University of • Bedfordshire Title ‘Small Trip’ Looking for the Natural Voice Name Daniel Duddridge This is a digitised version of a dissertation submitted to the University of Bedfordshire. It is available to view only. This item is subject to copyright. 'SMALL TRIP': LOOKING FOR THE NATURAL VOICE DANIEL DUDDRIDGE MA by Research in Creative Writing 2006 UNIVERSITY OF LUTON DECLARATION I declare that this thesis is my own unaided work. It is being submitted for the degree of MA by Research in Creative Writing at the University of Luton. It has not been submitted before for any degree or examination in any other University. Date: 'SMALL TRIP': LOOKING FOR THE NATURAL VOICE BY DANIEL DUDDRIDGE Daniel Duddridge A thesis submitted to the University of Luton, in partial fulfilment of the requirements for the degree of MA by Research in Creative Writing January 2006 SMALL TRIP- LOOKING FOR THE NATURAL VOICE DANIEL DUDDRIDGE ABSTRACT This experimental short novel and thesis examines the techniques used by Jack Kerouac and Alan Bissett, to create a 'natural voice' and my efforts to achieve similar effects. In 'Small Trip' I explore the techniques and methods Kerouac used when writing his book, On the Road experimenting with syntactic drive, stream of consciousness and 'spontaneous prose' styling. I wanted to see how the natural voice is supported through the characterisation and setting ofthe story. In addition I studied experimental typographical techniques from Alan Bissett and B.S. Johnson and used Bissett's typographical and syntactic techniques to add energy and intensity to the narrators 'voice'. I examine the role of the narrator, the use of autobiographical material within this genre, and discuss the way in which the writer's 'self-mining' contributes to the natural voice. I found Kerouac's method of writing continuously without a formal plan was an effective device to generate a consistent 'natural voice' but caused problems with plot development and range within the characters. LIST OF CONTENTS Abstract List of contents 1. Search for the natural voice 2. Employing Kerouac's method of writing 1 3. Experiments with syntactic drive and typographical effects 4 4. Is writing 'self mining'? 9 5. Into the narrator's head 12 6. From Moriarty the iconic character to 'Small Trip' the group piece 19 7. Place and the effect environment has on individual expectations and ambitions 23 8. The 'natural voice' and the relevance ofKerouac's method today 34 9. Bibliography 37 'Small Trip': Looking for the Natural Voice 1. Search for the natural voice Two books changed the way I wrote. On The Road (1951) by Jack Kerouac and Boyracers (2002) by Alan Bissett. Both of these books are told in the first person and are semi-autobiographical in content. On The Road is a study of the young man on the fringes of society, lonesome traveller, mystic, voice of a generation labelled 'Beat'. Alan Bissett's first book, Boyracers tells quite a different story, but in a similar vein. Bissett also uses a mix of fiction and autobiography. In this thesis I wanted to explore some ofthe techniques used by Kerouac and Bissett- to try and tap into the energy of Kerouac's 'spontaneous prose' and the typographical experimentation employed by both Kerouac and Bissett. I believe the techniques these writers used were designed to achieve a 'natural voice', as well as inject their writing with energy and improve flow. I wanted to explore how the role of the narrator, the use of autobiographical material within this genre, as well as characterisation the setting of the car and the town contribute to creating the 'natural voice'. I will show some of the limitations I experienced incorporating some of these techniques when writing 'Small Trip'. 2. Employing Kerouac's method of writing When Kerouac was asked how long it took him to finish his book On The Road he answered 'three weeks'. He had battled for years to find his voice as a writer and 2 had experimented with many different styles. His friend William Burroughs' book, Junky had impressed him with its stark, honest and often shocking first­ person narration. Burroughs' writing style in Junky cuts straight to the point when describing heroin addiction and the behaviour, characters and consequences of its use in 40's America. Kerouac had a different way of expressing his thoughts on to the page. When he had finished his first draft of On the Road, the thought of editing a novel that he had written from the heart infuriated him. Kerouac abandoned planning the structure of the novel and instead concentrated on the flow of the text - it is thrown onto the page as a stream of consciousness thread, that bends more to rhythm and tone than to grammatical structure. In her introduction to On the Road, Ann Charters writes: A rapid typist, Kerouac hit on the idea of typing non-stop to get the 'kickwriting' momentum he wanted. Like the poet Hart Crane, he was convinced that his verbal flow was hampered when he had to change paper at the end of each page. Kerouac taped together twelve-foot-long sheets of drawing paper, trimmed at the left margin so they would fit into his typewriter, and fed them into his machine as a continuous roll. (Charters, page xix) In Naked Angels, John Tytell speaks of Kerouac's departure from his previous writing style: Kerouac began his marathon linguistic flow in early April, drinking cup after cup of coffee to stay awake, typing his 250-foot single paragraph as it unreeled from his memory of the various versions he had attempted during the past two years, but writing now with a more natural freedom, somehow organically responding to the Zen notion of "artless art". Finally he had found a voice that was much less literary and imitative than that of The Town and the City and a way of departing successfully from the earlier novel's conventional restraints, which he now saw as a kind of literary lying. (Naked Angels - page 68) 3 Because I wanted to achieve a similar effect with syntactic drive, I also experimented with how and when I would write. I found that the optimum amount of words per day was 1000 - after the 1000 mark the writing would become tired and lose some of its energy. Because I wanted to sacrifice all structure, planning and plot for 'Small Trip', I would simply sit down and write, allowing spontaneity and instinct to take over. This draft would then be re-written once, after a week, and then making only slight alterations, usually based on the flow of the words after reading it aloud. John Tytell says of Kerouac' s writing: With his rejection of revision and the traditional idea ofthe writer's selectivity, Kerouac was deemphasizing the element of process in writing, and attempting prose that would communicate unequivocally through the sheer ignition of felt energy. (Naked Angels - page 144) I wanted the story to undulate with highs and lows and to avoid conventional ending. When I sat down to write my next 1000 words my head would be clear enough for me to incorporate any feelings, inspiration or ideas I had mentally noted in the past week- thus keeping the writing fresh and energetic. One of the consequences was I never knew where the story was going to go until it got there. This was the situation with the character of Lucy and the moral dilemma of a sixteen year old girl, about to sit her GCSEs and pregnant. At first this twist in the story proved to be a problem and I only resolved the story thread by deciding that the pregnancy was an elaborate and desperate attempt by a mentally unwell person, for some attention. Because there was no structure, no plot, I would 4 sometimes find that I was almost digging myself a hole - that the piece was going in its own direction and that I had no control over the characters or their movements. Of course, not having to adhere to any plan was also very liberating and definitely allowed me to write with an energy that would otherwise have been stifled. 3. Experiments with syntactic drive and typographical effects 'You must and will go on at all costs including comfort & health & kicks; but keep it kickwriting at all costs too, that is, write only what kicks you and keeps you overtime awake from sheer mad joy.' (Jack Kerouac in a letter to Neal Cassady, circa. 1951 - The Penguin Book ofthe Beats - Page 209). With On The Road Jack Kerouac pioneered a new writing style that he called 'spontaneous prose'. Kerouac would allow his sentences to spread out into a poetic, sprawling, detailed description of what his narrator Sal Paradise was experiencing. In his search for 'honest' or 'pure' writing, Kerouac invites the reader into his narrator's head. Because thought processes in the human brain are not rigidly structured, but prone to random thoughts which intersperse with the logical, then the end result can become jumbled but flow freely onto the page: The piano hit a chord. 'So come on just clo-o-o-ose your pretty little ey-y­ y-y-yes' - his mouth quivered, he looked at us, Dean and me, with an expression that seemed to say, Hey now, what's this thing we're all doing in this sad brown world? - and then he came to the end of his song, and for this there had to be elaborate preparations, during which time you could send all the messages to Garcia around the world twelve times and what difference did it make to anybody? because here we are dealing with the pit and prejudice ofpoor beat life itself in the god-awful streets of man, so 5 he said it and sang it, 'Close -your - ' and blew it way up to the ceiling and through to the stars and on out - 'Ey-y-y-y-y-y-es' - and staggered off the platform to brood.