On the Road at the British Library

Kerouac’s 120-ft manuscript unraveled for new exhibition.

In 1951 Jack Kerouac cut and taped together sheets of architects’ tracing paper to create a typewriter scroll which measured 120 feet in length. Over the next three weeks, fuelled (so the story goes) by nothing but coffee, he wrote the novel for which he and his generation of artists and writers would be remembered: On the Road. He did so to avoid interruption, working with febrile intensity producing what Allen Ginsberg referred to as “spontaneous bop prosody” without having to load new paper after every page.

From now until 27 December, visitors to the British Library’s Folio Society Gallery will be able to admire the first 50 feet of Kerouac’s original scroll, lovingly laid out in a bespoke white case, sitting at the heart of a new exhibition of materials related to the so-called Beat Generation. First editions of titles such as William Burrough’s Naked Lunch and Allen Ginsberg’s Howl are displayed alongside information panels and sound recordings: Kerouac reading from his book, poetry, jazz, and a recording of Neal Cassady, the model for On the Road’s Dean Moriarty, reading from Proust – donated to the library in 2007 by Carolyn Cassady, Neal’s former wife.

Jim Canary, a conservator from the Lilly Library at Indiana University and “keeper of the scroll”, has for the past ten years toured with the manuscript, unrolling it and ensuring its safety during trips to Rome, Dublin, Birmingham, Paris and across the US. The delicate scroll was bought by James Irsay, owner of the Indianapolis Colts football team, in 2001 for 2.43 million dollars. “He had the idea of having it travel and sharing it with the world,” Canary said. “Many people thought when it was sold at auction to a private individual that it would never be seen again, but Jim was so much the opposite. He likes to make things happen and so putting it out there has created a whole buzz of energy.”

Part of that energy either produced or was produced by the upcoming Walter Salles film adaptation of the book, released in UK cinemas next week. The film features Twilight and Friday Night Lights stars Kristen Stuart and Garrett Hedlund. I asked Canary what he thought the book might mean for a new generation of readers. “There’s never an end to that personal quest: the road, the path. It’s always there. It was a road of discovery for them – pushing limits and seeing what’s out there. That’s why I think it resonates, because that’s universal. We all think like that.”

While admiring the exhibition, musician David Amram appeared with a tote bag full of tiny drums, pointed to a large photograph of the foremost Beats laughing and smoking in a US diner, and said: “That’s me.” At the back of the photograph an unnamed figure is shovelling a spoonful of dessert into his open maw. “I had no table manners,” Amram laughed. “That’s amazing,” inserted Matthew Shaw, curator of the new exhibit. “We need to change the caption, there’s still space.”

Amram thanked the library for hosting the scroll. “Jack always wanted to be considered as being beyond the culture, as an artist and writer,” he said. “Now it’s finally happening, and it’s beautiful.” Over the next two weeks the library will host a reading by poet Amiri Baraka (7th), a preview of the Walter Salles’ film (10th) and a talk by Beat scholar Howard Cunnell (12th) on the topic “1951: The Great Year of My Enlightenment”. Entry to the exhibition is free.

"Keeper of the Scroll" Jim Canary in Paris. Photograph: Getty Images.

Philip Maughan is a freelance writer in Berlin and a former Assistant Editor at the New Statesman.

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Don’t worry, Old Etonian Damian Lewis calls claims of privilege in acting “nonsense!”

The actor says over-representation of the privately educated at the top of acting is nothing to worry about – and his many, many privately educated peers agree.

In the last few years, fears have grown over the lack of working class British actors. “People like me wouldn’t have been able to go to college today,” said Dame Julie Walters. “I could because I got a full grant. I don’t know how you get into it now.”

Last year, a report revealed that half of Britain’s most successful actors were privately educated. The Sutton Trust found that 42 per cent of Bafta winners over all time were educated independently. 67 per cent of British winners in the best leading actor, actress and director categories at the Oscars attended fee-paying schools – and just seven per cent of British Oscar winners were state educated.

“That’s a frightening world to live in,” said James McAvoy, “because as soon as you get one tiny pocket of society creating all the arts, or culture starts to become representative not of everybody but of one tiny part. That’s not fair to begin with, but it’s also damaging for society.”

But have no fear! Old Etonian Damian Lewis is here to reassure us. Comfortingly, the privately-educated successful actor sees no problem with the proliferation of privately-educated successful actors. Speaking to the Evening Standard in February, he said that one thing that really makes him angry is “the flaring up recently of this idea that it was unfair that people from private schools were getting acting jobs.” Such concerns are, simply, “a nonsense!”

He elaborated in April, during a Guardian web chat. "As an actor educated at Eton, I'm still always in a minority," he wrote. "What is true and always rewarding about the acting profession is that everyone has a similar story about them being in a minority."

Lewis’s fellow alumni actors include Hugh Laurie, Tom Hiddleston, Eddie Redmayne – a happy coincidence, then, and nothing to do with the fact that Etonians have drama facilities including a designer, carpenter, manager, and wardrobe mistress. It is equally serendipitous that Laurie, Hiddleston and Tom Hollander – all stars of last year’s The Night Manager – attended the same posh prep school, The Dragon School in Oxford, alongside Emma Watson, Jack Davenport, Hugh Dancy, Dom Joly and Jack Whitehall. “Old Dragons (ODs) are absolutely everywhere,” said one former pupil, “and there’s a great sense of ‘looking after our own’." Tom Hollander said the Dragon School, which has a focus on creativity, is the reason for his love of acting, but that’s neither here nor there.

Damian Lewis’s wife, fellow actor Helen McCrory, first studied at her local state school before switching to the independent boarding school Queenswood Girls’ School in Hertfordshire (“I’m just as happy to eat foie gras as a baked potato,” the Telegraph quote her as saying on the subject). But she says she didn’t develop an interest in acting until she moved schools, thanks to her drama teacher, former actor Thane Bettany (father of Paul). Of course, private school has had literally no impact on her career either.

In fact, it could have had an adverse affect – as Benedict Cumberbatch’s old drama teacher at Harrow, Martin Tyrell, has explained: “I feel that [Cumberbatch and co] are being limited [from playing certain parts] by critics and audiences as a result of what their parents did for them at the age of 13. And that seems to me very unfair.”

He added: “I don’t think anyone ever bought an education at Harrow in order for their son to become an actor. Going to a major independent school is of no importance or value or help at all.” That clears that up.

The words of Michael Gambon should also put fears to rest. “The more Old Etonians the better, I think!” he said. “The two or three who are playing at the moment are geniuses, aren’t they? The more geniuses you get, the better. It’s to do with being actors and wanting to do it; it’s nothing to do with where they come from.”

So we should rejoice, and not feel worried when we read a list of privately educated Bafta and Oscar winners as long as this: Chiwetel Ejiofor (Dulwich College), Emilia Clarke (St Edward’s), Carey Mulligan (Woldingham School), Kate Winslet (Redroofs Theatre School), Daniel Day-Lewis (Sevenoaks School, Bedales), Jeremy Irons (Sherborne School), Rosamund Pike (Badminton), Tom Hardy (Reed), Kate Beckinsale (Godolphin and Latymer), Matthew Goode (Exeter), Rebecca Hall (Roedean), Emily Blunt (Hurtwood House) and Dan Stevens (Tonbridge).

Life is a meritocracy, and these guys were simply always the best. I guess the working classes just aren’t as talented.

Anna Leszkiewicz is a pop culture writer at the New Statesman.

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