Tag Archives: on the road

Man of letters: Fans leave notes at Kerouac’s former home

Letters pile up outside the vacant corner house on 10th Avenue North at 52nd Street South in St. Petersburg, Florida.

Some are folded neatly into envelopes and sent through the Post Office to jam the mailbox to overflowing.

Others are written on crinkled scrap paper, hand delivered and stuffed inside the front screen door.

Jack Kerouac, once the home’s owner, died at a St. Petersburg hospital in 1969, but you wouldn’t know it from the correspondence he receives from grateful fans of his novel “On The Road” and other works.

“You remind me to stay true to who you are and to nurture the wanderlust gene in all of us,” reads one letter, handwritten by “Cindy” on stationery adorned with colorful butterflies and flowers. “I hope you’re writing, unrestrained, with a shot & a beer.”

A nonprofit group wants to create a Kerouac museum from the 1,700-square-foot, one-story house, built in 1963 and valued today at about $190,000. But John Sampas, Kerouac’s brother-in-law and executor of his estate, told the Tribune last week he has changed his mind and doesn’t want to sell.

Meanwhile, the letters keep pouring in.

“It’s become a cosmic mailbox that can reach the heavens,” said Pat Barmore of St. Petersburg, president of the Friends of the Jack Kerouac House, which took care of the house until a property manager was hired a year ago.

Tour buses also park out front so sightseers can try peering through the curtains inside, Barmore said.

Margaret Murray, secretary of the friends group, said she rarely drives by without seeing fans in the yard or parked across the street, catching a glimpse of where their hero lived.

“Drive by tomorrow and you’ll likely see someone staring at it,” she said. “Visit a few days after the current stack of letters are taken away, and there will be new ones.”

With permission from executor Sampas, the Tribune read a handful of the notes recently left inside the screen door.

“Cynthia” of Texas put her thoughts on yellow Post-it notes. She said she not yet read “On The Road” but plans to as soon as she returns home from her Florida vacation.

“I feel blessed to have been able to drink your favorite drink at your favorite bar ‘Flamingo,”” she wrote, speaking of The Flamingo Sports Bar at 1230 Ninth St. N., St. Petersburg, where Kerouac spent time during a stint in the area that stretched from 1964 to his death on October 21, 1969, at the age of 47.

His favorite drink, according to the Flamingo, was a shot of a whiskey with a beer wash.

“I hope you are writing in peace wherever you are!” Cythia added.

Another letter written on a small piece of lined, white paper is signed “Friend of Jack” and says, “I prefer to think of myself as a free spirit and a person who follows a path of her own choosing. You have always been my inspiration.”

It’s a common theme, Barmore said — appreciative fans making a pilgimage to a site associated with their idols.

One prominent example, Murray noted, is the burial place in Paris of “Doors” frontman Jim Morrison.

Throngs of tourists surround Morrison’s grave. Gifts are left. Some people scribble on the tombstone.

“I think people still reach out to Jack Kerouac out of a desire to connect with something bigger than themselves,” said Kristy Anderson, a filmmaker producing a documentary on Kerouac’s life in Florida. “He has touched the lives of many and will continue to.”

Kerouac’s longtime friend, musician David Amram, said he believes the late author would appreciate the attention.

“This new generation has come to Kerouac by reading his books, as he wanted,” Amram said. “That is opposite to what he felt happened when he was alive.”

Kerouac struggled with his fame because he thought it had more to do with his pop culture identity than his books, Amram said.

“He would say, ‘They are ignoring me,’?” Amram said. “And then he would say in his Lowell, Massachusetts, accent, ‘I’m an author, I’m a writer, why don’t they read my book?’ Even in the times before reality TV, when being a celebrity seduced most people, he was a modest person who didn’t want that. He only wanted people to read his books.””

Amram believes this contributed to the alcoholism that would kill Kerouac.

“People looked to him to perform for them, to be the Jack Kerouac character they envisioned rather than himself. They expected him to be a vocal leader in this new movement. He just wanted to write.”

There were two sides of the St. Petersburg version of Kerouac, filmmaker Anderson said _ one who wished to be left alone by fans who would stalk the house and one who openly pined for attention.

This Dr. Jekyll half usually appeared with some liquid encouragement, Anderson said.

“That Jack was usually the drunken Jack. And he drank a lot while living here. As much as he sometimes hated his fame, he would also go to a party and introduce himself as the ‘famous Jack Kerouac.’?”

On another occasion, she said, Kerouac and a friend were at an upscale bar in the Tampa Bay area dressed like “bums” and very drunk. The gameshow “Jeopardy” was on the television and the answer in need of a question was “He wrote ‘On The Road.’?”

“His friend, who wants to remain anonymous, said Jack jumped up and started yelling, ‘Me. I did.’ And they were kicked out,” Anderson said. “I don’t think the bartender believed he was Kerouac and thought he was just a loud drunk.”

A typewritten letter from Kerouac to his agent from September 1968 recently was sold by Boston-based RR Auction. Who made the purchase has not been announced, and it is up to the buyer whether to go public.

The letter was a pitch for his next book, to be titled “Spotlight.” He died before he could finish it.

“Spotlight” was to be an autobiography on the years following his rise to fame from “On The Road.”

“That would have been a fascinating account,” Anderson said. “It may have included his time in Florida.”

Among the episodes described in Kerouac’s letter are bar fights in a number of cities, bad experiences during television appearances and his frustration over people always recognizing him in public.

“I order my lunch but everybody’s yakking so much around me I begin to realize right then and there that ‘success’ is when you can’t enjoy your food anymore in peace,” he wrote, speaking of a meal experience in New York.

The auctioned letter was written in Kerouac’s native town of Lowell, during a brief visit away from St. Petersburg.

But considering St. Petersburg was his full-time home at the time, it is possible the book might have been written here, which would have added further allure to his local home, Anderson said.

The Friends of the Jack Kerouac House wants to buy the author’s house and use it in a way that honors Kerouac. Barmore, the group’s president, was disappointed to learn it’s off the market but said the group will keep raising money in case it becomes available. Options they’ve discussed include a Kerouac museum, a rent-free residence for talented writers where they could concentrate on their work, and moving it to a local college campus for a writing program.

The next time friend Amram vacations in Florida, he plans to stop by the house and perhaps leave a note of his own.

“I am so happy that people are still moved by his words and go out of their way to thank him,” he said. “Fortunately, Jack’s beautiful spirit has survived.”

One letter left at the home by “Jackie Z,” written on a piece of paper torn from a notebook, speaks of how Kerouac’s spirit has affected her. The letter seems to capture Amram’s own memory of his friend.

“When your books became popular, maybe it wasn’t like the be all end all experience, but I respect that so much,” Jackie Z says. “You wrote your personal, beautiful books not for glory or fame, but because you needed to write, needed to commemorate the people you met & experiences you had because they were transformative, colorful, MAD. You’re pretty mad & you lived it right.”

Kerouac fans want to restore writer’s Florida home

Some Jack Kerouac fans are trying to raise money to restore the Tampa Bay-area home where the writer once lived.

The “On the Road” author lived in the St. Petersburg home in the 1960s with his mother and his third wife. He died of gastric hemorrhaging at a St. Petersburg hospital in 1969.

“I’m glad to see you, because I’m very lonesome here,” Kerouac told a St. Petersburg Times reporter who visited him shortly before his death.

The house is still owned by Kerouac’s brother-in-law. It’s been mostly uninhabited since the 1970s, but it still contains some of Kerouac’s things. A 1969 telephone directory for Lowell, Mass., is shelved on Kerouac’s desk in the bedroom, and an official mayoral proclamation for “Jack Kerouac Day” in Lowell hangs on one wall, near a Buddha statue and a crucifix.

Pat Barmore tells the Tampa Bay Times that Kerouac’s legacy is strong enough to merit and fund repairs to the home. Kerouac’s brother-in-law, John Sampas, who lives in Massachusetts, asked Barmore to take care of the property.

Barmore is working with other fans to start a nonprofit called Friends of Jack Kerouac. They host Kerouac-themed concerts at the Flamingo, a St. Petersburg bar where Kerouac drank and played pool.

Among the problems that need attention: a window replacement, broken furniture and some resident rats. Barmore and the other fans hope to clean up the house to make it look like it did when Kerouac lived there, and then perhaps open it for the public or for other writers.

The mailbox still contains fan mail for Kerouac.

“Dearest Jack,” reads one note. “Thank you for everything. Your work is why I write, and write to live.”

“Hey Jack, We came by to say hello,” says another. “Sorry we missed you.”

At the movies. New film reviews

“Amour”

Michael Haneke takes a subject you don’t often see in movies and probably don’t want to see – the slow, steady deterioration of an elderly woman – but handles it with grace.

The Austrian writer-director, who’s achieved a reputation for a certain mercilessness over the years through films such as “Cache” and “Funny Games,” displays a surprising and consistent humanity here. He draws unadorned but lovely performances from his veteran stars, Jean-Louis Trintignant and Emmanuelle Riva.

Haneke focuses on the intimate moments of their changing lives, as the longtime married couple remains holed up in their comfortable Paris apartment, coping day to day, waiting for eventual death. This film will strike a chord with anyone who’s watched a loved one slip away. But Haneke’s aesthetic can feel too stripped-down, too one-note in its dignified monotony. He will hold a shot, as we know, and once again he avoids the use of a score, so all that’s left to focus on is the insular, dreary stillness of quiet descent. Certainly minimalism is preferable to melodrama in telling this kind of story, but Haneke takes this approach to such an extreme that it’s often hard to maintain emotional engagement.

Rated PG-13 for mature thematic material, including a disturbing act, and for brief language. In French with English subtitles. 125 minutes.

– Christy Lemire, AP movie critic

“Django Unchained”

For his latest blood fest, Quentin Tarantino replays all of his earlier ones, especially his last flick “Inglourious Basterds.” In that 2009 tale of wickedly savage retribution, Allied Jewish soldiers rewrite World War II history by going on a killing spree of Nazis. In Tarantino’s new tale of wickedly savage retribution, a black man (Jamie Foxx) gets to rewrite Deep South history by becoming a bounty hunter on a killing spree of white slave owners and overseers just before the Civil War. Granted, there’s something gleefully satisfying in watching evil people get what they have coming. But the film is Tarantino at his most puerile and least inventive. The premise offers little more than cold, nasty revenge and barrels of squishing, squirting blood. The usual Tarantino genre mishmash – a dab of blaxploitation here, a dollop of Spaghetti Western there – is so familiar now that it’s tiresome, more so because the filmmaker continues to linger with chortling delight over every scene, letting conversations run on interminably and gunfights carry on to grotesque excess. Bodies bursting blood like exploding water balloons? Perversely fun the first five or six times, pretty dreary the 20th or 30th. Tarantino always gets good actors who deliver, though, and it’s the performances by Foxx, Leonardo DiCaprio, Christoph Waltz and Samuel L. Jackson that make the film intermittently entertaining amid moments when the characters are either talking one another to death or just plain killing each other.

Rated R for strong graphic violence throughout, a vicious fight, language and some nudity. 165 minutes.

– David Germain, AP movie writer

“The Impossible”

Based on the true story of a family swept away by the deadly tsunami that pummeled Southeast Asia in 2004, director Juan Antonio Bayona’s drama is about as subtle as a wall of water. The depiction of the natural disaster itself is visceral and horrifying – impeccable from a production standpoint. And Naomi Watts gives a vivid, deeply committed performance as the wife and mother of three young boys who finds the strength to persevere despite desolation and debilitating injuries. But man, is this thing heavy-handed. Watts and Ewan McGregor play Maria and Henry, a happily married British couple spending Christmas at a luxury resort in Thailand with their three adorable sons. (The real-life family whose story inspired the film was Spanish.) During a quiet morning by the pool, the first massive wave comes ashore, scattering the family and thousands of strangers across the devastated landscape. “The Impossible” tracks their efforts to survive, reconnect, find medical care and get the hell out of town. The near-misses at an overcrowded hospital are just too agonizing to be true, and the uplifting score swells repeatedly in overpowering fashion to indicate how we should feel. Surely, the inherent drama of this story could have stood on its own two feet.

Rated PG-13 for intense, realistic disaster sequences, including disturbing injury images, and brief nudity. 107 minutes.

– Christy Lemire, AP movie critic

“Not Fade Away”

“The Sopranos” boss David Chase’s somewhat autobiographical drama about a Jersey boy in a 1960s rock band would be called a promising first feature from some unknown filmmaker doing the rounds at Sundance. Coming from a Hollywood heavyweight who’s spent decades in the TV trenches, it’s a hopeful sign, or maybe just wishful thinking, that more of the quality that has fled film for television might somehow be channeled back to the big screen. Chase’s directing debut is a sweet, sad, smart and satisfying piece of nostalgia, at least partly inspired by his own youthful experiences as a drummer in a New Jersey band. Like “The Sopranos,” much of the drama arises out of generational conflict, in this case rebellious son Douglas (John Magaro) and his pragmatic, my-way-or-the-highway dad (“Sopranos” star James Gandolfini). Infected by music of the British invasion, chiefly the Rolling Stones, Douglas and some pals form a band that few will ever hear about. From there we get not the overdone tale of a group on the rise and struggling with the pitfalls of fame and success. Instead, we get the genuine and more illuminating story of all those losers who didn’t make it. Great 1960s period detail gives the film authenticity. Aided by “Sopranos” co-star and E Street Band member Steven Van Zandt, Chase assembles a killer soundtrack – the Stones, the Beatles and the Kinks to Bo Diddley, Robert Johnson and Elmore James.

Rated R for pervasive language, some drug use and sexual content. 112 minutes.

– David Germain, AP movie writer

“On the Road”

Walter Salles’ adaptation of Jack Kerouac’s famous novel was made with noble intentions, finely-crafted filmmaking and handsome casting. But, alas, it does not burn, burn, burn. This first ever big-screen adaptation of the Beat classic doesn’t pulse with the electric, mad rush of Kerouac’s feverish phenomenon. Salles (“The Motorcycle Diaries”) approached the book with reverence and deep research, and perhaps that’s the problem – that its spirit got suffocated by respectfulness and affected acting. If anything has made “On the Road” so beloved, it’s not its artful composition, but its yearning: the urgent passion of its characters to break free of themselves and post-war America. As our Dean Moriarty, Kerouac’s stand-in for Neal Cassady, Garrett Hedlund (“Tron”) gives his all in an ultimately failed attempt to find Moriarty’s wild magnetism. The women have more fire. As Moriarty’s first wife, Marylou, Kristen Stewart has a slinky sensuality. In a few scenes as Moriarty’s heartbroken second wife, Kirsten Dunst makes the strongest impression. Elisabeth Moss, also as one left behind, excels, shouting: “They dumped me in Tucson! In Tucson!” Viggo Mortensen, Steve Buscemi, Terrence Howard and Amy Adams make cameos.

Rated R for strong sexual content, drug use and language. 123 minutes.

– Jake Coyle, AP entertainment writer