<p>"Kerouac’s ambition to capture the living moment (crucially for him, recapitulating memory) developed poetic form in 1954 with his collection San Francisco Blues, and it reached greater fulfilment with the sixty-seven free-association passages of <i>Old Angel Midnight</i>. This new edition from City Light Books adds one more, found among Kerouac’s papers by John Sampas, concluding 'Eyes of Ray Charles see Me here realize O Holy.' Mostly written during April 1956 when Kerouac shared a shack with Gary Snyder in rural Mill Valley, outside San Francisco, <i>Old Angel Midnight</i> was likely facilitated by the 'letting go' technique he observed from Snyder’s Buddhist meditation. Kerouac described this as 'multilingual sound representing the haddal-da-babra of babbling world tongues coming in through my window.' Onomatopoeic sounds of trees, birds and deer intermingle with childhood flashbacks and in-jokes about his current lovers, friends and rivals. Assonantal and alliterative effects abound: 'perts parts pans pools palls pails parturiences and petty Thieveries that turn into heavenly Buddha.' The stream of mixed-up language is habitually libidinous, peppered by Joycean wordplay ('Taxi crabs & murdercycles'), an orgy of made-up words that culminate in pure sound: 'ampho andiam yerka yama chelmsford alya booneavance koroom cemada versel.”––Jules Smith, <i>The Times Literary Supplement</i></p>
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