The Subterraneans

excerpt

Jack Kerouac

While they ate in the kitchen I pretended to read. I pretended to pay no attention whatever. We went out for a walk the three of us and by now all of us vying to talk like three good friends who want to get in and say everything on their minds, a friendly rivalry--we went to the Red Drum to hear the jazz which that night was Charlie Parker with Honduras Jones on drums and others interesting, probably Roger Beloit too, who I wanted to see now, and that excitement of softnightciscoFbopcincobopp in the air but all in the cool sweet unexerting Beach--so we in fact ran, from Adam's on Telegraph Hill, down the white street under lamps, ran, jumped, showed off, had fun--felt gleeful and I was pleased that she was able to walk as fast as we were--a nice strong beauty to cut along the street with and so striking everyone turned to see, the strange bearded Adam, dark Mardou in strange slacks, and me, big gleeful hood.

So there we were at the Red Drum, the gangs cutting in and out, paying a dollar quarter at the door, the little hip-pretending weasel there taking tickets, Paddy Cordavan floating in as prophesied (a big tall blond brakeman type subterranean from Eastern Washington cowboy-looking in jeans coming in to a wild generation party all smoky and mad and I yelled, "Paddy Cordavan?" and "Yeah?" and he'd come over)--all sitting together, interesting groups at various tables, Julien, Roxanne (a woman of 25 prophesying the future style of America with short almost crewcut but with curls black snaky hair, snaky walk, pale pale junky anemic face. And we say junky when once Dostoevski would have said what? if not ascetic but saintly? but not in the least? but the cold pale booster face of the cold blue girl and wearing a man's white shirt but with the cuffs undone untied at the buttons so I remember her leaning over talking to someone after having been slinked across the floor with flowing propelled shoulders,

bending to talk with her hand holding a short butt and the neat little flick she was giving to knock ashes but repeatedly with long long fingernails an inch long and also orient and snake-like). Groups of all kinds, and Ross Wallenstein, the crowd, and up on the stand Bird Parker with solemn eyes who'd been busted fairly recently and had now returned to a kind of bop dead Frisco but had just discovered or been told about the Red Drum, the great new generation gang wailing and gathering there, so here he was on the stand, examining them with his eyes as he blew his now-settled-down-intoregulated-design "crazy" notes--the booming drums, the high ceiling. Adam for my sake dutifully cutting out at about 11 o'clock so he could go to bed and get to work in the morning, after a brief cutout with Paddy and myself for a quick tencent beer at roaring Pantera's, where Paddy and I in our first talk and laughter together pulled wrists--now Mardou cut out with me,

glee eyed, between sets, for quick beers, but at her insistence at the Mask instead where they were fifteen cents, but she had a few pennies herself and we went there and began earnestly talking and getting hightingled on the beer and now it was the beginning--returning to the Red Drum for sets, to hear Bird, whom I saw distinctly digging Mardou several times also myself directly into my eye looking to search if I was really the great writer I thought myself to be as if he knew my thoughts and ambitions or remembered me from other night clubs and other coasts, other Chicagos--not a challenging look but the king and founder of the bop generation at least the sound of it in digging his audience digging his eyes, the secret eyes himwatching, as he just pursed his lips and let great lungs and immortal fingers work, his eyes separate and interested and humane, the kindest jazz musician there could be while being and therefore naturally the greatest--

watching Mardou and me in the infancy of our love and probably wondering why, or knowing it wouldn't last, or seeing who it was would be hurt, as now, obviously, but not quite yet, it was Mardou whose eyes were shining in my direction, though I could not have known and now do not definitely know--except the one fact, on the way home, the session over the beer in the Mask drunk we went home on the Third Street bus sadly through night and throb knock neons and when I suddenly leaned over her to shout something further (in her secret self as later confessed) her heart leapt to smell the "sweetness of my breath" (quote) and suddenly she almost loved me--I not knowing this, as we found the Russian dark sad door of Heavenly Lane a great iron rasping on the sidewalk to the pull, the insides of smelling garbage cans sad-leaning together, fish heads, cats, and then the Lane itself, my first view of it (the long history and hugeness of it in

my soul, as in 1951 cutting along with my sketchbook on a wild October evening when I was discovering my own writing soul at last I saw the subterranean Victor who'd come to Big Sur once on a motorcycle, was reputed to have gone to Alaska on same, with little subterranean chick Dorie Kiehl, there he was in striding Jesus coat heading north to Heavenly Lane to his pad and I followed him awhile, wondering about Heavenly Lane and all the long talks I'd been having for years with people like Mac Jones about the mystery, the silence of the subterraneans, "urban Thoreaus" Mac called them, as from Alfred Kazin in New York New School lectures back East commenting on all the students being interested in Whitman and in Thoreau from a contemplative mystic and antimaterialistic as if existentialist or whatever standpoint, the Pierre-of-Melville goof and wonder of it, the dark little beat burlap dresses, the stories you'd heard about great

tenormen shooting junk by broken windows and starting at their horns, or great young poets with beats lying high in Rouault-like saintly obscurities, Heavenly Lane the famous Heavenly Lane where they'd all at one time or another the beat subterraneans lived, like Alfred and his little sickly wife something straight out of Dostoevski's Petersburg slums you'd think but really the American lost bearded idealistic--the whole thing in any case), seeing it for the first time, but with Mardou, the wash hung over the court, actually the back courtyard of a big 20-family tenement with bay windows, the wash hung out and in the afternoon the great symphony of Italian mothers, children, fathers BeFinneganing and yelling from stepladders, smells, cats mewing, Mexicans, the music from all the radios whether bolero of Mexican or Italian tenor of spaghetti eaters or loud suddenly turned-up KPFA symphonies of Vivaldi harpsichord intellectuals performances boom blam the tremendous sound of it which I then came to hear all the summer wrapt in the arms of my love--walking in there now, and going up the narrow musty stairs like in a hovel, and her door.