Although it has become associated with the rebellion of the beatnik generation, Kerouac's 'On The Road' actually reveals the author's limitations and conservatism.

On the Road by Jack Kerouac does not necessarily constitute tragedy in this traditional sense but, despite the seemingly affirmative ending, this classic American novel contains many tragic elements.

Exploration and freedom in On The Road

Rather than the freedom he portends to examine, Kerouac’s narrative reveals the limitations, both internalised and externally imposed, that have become the foundation of dreams and reality in post-nuclear American society. This is reflected by Sal Paradise’s decision to reinsert himself into society after his reckless adventures with Dean, demonstrating the underling hypocrisy of the novel.

Tragedy’ is generalised as a “serious story with an unhappy ending, usually the downfall of a main character” (Oxford English Dictionary) and, whilst On the Road seems to be a quest for salvation and adventure, it arguably ends in tragic unfulfillment.

Sal’s character development

Sal remains a passive observer throughout the novel and, although this could be interpreted as a deliberate stance of the writer he claims to be, it ends much as it begins, which Sal himself fails to realise.

Tired of travelling at last when Dean abandons him in illness, Sal returns to New York and quickly settles down with a girl whom describes as the (previously intangible) thing “that [he] had always searched for” (OR 288). This may be realistic to an extent because the narrative takes place between his two marriages and the only period when he is happy and settled for a length of time is spent with Terry. However, his description of Laura as having “pure and innocent dear eyes” (OR 288) demonstrates how little the plot has developed or affected his conception of society. Dean tends to stereotype women as sexual objects but, in his idealisation of them as domestic and child-like figures, Sal’s view is just as derogatory. He continues to refer to her as “my girl” rather than her name until the final scene and it is clear that his perception of Laura is similarly limited, with the repetition of the possessive “my” further detracting from her individuality.

Sal initially sets off because of the “feeling that everything was dead” (OR 7) yet, despite being ostensibly happy at the end, nothing but his relationship has changed. Despite Sal’s assertion that he was searching for a woman, there is never any clearer or more coherent goal to their adventures than “for kicks” or a final destination to end their confused, ever-crossing paths around America. When the carnival operator asks “You boys going somewhere or just going?” Sal admits he “didn’t understand the question” (OR 24) which is indicative of the non-critical way he progresses.

On the Road could be described as ‘an American scene picaresque’ in reflection of Sal’s lack of development but there is a darker element to his inherent self-delusion.

Critique of contemporary society

On the Road has been acclaimed as an examination of the freedom of living outside of social responsibility and a critique of the material ideals of the time yet the narrative consistently reminds the reader of money, food, gasoline, alcohol and cigarettes demonstrating that it is, hypocritically, rooted in consumerism.

Similarly, the exploration of personal freedom is compromised by the characters’ involvement in crime and the novel’s degradation of women and ethnic minorities to poorly formed stereotypes, revealing their intrinsic narcissism.

Even the supposedly ‘spontaneous’ style of the prose reveals itself to be more stylised than first appears as it follows a cyclical repetition of events; after each big night is a morning after.

The values of On The Road

The hobo’s life on the tracks is idealised as the ultimate expression of freedom from society but it is paradoxically bound up with poverty and loneliness along with the plot’s failure to locate Dean’s father whom they believe lives this life.

Thus, beneath its radical surface, the underlying ideals in On the Road are conservative and do not succeed in liberating either Sal’s methodical (yet often unreliable) discourse or his society for the reader.

On The Road is a cultural event as well as novel due to its inspiration of the iconic beatnik generation and, as such, its ultimate conservatism is a betrayal of the rebellion and values of the which it has come to represent.

References:

Kerouac, Jack (1972) On the Road. Penguin group.