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On Th e Road 149 faith when Dean leaves him moneyless on the streets of San Francisco to pursue his own pleasure, recognizing “what a rat he was” when Dean deserts him sick in Mexico at the end of the book. But underlying the vacillation of feeling, when Sal knows better than to believe Dean, is a constant belief in Dean. “I told Dean I was sorry he had nobody in the world to believe in him. ‘Remember that I believe in you.’” From one perspective Dean cannot be trusted to keep his word or his loyalty. From another he can be counted on to turn up again and again with promise and exhilaration, to radiate his tremendous energy to others, to give them a good time just by being himself. On a deeper level Sal is responding to Dean not only as a modern American con man but as an archaic trickster whose primal energy crashes through all cultural bounds: “Bitterness, recriminations, advice, morality, sadness—everything was behind him, and ahead of him was the ragged and ecstatic joy of pure being.” NOTE 1. Th e literature that Neal Cassady haunts is extensive. He is Dean Moriarty in Jack Kerouac’s On the Road and Cody in Kerouac’s Visions of Cody. He is Houlihan in Ken Kesey’s Over the Border (included in Kesey’s Garage Sale [New York, 19731]). He appears often as himself in Tom Wolfe’s Electric Kool-Aid Acid Test (New York, 1968). Biographical material is available in Ann Charters, Kerouac: A Biography (San Francisco, 1973); John Tytell, Naked Angels: Th e Lives and Literature of the Beat Generation (New York, 1976); Carolyn Cassady, Heart Beat: My Life with Jack and Neal (Berkeley, 1976); and Barry Giff ord and Lawrence Lee, Jack’s Book: An Oral Biography of Jack Kerouac (New York, 1978). “Appreciations” include an interview with Carolyn Cassady in Rolling Stone (October 12, 1972) and two pieces by Ken Kesey, “An Impolite Interview with Ken Kesey” (1971) and “Neal Cassady” (1971), both included in Kesey’s Garage Sale. Finally, there is Cassady’s own incomplete, posthumously published autobiography, Th e First Th ird: A Partial Autobiography and Other Writings (San Francisco, 1971), which develops extensively his experience in Denver and on the road from ages six to nine, an alternation between half-years
150 Jack Kerouac on Larimer Street with his wino father and half-years with his mother and half-brothers; it also contains some fragments on teenage and adult experiences and several letters to Kerouac and to Kesey.
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Bloom's Literary Th emes f Alienati
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Bloom’s Literary Th emes THE TRIC
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, Contents . Series Introduction by
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Contents Th e Tempest (William Shak
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xii Series Introduction by Harold B
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, Volume Introduction by Harold Blo
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THE ADVENTURES OF HUCKLEBERRY FINN
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Th e Adventures of Huckleberry Finn
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the Works of sherman alexie ,. “F
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Th e Works of Sherman Alexie 11 Sup
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Th e Works of Sherman Alexie 13 reg
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Th e Works of Sherman Alexie 15 tea
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Th e Works of Sherman Alexie 17 A k
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The ConfidenCe-Man: his Masquerade
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Th e Confi dence-Man: His Masquerad
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DECAMERON (GIOVANNI BOCCACCIO) ,.
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Decameron 39 commonplace, eludes al
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Decameron 41 mercenary soldier, fal
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Decameron 43 pretends to confi de t
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Decameron 45 general laughter. Cala
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Decameron 47 For the storytellers j
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Decameron 49 alcuni, più gentili c
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Decameron 51 death and is, in this
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Decameron 53 city of Naples is iron
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Decameron 55 Th e Decameron constan
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Decameron 57 9. “Avvegna che, chi
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Decameron 59 20. It may be of inter
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Decameron 61 33. Lynn Th orndike, A
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THE NOVELS OF WILLIAM GOLDING Intro
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Th e Novels of William Golding 65 h
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Th e Novels of William Golding 67 u
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Th e Novels of William Golding 69 B
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Th e Novels of William Golding 71 t
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Th e Novels of William Golding 73 t
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Th e Novels of William Golding 75 I
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haMleT (William shakespeare) ,. “
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Hamlet 79 I picture the old fellow
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Hamlet 81 natural dignity of his tr
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Hamlet 83 the gruesome relics that
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Hamlet 85 Th e dialogue is terminat
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Hamlet 87 It appeared that our prop
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90 N. Scott Momaday Th e in-between
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92 N. Scott Momaday (Momaday, HMD,
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94 N. Scott Momaday with grace and
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96 N. Scott Momaday House made of d
Page 113 and 114: 98 N. Scott Momaday fearsome experi
Page 115 and 116: 100 N. Scott Momaday Jones, Peter N
Page 117 and 118: 102 Franz Kafka notes in his deft a
Page 119 and 120: 104 Franz Kafka hunger artist and t
Page 121 and 122: 106 Franz Kafka evoked by the narra
Page 123 and 124: 108 Franz Kafka Kafka, Franz. Th e
Page 125 and 126: 110 William Shakespeare Contours, C
Page 127 and 128: 112 William Shakespeare likeness of
Page 129 and 130: 114 William Shakespeare Th roughout
Page 131 and 132: 116 William Shakespeare the comic c
Page 133 and 134: 118 William Shakespeare he had, iro
Page 136 and 137: ODYSSEY (HOMER) ,. “A General Vie
Page 138 and 139: Odyssey 123 without offending again
Page 140 and 141: Odyssey 125 their own miscarriages.
Page 142 and 143: Odyssey 127 SECT. V Th e action 7 o
Page 144 and 145: Odyssey 129 he should have ended il
Page 146 and 147: Odyssey 131 a passion that begins a
Page 148 and 149: Odyssey 133 which we only read or h
Page 150 and 151: Odyssey 135 the rest of the work, w
Page 152 and 153: ON THE ROAD (JACK KEROUAC) ,. “Fa
Page 154 and 155: On Th e Road 139 person with extrao
Page 156 and 157: On Th e Road 141 for limitless spac
Page 158 and 159: On Th e Road 143 motion.” Whether
Page 160 and 161: On Th e Road 145 Buddha . . . sator
Page 162 and 163: On Th e Road 147 the middle of the
Page 166 and 167: ORLANDO (VIRGINIA WOOLF ) ,. “Wit
Page 168 and 169: Orlando 153 a rather masculine view
Page 170 and 171: Orlando 155 the biographer, the len
Page 172 and 173: Orlando 157 often it is only the cl
Page 174 and 175: ROSENCRANTZ AND GUILDENSTERN ARE DE
Page 176 and 177: Rosencrantz and Guildenstern are De
Page 184 and 185: Tar BaBy (toni morrison) Praisesong
Page 186 and 187: Tar Baby and Praisesong for the Wid
Page 202 and 203: THE TEMPEST (WILLIAM SHAKESPEARE) ,
Page 204 and 205: Th e Tempest 189 imitations of comm
Page 206 and 207: Th e Tempest 191 affi nity to the f
Page 208 and 209: Th e Tempest 193 under-current of h
Page 210 and 211: Th e Tempest 195 the latter allow a
Page 212 and 213: Th e Tempest 197 the fools for murd
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Th e Tempest 199 saved, but some, a
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Th e Tempest 201 rest, and we look
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Th e Tempest 203 stream of life hur
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Th e Tempest 205 meets the brutal.
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Th e Tempest 207 long known to the
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A THOUSAND AND ONE NIGHTS ,. “Sev
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A Th ousand and One Nights 211 ways
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A Th ousand and One Nights 213 top
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A Th ousand and One Nights 215 Just
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A Th ousand and One Nights 217 him
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UNCLE REMUS (JOEL CHANDLER HARRIS)
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Uncle Remus 221 Mixon’s view foun
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Uncle Remus 223 Harris calls “the
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Uncle Remus 225 the plantations at
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Uncle Remus 227 accused of a crime,
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“THE WIFE OF BATH’S TALE” (GE
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“Th e Wife of Bath’s Tale” 23
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242 Acknowledgments Warde, Frederic
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244 “Battle of the Maldon, Th e,
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246 Free Fall (Golding), 65 Freud,
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248 Lewis, R.W.B., 20, 30, 33, 34 l
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250 narrative, 183, 184 Tatem, Sout
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252 Th ousand and One Nights, A, 20
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