How we cite our quotes: Citations follow this format: (Part.Chapter.Paragraph)
Quote #1
Dean had dispatched the occupant of the apartment to the kitchen, probably to make coffee, while he proceeded with his love problems, for to him sex was the one and only holy and important thing in life, although he had to sweat and curse to make a living and so on. (I.1.4)
Sal doesn’t connect holiness and sex at first, but recognizes the connection in Dean.
Quote #2
"That’s right, man, now you’re talking." And a kind of holy lightning I saw flashing from his excitement and his visions, which he described so torrentially that people in buses looked around to see the "overexcited nut." In the West he’d spent a third of his time in the poolhall, a third in jail, and a third in the public library. They’d seen him rushing eagerly down the winter streets, bareheaded, carrying books to the poolhall, or climbing trees to get into the attics of buddies where he spent days reading or hiding from the law. (I.1.10)
The holy element that Sal recognizes in Dean is Dean’s frenzied nature, his "holy lightning." Dean’s madness takes on the fervor of religious ecstasy,
Quote #3
Dean, who had the tremendous energy of a new kind of American saint, and Carlo were the underground monsters of that season in Denver, together with the poolhall gang, and, symbolizing this most beautifully, Carlo had a basement apartment on Grant Street and we all met there many a night that went to dawn - Carlo, Dean, myself, Tom Snark, Ed Dunkel, and Roy Johnson. More of these others later. (I.6.5)
It is interesting that Sal refers to Dean as a saint, given his criminal past, his drug use, his alcohol abuse, and his general mistreatment of Sal as a friend.
Quote #4
I wanted to go and get Rita again and tell her a lot more things, and really make love to her this time, and calm her fears about men. Boys and girls in America have such a sad time together; sophistication demands that they submit to sex immediately without proper preliminary talk. Not courting talk - real straight talk about souls, for life is holy and every moment is precious. (I.10.11)
While Dean sees sex as holy, Sal sees the interaction between men and women in conversation as the holy part. Sex, according to Sal, only obscures the issue.
Quote #5
Terry came out with tears of sorriness in her eyes. In her simple and funny little mind had been decided the fact that a pimp does not throw a woman’s shoes against the door and does not tell her to get out. In reverent and sweet little silence she took all her clothes off and slipped her tiny body into the sheets with me. It was brown as grapes. I saw her poor belly where there was a Caesarian scar; her hips were so narrow she couldn’t bear a child without getting gashed open. Her legs were like little sticks. She was only four foot ten. I made love to her in the sweetness of the weary morning. Then, two tired angels of some kind, hung-up forlornly in an LA shelf, having found the closest and most delicious thing in life together, we fell asleep and slept till late afternoon. (I.12.26)
It is not until after the act of sex that Sal uses religious terms to describe himself and Terry, suggesting that sex is not the important bit for Sal.
Quote #6
"How did you get from Tucson to New Orleans?" I asked. She said she wired home for money and took a bus. She was determined to catch up with Ed because she loved him. I went upstairs and told Big Ed. He sat in the chair with a worried look, an angel of a man, actually. (II.3.2)
Sal sees holiness in all of his friends, but never in himself.
Quote #7
He was out of his mind with real belief. "And of course now no one can tell us that there is no God. We’ve passed through all forms. You remember, Sal, when I first came to New York and I wanted Chad King to teach me about Nietzsche. You see how long ago? Everything is fine, God exists, we know time. Everything since the Greeks has been predicated wrong. You can’t make it with geometry and geometrical systems of thinking. It’s all this!" He wrapped his finger in his fist; the car hugged the line straight and true. "And not only that but we both understand that I couldn’t have time to explain why I know and you know God exists." At one point I moaned about life’s troubles - how poor my family was, how much I wanted to help Lucille, who was also poor and had a daughter. "Troubles, you see, is the generalization-word for what God exists in. The thing is not to get hung-up. My head rings!" he cried, clasping his head. (II.3.10)
Dean believes he has found God in the knowledge he sought.
Quote #8
We passed a little kid who was throwing stones at the cars in the road. "Think of it," said Dean. "One day he’ll put a stone through a man’s windshield and the man will crash and die - all on account of that little kid. You see what I mean? God exists without qualms. As we roll along this way 1 am positive beyond doubt that everything will be taken care of for us - that even you, as you drive, fearful of the wheel" (I hated to drive and drove carefully) - "the thing will go along of itself and you won’t go off the road and I can sleep. Furthermore we know America, we’re at home; I can go anywhere in America and get what I want because it’s the same in every corner, I know the people, I know what they do. We give and take and go in the incredibly complicated sweetness zigzagging every side." There was nothing clear about the things he said, but what he meant to say was somehow made pure and clear. He used the word "pure" a great deal. I had never dreamed Dean would become a mystic. These were the first days of his mysticism, which would lead to the strange, ragged W. C. Fields saintliness of his later days. (II.3.10)
Sal traces Dean’s evolution with religious terms. His way of describing Dean emphasizes his idolatry, seeing Dean as something greater-than-human.
Quote #9
George Shearing, the great jazz pianist, Dean said, was exactly like Roll Greb. Dean and I went to see Shearing at Birdland in the midst of the long, mad weekend. The place was deserted, we were the first customers, ten o’clock. Shearing came out, blind, led by the hand to his keyboard. He was distinguished-looking Englishman with a stiff white collar, slightly beefy, blond, with a delicate English-summer’s-night air about him that came out in the first rippling sweet number he played as the bass-player leaned to him reverently and thrummed the beat. The drummer, Denzil Best, sat motionless except for his wrists snapping the brushes. And Shearing began to rock; a smile broke over his ecstatic face; he began to rock in the piano seat, back and forth, slowly at first, then the beat went up, and he began rocking fast, his left foot jumped up with every beat, his neck began to rock crookedly, he brought his face down to the keys, he pushed his hair back, his combed hair dissolved, he began to sweat. The music I picked up. The bass-player hunched over and socked it in, faster and faster, it seemed faster and faster, that’s all. Shearing began to play his chords; they rolled out of the piano in great rich showers, you’d think the man wouldn’t have time to line them up. They rolled and rolled like the sea. Folks yelled for him to "Go!" Dean was sweating; the swear poured down his collar. "There he is! That’s him! Old God! Old God Shearing! Yes! Yes! Yes!" And Shearing was conscious of the madman behind him, he could hear every one of Dean’s gasps and imprecations, he could sense it though he couldn’t see. "That’s right!" Dean said. "Yes!" Shearing smiled; he rocked. Shearing rose from the piano, dripping with sweat; these were his great 1949 days before he became cool and commercial. When he was gone Dean pointed to the empty piano seat. "God’s empty chair," he said. On the piano a horn sat; its golden shadow made a strange reflection along the desert caravan painted on the wall behind the drums. God was gone; it was the silence of his departure. (II.4.18)
Dean sees God in musicians, precisely because they "know time." In his mind, the keeping of a beat and the control of an instrument represents the power of the divine.
Quote #10
Solomon never showed up so we roared out of Testament. "Now you see, Sal, God does exist, because we keep getting hung-up with this town, no matter what we try to do, and you’ll notice the strange Biblical name of it, and that strange Biblical character who made us stop here once more, and all things tied together all over like rain connecting everybody the world over by chain touch. . ." Dean rattled on like this; he was overjoyed and exuberant. (II.6.13).
As Dean’s "madness" evolves, he becomes more and more spiritual.
Quote #11
I drove through South Carolina and beyond Macon, Georgia, as Dean, Marylou, and Ed slept. All alone in the night I had my own thoughts and held the car to the white line in the holy road. (II.6.13)
Learning from Dean, Sal begins to see holiness in his travels.
Quote #12
Nobody knows where Slim Gaillard is. Dean once had a dream that he was having a baby and his belly was all bloated up blue as he lay on the grass of a California hospital. Under a tree, with a group of colored men, sat Slim Gaillard. Dean turned despairing eyes of a mother to him. Slim said "There you go-orooni." Now Dean approached him, he approached his God; he thought Slim was God; he shuffled and bowed in front of him and asked him to join us; "Right-orooni," says Slim; he’ll join anybody but he won’t guarantee to be there with you in spirit. Dean got a table, bought drinks, and sat stiffly in front of Slim. Slim dreamed over his head. Every time Slim said "Orooni," Dean said, "Yes!" I sat there with these two madmen. Nothing happened. To Slim Gaillard the whole world was just one big orooni. (II.11.9)
Again, Dean finds "God" in a musician.
Quote #13
Two fellows were driving this car; they said they were pimps. Two other fellows were passengers with me. We sat tight and bent our minds to the goal. We went over Berthoud Pass, down to the great plateau, Tabernash, Troublesome, Kremmling; down Rabbit Ears Pass to Steamboat Springs, and out; fifty miles of dusty detour; then Craig and the Great American Desert. As we crossed the Colorado-Utah border I saw God in the sky in the form of huge gold sunburning clouds above the desert that seemed to point a finger at me and say, "Pass here and go on, you’re on the road to heaven." Ah well, alackaday, I was more interested in some old rotted covered wagons and pool tables sitting in the Nevada desert near a Coca-Cola stand and where there were huts with the weatherbeaten signs still napping in the haunted shrouded desert wind, saying, "Rattlesnake Bill lived here" or "Broken-mouth Annie holed up here for years." Yes, zoom! In Salt! Lake City the pimps checked on their girls and we drove on. (III.1.7)
While Dean sees God in music, Sal sees God on the road, in the act of traveling.
Quote #14
"Not so good, not so good. But we’ve got a million things to talk about. Sal, the time has fi-nally come for us to talk and get with it." We agreed it was about time and went in. My arrival was somewhat like the coming of the strange most evil angel in the home of the snow-white fleece, as Dean and I began talking excitedly in the kitchen downstairs, which brought forth sobs from upstairs. Everything I said to Dean was answered with a wild, whispering, shuddering "Yes!" Camille knew what was going to happen. Apparently Dean had been quiet for a few months; now the angel had arrived and he was going mad again. "What’s the matter with her?" I whispered. (III.2.3)
When On the Road begins, Dean is the holy saint, the angel. But as the story progresses, Sal becomes the angel coming to Dean.
Quote #15
"Eh?" he said. "Eh? Eh?" We racked our brains for where to go and what to do. I realized it was up to me. Poor, poor Dean - the devil himself had never fallen farther; in idiocy, with infected thumb, surrounded by the battered suitcases of his motherless feverish life across America and back numberless times, an undone bird. "Let’s walk to New York," he said, "and as we do so let’s take stock of everything along the way - yass." I took out my money and counted it; I showed it to him. (III.2.18)
While Dean is originally described as an angel, he is later a devil.
Quote #16
Dean laughed. For years he had been chief prophet of that gang and now they were learning his technique. Tommy Snark had grown a beard and his big sorrowful blue eyes had come looking for Ed Dunkel in Frisco. (III.3.6).
The idea of Dean as a prophet is an interesting one; whose word is he bringing and what exactly is his message?
Quote #17
"I think Marylou was very, very wise leaving you, Dean," said Galatea. "For years now you haven’t had any sense of responsibility for anyone. You’ve done so many awful things I don’t know what to say to you."
And in fact that was the point, and they all sat around looking at Dean with lowered and hating eyes, and he stood on the carpet in the middle of them and giggled - he just giggled. He made a little dance. His bandage was getting dirtier all the time; it began to flop and unroll. I suddenly realized that Dean, by virtue of his enormous series of sins, was becoming the Idiot, the Imbecile, the Saint of the lot.
"You have absolutely no regard for anybody but yourself and your damned kicks. All you think about is what’s hanging between your legs and how much money or fun you can get out of people and then you just throw them aside. Not only that but you’re silly about it. It never occurs to you that life is serious and there are people trying to make something decent out of it instead of just goofing all the time."
That’s what Dean was, the HOLY GOOF. (III.3.12-III.3.15).
Sal’s epiphany that Dean is a "holy goof" is an apt one, combining the silliness of Dean’s lack of logic and whimsical decisions with the intensity of his beliefs and the religious adherence to his own set of personally revered rules.
Quote #18
There were earlier days in Denver when Dean had everybody sit in the dark with the girls and just talked, and talked, and talked, with a voice that was once hypnotic and strange and was said to make the girls come across by sheer force of persuasion and the content of what he said. This was when he was fifteen, sixteen. Now his disciples were married and the wives of his disciples had him on the carpet for the sexuality and the life he had helped bring into being. I listened further. (III.3.18)
Dean is again described as a prophet, but the message he brings is detrimental and destroying the lives of the men around him.
Quote #19
Just as flat as that. It was the saddest night. I felt as if I was with strange brothers and sisters in a pitiful dream. Then a complete silence fell over everybody; where once Dean would have talked his way out, he now fell silent himself, but standing in front of everybody, ragged and broken and idiotic, right under the lightbulbs, his bony mad face covered with sweat and throbbing veins, saying, "Yes, yes, yes," as though tremendous revelations were pouring into him all the time now, and I am convinced they were, and the others suspected as much and were frightened. He was BEAT - the root, the soul of Beatific. What was he knowing? He tried all in his power to tell me what he was knowing, and they envied that about me, my position at his side, defending him and drinking him in as they once tried to do. Then they looked at me. What was I, a stranger, doing on the West Coast this fair night? I recoiled from the thought. (III.3.20)
Sal’s word "beat" signifies the culmination of many aspects of Dean – "beatific" addresses the holy aspect.
Quote #20
"Very well, then," I said, "but now he’s alive and I’ll bet you want to know what he does next and that’s because he’s got the secret that we’re all busting to find and it’s splitting his head wide open and if he goes mad don’t worry, it won’t be your fault but the fault of God." (III.3.24)
Sal uses God to explain Dean’s madness.