From Library Journal
Begun in December 1951 as a notebook for his Buddhist studies, this work records Kerouac's reactions to a variety of Buddhist texts. Over the course of five years, it grew to include poems, prayers, dialogs, meditations, and notes on his reading, as well as commentary on family, friends, and meaningful concerns in his life. Readers of Kerouac's novels may find some of the discussions of Buddhist doctrines tedious and repetitive, but those who persevere will be rewarded with interesting insights into Kerouac's struggle with alcoholism, his occasional thoughts of suicide, and his disturbing tendency toward misogyny. Long anticipated by Kerouac scholars, this major work belongs in all literature collections.?William Gargan, Brooklyn Coll. Lib.,
Copyright 1997 Reed Business Information, Inc.
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From Kirkus Reviews
More ersatz Buddhism from postwar America's most overrated author. ``Dharma'' is a Buddhist term meaning, roughly, ``law.'' Some of the Dharma purports to be a journal of meditations on that subject, but Kerouac is unable to keep his mind on track, resulting in a work that's ultimately chaotic. His technique seems sound enough: He takes a classic Buddhist philosophical statement and then decodes it for his own use. Unfortunately, his interpretations are usually far from the point, as Kerouac is unable to separate Hinduism, Taoism, and even Catholicism from Buddhism, with repeated incorrect assessments of how the Tao affects Buddhahood (it does not) or how Jesus was a Buddha-like figure (by most accounts he was not). Furthermore, Kerouac, by his own admission, is unable to stay sober long enough to attain any real enlightenment. He sets forth the goals of not drinking, meditating regularly, and abstaining from sex, but he makes lame excuses for his falling off the wagon, and his rationalizations for avoiding sex devolve into plain misogyny, such as his statement ``PRETTY GIRLS MAKE GRAVES F*** you all,'' or his observation that jazz cannot possibly be a high art form if women can perform it. Kerouac's various conceits, e.g., that he is a greater writer than Joyce (whose term for verse- -pome--he steals) or Burroughs (whose ``cut-up'' technique it appears Kerouac is trying to approximate), are downright absurd. Comparing himself as an artist to Mozart on the one hand, while unable to get his manuscripts published (a continual obsession in the journals) on the other, often renders Kerouac laughable. If the reader is left wondering what all this has to do with Buddhism, the answer is, very little. If you're searching for real Buddhism, pick up Suzuki; if you must indulge your guilty pleasures with more Kerouac, reread On the Road. --
Copyright ©1997, Kirkus Associates, LP. All rights reserved.
--This text refers to an out of print or unavailable edition of this title.
de Jack Kerouac
