On the Road (33 page)

The boys stayed in the back too now. Dean was bent on Chicago before nightfall. At a road-rail junction we picked up two hobos who rounded up a half-buck between them for gas. A moment before sitting around piles of railroad ties, polishing off the last of some wine, now they found themselves in a muddy but unbowed and splendid Cadillac limousine headed for Chicago in precipitous haste. In fact the old boy up front who sat next to Dean never took his eyes off the road and prayed his poor bum prayers, I tell you. “Well,” they said, “we never knew we’d get to Chicaga sa fast.” As we passed drowsy Illinois towns where the people are so conscious of Chicago gangs that pass like this in limousines every day, we were a strange sight: all of us unshaven, the driver barechested, two bums, myself in the back seat, holding on to a strap and my head leaned back on the cushion looking at the countryside with an imperious eye—just like a new California gang come to contest the spoils of Chicago, a band of desperados escaped from the prisons of the Utah moon. When we stopped for Cokes and gas at a small-town station people came out to stare at us but they never said a word and I think made mental notes of our descriptions and heights in case of future need. To transact business with the girl who ran the gas-pump Dean merely threw on his T-shirt like a scarf and was curt and abrupt as usual and got back in the car and off we roared again. Pretty soon the redness turned purple, the last of the enchanted rivers flashed by, and we saw distant smokes of Chicago beyond the drive. We had come from Denver to Chicago via Ed Wall’s ranch, 1180 miles, in exactly seventeen hours, not counting the two hours in the ditch and three at the ranch and two with the police in Newton, Iowa, for a mean average of seventy miles per hour across the land, with one driver. Which is a kind of crazy record.

Great Chicago glowed red
before our eyes. We were suddenly on Madison Street among hordes of hobos, some of them sprawled out on the street with their feet on the curb, hundreds of others milling in the doorways of saloons and alleys. “Wup! wup! look sharp for old Dean Moriarty there, he may be in Chicago by accident this year.” We let out the hobos on this street and proceeded to downtown Chicago. Screeching trolleys, newsboys, gals cutting by, the smell of fried food and beer in the air, neons winking—“We’re in the big town, Sal! Whooee!” First thing to do was park the Cadillac in a good dark spot and wash up and dress for the night. Across the street from the YMCA we found a red-brick alley between buildings, where we stashed the Cadillac with her snout pointed to the street and ready to go, then followed the college boys up to the Y, where they got a room and allowed us to use their facilities for an hour. Dean and I shaved and showered, I dropped my wallet in the hall, Dean found it and was about to sneak it in his shirt when he realized it was ours and was right disappointed. Then we said good-by to those boys, who were glad they’d made it in one piece, and took off to eat in a cafeteria. Old brown Chicago with the strange semi-Eastern, semi-Western types going to work and spitting. Dean stood in the cafeteria rubbing his belly and taking it all in. He wanted to talk to a strange middle-aged colored woman who had come into the cafeteria with a story about how she had no money but she had buns with her and would they give her butter. She came in flapping her hips, was turned down, and went out flipping her butt. “Whoo!” said Dean. “Let’s follow her down the street, let’s take her to the ole Cadillac in the alley. We’ll have a ball.” But we forgot that and headed straight for North Clark Street, after a spin in the Loop, to see the hootchy-kootchy joints and hear the bop. And what a night it was. “Oh, man,” said Dean to me as we stood in front of a bar, “dig the street of life, the Chinamen that cut by in Chicago. What a weird town—wow, and that woman in that window up there, just looking down with her big breasts hanging from her nightgown, big wide eyes. Whee. Sal, we gotta go and never stop going till we get there.”

“Where we going, man?”

“I don’t know but we gotta go.” Then here came a gang of young bop musicians carrying their instruments out of cars. They piled right into a saloon and we followed them. They set themselves up and started blowing. There we were! The leader was a slender, drooping, curly-haired, pursy-mouthed tenorman, thin of shoulder, draped loose in a sports shirt, cool in the warm night, self-indulgence written in his eyes, who picked up his horn and frowned in it and blew cool and complex and was dainty stamping his foot to catch ideas, and ducked to miss others—and said, “Blow,” very quietly when the other boys took solos. Then there was Prez, a husky, handsome blond like a freckled boxer, meticulously wrapped inside his sharkskin plaid suit with the long drape and the collar falling back and the tie undone for exact sharpness and casualness, sweating and hitching up his horn and writhing into it, and a tone just like Lester Young himself. “You see, man, Prez has the technical anxieties of a money-making musician, he’s the only one who’s well dressed, see him grow worried when he blows a clinker, but the leader, that cool cat, tells him not to worry and just blow and blow—the mere sound and serious exuberance of the music is all
he
cares about. He’s an artist. He’s teaching young Prez the boxer. Now the others dig!!” The third sax was an alto, eighteen-year-old cool, contemplative young Charlie-Parker-type Negro from high school, with a broadgash mouth, taller than the rest, grave. He raised his horn and blew into it quietly and thoughtfully and elicited birdlike phrases and architectural Miles Davis logics. These were the children of the great bop innovators.

Once there was Louis Armstrong blowing his beautiful top in the muds of New Orleans; before him the mad musicians who had paraded on official days and broke up their Sousa marches into ragtime. Then there was swing, and Roy Eldridge, vigorous and virile, blasting the horn for everything it had in waves of power and logic and subtlety—leaning to it with glittering eyes and a lovely smile and sending it out broadcast to rock the jazz world. Then had come Charlie Parker, a kid in his mother’s woodshed in Kansas City, blowing his taped-up alto among the logs, practicing on rainy days, coming out to watch the old swinging Basie and Benny Moten band that had Hot Lips Page and the rest—Charlie Parker leaving home and coming to Harlem, and meeting mad Thelonius Monk and madder Gillespie—Charlie Parker in his early days when he was flipped and walked around in a circle while playing. Somewhat younger than Lester Young, also from KC, that gloomy, saintly goof in whom the history of jazz was wrapped; for when he held his horn high and horizontal from his mouth he blew the greatest; and as his hair grew longer and he got lazier and stretched-out, his horn came down halfway; till it finally fell all the way and today as he wears his thick-soled shoes so that he can’t feel the sidewalks of life his
horn.is
held weakly against his chest, and he blows cool and easy getout phrases. Here were the children of the American bop night.

Stranger flowers yet—for as the Negro alto mused over everyone’s head with dignity, the young, tall, slender, blond kid from Curtis Street, Denver, jeans and studded belt, sucked on his mouthpiece while waiting for the others to finish; and when they did he started, and you had to look around to see where the solo was coming from, for it came from angelical smiling lips upon the mouthpiece and it was a soft, sweet, fairy-tale solo on an alto. Lonely as America, a throatpierced sound in the night.

What of the others and all the soundmaking? There was the bass-player, wiry redhead with wild eyes, jabbing his hips at the fiddle with every driving slap, at hot moments his mouth hanging open trancelike. “Man, there’s a cat who can really bend his girl!” The sad drummer, like our white hipster in Frisco Folsom Street, completely goofed, staring into space, chewing gum, wide-eyed, rocking the neck with Reich kick and complacent ecstasy. The piano—a big husky Italian truck-driving kid with meaty hands, a burly and thoughtful joy. They played an hour. Nobody was listening. Old North Clark bums lolled at the bar, whores screeched in anger. Secret Chinamen went by. Noises of hootchy-kootchy interfered. They went right on. Out on the sidewalk came an apparition—a sixteen-year-old kid with a goatee and a trombone case. Thin as rickets, mad-faced, he wanted to join this group and blow with them. They knew him and didn’t want to bother with him. He crept into the bar and surreptitiously undid his trombone and raised it to his lips. No opening. Nobody looked at him. They finished, packed up, and left for another bar. He wanted to jump, skinny Chicago kid. He slapped on his dark glasses, raised the trombone to his lips alone in the bar, and went “Baugh!” Then he rushed out after them. They wouldn’t let him play with them, just like the sandlot football team in back of the gas tank. “All these guys live with their grandmothers just like Tom Snark and our Carlo Marx alto,” said Dean. We rushed after the whole gang. They went into Anita O‘Day’s club and there unpacked and played till nine o’clock in the morning. Dean and I were there with beers.

At intermissions we rushed out in the Cadillac and tried to pick up girls all up and down Chicago. They were frightened of our big, scarred, prophetic car. In his mad frenzy Dean backed up smack on hydrants and tittered maniacally. By nine o‘clock the car was an utter wreck; the brakes weren’t working any more; the fenders were stove in; the rods were rattling. Dean couldn’t stop it at red lights, it kept kicking convulsively over the roadway. It had paid the price of the night. It was a muddy boot and no longer a shiny limousine. “Whee!” The boys were still blowing at Neets’.

Suddenly Dean stared into the darkness of a corner beyond the bandstand and said, “Sal, God has arrived.”

I looked. George
Shearing.
And as always he leaned his blind head on his pale hand, all ears opened like the ears of an elephant, listening to the American sounds and mastering them for his own English summer‘s-night use. Then they urged him to get up and play. He did. He played innumerable choruses with amazing chords that mounted higher and higher till the sweat splashed all over the piano and everybody listened in awe and fright. They led him off the stand after an hour. He went back to his dark corner, old God Shearing, and the boys said, “There ain’t nothin left after that.”

But the slender leader frowned. “Let’s blow anyway.” Something would come of it yet. There’s always more, a little further—it never ends. They sought to find new phrases after Shearing’s explorations; they tried hard. They writhed and twisted and blew. Every now and then a clear harmonic cry gave new suggestions of a tune that would someday be the only tune in the world and would raise men’s souls to joy. They found it, they lost, they wrestled for it, they found it again, they laughed, they moaned—and Dean sweated at the table and told them to go, go, go. At nine o‘clock in the morning everybody—musicians, girls in slacks, bartenders, and the one little skinny, unhappy trombonist—staggered out of the club into the great roar of Chicago day to sleep until the wild bop night again.

Dean and I shuddered in the raggedness. It was now time to return the Cadillac to the owner, who lived out on Lake Shore Drive in a swank apartment with an enormous garage underneath managed by oil-scarred Negroes. We drove out there and swung the muddy heap into its berth. The mechanic did not recognize the Cadillac. We handed the papers over. He scratched his head at the sight of it. We had to get out fast. We did. We took a bus back to downtown Chicago and that was that. And we never heard a word from our Chicago baron about the condition of his car, in spite of the fact that he had our addresses and could have complained.

It was time
for us to move on. We took a bus to Detroit. Our money was now running quite low. We lugged our wretched baggage through the station. By now Dean’s thumb bandage was almost as black as coal and all unrolled. We were both as miserable-looking as anybody could be after all the things we’d done. Exhausted, Dean fell asleep in the bus that roared across the state of Michigan. I took up a conversation with a gorgeous country girl wearing a low-cut cotton blouse that displayed the beautiful sun-tan on her breast tops. She was dull. She spoke of evenings in the country making popcorn on the porch. Once this would have gladdened my heart but because her heart was not glad when she said it I knew there was nothing in it but the idea of what one should do. “And what else do you do for fun?” I tried to bring up boy friends and sex. Her great dark eyes surveyed me with emptiness and a kind of chagrin that reached back generations and generations in her blood from not having done what was crying to be done—whatever it was, and everybody knows what it was. “What do you want out of life?” I wanted to take her and wring it out of her. She didn’t have the slightest idea what she wanted. She mumbled of jobs, movies, going to her grandmother’s for the summer, wishing she could go to New York and visit the Roxy, what kind of outfit she would wear—something like the one she wore last Easter, white bonnet, roses, rose pumps, and lavender gabardine coat. “What do you do on Sunday afternoons?” I asked. She sat on her porch. The boys went by on bicycles and stopped to chat. She read the funny papers, she reclined on the hammock. “What do you do on a warm summer’s night?” She sat on the porch, she watched the cars in the road. She and her mother made popcorn. “What does your father do on a summer’s night?” He works, he has an all-night shift at the boiler factory, he’s spent his whole life supporting a woman and her outpoppings and no credit or adoration. “What does your brother do on a summer’s night?” He rides around on his bicycle, he hangs out in front of the soda fountain. “What is he aching to do? What are we all aching to do? What do we want?” She didn’t know. She yawned. She was sleepy. It was too much. Nobody could tell. Nobody would ever tell. It was all over. She was eighteen and most lovely, and lost.

And Dean and I, ragged and dirty as if we had lived off locust, stumbled out of the bus in Detroit. We decided to stay up in all-night movies on Skid Row. It was too cold for parks. Hassel had been here on Detroit Skid Row, he had dug every shooting gallery and all-night movie and every brawling bar with his dark eyes many a time. His ghost haunted us. We’d never find him on Times Square again. We thought maybe by accident Old Dean Moriarty was here too—but he was not. For thirty-five cents each we went into the beat-up old movie and sat down in the balcony till morning, when we were shooed downstairs. The people who were in that all-night movie were the end. Beat Negroes who’d come up from Alabama to work in car factories on a rumor; old white bums; young longhaired hipsters who’d reached the end of the road and were drinking wine; whores, ordinary couples, and housewives with nothing to do, nowhere to go, nobody to believe in. If you sifted all Detroit in a wire basket the beater solid core of dregs couldn’t be better gathered. The picture was Singing Cowboy Eddie Dean and his gallant white horse Bloop, that was number one; number two double-feature film was George Raft, Sidney Greenstreet, and Peter Lorre in a picture about Istanbul. We saw both of these things six times each during the night. We saw them waking, we heard them sleeping, we sensed them dreaming, we were permeated completely with the strange Gray Myth of the West and the weird dark Myth of the East when morning came. All my actions since then have been dictated automatically to my subconscious by this horrible osmotic experience. I heard big Greenstreet sneer a hundred times; I heard Peter Lorre make his sinister come-on; I was with George Raft in his paranoiac fears; I rode and sang with Eddie Dean and shot up the rustlers innumerable times. People slugged out of bottles and turned around and looked everywhere in the dark theater for something to do, somebody to talk to. In the head everybody was guiltily quiet, nobody talked. In the gray dawn that puffed ghost-like about the windows of the theater and hugged its eaves I was sleeping with my head on the wooden arm of a seat as six attendants of the theater converged with their night’s total of swept-up rubbish and created a huge dusty pile that reached to my nose as I snored head down—till they almost swept me away too. This was reported to me by Dean, who was watching,from ten seats behind. All the cigarette butts, the bottles, the matchbooks, the come and the gone were swept up in this pile. Had they taken me with it, Dean would never have seen me again. He would have had to roam the entire United States and look in every garbage pail from coast to coast before he found me embryonically convoluted among the rubbishes of my life, his life, and the life of everybody concerned and not concerned. What would I have said to him from my rubbish womb? “Don’t bother me, man, I’m happy where I am. You lost me one night in Detroit in August nineteen forty-nine. What right have you to come and disturb my reverie in this pukish can?” In 1942 I was the star in one of the filthiest dramas of all time. I was a seaman, and went to the Imperial Café on Scollay Square in Boston to drink; I drank sixty glasses of beer and retired to the toilet, where I wrapped myself around the toilet bowl and went to sleep. During the night at least a hundred seamen and assorted civilians came in and cast their sentient debouchements on me till I was unrecognizably caked. What difference does it make after all?—anonymity in the world of men is better than fame in heaven, for what’s heaven? what’s earth? All in the mind.