On the Road Spirituality Quotes

How we cite our quotes: Citations follow this format: (Part.Chapter.Paragraph)

Quote #21

Holy flowers floating in the air, were all these tired faces in the dawn of Jazz America. (III.3.42)

Sal, like Dean, connects music with God.

Quote #22

We were telling these things and both sweating. We had completely forgotten the people up front who had begun to wonder what was going on in the back seat. At one point the driver said, "For God’s sakes, you’re rocking the boat back there." Actually we were; the car was swaying as Dean and I both swayed to the rhythm and the IT of our final excited joy in talking and living to the blank tranced end of all innumerable riotous angelic particulars that had been lurking in our souls all our lives. (III.5.4)

Part of Dean’s appeal for Sal is his holiness; the two understand each other not only "on other levels of madness," but also on a level of spirituality.

Quote #23

The holy con-man began to eat. (III.6.17)

Again, Sal connects two seemingly inconsistent traits in Dean: holiness and criminality.

Quote #24

"Don’t worry, man, I know what I’m doing." I began to flinch. Dean came up on lines of cars like the Angel of Terror. He almost rammed them along as he looked for an opening. He teased their bumpers, he eased and pushed and craned around to see the curve, then the huge car leaped to his touch and passed, and always by a hair we made it back to our side as other lines filed by in the opposite direction and I shuddered. I couldn’t take it any more. (III.9.14)

Sal seems to emphasize Dean’s holiness at his greatest moments of intensity – intense driving, intense drug use, and intense madness or music.

Quote #25

Stranger flowers yet - for as the N***o alto mused over everyone’s head with dignity, the young, tall, slender, blond kid from Curtis Street, Denver, jeans and studded belt, sucked on his mouthpiece while waiting for the others to finish; and when they did he started, and you had to look around to see where the solo was coming from, for it came from angelical smiling lips upon the mouthpiece and it was a soft, sweet, fairy-tale solo on an alto. Lonely as America, a throatpierced sound in the night. (III.10.5)

Like Dean, Sal connects spirituality with music.

Quote #26

Suddenly Dean stared into the darkness of a corner beyond the bandstand and said, "Sal, God has arrived."

I looked. George Shearing. And as always he leaned his blind head on his pale hand, all ears opened like the ears of an elephant, listening to the American sounds and mastering them for his own English summer’s-night use. Then they urged him to get up and play. He did. He played innumerable choruses with amazing chords that mounted higher and higher till the sweat splashed all over the piano and everybody listened in awe and fright. They led him off the stand after an hour. He went back to his dark corner, old God Shearing, and the boys said, "There ain’t nothin left after that." (III.10.8, III.10.9)

Dean sees God in Shearing because of his ability to keep a beat and "know time."

Quote #27

By this time Dean was so exhausted and out of his mind that everything he saw delighted him. He was reaching another pious frenzy. He sweated and sweated. The moment we were in the new Chrysler and off to New York the poor man realized he had contracted a ride with two maniacs, but he made the best of it and in fact got used to us just as we passed Briggs Stadium and talked about next year’s Detroit Tigers. (III.11.3)

Sal compares Dean’s fits of madness to religious fervors, an analogy that emphasizes the intensity and admirability of Dean’s character.

Quote #28

"Why not, man? Of course we will if we want to, and all that. There’s no harm ending that way. You spend a whole life of non-interference with the wishes of others, including politicians and the rich, and nobody bothers you and you cut along and make it your own way." I agreed with him. He was reaching his Tao decisions in the simplest direct way. "What’s your road, man? - holyboy road, madman road, rainbow road, guppy road, any road. It’s an anywhere road for anybody anyhow. Where body how?" We nodded in the rain. "Sheeit, and you’ve got to look out for your boy. He ain’t a man ‘less he’s a jumpin man - do what the doctor say. I’ll tell you. Sal, straight, no matter where I live, my trunk’s always sticking out from under the bed, I’m ready to leave or get thrown out. I’ve decided to leave everything out of my hands. You’ve seen me try and break my ass to make it and you know that it doesn’t matter and we know time - how to slow it up and walk and dig and just old-fashioned spade kicks, what other kicks are there? We know." (IV.1.6)

Sal uses religious terms to characterize Dean’s transitions of character.

Quote #29

"That’s only Ed Dunkel. He came back to Galatea, they’re gone to Denver now. They spent a day taking pictures."

Ed Dunkel, his compassion unnoticed like the compassion of saints. (IV.1.25, IV.1.26)

While Dean is a "saint" despite his treatment of women, Ed is a "saint" because of it.

Quote #30

He was on his way to live with his brother and sister-in-law; they had a job for him in Colorado. His ticket was bought by the feds, his destination the parole. Here was a young kid like Dean had been; his blood boiled too much for him to bear; his nose opened up; but no native strange saintliness to save him from the iron fate. (IV.2.7)

Sal uses Henry Glass to examine Deal further; Dean’s saintliness, it seems, is in spite of his criminality, not because of it.

Quote #31

He simply disappeared for a moment to gather up more energy. If you touched him he would sway like a boulder suspended on a pebble on the precipice of a cliff. He might come crashing down or just sway rocklike. Then the boulder exploded into a flower and his face lit up with a lovely smile and he looked around like a man waking up and said, "Ah, look at all the nice people that are sitting here with me. Isn’t it nice! Sal, why, like I was tellin Min just t’other day, why, urp, ah, yes!" He got up and went across the room, hand outstretched to one of the bus-drivers in the party. "Howd’y’do. My name is Dean Moriarty. Yes, I remember you well. Is everything all right? Well, well. Look at the lovely cake. Oh, can I have some? Just me? Miserable me?" Ed’s sister said yes. "Oh, how wonderful. People are so nice. Cakes and pretty things set out on a table and all for the sake of wonderful little joys and delights. Hmm, ah, yes, excellent, splendid, harrumph, egad!" And he stood swaying in the middle of the room, eating his cake and looking at everyone with awe. He turned and looked around behind him. Everything amazed him, everything he saw. People talked in groups all around the room, and he said, "Yes! That’s right!" A picture on the wall made him stiffen to attention. He went up and looked closer, he backed up, he stooped, he jumped up, he wanted to see from all possible levels and angles, he tore at his T-shirt in exclamation, "Damn!" He had no idea of the impression he was making and cared less. People were now beginning to look at Dean with maternal and paternal affection glowing in their faces. He was finally an Angel, as I always knew he would become; but like any Angel he still had rages and furies, and that night when we all left the party and repaired to the Windsor bar in one vast brawling gang, Dean became frantically and demoniacally and seraphically drunk. (IV.3.12)

Sal compares Dean’s fits of madness to religious fervors, an analogy that emphasizes the intensity and admirability of Dean’s character.

Quote #32

We saw a vision of the entire Western Hemisphere rockribbing clear down to Tierra del Fuego and us flying down the curve of the world into other tropics and other worlds. "Man, this will finally take us to IT!" said Dean with definite faith. He tapped my arm. "Just wait and see. Hoo! Wheel" (IV.3.19)

Dean’s "faith" in their journey makes the trip to Mexico a religious pilgrimage; their Mecca is "the end of the road."

Quote #33

Dean was so astounded he kept on driving slowly and saying, "Yes, I heard what she said, I certainly damn well did, oh me, oh my, I don’t know what to do I’m so excited and sweetened in this morning world. We’ve finally got to heaven. It-couldn’t be cooler, it couldn’t be grander, it couldn’t be anything." (IV.5.10)

The religious nature of the journey to Mexico is heightened by Dean’s commentary.

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.

Quote #37

Under great trees on the shimmering desert the shepherds sat and convened, and the sheep moiled in the sun and raised dust beyond. "Man, man," I yelled to Dean, "wake up and see the shepherds, wake up and see the golden world that Jesus came from, with your own eyes you can tell!"

He shot his head up from the seat, saw one glimpse of it all in the fading red sun, and dropped back to sleep. When he woke up he described it to me in detail and said, "Yes, man, I’m glad you told me to look. Oh, Lord, what shall I do? Where will I go?" He rubbed his belly, he looked to heaven with red eyes, he almost wept. (IV.6.19, IV.6.20)

Sal catches on to Dean’s holiness, using the same terminology to express his awe of Mexico.

Quote #38

This was the great and final wild uninhibited Fellahin-childlike city that we knew we would find at the end of the road. Dean walked through with his arms hanging zombie-like at his sides, his mouth open, his eyes gleaming, and conducted a ragged and holy tour that lasted till dawn in a field with a boy in a straw hat who laughed and chatted with us and wanted to play catch, for nothing ever ended. (IV.6.26)

Sal and Dean’s tour of a "holy" city solidifies their belief that this is their heaven, this is their Mecca – the end of the road they have been searching for.