The “grande dame of the Beat Generation” has died at age 90. Carolyn Cassady passed away last Friday near her home in England. She was the inspiration for Camille, Dean Moriarty’s overburdened second wife in Jack Kerouac’s On the Road. Yet Cassady was a writer in her own right and published two books, Off the Road and Heart Beat: My Life With Jack and Neal, about how the Beat Generation was misunderstood.
As most readers of The Millions will undoubtedly be aware, Jack Kerouac’s On The Road is not so much a book as a sociological event. One of the most polarising works in the whole of the American literary canon, its cultural resonance continues to endure, and for many — the bohemian, the backpacker, the dropout, the hipster — it remains a sacred text. However, as well as being a work of great literary and cultural import, On The Road holds the dubious distinction of having made a journey to the big screen as tortured and as fractured as any other book one might care to mention. It has taken a total of 55 years, and almost as many screenwriters, to finally convert Kerouac’s vision of “an anywhere road for anybody anyhow” to film.
A cinematic adaptation of On The Road has been in the works almost since the day it was published. In late 1957, a matter of weeks after the novel’s appearance, Warner Brothers offered $110,000 for the motion-picture rights. At the news that Paramount and actor Marlon Brando were similarly interested, Kerouac’s agent attempted to incite a bidding war, and Kerouac himself wrote a letter to Brando imploring him to purchase the rights and co-star in it with him: “I visualize the beautiful shots could be made with the camera on the front seat of the car showing the road (day and night) unwinding into the windshield, as Sal and Dean yak…You play Dean and I’ll play Sal (Warner Bros. mentioned I play Sal) and I’ll show you how Dean acts in real life.”
Nothing came of Kerouac’s request, with Brando supposedly believing On The Road to be too “loose” for a Hollywood makeover. Meanwhile, Warner Brothers refused to meet the agent’s asking price of $150,000. A year later, a screenplay consultation with Twentieth-Century Fox was arranged, during which producer Jerry Wald insisted on the idea of Dean Moriarty perishing in a violent climax at the close of the movie. A somewhat cynical way of cashing in on the recent real life death of James Dean, this proposed ending was unacceptable to Kerouac, who terminated the consultation.
In 1958, Kerouac agreed to sell On The Road’s film rights to a small film studio for just $25,000, but not long later the studio went bankrupt. By 1960, the American media machine had grown tired with On The Road’s slow progress towards the screen, and in October of that year, CBS began airing a new television series called Route 66. The show was a not-so-thinly-veiled capitalisation on Kerouac’s hugely popular novel, featuring a pair of young American males (“Todd” and “Buzz”) roaming the interstate in search of adventure: In one episode, a dreamy ‘Buzz’ declared “…you live it the way you feel it. When it moves, you go with it…I been looking ever since I can remember.” After it aired, Kerouac tried to sue the producers of Route 66 for plagiarism, but was advised by lawyers that such a lawsuit was destined to fail.
Towards the end of the ’60s, the film rights to On The Road fell into the hands of independent film-maker D. A. Pennebaker, who had just found fame with his groundbreaking Bob Dylan documentary, Dont Look Back. However, Pennebaker quickly decided that — beyond an opening scene featuring the various characters sitting in a parking lot — he had no idea how to make the film. In 1969, following a long descent into isolation and alcoholism, Kerouac passed away. Interest in an On The Road adaptation waned.
It wasn’t until 1979, when the film rights were purchased by Francis Ford Coppola, that On The Road looked set for the screen again. However, what followed was 30 more years of frustration, confusion, and discarded scripts. Coppola’s struggle to turn the novel into a workable screenplay — involving aborted collaborations with around a dozen separate writers, as well as a brief flirtation with the idea of shooting the whole thing on black-and-white 16mm film — is well-documented. Even Coppola himself had a try: “I tried to write a script,” he said in 2007, “but I never knew how to do it.”
Fast-forward to 2012 then, and, finally, a cinematic adaptation of Jack Kerouac’s On The Road has been written, shot, edited, and packaged, and is set for release towards the end of May. A trailer has even been released, and the film itself selected to compete for the coveted Palme d’Or at the 2012 Cannes Film Festival.
The team who have finally pulled off this once-seemingly-impossible artistic feat is an interesting one: Walter Salles, the director, was hired by Coppola after he saw Salles’ 2004 Che Guevara biopic, The Motorcycle Diaries — Salles, incidentally, calls On The Road “a book that’s had a very deep impact on my life.” Meanwhile, screenwriter Jose Rivera — who collaborated with Salles on The Motorcycle Diaries, receiving an Oscar nomination for Best Adapted Screenplay in the process — started out as a playwright, and has studied under Gabriel García Márquez.
So, after such a long and difficult journey to the big screen, what are the main existential challenges faced by Salles’ film, its possible pitfalls? And, conversely, what opportunities can this adaptation grasp; what absences might it fill? Can On The Road still mean anything in 2012? If so, what? And how?
From Language To Image?
A large part of On The Road’s powerful and ongoing appeal undoubtedly stems from the lyricism of its language — as opposed to its linearity, or even narrative coherence. Translating this to the screen could quite simply be impossible. Indeed, one suspects it is the reason that, up till now, so many screenwriters have failed in turning Kerouac’s text into visual form. Influential film critic Robert Stam might lament the fact that many adaptations are judged strictly against the “fundamental narrative, thematic, and aesthetic features of [their] literary source[s],” but that is undoubtedly the way of things. And as seen in other adaptations of challenging texts, such as Mrs. Dalloway (1997) or Ulysses (1967), even when an idiosyncratic style is converted to the screen with great care and attention, the success is rarely total. To quote Regina Weinreich, in her essay “Can On The Road Go On The Screen?” (from What’s Your Road, Man?):
…many critiques of the novel cite its episodic structure as a failing. In terms of a film, the key scenes on the road in a moving American landscape, in a jazz club, at Old Bull Lee’s, would have to be made visual in an extended narrative…The novel resolved those aesthetic issues in its language, in its use of repetition, of key phrases triggering verbal riffs, in Kerouac’s expansion of language as a storytelling medium…Can the medium of film be stretched in the manner in which On The Road expanded narrative possibilities for literary fiction?
Dead As History?
It might seem like an odd point to make — considering plenty of films set hundreds if not thousands of years ago are made every year — but it is possible that, as far as cinema is concerned, On The Road is (uniquely) out of date. The novel made a splash in 1957 because it tapped into a generation’s growing sense of restlessness and existential yearning — not to mention because it rebelled against the stuffy, conformist atmosphere of the post-war era. Now, 55 years on, while the novel might still succeed on other levels, there’s no denying that its content seems far less transgressive. As Kerouac scholar John Leland states in Why Kerouac Matters, “We’re no longer shocked by the sex and drugs. The slang is passé and at times corny.”
Is there a risk, then, that On The Road’s reference points (not to mention mise-en-scène) will render its adaptation a dispatch from a cultural milieu long since past? Kerouac’s text is intimately involved with its highly tangible present; its power lies in its immediacy, its urgency. But this is 55 years later, and half of America’s 20-somethings have done a coast-to-coast road trip. On The Road is about the “now in this exact minute” — but that now is now very much then. On the other hand, to utilise an atmosphere of glossy mid-century nostalgia — such as that so effectively deployed by ABC’s Mad Men — would be highly disingenuous towards the text. Is a retrospective telling, therefore, perhaps destined to be a diminished one?
While On The Road is undoubtedly a frenetic, challenging story — Kerouac himself assured Brando, in that 1957 letter, that he “[knew] to compress and re-arrange the plot a bit to give a perfectly acceptable movie-type structure” — Salles and Rivera appear to have struck on what might be a way to tell it. Rivera says he has based the screenplay on the novel’s multi-layered theme of “finding a father.” While a departure from the novel, this at least sounds like something which might convert into a story arc, and give it some cinematic shape. It also ties into (one of) the true heart(s) of the novel, and would suggest, thankfully, that we are to receive a film that is about more than sex, drugs, and driving. Furthermore, Rivera has based much of the script on material collected by director Salles during his meticulous retracing of Kerouac’s route across America, and his interviewing of Beat figures including Carolyn Cassidy, Gary Snyder, Michael McClure, and Diane di Prima. Both men, in other words, have done their research.
Salles, meanwhile, is encouragingly bullish about the notion that the film is in any way out of date:
This is the journey of a group of young men…who confronted a society that was very impermeable at the time…Those were the McCarthy years — the Beats collided against a social and political reality that was defined by the culture of fear. It’s not very different from what we live in now. At that time, you’d hear: “Don’t do this! Don’t do that! The Reds are coming. The Atomic bomb!” Now we hear, “The terrorists are coming. Don’t do this! Don’t do that!” It’s the same state of terror. So the theme of On the Road is more contemporary today than it was 10 years ago. It gives you the possibility to understand today’s America by jumping 50 years in the past.
Cinema Loves a Road Movie
An obvious one, but it’s true. Cinema might not have a great record when it comes to adapting Kerouac movies for the screen — witness not just On The Road’s crooked journey, but the travesty that was The Subterraneans (1960) — but it does have a great history of producing good road movies. Films such as Bonnie and Clyde (1967) and Easy Rider (1969) are hardwired into the psyche of cinema. The ideal of The Road — with its connotations of exploration, pioneership, and personal freedom — is such a generally appealing one that the term “road trip” is part of common usage. And while Kerouac’s winding and delirious prose might be a challenge for the camera, sweeping shots of gleaming convertibles beneath a Midwest sunset aren’t. Nor — and it was one of the reasons Kerouac himself was so fond of cinema — is the depiction of live music, including jazz. Indeed, images such as “Roy Eldridge, vigorous and virile, blasting the horn for everything it had in waves of power and logic and subtlety — leaning into it with glittering eyes and a lovely smile and sending it out broadcast to rock the jazz world,” seem almost made for the screen.
Kerouac wanted it to be a film
This might seem like something of a maudlin justification, but the fact is that Kerouac wanted On The Road made. Badly. Kerouac was a great lover of cinema — his personal letters are filled with praise for various films — and some of his writing spills over fully into cinematic-like writing. For example, in the “Joan Rawshanks In The Fog” section of his novel Visions of Cody (1972), the narrative focus explicitly takes on the role of a camera, and its rhythm that of a screenplay. Indeed, even in 1959, while his agent was wrangling over the rights to On The Road, Kerouac was adapting and providing a voiceover for the bizarre but surprisingly popular Beat film Pull My Daisy (1959).
And in chapter 13 of On The Road, Sal and Dean actually go to Hollywood — where Sal declares “Everybody had come to make the movies, even me.” Ultimately, some Kerouac fans might feel that — even 55 years later, and despite the author’s lifelong sensitivity regarding the nature of the adaptation — On The Road is due for the screen.
The Beat Renaissance
You could debate whether this is a blessing or a curse, but 2012’s On The Road adaptation would seem to tap into a recent (and ongoing) renaissance of Beat material. In 2007, the novel’s 50th anniversary, Viking published the “original version” of the novel, as typed by Kerouac on a 120-foot-long scroll. Over the next two years, the scroll itself went on a lengthily intentional tour. Meanwhile, in 2010, Allen Ginsberg’s Howl — the other chief text of the Beat generation — received an interesting and experimental cinematic makeover, with James Franco making an excellent Ginsberg. Further still, as you read this, an adaptation of Kerouac’s last (and desperately sad) novel, Big Sur, is in the final stages of post-production. It won’t ultimately affect the quality of the film — and even the casual cynic could see this timing as less serendipity, and more hard-headed commercialism of the sort that Kerouac diehards detest — but at least Salles’ On The Road is appearing at a fitting moment, when it would appear it has a wave to ride, and some wider interest to tap into. After all, if On The Road is to continue to have a cultural legacy, then what it needs more than anything is exposure.
Behind my desk, in my bedroom, there is a large bookcase divided into 25 cubes. On the wall facing my desk there are three bookshelves. Instead of a table, there is also a shelf at my bedside. Beside my desk is an additional bookcase, the Billy model from Ikea, with six shelves. All this shelf space amounts to about 56 feet.
I have turned my attention to my bookshelves and not what stand on them because I am reorganizing my personal library. I need to know how much space I have for my books, in order to accommodate the existing space for a logical, efficacious, and personalized classification system for the books I own, which currently amount to just short of 500 volumes. My endeavor, of course, is not a very great one. I do have a considerable number of books, but by no means is my collection large or unwieldy. I’m only 20, and as such my library is not a lifetime’s library — it is only the nucleus of a true library, with burgeoning interests, mistakes, discoveries, a few treasures, and several shortcomings.
As for the organization of the books, well, I must say that in its current state the classification is far from optimal. Most of last semester’s books are still on the shelf above my desk and deserve integration with the rest of my collection, instead of groupings by course reading material. My French books are all together in the Billy bookcase, which results in separating the Penguin edition of Chekhov’s Ward No. 6 and Other Stories, 1892-1895 from the French translation of Chekhov’s (or, as it were, Tchekhov’s) plays, published by Folio in two paperback volumes.
Similarly, the current state of my books creates rifts between ideas and eras, or tensions where there shouldn’t be any. For instance my enormous paperback of Allen Ginsberg’s Collected Poems lies on a shelf above my desk because I was too lazy to make room for it in the cubes. Thus Ginsberg is a room apart from his friend Kerouac (if their belonging to the Beats shouldn’t be enough to bring them together, Ginsberg even took the pictures on the cover of On the Road, which I think calls for neighboring spots on my shelves). In the cubes there are other inconsistencies: Junot Díaz is between the single volume Chronicles of Narnia and Anne Michaels; Hemingway shares his shelf with Amitav Ghosh, Toni Morrison, and Nabokov — I can’t think of any reason why those authors should rub covers.
Likewise, when I see Eco’s The Name of the Rose on one shelf and his collection of essays On Literature on the opposite wall, I know it is time to take all the books out, dust off the shelves, and start again from scratch.
The first step in reorganizing my personal library is finding a system. Of this, there are many, some more improvised than others. In his bible of bibliomania, The Library at Night, Alberto Manguel explores the different facets of the library, and also the different ways to organize books. For his own collection of 30,000 books, which he keeps in his château in France, Manguel has chosen to divide his books by language, and then place them alphabetically. Rather drab for me, I think, considering the small size of my own book collection.
Some book collectors have been more original. Take Samuel Pepys for instance, the great 17th century diarist, who maintained a personal library (which still exists) of 3,000 books exactly, not a volume more. What is, perhaps, the most astounding feature of Pepys’ library is the way in which the books were organized: by size. All his volumes were numbered from 1 to 3,000, from smallest to biggest, and placed in that order in his bookcases, each volume bound in matching leather, and each book resting on a little wooden stilt matching the cover, to create unity in height — gentlemanly elegance.
What may be acknowledged about any organizational system is that they all have certain limitations. Even the Dewey Decimal System, used by the majority of public libraries in the world — which divides human knowledge into ten decimals, in turn subdivided into ten categories, and so on — is limited when it comes to books with split subjects (take the excellent Time Among the Maya, by Ronald Wright, which is part travel journal in Mesoamerica, part history book on the Mayas).
But I am looking for a more intuitive organizational system, something flexible and creative. An article in The Guardian’s online book section discussed “bookshelf etiquette,” organizational systems like grouping books by theme or color. One of the propositions was to place books together by potential for their authors to be friends. I choose a different path: all of an author’s books are together (no matter the language), authors that go well together go together, other books are placed by association of genre or style. I will start with that in mind, and see where it brings me.
I remove books from my shelves. I grab multiple spines between my thumb and fingers, slide out the volumes and pile them on my desk, on the floor — soon my room is like a messy cave of paper and multicolored covers and spines. The wall behind my desk is bland, covered in empty cubes, spacious and clean. I am reminded of a time, not so long ago, when my entire book collection did not even fit on the six shelves of a Billy bookcase.
As I take the books out of their bookcases, crack open a few to see if the words inside still have the same ring, and admire the beauty of some covers, I start to understand that there are some books I do no want anymore. There is a vital difference between books you do not need and books you no longer want to have. I would willingly keep a book I hated if it had a nice cover (and I do, like Kazuo Ishiguro’s Nocturnes, a silly collection of short stories with a stunning, elegant cover). The books I am ready to give away are books I don’t care about: they are ugly, I have had them for too long, I have never read them and never will — they simply become a waste of space.
Take How to Read Novels Like a Professor, a paperback I bought a couple of years ago, in an attempt to uncover some of literature’s secrets before entering University. I drop the book with the other giveaways. A few days later I pick it up again and this passage catches my attention: “Books lead to books, ideas to ideas. You can wear out a hundred hammocks and never reach the end. And that’s the good news.” I certainly agree with that. No English major would be supposed to be caught dead with such a preposterously titled book in their library, and maybe that’s the reason why I wanted to give it away in the first place. I decide to keep it in my collection after all — for now.
In the end I’ve put aside two dozen books in the giveaway pile. By no means am I kidding myself that I’m actually getting rid of a large chunk of my library. I admire people who are able to rid themselves of books they love, give books away selflessly so that others can enjoy them. I know I could never do such a thing.
I admit, with a hint of guilt, that I have not read all the books I own. Not even close. The majority of them, yes (I hope), but far from all of them. Despite the incredible amount of reading left for me to do before I really know my library, almost every week I buy more books.
Part of the problem lies in my appreciation for books as objects, as elegant collectibles. I like not only to read them, but to look at them, touch them. Larry McMurtry has phrased it rather elegantly in his memoir, titled simply, Books:
But there can be secondary and tertiary reasons for wanting a particular book. One is the pleasure of holding the physical book itself: savoring the type, the binding, the book’s feel and heft. All these things can be enjoyed apart from literature, which some, but not all, books contain.
While I have shelves full of books I have not read at home, I keep on thinking about which books I’m going to buy next. Although minor, this problem does create a fair amount of anxiety, essentially caused by the fact that I simply don’t read enough. Furthermore, as I reorganize my books I realize there are many I would like to reread soon. (At the top of my list: The Brief Wondrous Life of Oscar Wao, Too Much Happiness by Alice Munro, Harry Potter and the Deathly Hallows…) Sometimes I wish I were that man in the Twilight Zone episode who finds himself in the ruins of a public library, with lots of food and all the time in the world to read all the books he wants.
My library is also the most personal of filing systems, with countless mementos flattened between the covers of the books. There is a card from a blood-drive marking a page in Greenblatt’s biography of Shakespeare, reminding me of when I can give blood again. I slam away the congratulations card from the English department of my college which awarded me a prize in Shakespeare studies (oddly, the quote on the card is by Anaïs Nin) in the bard’s complete works (leatherbound, gold page edges). A business card from the Winding Staircase, a charming Dublin bookstore, falls out of De Niro’s Game, which I read in Ireland. Between my Oscar Wildes I find a touching card from my parents, given to me when I turned 18. I choose a better place for it: between the pages of a book on self-fashioning in the Renaissance they bought for me at Shakespeare and Company, in Paris, a place I have only been to in my dreams.
I have finally emptied all my shelves. It was long — and tedious. Not in the physical sense, but in one that is, of sorts, moral. Removing all those books was the undoing of something that was set, a collection which, it seems, had built itself up, slowly, purposefully, into a cohesive whole. The work of an oyster.
After the toil of the unmaking, now I have to rebuild my library up — restock the shelves that now stand cleared, poised, filled only with light and shadows. After some consideration, the first book I place back on the top left cube, is Beowulf, masterfully translated by Seamus Heaney, the beginning of literature in English. I have to rifle down the spines of a few piles before I finally locate it.
Next up goes Tolkien. I cannot resist — without him I’m not sure Beowulf would even be taught in schools at all. His translation of Sir Gawain and the Green Knight, first, to soften the transition, and then The Hobbit, The Lord of the Rings, Tree and Leaf, and The Children of Hurin. Then I place Herodotus, whom my girlfriend assures me thinks exactly like Tolkien. I am startled by my audacity. There is a jump from 10th century Anglo-Saxon manuscript to 20th Century fantasy writer to the father of history, a fifth-century Greek — my system is either creative or blasphemous.
My girlfriend came to help me. Her presence was motivating — I have done more work in half an hour than in the last week. The Canterbury Tales are inserted between Beowulf and Tolkien by her recommendation, I add Peter Ackroyd’s The Clerkenwell Tales beside it. A cube inspired by military history starts with Thucydides and ends with a biography on George Washington — yet George Orwell, Alan Moore, and Annie Proulx all end up on it by association. From the look in my girlfriend’s eyes I know she thinks this is starting to look like a madman’s library. Nothing new there, bibliomania is a psychological disorder, I am told.
Putting Sylvia Plath with her husband Ted Hughes feels wrong, so we try to find a new lover for her. I think of Byron as a joke, my girlfriend proposes Mary Shelley as a fellow tortured female writer. The offer is accepted and Plath serves as transition into gothic fiction. Ironically, Byron ends up just after Shelley anyway (they shared more than shelf-space in their lives, after all), and before Polidori and Stoker. Books start to place themselves on their own.
There is a cube for my books about books: Anne Fadiman and Manguel, Borges (which I can no longer dissociate from the latter), 501 Must-Read Books, A Gentle Madness, The Companionship of Books, and others go here. There is a cube, or half of it, at least, for Faber friends: Eliot, Hughes, Graham Swift, Kazuo Ishiguro. Edgy writers (Bukowski, Tony O’Neill, Mark SaFranco, Writing at the Edge) share their cube with erotic fiction (The Gates of Paradise, Delta of Venus, the Marquis de Sade, Wetlands by Charlotte Roche, La vie sexuelle de Catherine M.) — Neil Strauss buffers between them.
I go on like this, a few minutes every day. Slowly, surely, books leave my floor, my desk, my bed, my bathroom, and regain their place on the shelves in some kind of order. Some associations are obvious — others, not so much.
Finally the cubes are filled again. I can breathe a bit more in my bedroom. I enjoy looking at the neat rows of spines, follow the literary path of my own twisted organization system. Still, there are many flaws on my shelves, mainly caused by lack of room (or perhaps because the number of books is too great). Some books just don’t “fit” anywhere, others would go well in too many places. Ian McEwan, for instance, ends up sharing his shelf with female writers like Doris Lessing, Emily Brontë, and Virginia Woolf. I have to think of the shelves as a work in progress in order to live with their limitations.
Then, of course, there are also some things I love about the new shelf-arrangement: the various degrees of moral and social incorrectness in the cube that starts with Oscar Wilde, then moves to Thomas Hardy and D. H. Lawrence; how A Moveable Feast rubs covers with John Glassco’s Memoirs of Montparnasse; and that His Dark Materials finally stands beside my three editions of Paradise Lost.
Over my desk I place essays on philosophy and literature. My heavy anthologies — costly books with a fair amount of repetition (parts of The Canterbury Tales appear in at least three of them) and some textbooks I keep as reference — go in the sturdy Billy. I also shelve my art books there, like my Janson’s History of Art, as well as some exhibition catalogues, which map out my travels: the Uffizi Gallery in Florence, the Chester Beatty Library in Dublin, the Ivan Mestrovic Gallery in Split.
Lastly, I put back my books in French. I keep them together, two compact shelves of ivory spines. I have always wondered at the uniformity of French covers, often white, usually bland. I start with Don Quixote, move down to Alexandre Dumas, the Arsène Lupins which belonged to my father, then Québecois literature. The next shelf is mostly from France: Sartre, Camus, Flaubert, and Littell (which I put beside the latter because of the masterful description in Les Bienveillantes of the narrator reading L’Éducation sentimentale as he walks through fields devastated by war), and contemporary authors like Makine, Folco, and Pennac.
Now my shelves are full again, or almost. I have given away enough books to leave two empty shelves — one in the Billy and the topmost shelf above my desk — waiting to be filled by new acquisitions (which certainly won’t be long in coming).
This adventure in bookshelf etiquette helped me take control of my library, rediscover what I have, solidify my appreciation for my books — the majority of which are probably going to follow me for the rest of my life. I have realized how many books I own but have not read (The Portrait of a Lady, Nicholas Nickleby, War and Peace, Beyond Black…), but I know that I am not quite ready for some of them, and they can wait a while longer. I dream of owning and reading all of Atwood, Munro, Updike. There are many books I should own but do not: I have nothing by J.M. Coetzee, or Ovid, or Paul Auster. I have Bolaño’s 2666, but not the Savage Detectives; Waugh’s Vile Bodies but not Brideshead Revisited; Marquez’s One Hundred Years of Solitude, but not Love in the Time of Cholera. My book collection is full of hopes and holes.
Thus I have a second library, in my mind, of which my real, physical book collection is only the tip (to use that famous iceberg metaphor). Underneath my shelves lie all the books I want, all the books I should have (dictated by the canon, or recommendations from friends and famous people), all the books I need, like Borges’ fabulous Library of Babel, extending out into book-lined room after book-lined room, infinitely.
Now, you will have to excuse me, but I have to stop this business — I have some reading to do.
[Image source: Stewart Butterfield]
Most folks have probably heard that Jack Kerouac wrote On the Road on a 120 foot long continuous roll of paper, but now you can seen it. “Beginning this week at the Orange County History Center in Orlando, Fla., and ending with a three-month stay at the New York Public Library in 2007, Kerouac’s “On the Road” scroll will make a 13-stop, four-year national tour of museums and libraries.“One great byproduct of the new translation of Don Quixote is that it has given way to many reconsiderations of the classic. Now the Atlantic Monthly weighs in.Also from the Atlantic, a great piece explaining how they choose which books to review and why their reviews may sometimes come across as atypical. It’s a great read for anyone who is tired of the prevalence of cookie-cutter picks and pans.