When I dislike a book, I tend to read a lot about it. As a result, I read more than a few papers about On the Road last week. Some of them were absolutely terrible, but some of them were awesome. Here are three of my favorites and the things I wouldn't have noticed without them.
1. Duke Ellington at the Metropolitan Opera
The last time Sal sees Dean is when he and his new girlfriend are on their way to a Duke Ellington concert and thus cannot offer Dean a ride. To put this in context: towards the end of the book, Sal found his dream girl, Laura, and they plan to move across the country, with Dean's help (notice the contrast between this planned, purposeful "migration" and Sal's past road trips). Dean, however, arrives too soon, before they had time to raise money to buy a car, and so he is forced to return without them. The night he leaves New York, Sal and Laura have to go to a Duke Ellington concert at the Metropolitan Opera. Sal's old friend Remi, now turned "sad and fat" (read: bourgeois), bought tickets and is taking them to the concert in a Cadillac. Since Remi doesn't like Sal's friends, he refuses to give Dean a ride downtown.
But what does Duke Ellington's concert have to do with anything? Well, it has to do with a sort of "gentrification" of jazz that mirrors Sal's own evolution. Sal's old life was associated with jazz clubs, where there were no rules and no separation between the band and the crowd; the band's energy was freely transmitted and magnified by the public. Sal's new life is associated with Duke Ellington's performance at the Met, as a symbol of the institutionalization of jazz, of how jazz was adopted by the "elites" and became highbrow, governed by rules, separated from the public. That is to say, both Sal and jazz have been tamed.
I didn't notice it, but who did? Douglas Malcolm in “Jazz America”: Jazz and African American Culture in Jack Kerouac’s On the Road (link leads to full text). If you want to read more about a) how these two attitudes towards jazz are both facets of appropriation or b) Kerouac's (mis)understanding of jazz in general, this article is highly recommended.