On the Road Visions of America Quotes

But Dean’s intelligence was every bit as formal and shining and complete, without the tedious intellectualness. And his "criminality" was not something that sulked and sneered; it was a wild yea- saying overburst of American joy; it was Western, the west wind, an ode from the Plains, something new, long prophesied, long a-coming (he only stole cars for joy rides). (1.1.16)

At this time, 1947, bop was going like mad all over America. The fellows at the Loop blew, but with a tired air, because bop was somewhere between its Charlie Parker Ornithology period and another period that began with Miles Davis. And as I sat there listening to that sound of the light which bop has come to represent for all of us, I thought of all my friends from one end of the country to the other and how they were really all in the same vast backyard doing something so frantic and rushing-about. (I.3.2)

And here for the first time in my life I saw my beloved Mississippi River, dry in the summer haze, low water, with its big rank smell that smells like the raw body of America itself because it washes it up. Rock Island - railroad tracks, shacks, small downtown section; and over the bridge to Davenport, same kind of town, all smelling of sawdust in the warm midwest sun. (I.3.3)

He’d just written a story about a guy who comes to Denver for the first time. His name is Phil. His traveling companion is a mysterious and quiet fellow called Sam. Phil goes out to dig Denver and gets hung-up with arty types. He comes back to the hotel room. Lugubriously he says, "Sam, they’re here too." And Sam is just looking out the window sadly. "Yes," says Sam, "I know." And the point was that Sam didn’t have to go and look to know this. The arty types were all over America, sucking up its blood. (I.7.1)

Great laughter rang from all sides. I wondered what the Spirit of the Mountain was thinking, and looked up and saw jackpines in the moon, and saw ghosts of old miners, and wondered about it. In the whole eastern dark wall of the Divide this night there was silence and the whisper of the wind, except in the ravine where we roared; and on the other side of the Divide was the great Western Slope, and the big plateau that went to Steamboat Springs, and dropped, and led you to the western Colorado desert and the Utah desert; all in darkness now as we fumed and screamed in our mountain nook, mad drunken Americans in the mighty land. We were on the roof of America and all we could do was yell, I guess - across the night, eastward over the Plains, where somewhere an old man with white hair was probably walking toward us with the Word, and would arrive any minute and make us silent. (I.9.18)

"No, sir, I never gave a man more than two chances." I sighed. Here we go. We went to the offending room, and Sledge opened the door and told everybody to file out. It was embarrassing. Every single one of us was blushing. This is the story of America. Everybody’s doing what they think they’re supposed to do. So what if a bunch of men talk in loud voices and drink the night? But Sledge wanted to prove something. He made sure to bring me along in case they jumped him. They might have. They were all brothers, all from Alabama. We strolled back to the station, Sledge in front and me in back. (I.11.45)

I spun around till I was dizzy; I thought I’d fall down as in a dream, clear off the precipice. Oh where is the girl I love? I thought, and looked everywhere, as I had looked everywhere in the little world below. And before me was the great raw bulge and bulk of my American continent; somewhere far across, gloomy, crazy New York was throwing up its cloud of dust and brown steam. There is something brown and holy about the East; and California is white like washlines and emptyheaded - at least that’s what I thought then. (I.11.102)

The bus arrived in Hollywood. In the gray, dirty dawn, like the dawn when Joel McCrea met Veronica Lake in a diner, in the picture Sullivan’s Travels, she slept in my lap. I looked greedily out tine window: stucco houses and palms and drive-ins, the whole mad thing, the ragged promised land, the fantastic end of America. We got off the bus at Main Street, which was no different from where you get off a bus in Kansas City or Chicago or Boston - red brick, dirty, characters drifting by, trolleys grating in the hopeless dawn, the whorey smell of a big city. (I.12.14)

We were very happy in our little hotel room. In the middle of the night I got up because I couldn’t sleep, pulled the cover over baby’s bare brown shoulder, and examined the LA night. What brutal, hot, siren-whining nights they are! Right across the street there was trouble. An old rickety rundown rooming house was the scene of some kind of tragedy. The cruiser was pulled up below and the cops were questioning an old man with gray hair. Sobbings came from within. I could hear everything, together with the hum of my hotel neon. I never felt sadder in my life. LA is the loneliest and most brutal of American cities; New York gets god-awful cold in the winter but there’s a feeling of wacky comradeship somewhere in some streets. LA is a jungle. (I.13.1)

South Main Street, where Terry and I took strolls with hot dogs, was a fantastic carnival of lights and wildness. Booted cops frisked people on practically every corner. The beatest characters in the country swarmed on the sidewalks - all of it under those soft Southern California stars that are lost in the brown halo of the huge desert encampment LA really is. You could smell tea, weed, I mean marijuana, floating in the air, together with the chili beans and beer. That grand wild sound of bop floated from beer parlors; it mixed medleys with every kind of cowboy and boogie-woogie in the American night. Everybody looked like Hassel. Wild Negroes with bop caps and goatees came laughing by; then long-haired brokendown hipsters straight off Route 66 from New York; then old desert rats, carrying packs and heading for a park bench at the Plaza; then Methodist ministers with raveled sleeves, and an occasional Nature Boy saint in beard and sandals. I wanted to meet them all, talk to everybody, but Terry and I were too busy trying to get a buck together. (I.13.2)

"What we need is a drink!" yelled Rickey, and off we went to a crossroads saloon. Americans are always drinking in crossroads saloons on Sunday afternoon; they bring their kids; they gabble and brawl over brews; everything’s fine. Come nightfall the kids start crying and the parents are drunk. They go weaving back to the house. Everywhere in America I’ve been in crossroads saloons drinking with dull; whole families. The kids eat popcorn and chips and play in back. This we did. (I.13.19)

I crept to the end of a row and knelt in the warm dirt. Her five brothers were singing melodious songs in Spanish. The stars bent over the little roof; smoke poked from the stovepipe chimney. I smelled mashed beans and chili. The old man growled. The brothers kept right on yodeling. The mother was silent. Johnny and the kids were giggling in the bedroom. A California home; I hid in the grapevines, digging it all. I felt like a million dollars; I was adventuring in the crazy American night. (I.13.49)

Suddenly I found myself on Times Square. I had traveled eight thousand miles around the American continent and I was back on Times Square; and right in the middle of a rush hour, too, seeing with my innocent road-eyes the absolute madness and fantastic hoorair of New York with its millions and millions hustling forever for a buck among themselves, the mad dream - grabbing, taking, giving, sighing, dying, just so they could be buried in those awful cemetery cities beyond Long Island City. The high towers of the land - the other end of the land, the place where Paper America is born. (I.14.9)

"What is the meaning of this voyage to New York? What kind of sordid business are you on now? I mean, man, whither goest thou? Whither goest thou, America, in thy shiny car in the night?" (II.3.8)

"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." (II.3.10)

We drove off silently. It was just like an invitation to steal to take our trip-money away from us. They knew we were broke and had no relatives on the road or to wire to for money. The American police are involved in psychological warfare against those Americans who don’t frighten them with imposing papers and threats. It’s a Victorian police force; it peers out of musty windows and wants to inquire about everything, and can make crimes if the crimes don’t exist to its satisfaction. "Nine lines of crime, one of boredom," said Louis-Ferdinand Céline. Dean was so mad he wanted to come back to Virginia and shoot the cop as soon as he had a gun. (II.6.11)

"The ideal bar doesn’t exist in America. An ideal bar is something that’s gone beyond our ken. In nineteen ten a bar was a place where men went to meet during or after work, and all there was a long counter, brass rails, spittoons, player piano for music, a few mirrors, and barrels of whisky at ten cents a shot together with barrels of beer at five cents a mug. Now all you get is chromium, drunken women, f**s, hostile bartenders, anxious owners who hover around the door, worried about their leather seats and the law; just a lot of screaming at the wrong time and deadly silence when a stranger walks in." (II.6.44)

Finally I took a walk alone to the levee. I wanted to sit on the muddy bank and dig the Mississippi River; instead of that I had to look at it with my nose against a wire fence. When you start separating the people from their rivers what have you got? "Bureaucracy!" says Old Bull; he sits with Kafka on his lap, the lamp burns above him, he snuffs, thfump. His old house creaks. And the Montana log rolls by in the big black river of the night. "Tain’t nothin but bureaucracy. And unions! Especially unions!" (II.6.69)

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

Once there was Louis Armstrong blowing his beautiful top in the muds of New Orleans; before him the mad musicians who had paraded on official days and broke up their Sousa marches into ragtime. Then there was swing, and Roy Eldridge, vigorous and virile, blasting the horn for everything it had in waves of power and logic and subtlety - leaning to it with glittering eyes and a lovely smile and sending it out broadcast to rock the jazz world. Then had come Charlie Parker, a kid in his mother’s woodshed in Kansas City, blowing his taped-up alto among the logs, practicing on rainy days, coming out to watch the old swinging Basie and Benny Moten band that had Hot Lips Page and the rest - Charlie Parker leaving home and coming to Harlem, and meeting mad Thelonious Monk and madder Gillespie - Charlie Parker in his early days when he was nipped and walked around in a circle while playing. Somewhat younger than Lester Young, also from KC, that gloomy, saintly goof in whom the history of jazz was wrapped; for when he held his horn high and horizontal from his mouth he blew the greatest; and as his hair grew longer and he got lazier and stretched-out, his horn came down halfway; till it finally fell all the way and today as he wears his thick-soled shoes so that he can’t feel the sidewalks of life his horn is held weakly against his chest, and he blows cool and easy getout phrases. Here were the children of the American bop night.

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.10.4, III.10.5)