I pent ve hundred dollar making the complete retitution of the um manucript and got a ill from Viking Pre called “Reviion.” Ha ho ho. And o ou aked aout how do I work with an editor ... well nowada I am jut grateful to him for hi aitance in proofreading the manucript and in dicovering logical error, uch a date, name of place. For intance, in m lat ook I wrote Firth of Forth then looked it up, on the uggetion of m editor, and found that I’d reall ailed o the Firth of Clde. ing like that. Or I pelled Aleiter Crowle “Aliteir,” or he dicovered little mitake aout the ardage in footall game ... and o forth. not reviing what ou’ve alread written ou impl give the reader the actual working of our mind during the writing itelf: ou confe our thought aout event in our own unchangeale wa ... Well, look, did ou ever hear a gu telling a long wild tale to a unch of men in a ar and all are litening and miling, did ou ever hear that gu top to revie himelf, go ack to a previou entence to improve it, to defra it rhthmic thought impact. ... If he paue to low hi noe, in’t he planning hi next entence? And when he let that next entence looe, in’t it once and for all the wa he wanted to a it? Doen’t he depart from the thought of that entence and, https://www.theparisreview.org/interviews/4260/jack-kerouac-the-art-of-fiction-no-41-jack-kerouac
3/5
19/3/2019
Paris Review - Jack Kerouac, The Art of Fiction No. 41
a hakepeare a, “forever hold hi tongue” on the uject, ince he’ paed over it like a part of a river that ow over a rock once and for all and never return and can never ow an other wa in time? Incidentall, a for m ug againt period, that wa for the proe in Octoer in the Railroad arth, ver experimental, intended to clack along all the wa like a team engine pulling a one-hundred-car freight with a talk caooe at the end, that wa m wa at the time and it till can e done if the thinking during the wi writing i confeional and pure and all excited with the life of it. And e ure of thi, I pent m entire outh writing lowl with reviion and endle rehahing peculation and deleting and got o I wa writing one entence a da and the entence had no FLING. Goddamn it, FLING i what I like in art, not CRAFTIN and the hiding of feeling.
Want to keep reading? ucrie and ave nearl %. U C R I N OW
Alread a ucrier? ign in elow. mail addre Paword IGN IN
Rememer me Link our ucription Forgot paword?
https://www.theparisreview.org/interviews/4260/jack-kerouac-the-art-of-fiction-no-41-jack-kerouac
4/5
19/3/2019
Paris Review - Jack Kerouac, The Art of Fiction No. 41
https://www.theparisreview.org/interviews/4260/jack-kerouac-the-art-of-fiction-no-41-jack-kerouac
5/5
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