"Men
have called me mad," wrote Edgar Allen Poe, "but the question
is not yet settled, whether madness is or is not the loftiest intelligence
-- whether much that is glorious -- whether all that is profound
-- does not spring from disease of thought -- from moods of mind
exalted at the expense of the general intellect."
Many people have long
shared Poe's suspicion that genius and insanity are entwined. Indeed,
history holds countless examples of "that fine madness."
Scores of influential 18th and 19th century poets, notably William
Blake, Lord Byron and Alfred, Lord Tennyson, wrote about the extreme
mood swings they endured. Modern American poets John Berryman, Randall
Jarrell, Robert Lowell, Sylvia Plath, Theodore Rothke, Delmore Schwartz
and Anne Sexton were all hospitalized for either mania or depression
during their lives. And many painters and composers, among them
Vincent Van Gogh, Georgia O'Keeffe, Charles Mingus and Robert Schumann
have been similarly afflicted...Recent studies indicate that the
temperaments and cognitive styles associated with mood disorders
can in fact enhance creativity in some individuals.
from Manic-Depressive Illness and Creativity, Scientific American
Magazine, February 1995, Kay Redfield Jamison.
There was a little alley
in San Francisco back of the Southern Pacific station at Third and
Townsend in redbrick of drowsy lazy afternoons with everybody at
work in offices in the air you feel the impending rush of their
commuter frenzy as soon they'll be charging en masse from Market
and Sansome buildings on foot and in buses and all well-dressed
thru workingman Frisco of Walk-up truckdrivers and even the poor
grime-bemarked Third Street of lost bums...and here's all these
Millbrae and San Carlos neat-necktied producers and commuters of
America and Steel civilization rushing by with San Francisco Chronicles
and green Call-Bulletins not even enough time to be disdainful,
they've to cat 130, 132, 134, 136 all the way up to 146 till the
time of evening supper in homes of the railroad earth when high
in the sky the magic stars ride above the following hotshot freight
trains --
It's all in California,
it's all a sea, I swim out of it in afternoons of sun hot meditation
in my jeans with head on handkerchief or brakeman's lantern or (if
not working) on books, I look up at blue sky of perfect lostpurity
and feel the warp of wood of old America beneath me and have insane
conversations with Negroes in several-story windows above which
is so much like the alleys of Lowell and I hear far off in the sense
of coming night that engine calling our mountains.
from Lonesome Traveler, by Jack Kerouac
This past Thursday several
of my friends and I gathered in a Lowell establishment to observe
a bittersweet occasion. October 21, 1999, marked the 30th anniversary
of the death of Jack Kerouac. I'm not altogether sure just how appropriate
of a gesture it was to raise mugs of beer to his memory since poor
Jack died of liver failure brought on by alcoholism. But we felt
some gesture had to be made, especially in his hometown where his
literary consciousness first took shape.
The circumstances surrounding
this writer's death 30 years ago were especially tragic. The man
whose voice and writings captured a restless, rebellious, and life-affirming
spirit in the generation coming of age following World War II --
in a manner reminiscent of the impact Walt Whitman had on the generation
of his day -- died a lonely death in a modest suburban home in St.
Petersburg, Florida. Kerouac was 47 years old; he had become largely
alienated and estranged from his friends and associates who comprised
the literary and cultural phenomenon called the "beat generation."
The man whose writings about, and insights into, the America of
the late 1940s and 1950s planted the seeds of the cultural and political
upheavals of the 1960s, had become a kind of a reactionary recluse;
and he was more than a little bewildered at what the fruits of his
writing had yielded. Living with his third wife and his invalid
mother, his drinking was, in effect, a prolonged suicide.
While Kerouac was never
diagnosed as being clinically depressed, or having mood disorders,
his behavior, particularly in his declining years, was at least
suggestive of such conditions. Whatever the case may have actually
been, this amazingly creative individual, who could do almost magical
things with words and images, and whose magnetic personality - and
strikingly good looks - put him at the center of a literary and
cultural movement, was destroyed by his own demons.
At the time of his death
Kerouac's estate was worth only a few thousand dollars, sales of
his books that remained in print were mediocre, and he'd become
pretty much of a literary afterthought even though his signature
work, On The Road, had been published only 12 years earlier. Thirty
years later the worth of his estate is measured in the millions
of dollars, everything he ever published is in print and selling
in numbers that dwarf what they did in his lifetime. Many of his
previously unpublished writings are coming into print as well. His
works are part of the curricula of numerous English Departments
around the country, and literary conferences are now held where
scholarly papers on his life and writings are presented and discussed.
What Don MacLean said
of Vincent Van Gogh in his very moving tribute to that artist ("Vincent,"
or "Starry Starry Night"), could also be said of Jack
Kerouac today by many of his readers: "Now I understand all
you tried to say to me; how you suffered for your sanity; how you
tried to set them free. They did not listen, they did not know how;
perhaps they'll listen now."
If the sales of Kerouac's
books, along with the various CDs now available of him reading his
own works, are any indication a lot of people are listening now.
He is certainly not the first and probably will not be the last
artist, writer, or poet to die in a seemingly defeated state only
to come to life again through his/her work, as the true value of
their work and vision is eventually recognized and appreciated.
I am using Mr. Kerouac's
life and death more as a point of departure to explore two larger
issues. First I want to look at the relationship between the creative
urge or impulse, and self-destruction; and between creativity and
certain forms of mental illness. My feeling is that we need to be
very cautious as to what we make of such correlations, and very
careful as to the conclusions we may draw about them. Then, I want
to talk to what I feel the role of the artist, the role of the highly
creative individual, is in society. I happen to believe that such
persons perform a profoundly religious function, whether they regard
themselves as "religious" in any conventional sense or
not.
The article from which
I quote at the beginning of this essay appeared in the February,
1996 issue of Scientific American" with the title "Manic-Depressive
Illness and Creativity." For me, the pictures on the first
two pages of the article were as fascinating as the text itself
in that they contained a photographic collage of well known writers,
artists, and composers who were either diagnosed as manic depressive
or who showed symptoms of it. Some of them succumbed to suicide;
others had their battles with alcoholism or with the use of addictive
drugs. Among those pictured in the collage are Vincent Van Gogh,
Sylvia Plath, Anne Sexton, Walt Whitman, Edgar Allen Poe, Tennessee
Williams, Ernest Hemingway and Mark Twain.
It would be very tedious,
and not terribly creative, for me to dissect an article from Scientific
American, so I won't do it. Suffice it to say that this one had
a lot of charts and graphs, cited a number of surveys by various
psychiatric researchers, and provided a generous amount of analysis
to demonstrate - to my satisfaction, anyway - that there are considerably
higher rates of suicide, depression, and manic depression among
established and recognized artists, writers and poets than are found
in the general population at large. Left unexplained - and perhaps
it's unexplainable - is what this high correlation really means.
Does it mean that mental
illness, or suicidal, or self-destructive tendencies, are prerequisites
for artistic creativity? Not at all. Even given the impressive array
of writers and artists pictured in this piece who indeed had near
life-long battles with their dark sides, an even greater array of
equally gifted and creative persons who led, or lead, fairly normal
lives could also, I am sure, be assembled. I can't help but be aware
that Kurt Vonnegut, another of my favorite writers, was born the
same year as Kerouac (1922) and just recently published another
collection of essays and short pieces. Many of Vonnegut's novels,
in fact, go into far more bizarre and complex territory than do
Kerouac's. But by all indications Vonnegut's a pretty stable individual.
Even for all the maniacally weird stuff that Steven King comes up
with, he seems to be a regular guy from Bangor Maine and a die hard
Red Sox fan (Lord, is there any other kind? All we Red Sox fans
ever do, it seems, is die hard). Regular guy that Mr. King appears
to be, I'm still not sure I'd want to follow him around; just knowing
the kinds of things his mind is capable of is pretty scary all by
itself.
But back to the article
itself. It's hard to ignore the correlation it shows between certain
kinds of mental and emotional instability and enhanced creativity.
While I don't believe the one directly causes the other, I would
say that having to struggle for one's sanity, and having to endure
long, dark nights of the soul, could heighten one's sensitivity
to both the preciousness and fragile and sacred dimension to life
by means of whatever creative tools he or she possesses. Creation
often is borne out of struggle. For some highly talented persons
pushing their creative energies also seems to bring out their self-destructive
tendencies as well.
When Kerouac wrote his
first complete draft of "On The Road" in 1950 (and it
would not be published for ever years thereafter) he did it in three
weeks using a continuous roll of teletype paper which he'd put in
his typewriter so he wouldn't lose his concentration by having to
change sheets of paper. For those three weeks - so the story goes
- he subsisted largely on black coffee and Benzedrine and hardly
any sleep.
Now I can get very caught
up in writing projects of my own on occasion to the point that I'm
barely focused on much of anything else, but I've never been possessed
quite like that, and would just as soon not be. Among the lines
Jack came out with in that outburst of writing were these : "The
only ones for me are the mad ones, the ones who are mad to live,
mad to talk, mad to be saved, desirous of everything at the same
time, the ones who never yawn or say a commonplace thing, but burn,
burn, burn like fabulous Roman Candles exploding like spiders across
the skies and in the middle you see the blue centerlight pop and
everybody goes awwwww!..."
Kerouac is describing
a kind of "divine madness" here, a joyful, liberating
kind of madness that lifts us out of the mundane into some other
realm of reality. He lit up a whole generation with words like these,
and he continues to do so for subsequent generations. And there
is something kind of romantic about the image of a handsome young
writer from the working-class neighborhoods of Lowell, Massachusetts
bent over his typewriter in his New York loft on a three week writing
binge cranking out lines like these.
But there's very little,
if anything, romantic at all about coming to see that there was
another dimension of madness Kerouac had to deal with other than
the kind he extolled in this passage.
He may not have the
types of mental illness that some of the artists and writers I mentioned
earlier did, but he had numerous inner conflicts and conflicting
emotions and unresolved tensions that eventually drove him to the
madness of alcoholism. It was this kind of drinking which cost him
his life before he even reached the age of 50.
Divine and destructive
madness ran side by side in his life. Kerouac was hardly alone in
that respect.
What I want to say as
a way of wrapping up this first point is that I do get somewhat
concerned when I see correlations cited between mental illness and
self-destruction, and creativity. There is a correlation, I do not
dispute that. My concern is that such information as this could
be used to romanticize mental illness or suicidal behavior. there
is absolutely nothing romantic or glorious about either. I would
not want to see the message come through - especially to young people
who may be just feeling and trying out their creative oats - that
I have to gamble with my sanity, if not my very life, in order to
be a really good writer, poet, artist or musician. I also think
that's the last message any of the writers and artists who have
had their life and death struggles with themselves would want to
have conveyed.
Creativity is a struggle;
it can push the creator to greater lengths and deeper depths than
he/she may even with so go. It has extracted its price from certain
highly talented and insightful individuals; but a far greater number
have learned how to walk to the edge of madness without falling
over that edge. So while I do not romanticize or glamorize the struggle
for sanity that persons like Van Gogh or Kerouac, or numerous other
artists and writers had to contend with, I honor their struggles
nonetheless. I also feel blessed to see and experience the art and
the writing that came forth in the wake of those struggles.
My second point, to
which I must now hasten, is that the role of the artist within the
larger society and culture in which he/she lives, is to point us
to the sacred and the holy in life. By sacred and holy I do not
mean some realm of existence that is sealed off from the lives we
generally live and to which you need some kind of pass to get into.
The role of the artist is to allow us to see the sacred or holy
dimension to life that has always been right in front of us. It
is to allow us, in TS Eliot's words, "to arrive at where we
started and see it clearly for the first time." I call holy
or sacred that which lifts us out of ourselves and out of the mundane
- if only for a moment - and lets us see the preciousness of life
and our connection to the larger life that is always around and
enfolding us.
The immediate past President
of the Unitarian Universalist Association, Dr. William Schulz, gives
expression to what I'm trying to say in an essay from his book "Finding
Time" on what he regarded as some common affirmations generally
held among UUs. One such affirmation was "that the Sacred or
Divine, the Precious and the Profound, are made evident not in the
miraculous or (the) supernatural, but in the simple and the everyday."
Bill Schulz will be the first to tell you that even as president
of that association he did not purport to speak for all UUs with
respect to matters of belief. But his words certainly resonate with
me. As a corollary to those words Bill added "the gracious
is available to every one of us, disguised in the simple and the
mundane."
Now connect these words
of Bill's with what I just said about the task or role of the artist.
The artist is the one who shows us the sacred in the simple, and
who shows us the graciousness that is available to each one of us
though it may be disguised (as Dr. Schulz so wisely and cleverly
put it) as mundane. We all walk under stars; it is the artist who
shows us the preciousness and the sacredness of a "Starry Starry
Night."
Now let's take this
idea to the passage from "Lonesome Traveler. As noted it comes
from a rather brief period of time in the early 1950s - no more
than a few months - when Kerouac worked as a brakeman on the Southern
Pacific Railroad out of San Francisco. Jack sees a certain beauty
in the "little alleys" and notes how the commuters rush
for their trains with "not even enough time to be disdainful"
of the "lost bums." He notes that the commuters do not
even see how "high in the sky the magic stars ride above the
hotshot freight trains." To these commuters Kerouac probably
appeared to be another working class guy on his way to his brakeman's
job; but listen again to what he looks at, and feels, and hears:
"I look up at the blue sky of lostpurity and feel the warp
of wood or old America beneath me... everything is pouring in, the
switching moves of the boxcars in that little alley which is so
much like the alleys of Lowell and I hear far off in the sense of
the coming night that engine calling our mountains" (my italics).
It is the artist, the poet, the writer who draws on his or her creative
powers to implore us to look, to feel, to hear, to sense. To seek
and find the Sacred in the simple and the Holy, in the mundane,
is a religious act, I feel, which is why I believe the role of the
artist is ultimately a religious one.
As has been shown already,
some of our more creative and expressive individuals have had to
walk through the demonic in their searches for the holy, and sometimes
the demonic entraps, and in some cases, destroys them. But many
others walk all the way through it. I think of Allen Ginsberg's
poem "Howl" in this respect. It goes on for stanza after
stanza as something of a raw scream at what Ginsberg saw as being
some of the destructive forces and powers at work in America of
the mid-1950s with its cold war fears, its race for nuclear warfare
superiority, and its fanatical anti-communism. The poem also heralds
those who lived on the fringes of society at the time, and who would
not or could not fit in. It is not a piece of poetry for the squeamish
or faint-hearted.
But if you can stay
with Ginsberg you come to the finals stanzas where he affirms the
holiness of life and the sacredness found in the persons that Jesus
once termed "the least of these." It is a harrowing journey
Mr. Ginsberg takes you on in this particular piece of work, but
on that ultimately leaves the reader with a "yes."
Ginsberg came back to
Lowell when Kerouac died to be one of his pallbearers. But Allen
Ginsberg could walk through madness and come back to the "yes."
He could face madness he saw and come back to the affirmation of
life's essential sacredness. And Allen lived into his 70s, and saw
his work embraced in a way that Jack tragically did not get to see
of his own.
This in closing: When
"On The Road" was finally published in 1957 Jack Kerouac
went from obscurity to both fame and notoriety in literally a matter
of days. In a radio program that took place in the wake of that
fame, an interviewer asked Kerouac "Just what is it you want,
anyway?" Kerouac's reply, which probably took both the interviewer
and his listeners back a couple of paces, was "I want God to
show me his face."
I don't fully know,
and I doubt anyone will ever fully figure out, what Jack Kerouac
meant by that. Maybe Jack himself did. His own religion was a mixture
of early Catholicism, and alter attraction to and near immersion
in Buddhism for a time - plus some philosophical and spiritual meanderings
of his own. But in the spirit of "fools rush in" I'll
take my own guess at what Kerouac was attempting to express with
those words. Maybe he was trying to say I want to know what really
matters; I want to know what it is that ultimately pulls together
this oftentimes disentangled life of mine; I want to know where
and how I find the sacred beneath and beyond the mundane. In other
words, "I want God to show me his face."
Whatever terminology
they may use, it is the artist, the poet, the writer who try to
show us a face of life that is not always immediately visible to
us. some of them pay dearly in their attempt to do this; many others
manage to keep their balance quite well. Whatever their personal
fates, perhaps we'll listen now.
(From a sermon delivered
at the Unitarian Universalist Church of Nashau, New Hampshire, Oct
24 1999)
Stephen D. Edington,
minister of the Unitarian Universalist Church of Nashua, New Hampshire,
is the author of "Kerouac's Nashau Connection" (1999).
A member of the Lowell Celebrates Kerouac Committee, he is a visiting
adjunct professor, teaching a course on The Literature of the Beat
Movement, at the University of Massachusetts at Lowell.
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