Image: Ben Harris-Roxas (Creative Commons)

On a recommendation, I recently ploughed through Robert McCammon‘s Boy’s Life. McCammon is not normally the sort of author that appeals to me, (not being a big fan of horror/fantasy). However Boy’s Life really worked. I loved its uncomplicated melding of magic and mundanity, its vivid descriptive tone and unforced evocation of life in smalltown Alabama in the 1960s.

Ostensibly a murder mystery, Boy’s Life is really a collection of episodes in the life of Cory, a 12 year-old kid who is discovering his calling as a storyteller. The book never loses this sense of wonder, slipping with ease between tales of summer days on the baseball diamond and back-yard conversations with ghosts. Cory’s Zephyr is a Harper Lee-style smalltown, refracted through a funhouse mirror: ineffectual sheriffs, snarling Klansmen and shotgun-wielding junk collectors share the stage with a ferocious river monster, flying dogs, an ancient voodoo witch and (of course) a dinosaur.

The suspense is occasionally stunning: some events in the novel are so completely unexpected that they strike with near-physical force.   Sometimes it seems that McCammon can’t resolve or propel the narrative forward without summoning hideous dei ex machina at the last minute. But this is barely a failing: it is in these moments of crisis that McCammon’s writing is strongest.

As a semi-autobiographical novel of a child growing into the world and confronting the gift and necessity of writing, Boy’s Life bears some comparison to David Mitchell‘s Black Swan Green.   Mitchell’s story of a year in the life of Worcestershire lad Jason Taylor is darker and more tightly-woven. But in both novels the boys’ imaginative universe is a small town, populated by near-mythical characters, presented against a backdrop of real-world outside events (in Zephyr it’s the civil rights movement and Vietnam; in Black Swan Green it’s 1980s Thatcherism and the Falklands War).

In an endearingly English way, Black Swan Green thrives on loose ends, ambiguity and Jason’s unease with his role in the world. The novel orbits around a dissolving marriage and inevitable divorce.

By contrast, Cory rides roughshod into danger and mystery, calls things as he sees them and seems implausibly unperturbed by frequent physical injuries. Boy’s Life possesses an almost conservative concern for family unity, culminating in a clunky epilogue in which the narrator returns to Zephyr 25 years later and we discover what’s happened to the main characters in the interim (basically: college, wedlock and socially respectable jobs).

Black Swan Green is, as a piece of art, more far subtle and definitely more interesting (I own an autographed hardback copy, ’nuff said). But Boy’s Life is immediately satisfying: a heartfelt romp through boyhood. In its best moments it’s dizzyingly good. Just watch out for dinosaurs.

Image: whateverthing (Creative Commons)

-Jack Kerouac

YouTube is a trove of little gems, many of which would not be otherwise available to most of us. Here are a few videos related to Jack Kerouac.

Kerouac’s books were the first I read as a teenager that demonstrated an entirely new way of writing and describing the world. In quick sucession I read On the Road of course, Dharma Bums, and the weighty Visions of Cody, which I started on a long bus trip across the Arizona desert in 1996. (I recall that Miles’ Bitches Brew was on near-permanent loop on my walkman – heady times for a 17 year old).

The first video is one of the few extant films of Kerouac reading his own work, on the Steve Allen Show in 1959:

And although Kerouac was one of the writers who most deeply revolutionised the use of written English in the mid-20th Century, he was in fact francophone by birth. Born to immigrant Québecois parents in Massachusetts, he didn’t learn English until he went to school.  Here he is interviewed on Canadian TV in the mid-1960s, speaking the thick joual dialect of his childhood:

A documentary that seems worth seeing is the 1999 film The Source, recounting the origins and development of the Beat movement in the 1940s and 1950s, and the lives of Kerouac and his contemporaries such as Allan Ginsberg and William S. Burroughs. This extract is set to music by British composer Mike Westbrook.