Jack Kerouac’s daughter, Jan, has taken over her father’s literary legacy in a hostile, and perhaps fraudulent manner.
I just figured out my minor daughter’s handlers invited my sister, Vicki Presco, to her High School graduation, after kidnapping her, disappearing her from my life. This is a castration and crucifixion of a father in order to wear the dead skin of a famous dead artist, who happens to be sister, Christine Rosamond. My daughter was disappearing me so her mother can own some famous history. This is like murder. This proves Vicki and others did this to Shannon Rosamond, the adult Heir – and even to Christine!
Why didn’t their Ghost Writers compare Jack to Rosamond? Both suffered from alcoholism. Christine died on her first sober birthday. I begged Sydney Morris to no allow outsiders and those who do not suffer from this terrible, to OWN our Sober Program. Jack died a terrible alcoholic death.
As drunk as Jack got at Big Sur, where he wrote sitting on rocks by the sea, he managed not to be “killed” by a rogue wave. Christine was not drunk when she allegedly sat on a rock with her back to the ocean, and said;
“If a giant wave came right now, I could be dragged in – and drown!”
These are the words Vicki heard, and did not have time to grab Drew – and run – before the ‘The Giant Wave of the Prophetess’ struck – without warning!
I am trying to discover who built Ferlinghetti’s house where Jack lived and wrote. Was it Brook-Kothlow?
Brook-Kothlow was inspired by the ideas of Khan and Brand Stewart, who put on the Tripps Festivals, and published The Whole Earth Catalogue which was the model for the Internet. Stewart was at the Open Theatre with the Loading Zone. Clint Eastwood owned another famous house by Brook-Kothlow. These houses are considered HISTORIC works of Art and Philosophy. Why would Alan Fox sell one of these very unique homes built JUST FOR HIM? He had to know Eastwood owned one. According to Donald Layne and his wife, who I talked to on the phone.
Here is the house Christine stayed in the day she was “killed”.
Here is Ferlinghetti standing on the porch of The Old West Hotel with a ‘Don’t Tread On Me’ flag. Consider ‘Out West’ magazine, and ‘The Last Chance Saloon’.
On the morning of October 20, 1968 Stella found Kerouac on his knees in the bathroom, vomiting blood. She called for an ambulance. As Kerouac was being carried out he shouted ‘Stella, I love you’. The following day he died in hospital of intestinal bleeding caused by cirrhosis – the drunk’s death.
Kerouac left everything to his mother, who continued to live with Stella until her death in 1973, and who then named Stella as the sole beneficiary in her will – the will that has now been ruled as a forgery.
Conspicuous by her absence from the will was Kerouac’s only known child, Jan – the product of his short-lived marriage to his second wife Joan Haverty. Kerouac and Haverty separated before Jan’s birth in 1952, and for many years Kerouac denied his daughter’s existence. The first time they met was when Jan was 10, on the day Kerouac took a blood test to confirm his paternity. ‘You’re a lovely little girl’, he told her, ‘but you’re not my daughter.’ The blood test proved otherwise. The second and last time was in 1967, when she visited Kerouac at his home in Lowell en route to Mexico. He was drinking scotch and watching The Beverly Hillbillies.
‘My mother had always talked about how I had Jack’s hands’, she told me when I interviewed her in 1995, ‘We sat on the couch and compared them. He was very sheepish about it, but he looked at me and there was like a spark of recognition is his blue eyes…our blue eyes.’
‘Use my name’, Kerouac told her. ‘Write a book.’
She went on to write two, drawing on a troubled life that had included teenage prostitution and problems with drink and drugs, while struggling to support herself working variously as a dishwasher, a baker and even as an extra in the 1980 film about her father, Heartbeat (in a cruel reflection of their relationship, her role ended up on the cutting-room floor.)
In 1982, at a writer’s conference in Colorado she met John Steinbeck Jr, the son of the novelist, who told her that as Kerouac’s daughter, under the terms of copyright renewal, she was entitled to a share of royalties on her father’s books. Jan took steps to retrieve her entitlement. By the 1990’s, she was receiving up to $40,000 a year. She was also beginning to take a personal interest in the fate of her father’s archive.
For years, Stella had done little with the estate, consistently rebuffing the increasing number of Kerouac scholars who were turning up on her doorstep requesting access to his voluminous collection of papers.
When she died in 1990, she left everything to her five brothers and sisters, who nominated the youngest, John, an antiques dealer, to administer the estate.
By now, interest in Kerouac as a literary figure, and as an icon of cool, was growing, and Sampas energetically set about promoting his life and work. He organised the publication of hitherto unseen work and – in a move that incensed literary purists – licensed his image to be used in a 1993 Gap campaign (‘Kerouac wore khakis’). At the same time he began selling off items from the Kerouac archive to private collectors. In 1995 Johnny Depp came to Sampas’s Lowell home and left with Kerouac’s raincoat, tweed overcoat and other items for which he paid $50,640.
Jan Kerouac began to speak out against Sampas’s handling of the estate, arguing that her father’s archive should be deposited in a single collection with a university library.
A harrowing chronicle of alcoholism and self-doubt, Big Sur finds Kerouac replacing his alter ego Sal Paradise from On the Road with another troubled, thinly veiled stand-in, Jack Duluoz. Five years after a New York Times review of On the Road compared the novel’s importance to that of Ernest Hemingway’s The Sun Also Rises and proclaimed Kerouac the “avatar” of the Beats, Big Sur received a decidedly more mixed reception. The Times stayed behind Kerouac in their review of the book, proclaiming it “certainly Kerouac’s grittiest novel to date and the one which will be read with most respect by those skeptical of all the Beat business in the first place.” But Time magazine felt the work revealed Kerouac as a “confirmed one-vein literary minor.”
Two years ago, a reissue of On The Road marked the 50th anniversary of its 1957 publication, earning renewed kudos. Now F-Stop/Atlantic Records is honoring the 40th anniversary of his death on Oct. 21, 1969 – while his legend lives on, living up to the legend proved intolerably hard for the writer – with the release of a 98-minute documentary about Big Sur. An album featuring an unlikely collaboration between alt country icon Jay Farrar (Uncle Tupelo, Son Volt) and Ben Gibbard of the Grammy-nominated indie pop group Death Cab for Cutie will accompany it. Directed by Curt Worden, the documentary is a collage of passages from the book read by The Sopranos’ John Ventimiglia, images of the Big Sur coast (fog dispersing into the sky like creamer clouding coffee, waves creating a rind of whitewater on the shoreline) and a parade of talking heads: some essential, some seemingly scattershot. The DVD and CD are both titled One Fast Move or I’m Gone: Kerouac’s Big Sur.
The film includes the necessary interviews with individuals who were important characters in the book, including Ferlinghetti, the poet and co-founder of San Francisco’s City Lights Booksellers & Publishers who lent Kerouac his Bixby Canyon cabin, which Kerouac refers to as Raton Canyon in Big Sur.
In addition, the documentary captures revealing information about the famed writer by getting collaborators and colleagues including jazz artist David Amram, Beat poet Michael McClure and Carolyn Cassady, the wife of Kerouac’s dear friend Neal Cassady, to speak on film. But there are also some unexpected contributors to the movie, like Amber Tamblyn, who was the star of TV’s Joan of Arcadia, and Donal Logue, the scruffy Canadian actor from the 2000 film The Tao of Steve and the former Fox sitcom Grounded For Life.
While some of the contributors lend more authority to the project than others, there’s a handful of scenes that truly illuminate the book Big Sur and Kerouac’s state at that time.
Early on, Tom Waits tosses out the gem that “Big Sur always reminded me of a chronicle of a man being eaten by ants.” Before delivering a bebop influenced reading of Kerouac’s drive down the Big Sur coast, former Grateful Dead lyricist Robert Hunter echoes Waits’ sentiment by enthusing that the 1962 novel “is an ugly, ugly book of ugly places in the mind, of sordid places in the psyche.” And it’s poet Aram Saroyan who nails the tone of Big Sur before Kerouac descends into madness. He says: “It’s like a goofy holy man’s journal in this wonderful place. The first 40 pages, or whatever it is, of the book is just like a little kid exploring in nature.”
During the film, Ventimiglia’s reading of selected passages from Big Sur is like a narrative Highway 1 connecting wide-ranging themes and scenes together. Except for a scene of Farrar playing that almost seems like a detour into a music video, the acoustic blues riffs and organ swells composed and recorded by Farrar and Gibbard course naturally through One Fast Move or I’m Gone like Bixby Creek.
Kerouac’s athletic skills as a running back in American football for Lowell High School earned him scholarship offers from Boston College, Notre Dame, and Columbia University. He entered Columbia University after spending a year at Horace Mann Preparatory School, where he earned the requisite grades for entry to Columbia. Kerouac broke a leg playing football during his freshman season, and during an abbreviated sophomore year he argued constantly with coach Lou Little, who kept him benched. While at Columbia, Kerouac wrote several sports articles for the student newspaper, the Columbia Daily Spectator, and joined the Phi Gamma Delta fraternity. He also studied at The New School.
When his football career at Columbia ended, Kerouac dropped out of the university. He continued to live for a time in New York’s Upper West Side with his girlfriend and future first wife, Edie Parker. It was during this time that he met the Beat Generation people—now famous—with whom he would always be associated, and who as characters formed the basis of many of his novels, including: Allen Ginsberg, Neal Cassady, John Clellon Holmes, Herbert Huncke, and William S. Burroughs.
On August 29, 1973, he and two members of the Fort Hill commune attempted to rob the New England Merchant’s Bank in the Fort Hill section of Roxbury, a neighborhood of Boston, Massachusetts. One of the trio, Christopher “Herc” Thien, was killed by police. Frechette and Sheldon T. Bernhard were arrested and pleaded guilty. Frechette was sentenced a term of six to fifteen years in prison. He was confined in the minimum security state prison in Norfolk, Massachusetts.