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It's called the first "Beat" novel. As a monument to that it does properly use the word "beat" and maintains a mostly plot-less narrative to youth and to that era. Holmes doesn't get the credit that Cassady, Kerouac Burroughs and Ginsberg do. Unlike many others, author John Clellon Holmes, like Kesey outlived the era. So they were able to produce later better works for which to be renowned.

"Fuck you! Fuck you! Fuck you!"
Just that snarling curse, shouted over and over again, at every-thing: the cars, the buildings, the deaf night itself; those two crude words, full of outrage and horror, thrown into the streets like crashing bottles.
"Fuck you! Fuck you! Fuck you!"

-John Clellon Holmes

John A. Woodworth

To me this demonstrated a masterful use of em dash, comma and semi colon to string a narrative. To write a run-on sentence is simple... to employ proper punctuation or even improper punctuation so that it makes sense is a challenge. Writing like that is a reason to subscribe.From his article Beating Scriptures from Fish in the Appalachia Journal Winter 1984:

"Chengtu is a melange of offensive odors, a din, a welter of confused discordant sounds, a clangor of traffic, a noisy, dusty, dirty place of milling pedestrians of every age and description — half-clad children with half-shaved heads playing in the street; old men with long, drooping, thin mustaches and sparse, pointed beards; young men in modern dress; old women hobbling painfully on tiny, bound feet, victims of a social custom now forbidden by government decree; men wildly running an dodging through the crowds pulling swaying rickshaws; soldiers in yellow cotton uniforms; officers carrying sabers; a rare automobile, klaxon blaring, crowding everyone off the street; geese and ducks swimming in puddles; hens pecking their way in and out of doorways; peddlers of eels holding their slimy catch aloft for a buyers critical scrutiny; bakers compounding strange pastries on tiny stoves; large, open-sided teahouses, crammed with people and humming with conversation; knots of curious bystanders watching a G.I. bargain over a souvenir, throngs of theatergoers pouring out of a puppet shadow play; policemen in black uniforms that look like crepe paper, wearing black helmets and an air of authority in the glint of their spectacles; craftsmen at their shops, metal workers, silversmiths, cabinet makers, and tailors."

-John A Woodworth

Jim Jarmusch

Source: Movie Maker magazine 01/22/04. He wrote it himself of course.

"Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is nonexistent. And don’t bother concealing your thievery—celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: “It’s not where you take things from—it’s where you take them to."

-Jim Jarmusch