The Subterraneans - Jack Kerouac Kerouac, Jack

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summer not here but in Paris, Jack Steen, very interesting Leslie-Howard-like little guy who walked (as Mardou later imitated for me) like a Viennese philosopher with soft arms swinging slight side flow and long slow flowing strides, coming to a stop on corner with imperious soft pose—he too had had to do with Mardou and as I learned later most weirdly—but now my first crumb of information concerning this girl I was SEEKING to get involved with as if not enough trouble already or other old romances hadn’t taught me that message of pain, keep asking for it, for life—

      Out of the bar were pouring interesting people, the night making a great impression on me, some kind of Truman-Capote-haired dark Marlon Brando with a beautiful thin birl or girl in boy slacks with stars in her eyes and hips that seemed so soft when she put her hands in her slacks I could see the change—and dark thin slackpant legs dropping down to little feet, and that face, and with them a guy with another beautiful doll, the guy’s name Rob and he’s some kind of adventurous Israeli soldier with a British accent whom I suppose you might find in some Riviera bar at 5 A.M. drinking everything in sight alphabetically with a bunch of interesting crazy international-set friends on a spree—Larry O’Hara introducing me to Roger Beloit (I did not believe that this young man with ordinary face in front of me was that great poet I’d revered in my youth, my youth, my youth, that is, 1948, I keep saying my youth)— “This is Roger Beloit?—I’m Bennett Fitzpatrick” (Walt’s father) which brought a smile to Roger Beloit’s face—Adam Moorad by now having emerged from the night was also there and the night would open—

      So we all did go to Larry’s and Julien sat on the floor in front of an open newspaper in which was the tea (poor quality L.A. but good enough) and rolled, or “twisted,” as Jack Steen, the absent one, had said to me the previous New Year’s and that having been my first contact with the subterraneans, he’d asked to roll a stick for me and I’d said really coldly “What for? I roll my own” and immediately the cloud crossed his sensitive little face, etc., and he hated me—and so cut me all the night when he had a chance—but now Julien was on the floor, crosslegged, and himself now twisting for the group and every body droned the conversations which I certainly won’t repeat, except, it was, like, “I’m looking at this book by Percepied—who’s Percepied, has he been busted yet?” and such small talk, or, while listening to Stan Kenton talking about the music of tomorrow and we hear a new young tenorman come on, Ricci Comucca, Roger Beloit says, moving back expressive thin purple lips, “This is the music of tomorrow?” and Larry O’Hara telling his usual stock repertoire anecdotes. In the 36 Chewy on the way, Julien, sitting beside me on the floor, had stuck out his hand and said, “My name’s Julien Alexander, I have something, I conquered Egypt,” and then Mardou stuck her hand out to Adam Moorad and introduced herself, saying, “Mardou Fox,” but didn’t think of doing it to me which should have been my first inkling of the prophecy of what was to come, so I had to stick my hand at her and say, “Leo Percepied my name” and shake—ah, you always go for the ones who don’t really want you—she really wanted Adam Moorad, she had just been rejected coldly and subterraneanly by Julien—she was interested in thin ascetic strange intellectuals of San Francisco and Berkeley and not in big paranoiac bums of ships and railroads and novels and all that hatefulness which in myself is to myself so evident and so to others too—though and because ten years younger than I seeing none of my virtues which anyway had long been drowned under years of drugtaking and desiring to die, to give up, to give it all up and forget it all, to die in the dark star—it was I stuck out my hand, not she—ah time.

      But in eying her little charms I only had the foremost one idea that I had to immerse my lonely being (“A big sad lonely man,” is what she said to me one night later, seeing me suddenly in the chair) in the warm bath and salvation of her thighs—the intimacies of younglovers in a bed, high, facing eye to eye, breast to breast naked, organ to organ, knee to shivering goose-pimpled knee, exchanging existential and loveracts for a crack at making it— “making it” the big expression with her, I can see the little out-pushing teeth through the little redlips seeing “making it”—the key to pain—she sat in the corner, by the window, she was being “separated” or “aloof” or “prepared to cut out from this group” for her own reasons.—In the corner I went, not leaning my head on her but on the wall and tried silent communication, then quiet words (as befit party) and North Beach words, “What are you reading?” and for the first time she opened her mouth and spoke to me communicating a full thought and my heart didn’t exactly sink but wondered when I heard the cultured funny tones of part Beach, part I. Magnin model, part Berkeley, part Negro highclass, something, a mixture of langue and style of talking and use of words I’d never heard before except in certain rare girls of course white and so strange even Adam at once noticed and commented with me that night—but definitely the new bop generation way of speaking, you don’t say I, you say “ahy” or “Oy” and long ways, like oft or erstwhile “effeminate” way of speaking so when you hear it in men at first it has a disagreeable sound and when you hear it in women it’s charming but much too strange, and a sound I had already definitely and wonderingly heard in the voice of new bop singers like Jerry Winters especially with Kenton band on the record Yes Daddy Yes and maybe in Jeri Southern too—but my heart sank for the Beach has always hated me, cast me out, overlooked me, shat on me, from the beginning in 1943 on in—for look, coming down the street I am some kind of hoodlum and then when they learn I’m not a hoodlum but some kind of crazy saint they don’t like it and moreover they’re afraid I’ll suddenly become a hoodlum anyway and slug them and break things and this I have almost done anyway and in my adolescence did so, as one time I roamed through North Beach with the Stanford basketball team, specifically with Red Kelly whose wife (rightly?) died in Redwood City in 1946, the whole team behind us, the Garetta brothers besides, he pushed a violinist a queer into a doorway and I pushed another one in, he slugged his, I glared at mine, I was 18, I was a nannybeater and fresh as a daisy too—now, seeing this past in the scowl and glare and horror and the beat of my brow-pride they wanted nothing to do with me, and so I of course also knew that Mardou had real genuine distrust and dislike of me as I sat there “trying to (not make IT) but make her”—unhiplike, brash, smiling, the false hysterical “compulsive” smiling they call it—me hot—them cool—and also I had on a very noxious unbeachlike shirt, bought on Broadway in New York when I thought I’d be cutting down the gangplanks in Kobe, a foolish Crosby Hawaiian shirt with designs, which malelike and vain after the original honest humilities of my regular self (really) with the smoking of two drags of tea I felt constrained to open an extra button down and so show my tanned, hairy chest—which must have disgusted her—in any case she didn’t look, and spoke little and low—and was intent on Julien who was squatting with his back to her—and she listened and murmured the laughter in the general talk—most of the talk being conducted by O’Hara and loudspeaking Roger Beloit and that intelligent adventurous Rob and I, too silent, listening, digging, but in the tea vanity occasionally throwing in “perfect” (I thought) remarks which were “too perfect” but to Adam Moorad who’d known me all the time clear indication of my awe and listening and respect of the group in fact, and to them this new person throwing in remarks intended to sow his hipness—all horrible, and unredeemable.—Although at first, before the puffs, which were passed around Indian style, I had the definite sensation of being able to come close with Mardou and involved and making her that very first night, that is taking off with her alone if only for coffee but with the puffs which made me pray reverently and in serious secrecy for the return of my pre-puff “sanity” I became extremely unself-confident, overtrying, positive she didn’t like me, hating the facts—remembering now the first night I met my Nicki Peters love in 1948 in Adam Moorad’s pad in (then) the Fillmore, I was standing unconcerned and beerdrinking in the kitchen as ever (and at home working furiously on a huge novel, mad, cracked, confident, young, talented as never since) when she pointed to my profile shadow on the pale green wall and said, “How beautiful your profile is,” which so nonplussed me and (like the tea) made me unself-confident, attentive, attempting to “begin to make her,” to act in that way which by her almost hypnotic suggestion now led to the first preliminary probings into pride vs. pride and beauty or beatitude or sensitivity versus the stupid neurotic nervousness of the phallic type, forever conscious of his phallus, his tower, of women as wells—the truth of the matter being there, but the man unhinged, unrelaxed, and now it is no

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