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Courageous, unflinching portrayals of Americans in Paris.
Bertolucci's upcoming film covers the same time period. But this novel's the Real Thing.
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I think this is an interesting area not tapped into very much, since Jan and Jack had no relationship whatsoever, though anyone who has read her books can tell that he had a major impact on her life. It is hard enough to have an absent father. Make that father Jack Kerouac and it gets even more difficult. What I found even more interesting is the interviews with Jack's nephew, who I have never seen anything written up on before this book, which is probably because he seems to be a pleasant and well adjusted fellow who had a good and healthy relationship with his uncle, but still interesting to read about here nonetheless. As for Jan, it is hard to take what she says at face value, since she seems to have forgotten a lot of what she says has happened to her or changes it from time to time. But I don't know how much of that might be because it didn't happen quite as she either remembered it at the time of interviewing or writing her books or whether it was just the effects of all she had done in her life. But overall that didn't really matter, the reader really gets the essence of who Jan Kerouac was in this book. She was far more rebellious than her father ever was and far more wild. Her mother couldn't control her and it doesn't sound as if she really tried. So whether small details are true or not seems unimportant when looking at her overall life. She was a tough lady who, sadly, had a lot of problems with drugs, alcohol, and men.
I had some issues with the author using this book as a way to make a case for the Sampas family. While I do agree that they take some unnecessary flack from people in general, the author uses having a book published on Jan Kerouac to go on and on about the politics surrounding Jan and the Sampas family. While I think this info. is definitely helpful, there really are two sides to every story and Jones goes on and on ad naseum about how wonderful and benevolent the Sampas family are and how they are really the victims while Gerald Nicosia is a big bad evil person exploiting Jan and her famous father. I am not saying he couldn't be right, only that, despite what the author suggests, both sides probably have good points. And I must admit that it bothers me that, in writing a book about how strong Jan Kerouac was in spite of those pesky human vulnerabilities, he makes her out to be a victim in the end. His book discusses how she would not allow men to take advantage of her and how she was overall a strong sort of person, and then, in taking up his crusade against Gerald Nicosia, he completely turns around and discusses how Nicosia manipulated her and turned her into a total victim. Hmmm. Mostly it just left me wondering at Jones's point - did he write the book to give insight into Jan's life, or to take sides in a legal battle?
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do with Jack Hartley. Because of Hartley's outsider status, he is able to make witty comments about the absurdity of the young idealists' perceptions of the world and the worth of what they are doing. However, Hartley's irrelevance to the action shows in dull passages where he is simply walking around before, during, and after riot action. He is an annoying meddler in the Gallaghers' problems; despite insistent claims to the reader that
he doesn't want to get involved, he continually does so. Here politics and social upheaval are awkwardly mixed with sexual dalliances, particularly Harry's irresponsible ones, for which Hartley condemns him. Gallagher's wife is portrayed as nearly a saint, while all the other women in the book (sexually
liberated by 1968 standards) are physically described at length in vulgar terms, considered amoral if not evil, and whatever efforts they make for the cause are belittled by male characters. This is not uncommon for a novel published in 1970, and perhaps it says something about the so-called sexual revolution that Jones can so easily milk it for sexploitation. Or, perhaps, it just says something about Jones.
Jones' writing has improved since the clunky, adverb-heavy prose of From Here to Eternity, or perhaps he simply acquired better editors by this, his sixth, novel. The book is at times funny in a cynical way that seems before its time, but for the most part, it's windy, too distanced, and terribly dated.