My guilty pleasure?
Still Kerouac’s "On the Road" — but now we’re throwing the steering wheel out the window and letting the jazz‑powered chaos take the wheel.
It’s the book I grab
when I want to feel like
I’ve been kidnapped by wanderlust,
caffeinated beyond medical recommendation,
and dropped into a world
where every decision is made at 3 a.m.
in a diner that smells like burnt toast
and existentialism.
There’s no plot so much as a vibe,
no structure so much as a vibration,
and no moral except
“maybe don’t hitchhike with poets.”
But I love it.
Every reread feels like I’m sprinting
across America
with Beat‑era madness
rattling in my bones —
jazz horns blaring,
neon signs flickering,
and the constant suspicion
that someone named Dean
is about to make
a terrible choice
that I will absolutely support.
It’s escapism
that tastes like cheap coffee,
freedom,
and the kind of optimism
you only have before life
teaches you about taxes.
There’s always that moment —
somewhere between Denver
and the end of my sanity —
where I think,
“You know what?
I could just drop everything
and chase the horizon.”
And then reality taps me
on the shoulder like,
“Relax, Kerouac. You have responsibilities.”
But the fantasy lingers,
humming like a saxophone solo
that refuses to end.
It’s messy.
It’s impulsive.
It’s spiritually feral.
And it’s perfect.
Peak escapism.
Peak chaos.
Peak guilty pleasure!