Neal Cassady was a magnetic character in Jack Kerouac’s books — a wild West antihero  who was ultra-cool and ultra-hot, a walking contradiction. He was also an object of affection for many Beats and their followers, the model for the charismatic Dean Moriarty in Kerouac’s On The Road, and known as Cody Pomeray in his later works. Besides the many women he loved and left, Cassady for many years had an on-again, off-again romantic relationship with Allen Ginsberg. He went back and forth, from coast to coast.

For all his babbling bop poetry, a muse for Kerouac, Ginsberg and latter-day Beats, Cassady never published anything. He inspired Kerouac to write like the wind, in a stream-of-consciousness style, with his constant patter, and no doubt induced Ginsberg to “Howl” and make other poetic sounds, but Cassady’s own writings were little more than notes left here and there.

Neal Cassady in the driver’s seat of “Further,” Ken Kesey’s psychedelic bus. Pulled over many times, Cassady was able to talk his way out of every situation, distracting officers as he directed video crews filming the officers — as seen in the 2011 movie, Magic Trip.

Still, before his sudden death in Mexico in 1968, Cassady played a major role in the evolution of the Beat culture as it was transformed in the psychedelic brew of California. That’s where he was in 1963, falling in with Ken Kesey and his Merry Pranksters as they prepared a cross-country trip to the East Coast to meet Kerouac, Timothy Leary and their East Coast countercultural counterparts, whoever they were.

As shown in Alex Gibney’s 2011 film, Magic Trip, which integrated original clips from the trip, Cassady was the self-proclaimed “protector” of the Pranksters, and sole driver of the well-painted bus, “Further.” He was the hyper engine of a bus that seemed to be careening wildly across the countryside, a speed freak leading wacky meditations on LSD and other psychedelic drugs.

The trip and “graduation ceremonies” are chronicled by Tom Wolfe in The Electric Kool-Aid Acid Test, a New Journalism classic that I am rereading for context for my own trip in search of the new Dharma bums. Here’s how Wolfe described Cassady, when Wolfe first approaches the Pranksters working on the psychedelic bus:

“Off to one side is a guy about 40 with a lot of muscles, as you can see because he has no shirt on – just a pair of khakis and some red leather boots on and his hell of a build – and he seems to be in a kinetic trance, flipping a small sledge hammer up in the air over and over, always managing to catching the handle on the way down with his arms and legs kicking out the whole time and his shoulders rolling and his head bobbing, all in a jerky beat as if somewhere Joe Cuba is playing ‘Bang Bang’ …”:

Then later, when he learns the kinetic superman is THE Dean Moriarty, he is amused that “Cassady never stops talking. … (He) is a monologist, only he doesn’t seem to care whether anyone is listening or not. He just goes off on the monologue, by himself if necessary, although anyone is welcome aboard. He will answer all questions, although not exactly in that order, because we can’t stop here, next rest area 40 miles, you understand, spinning off memories, metaphors, literary, Oriental, hip allusions, all punctuated by the unlikely expression, ‘you understand …’”

Ken Kesey and his Merry Pranksters named their psychedelic bus “Further.” Neal Cassady drove it from San Francisco to New York, but didn’t return with the group.

Dabney’s movie, available on YouTube at one hour, 47 minutes, follows the trip in all its creative chaos, with interviews with Kesey and other easy riders while also depicting the denouement of Neal Cassady and Jack Kerouac, who had already begun to slip into an alcoholic stupor when he met Kesey, Cassady and the Pranksters. Everyone was in a bit of a stupor, though:

When Kesey mounted his cross-country journey, he had finished up his second novel, Sometimes a Great Notion, which would be panned by media along with his psychedelic adventure. But Kesey already had his masterpiece, One Flew Over the Cuckoo’s Nest, hailed as a great American novel, which had opened  on Broadway with Kirk Douglas in the role of the all-American rascal Randle McMurphy, later immortalized by Jack Nicholson in the great American movie.

Kesey also had a suitor in Tom Wolfe, the dapper Journalist (Big “J”) from New York City, seemingly always decked out in a white suit. Wolfe was in the midst of pioneering the New Journalism form, along with Norman Mailer, Hunter Thompson and a few others. The idea is to tell real-life stories in the form of a novel, injecting yourself into the narrative. Wolfe tracks down Kesey in 1965, as he is getting out of jail, having served three months for marijuana possession. That’s where we’ll pick up the thread in a future blog.