How we cite our quotes: Citations follow this format: (Part.Chapter.Paragraph)
Quote #34
"Why," said Dean, his face still transfigured into a shower of supreme pleasure and even bliss, "he is the prettiest child I have ever seen. Look at those eyes. Now, Sal and Stan," he said, turning to us with a serious and tender air, "I want you par-ti-cu-lar-ly to see the eyes of this little Mexican boy who is the son of our wonderful friend Victor, and notice how he will come to manhood with his own particular soul bespeaking itself through the windows which are his eyes, and such lovely eyes surely do prophesy and indicate the loveliest of souls." It was a beautiful speech. And it was a beautiful baby. Victor mournfully looked down at his angel. We all wished we had a little son like that. So great was our intensity over the child’s soul that he sensed something and began a grimace which led to bitter tears and some unknown sorrow that we had no means to soothe because it reached too far back into innumerable mysteries and time. We tried everything; Victor smothered him in his neck and rocked, Dean cooed, I reached over and stroked the baby’s little arms. His bawls grew louder. "Ah," said Dean, "I’m awfully sorry, Victor, that we’ve made him sad." (IV.5.42)
Sal and Dean see in Victor’s baby a purity they themselves lack – there is beauty in the child, but the sadness lies in the comparison of the baby to themselves.
Quote #35
"More Mambo Jambo," "Chattanooga de Mambo," "Mambo Numero Ocho" - all these tremendous numbers resounded and flared in the golden, mysterious afternoon like the sounds you expect to hear on the last day of the world and the Second Coming. The trumpets seemed so loud I thought they could hear them clear out in the desert, where the trumpets had originated anyway. The drums were mad. The mambo beat is the conga beat from Congo, the river of Africa and the world; it’s really the world beat. Oom-ta, ta-poo-poom - oom- ta, ta-poo-poom. The piano montunos showered down on us from the speaker. The cries of the leader were like great gasps in the air. The final trumpet choruses that came with drum climaxes on conga and bongo drums, on the great mad Chattanooga record, froze Dean in his tracks for a moment till he shuddered and sweated; then when the trumpets bit the drowsy air with their quivering echoes, like a cavern’s or a cave’s, his eyes grew large and round as though seeing the devil, and he closed them tight. I myself was shaken like a puppet by it; I heard the trumpets flail the light I had seen and trembled in my boots. (IV.5.45)
Sal sees spirituality in music, just as Dean does.
Quote #36
As we climbed, the air grew cooler and the Indian girls on the road wore shawls over their heads and shoulders. They hailed us desperately; we stopped to see. They wanted to sell us little pieces of rock crystal. Their great brown, innocent eyes looked into ours with such soulful intensity that not one of us had the slightest sexual thought about them; moreover they were very young, some of them eleven and looking almost thirty. "Look at those eyes!" breathed Dean. They were like the eyes of the Virgin Mother when she was a child. We saw in them the tender and forgiving gaze of Jesus. And they stared unflinching into ours. We rubbed our nervous blue eyes and looked again. Still they penetrated us with sorrowful and hypnotic gleam. When they talked they suddenly became frantic and almost silly. In their silence they were themselves. (IV.6.14)
In Mexico, everything and everyone becomes imbued with a holy status.