4.0 out of 5 stars
An Open Door Offering Insight To The Beat Generation & Love!, Nov 2 2003
This review is from: Door Wide Open: A Beat Love Affair in Letters, 1957-1958 (Paperback)
Jack Kerouac warned Joyce Johnson, nee Glassman, on the first night they spent together, back in 1957, "I don't like blondes." In spite of their inauspicious beginning, Kerouac kept returning to Glassman over a period of two years, during which time he restlessly wandered the US and Mexico. They met on a blind date set up by poet Allen Ginsberg, almost a year before Kerouac's name became a household word with the publication of "On The Road." She was an intelligent, talented, independent twenty-one year-old, and he was thirty-five, "pop-culture's guy's guy," "The King of the Beats," on the brink of enormous success.
This collection of letters, poems and postcards, between Kerouac and Ms. Glassman, written over a two-year period, are interspersed with Glassman's elegant, focused writing, as she poignantly comments on their relationship and the times. Glassman-Johnson wrote in her Beat Generation memoir, "Minor Characters," "If time were like a passage of music, you could keep going back to it till you got it right." This sense of sadness and longing permeates the book. She gives an insightful view of what it was like to be a "liberated woman" and an aspiring author back in the late 1950s. Her crowd may have been Beat Generation icons, but a double standard was still the norm. Glassman's struggle to be a writer of consequence, and her battle against the mores of the day, "illustrate the disparity between the myth and reality of the Beat experience." She really shows what it was like to be young, female and Beat during the Eisenhower years.
Kerouac's correspondence, filled with his spontaneous prose and 50s slang, gives the reader an amazing portrait of his struggle with fame and the attacks by his critics against his subsequent works. Throughout his travels, he tried, in a limited way, to balance this important relationship with a woman who truly understood him more than most people ever would. He did show a capacity for tenderness, as he formed a bond with Glassman, who shared his passion for writing. Yet Glassman wanted a more lasting relationship, which eventually caused their break-up. "You're nothing but a big bag of wind," she informed Kerouac before she left him. Eventually they did form a friendship. Most of the text is dominated by their romantic relationship. However, there are wonderful glimpses of the "beatnik scene," Greenwich Village in the 50s, Allen Ginsberg, the Orlovskys, Elise Cowan, and Neal Cassidy.
This is as much the story of Joyce Glassman Johnson's growth as a woman and writer, as it is about Jack Kerouac and the Beat generation. "Door Wide Open" is an extraordinarily sensitive portrayal of a man, a woman, a relationship and a time that strongly influenced, (and still does), the arts, literature and culture in the US - a wonderful book!
JANA
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4.0 out of 5 stars
A nice addition to both of their collections, Aug 17 2001
For anyone interested in the lives behind the novels and poems of the Beats, Joyce Johnson offers a priceless glimpse at the realities of a world most of us can only imagine. Delineating a love affair that was short but tremendously influential on both of them, Johnson reveals something of her own personal growth during a time when being a young woman on her own was an act of rebellion in itself, as well as the impact of sudden fame and fortune on Jack Kerouac's already fragile psyche. Although the insensitivity to Johnson that shows through in Kerouac's letters to her will come as no surprise to those who are already familiar with his personality, his letters do feature a rare directness with one who knew him well. If his carelessness with money and women and his blind devotion to his mother remain as striking as ever, both his letters and Johnson's interpretation of them give us something of a better understanding of how these characteristics came into being.
Along the way, there are images aplenty of the stage the affair played out on: beatnik parties, Village pubs and restaurants, jazz concerts, and New York suburbs back when they were distinguishable from the city itself. Other important figures, notably Allen Ginsberg, appear throughout the text in candid shots we would never find in their own work. Johnson discusses them all in the style of one who knew them personally. For this reason among others, this book is not a very good starting point for learning about the Beat Generation, but it is an excellent complimentary piece for anyone who already has some familiarity with and interest in that era.
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