Amanda's blog

When the bitter chill of winter swallows up New York, the annual family vacation ensues. You know the one, Christmas in a Caribbean paradise. It wasn’t out of the question for this family in particular to spend a relaxing and rejuvenating week in Belize or the Bahamas just to write it off as a one-time visit and move on to another B named island the following year. It is said, “We travel not to escape life, but so life doesn’t escape us.” Indeed, in light of experience, we travel in a continuous game of catch-up with life. We’re always hopping on the connecting flight even when it’s the third of the day or enduring the extra bus tour to Versailles, which, even in its beauty, becomes familiar by the second visit. All of this for the sole purpose of adding the experience to our repertoire of stories which we will draw out at the first inkling of a travel conversation.
 
The traditional Caribbean getaway begins: a flight to Florida, from there to Puerto Rico, then a plane, only big enough to hold the six members of the family and a pilot, jumps across the water and arrives in the British Virgin Islands. Virgin Gorda is a rolling span of soft mountains, representing its name to perfection. The clear aqua water makes the muddy, polluted Atlantic found in New York only a distant memory for these travelers. As they stare adoringly at the sea, the family disembarks and proceeds to the conventional one-room “airport” awaiting them. Customs and security are quick and soon two parents and four siblings are huddled in a rented van. First stop, as with any trip, is the island’s grocery store. This one is situated on the marina where huge, busy cruise ships and simple white sailboats alike are docked, waiting for their vacationers and owners to climb back on and set out again as a speck on the open sea.
 
It is an odd feeling, to stand in the beaming sun on a day that you know to be winter back home. The heat seems warmer on a bare shoulder than usual and the sky is bluer in comparison. The interesting aspect of a vacation is that the vacationer is so far removed from the reality they have grown accustomed to. This makes the new location appear idyllic, even heavenly, in the simple fact that it is detached from all things common. The blissful atmosphere does not extend itself to the grocery store. Upon entering, the overwhelming smell of fish clings to each person as they wade through its invisible permeation to get to the milk and bread, family staples. All items are double the price as compared to America, which should be expected due to the seclusion of the island from any food supplier. The family gathers their items, the three sons holding bulky bags containing a week’s worth of food, the parents directing and lugging bags as well, and the daughter walking along with no bags to burden her, forever the princess of the family.
 
As they load the van, imagining the days ahead of luxurious relaxation and great food, the family tiredly decides to head to the welcoming beach where their charming rental house is located. Forgetting that they are in British territory the law is to drive on the left side of the road, the father proceeds to cause a traffic jam in the parking lot. Not only is another van involved, but also an island “taxi”: an open-backed pickup truck with cushy benches for seats and a carnival tent for a roof. Luckily for the foreigners, all of the drivers involved laugh casually at the situation and carefully maneuver their cars into their respective sides of the road once again. This entire scene, however, proved to be futile.
 
The music starts softly, faintly, almost imperceptible to those in the vicinity. The family believes it to be wafting into their van through an open window of a close by car. As far as they can see ahead, all of the cars in the parking lot are back up at the entrance, which opens out to the main road of the island, a dirt road. The street itself is bare save for a few natives who seemed to hold some sort of superiority in that they were allowed to be there. Typical chatter arises in the family van, as it would while waiting in traffic any other time, but ceases instantly as a small child in a Santa Clause hat stomps down the road, the music increasing in volume, drums beating more heavily with every step he takes. And he dances down the road, a sole performer with no apparent stage freight, while the music blares. Traditional Christmas favorites recognized by all but with a reggae twist, the tunes are unexpected but likeable. Two more little Santa-clad children followed the first, then four, then too many to count, too many to consider that this isn’t something significant. All of a sudden, the crowd of irritated drivers stuck in the parking lot transforms into a crowd of appreciative spectators to the sporadic island show. Any natives around instinctively join in with their celebrating neighbors and the island becomes alive with dancing, singing and Christmas festivities. Timidly, the family inches towards the sound of the cheering audience that engulfs the performance. As they reach the threshold of the music the daughter’s hand is clutched by a tiny one and she is pulled into the sea of natives. Her pallid skin makes clear her presence in the collection of exotic, dark faces. The young girl stands for a moment, suspended in the overpowering aura of the parade; she is a part of this strange festivity now and it would remain a part of her.
 
Without a tangible transition, the entire family surrounds her, dancing and clapping and singing with the wrong beats to the holiday music that seems to be emanating from the island itself. The brothers emulate children half their size in the Caribbean dances and in the exhilaration of the instant all were one. Life is captured as the family members lock eyes in loving enjoyment. Indivisible are travelers from residents when the street becomes a vessel of fusion for those fortunate enough to happen upon it. 



Interview with the author:
Q: What was your inspiration for this travel story?
A: I pieced together a family vacation I had as a teenager while keeping in mind certain conventions about family travel. My family and I visited Virgin Gorda twice during Christmas and the second time we were there, we experienced this impromptu parade of native children on Christmas Eve. Not only was the celebration unexpected and welcomed by my family, but we also walked several blocks with the natives in the parade and joined in on the dancing. I traveled a lot with my family growing up but never had I had such an authentic experience as this. Even in the same trip to the British Virgin Islands, we went to see the tourist attractions such as the ruins and certain beaches or restaurants but somehow this event stood out as more genuine. I felt like I had stumbled upon a secret ritual and was lucky enough not to be excluded even though I was very clearly a foreigner. The welcoming nature of the island and the innocence of the happy children who sang and danced through the streets made my visit extremely unique.
 
Q: You mention a quote at the start of the piece: “We travel not to escape life, but so life doesn’t escape us.” How does this apply to the entirety of your story?
A: Travel is critical for a full understanding of the world, life and what you want to get out of it. Therefore, we travel to gain experiences and gain knowledge of new places and to refuse to let life pass us by. There exists the idea that when people travel, they are running away from something or someone in their life at home. Although this may be true in some cases, traveling with good intentions means opening oneself to new culture and ideas and this leads to a more satisfied and rewarding life. The idea of escape is evident in many travel novels, such as Ernest Hemingway’s The Sun Also Rises and Guo Xiaolu’s A Concise Chinese-American Dictionary for Lovers. Both of these, being two of my favorite books that I have read recently, expose the idea that a character is attempting to get away in order to create a new lifestyle. In my piece, I chose to write about the opposite: finding oneself in the experience of a new place.
 
Q: Why did you choose to write in the present tense?
A: I felt that by relaying the story in this way, the reader could feel more immersed in the moment. I wanted the reader to feel as though they themselves happened upon an island parade. It was difficult to stop myself from writing in the past tense because it is more natural but the present tense makes the story seem more current and less of a remembered occurrence. Also, I refrained from using names as to make the family seem universal. I chose to allow the family to remain nameless in order for the reader to have the ability to superimpose themselves into the characters’ places.
 



(My own picture above)

From the beginning, Sumire’s story delineates her transformation from emulating the Beat Generation authors such as Kerouac to acting like a classy, working woman. Her influence and reason for change was Miu. When Miu was introduced, the narrator recognized the fact that he did not know if this was her real name. It was simply “what everyone called her.” In addition, the narrator himself is only referred to as “K”. Sumire’s name is said to mean Violet. We are told later that Sumire does not like her name due to its origin from a song about a child stepping on Violets. It seems, then, that these characters are experiencing some sort of identity crisis in different ways.

“Sumire was a hopeless romantic, set in her ways- a bit innocent, to put a nice spin on it.” In describing her innocence the reader is led to view her as a sweet, naïve girl. The next lines, however, describe her smoking habit and her dislike of the majority of people she meets. It is as if Sumire is a Kerouac-loving, independent woman on the inside, but outwardly she transcends into the life of professionalism and conventions. The loss of this initial, inward identity occurs only shortly after Sumire and Miu meet at the wedding.

Sumire expresses understanding of Kerouac’s lonely lifestyle, as her favorite book of his is Lonesome Traveler. It is interesting that she can admire his ability to spend time in solitude but she seems to become attached to Miu as soon as they meet. It is as if she craves these qualities in herself but they fail to exist. Sumire “wanted to be…wild, cool, dissolute”. The narrator then describes the way Sumire acts aloof. It is clear that her actions are a result of her trying to become a sort of character. It is difficult for the reader to know which of these identities truly define Sumire. We see her experience different people and different sexual orientations without actually defining herself.

Beauty also presents itself as a theme in the novel. Sumire’s father is said to be so handsome that even Miu was speechless when she saw his picture. Miu herself is made out to be beautiful and Sumire seems to be searching for that as well. Sumire is dissatisfied with herself due to the fact that she continually tries to emulate those around her. This is a recipe for disaster in that she is never going to be fully content with her self. Sumire’s life is defined by her love for Miu. The book even opens with the line, “In the spring of her twenty-second year, Sumire fell in love for the first time in her life.” K, the narrator, seems to think that in telling her story, as this is his perception of it, her love for Miu is more important than she herself is.

In her journey to England and throughout Europe, Zhuang endures a process of maturing and, simultaneously, her ability to speak English increases immensely. Zhuang’s exposure to western culture changes her persona and when she returns to China at the end of the story she is unrecognizable from the cautious, fearful girl she was at the beginning.
 
Zhuang’s relationship with her English boyfriend progresses and truly affects her in a way no relationship has before. We have read in previous books, such as The Elephanta Suite, about the ways in which western culture affects those who have not previously been exposed to it. Often, western culture is depicted to demoralize or even corrupt those in contact with it and, in a way, A Concise Chinese-English Dictionary for Lovers exposes this concept as well. Zhuang grows to be dependent on her boyfriend and fails to explore England and get to know the new city. Since she doesn’t understand their relationship, she is left constantly thinking and worrying about him.
 
The inclusion of humor in the story is crucial for an understanding of Zhuang’s relationship with her lover. The language barrier often leads to misinterpretations but create a light-hearted aspect to their relationship. Further, when Zhuang starts to grasp the English language we can see how she chooses to apply it. The titles of each small chapter are telling as to what stood out to the character about the experience she proceeds to describe. Words such as guest, physical work, equal, and hero all expose Zhuang’s inner thoughts, deeper than she describes.
 
As her relationship with her lover disintegrates, the reader can see Zhuang’s desire to break away from the situation. Twice, there are paragraphs written entirely in Chinese, as if Zhuang gave up on English and her new life. Also, each time she meets a new man on her travels throughout Europe, the new relationship seems to fail. Each of these events pushes her farther back to England and eventually to China.
 
I was somewhat surprised but relieved at Zhuang’s decision to move to Beijing and start a new career there at the end of the novel. She grows into a mature adult capable of making her own decisions even if they go against her parents’ wishes. At the beginning, Zhuang lived in fear of her parents and often included their what their opinions would have been, had they experienced some of the occurrences in England. Zhuang’s travels distanced her from this dependency and ultimately she was able to live her life in a way that would satisfy her. 

“The Gateway of India” was an interesting tale of a trip to India provoked by loss. We see that Dwight decides to make the journey to India in order to induce some sort of reaction in his ex-wife. When she does not provide the elicited response, Dwight embarks on the trip blinded and without direction. This wealthy businessman is constantly choosing to act in order to get a reaction from another person. His lack of self-confidence and his artificial sense of power create a life for Dwight that is unproductive and that becomes meaningless.
 
We as readers can see the decline of Dwight as the story progresses. He is judgmental of the Indians, contradictory to his reputation as a worldly person. From the onset, Dwight does not take Shah as seriously as he should; later, the dynamic is reversed and Shah becomes the successful businessman while Dwight becomes submissive. Dwight expects the Indians to wait on him and for them to build up his ego, leading for an overwhelming, not to mention false, sense of authority. “You can make anything in India” is a reoccurring theme as Dwight explores the boundaries of this statement.
 
The slow decline of morality exhibited by Dwight is first introduced with the old woman and her gypsy children. A common American visitor to India would be aware of the beggars that exist there and take action to avoid confrontation with this danger. Dwight, on the other hand, seems to invite the interaction. He somewhat denies the old woman but he is entranced by her, and later the children, so much so that he follows her to an unknown building. This thirst for adventure and passion becomes and inner-conflict for Dwight because, as is referred to a few times, he knows that what he is doing is wrong.
 
Even when he returns home to Boston, Dwight has to fight the urge and desire to return to India, a place detested by his coworkers. This shows that he is not focusing on the place or even how his life will be when he is there; he is only thinking about the passion that he felt in being there. So much so that Dwight gave Indru his wedding ring, a symbol of love, which he carried with him at all times since the end of his marriage with Maureen. He essentially discarded the ring and any sense of real love along with it. Indru then used the ring to pay for a house and later she grew so attached to Dwight’s presents and payments that the relationship became mutually greedy. He was hungry for desire and she for wealth.
 
Dwight’s morals and feelings lessen in importance throughout the story, leading to the eventual downfall of his character. His decisions, prompted by desired reactions, led him to act in ways the denied everything he had ever known; a feeling to which he became addicted. 

The differentiation and role of gender in The Comfort of Strangers, by Ian McEwan, develops as a theme throughout the story. The roles exhibited by males and females are, in certain ways, clearly defined but in other, quite uncertain. Colin and Mary are often referred to as a unit; it is rare to find them apart from each other and they seem to make decisions as a group. Mary does not clean their hotel room as a woman would be expected to do, conventionally, and Colin does not assert his opinion with her as a man usually would. An example of this was when he knew they needed a map so that they wouldn’t get lost but he never said anything. Their relationship stands in stark contrast to that of Robert and Caroline, where the male and female roles are hyper traditional. From the onset, Caroline is subservient and seemingly absent minded in her relationship. She lacks and decision-making skills and simply follows what Robert has taught her. During their first visit to the house, Colin and Mary seemed to accept Robert and Caroline’s hospitality without much question; they appeared mesmerized with the couple and their different ways. “She said neutrally, ‘You know more about it than I do, I’ve never been there.” This statement from Caroline to Mary about Robert’s bar shows Caroline’s indifference to the fact that she has never been to her husbands place of work. It is as if she wouldn’t have expected to, although usually in society we believe the opposite.
 
Caroline and Robert’s obsession with Colin crosses the gender lines as well. Caroline says, “Colin is very beautiful. Robert said he was.” It is strange that although this couple places a lot of importance of the role of the man vs. the woman, Robert has no problem admitting to finding another man attractive. Further, when Mary describes Colin’s body she makes him sound feminine and womanly. “His arms were crossed fetally over his chest: his slender, hairless legs were set a little apart, the feet, abnormally small like a child’s, pointing inwards.” This detriment to Colin’s masculinity came about upon entering Robert and Caroline’s house, insinuating that their values were becoming known to the other couple. The confusion continues as the couple leaves Robert’s home and automatically they are more attracted to each other than before. For what reason did being in that odd situation being the couple closer together? It seems as though their genders were further defined by meeting Robert and Caroline.
 
In the end, the apparently necessary division between genders caused the death of Colin and the fleeing of Robert and Caroline. The bizarre ways of the latter couple were solely based on gender definition and the importance they placed on it. In acting as one person, gender ambiguous, Mary and Colin were content but once they ventured into drawing lines and categories, they met their downfall.

Gustav von Aschenbach, at the age of fifty, made the life changing decision to embark on an impromptu vacation to Venice. His initial reasoning for the trip lies in his desire to change scenery in order to become successful as a writer. The impetus for his voyage lies in the meeting of a strange man at a cemetery; this is not exactly what would be expected.
 
The redheaded man dressed as a tourist locked eyes with Aschenbach as he was reading the headstones around him, a creepy situation that perhaps has implications of foreshowing Aschenbach’s eventual death. “Letting his mind’s eye lose itself in the mysticism emanating from them, served to distract the waiting man for several minutes.” This statement seems to be alluding to death in reference to a “waiting man”, as if by deciding to visit Venice in this instance beckoned this man, death, to follow him. “There was something of the overseer, something lordly, bold, even wild in his demeanor”, such that the narrator makes this man out to be some soft of all-knowing being. The whereabouts of the strange man’s entrance into the cemetery are unknown to Aschenbach, which aligns with his ignorance at the death that would await him in Venice. He almost allows himself to ignore the oncoming illness in Venice and chooses to stay even though essentially all other tourists had already left.
 
The reader is also given a first look into Aschenbach’s characteristics in this scene. He stares with “half-distracted, half-inquisitive scrutiny” at the stranger and was “lacking in discretion”. These same qualities of his personality would arise later in Aschenbach’s obsession with Tadzio. “A minute later he had forgotten the man.” This quote shows the character’s propensity to block out unpleasant aspects of his life, as he does with the cholera.
 
“Wanderlust” ensued after the stranger showed up and thus Aschenbach’s desire to travel was acknowledged. “His desire sprouted eyes” as if this desire would be the leading factor for the rest of the journey, and in a way it was. The idyllic landscape pictured by Aschenbach created images of happiness and harmony, neither of which were actually gained in the visit to Venice.
 
Aschenbach then opens up about the problems he is facing in life such as egoism and the pressure to start raising a family due to his old age. These usual conventions don’t seem to work for him though and the temptation to travel became greater. By referring to the desire to travel as “the sudden and belated impulse” the author creates a sense curiosity as to how the small action of seeing a stranger could connect to the longing to travel, as well as in what way the desire was “belated”. Aschenbach considers the implications of leaving his work for such an extended period of time but the “urge to flee” from common everyday tasks to the wonder of Venice overcame him. Aschenbach appears to become obsessed with any idea that provides him with hope or any person who interests him, which is how the trip to Venice came to be.

Whether traveling from Vevey to Rome or from Paris to Madrid, the expected outcome of an extended, experiential journey is that of the acquisition of inner knowledge and a tangible change in a character’s nature. Henry James’ Daisy Miller and Ernest Hemingway’s The Sun Also Rises are testimonies of exactly the opposite. When considering the setting at the very beginning and end of each story the reader can see that the main characters go through several changes of location and circumstance throughout the books. However, they end up back where they started in terms of their respective situations and relationships by the time the final chapters are reached. In Daisy Miller, Winterbourne leaves Switzerland and travels to Italy in search of what he believes to be true love. Eventually his relationship with Daisy falls apart and when she dies, he is not left grieving but openly disappointed at the waste of time and simply eager to return to his former life. Jake’s relationship with Brett at the start of The Sun Also Rises exhibits some jealously and the sense that although they will never be together, the two hold a special place in each other’s hearts. These feelings are exhibited again and again but the situation is never resolved. From their starting locations, Winterbourne and Jake embark on travels across Europe in an effort to find inner tranquility, love, excitement, and authenticity. Their actual experiences as exhibited in their final destinations prove that both men have not gained any of these aspects and are to return to their starting places in the same form  as when they departed from it.

The first page of Daisy Miller opens with a description of Vevey and its hotel, Trois Couronnes. Immediately, the narrator comments on the differentiation between tourist and traveler, intending the reader to believe that Winterbourne is considered the latter. The reader is led to believe that he will embark on an adventure and gain new knowledge along the way.  A lake is depicted; the whole beginning seems to serve as an image of tranquility and undisturbed peace, contrasting the drama and uncertainty that is evident in the end. It is interesting that the entire first page describes the setting but not one character is mentioned, as if it is more important for the reader to get to know the place than the people in it. Vevey is where Winterbourne meets Daisy and their affair forms itself. This place serves as a comfort zone for the two characters; they only begin to argue and disagree when removed from the calm of Vevey, such as during their visit to the castle. During the Vevey section, Winterbourne becomes enamored with Daisy. “Certainly she was very charming,” he thinks. Since he is financially secure and does not need to hold a job, Winterbourne seemingly throws himself into spending time with Daisy and courting her.
 
In the reallocation from Vevey to Rome, the cast of characters changes very little. New additions such as Mrs. Walker and Mr. Giovanelli are introduced but overall the character list remains the same. In a way, Winterbourne left Switzerland to gain new experiences and to search for fulfillment but he undoubtedly encounters the same social norms and relationships that formerly existed. Daisy continues to fraternize with various men and Winterbourne still seems lost as if drifting along without a genuine purpose. Since neither Vevey nor Rome can be considered “home” for Winterbourne, he is left grappling for Daisy’s attention while failing to take advantage of his time in Rome. Throughout, there is a constant lack of acknowledgement when it comes to Winterbourne and his failure to live life meaningfully. The novel closes with Daisy’s death. The scene at Daisy’s funeral is depicted with Winterbourne standing as one of many; he stands almost equally with Giovanelli. “’You were right in that remark that you made last summer. I was booked to make a mistake. I have lived too long in foreign parts.’” This statement by Winterbourne to his aunt is one of the few indications that Daisy had even existed in his life after the passing of a year. The last paragraph in the book explains Winterbourne’s retreat back to Geneva; all in all, nothing has changed. “A report that he is ‘studying’ hard – an imitation that he is much interested in a very clever foreign lady” (64). Winterbourne might as well not have gone to Italy at all and his life would have remained similarly stagnant.

The Sun Also Rises begins dissimilarity to the previous novel in its depiction of one, relatively insignificant character, Robert Cohn. The narrator then goes on to mention that the setting is Paris, with all of its dance hall, coffee shops and artists. Describing these two factors of the story allows the reader to see that although Paris may be viewed as the ultimate authentic gathering place for writers at this time, it is filled with people like Cohn who are just searching for their own authenticity of identity. Also unlike Daisy Miller, this novel opens in the characters’ hometown. Although they are Americans, Jake and Brett have lived in Paris for years and it serves as the place they return to after travelling. Jake and Brett’s love affair is evident from her first entrance into the story. The relationship remains basically unchanging throughout as a constant reminder that neither of their futile endeavors with outside people are meant to be.

In the final scene of The Sun Also Rises, Brett messages Jake to meet her in Madrid where they reunite after her brief stint with Romero. Regardless of any other lovers Brett has she repeatedly chooses to fall back on Jake. She refuses, however to consider being involved with him exclusively. In addition, the last chapter marks one of the only times that Brett and Jake are alone together, without outside influences or other characters to meddle in their business. There would have been no better time for the two to realize their love for each other but alas they fall back into the same pattern and choose comfort in place of the possibility of fulfillment. “I felt like a fool to be going back into it” (237), Jake states in reference to meeting Brett in Spain. Thus his lack of understanding and action in response to the situation is revealed at the end of the story. By the time Jake arrives in Madrid at Brett’s beckoning, they talk and essentially arrive at the resolution to continue the same relationship that has kept them coming back to each other.

Interestingly, both Winterbourne and Jake speak of visiting their end destinations before their Daisy or Brett is included. They end up in Rome and Spain, however, through the will of their respective women. An overarching theme in both novels is that life is cyclical and in reality, most aspects are trivial. Achieving change in a relationship or an attitude is very difficult and is not accomplished with the characters in Daisy Miller or The Sun Also Rises. Neither Winterbourne’s travels to Italy or Jake’s visit to Spain provoke a significant alteration; the characters in the starting and ending locations are fundamentally the same.
 
 

 In On the Road, New York is one of the few constants in Sal’s life spent as a traveler. More specifically, the area of Times Square represents the “beat generation” of the story and represents Sal’s view of the city as a whole.  The book begins with a scene in New York, when Dean and all of his strange personality quirks are introduced by Sal. In response to Tuan’s piece, I began to question whether New York in this instance should be considered a city, a region (including the surrounding areas like New Jersey), or a neighborhood (Times Square). I believe New York falls into the category of a region.
 
This place holds sentiments of comfort for Sal. His travels around the country are sporadic and mysterious; he spends long spans of time not knowing how he will get back to New York. Also, although Sal spends weeks in certain places in the west, New York is always referred to as his home and he is on a never-ending, cyclical journey to get back to this place. As we saw with his relationship with Terry, Sal idealizes New York when he is traveling in the west and it appears that although he journeys throughout the west, New York becomes the ultimate goal. In addition, New York seems to be the place where Dean is always running from. He visits his friend Sal at various times but is usually described as leaving rapidly after he arrives.  New York is one of the few places in the country in which all of the main characters have been at one time or another. Sal’s home serves not only as a resting place for himself, but also as a place of refuge for his traveling partners.
 
In the region of New York, there is the neighborhood of Times Square. Now a tourist hub and one of the most famous sites to see in New York, this place was, at that time, a center for sleazy artists and illegal activity involving drugs, alcohol and sex.  Sal often relays stories of “nights out” in New York, referring to his adventures with Dean picking up women. This hardcore, high-energy area plays its part as a clear contrast to the land and people in the west. The western characters are more laid back and tend to be travelers as well. For example, Terry and her family always put their job search off until “mañana” where as in New York, everyone is constantly on the go. Home is also the only place in which Sal gets any actual writing work done. While traveling, Sal is unfocused and easy strayed from his conventional life goals but in New York he seems regress to his normal plans. We discussed in class that Sal is only content when on the search for a new place or in transit to a different location so New York seems to hold a certain degree of restlessness for him. He returns here to regain energy but is back on the road as soon as possible. The city is already known to Sal and therefore doesn’t hold the fascination that other places in the west do. 

''The only people that interest me are the mad ones, the ones who are mad to live, mad to talk, desirous of everything at the same time, the ones that never yawn or say a commonplace thing ... but burn, burn, burn like roman candles across the night.'' -Luc Sante
 
 
In reading Sante’s review of On the Road, I was startled to find that Kerouac amped up his nonfiction sentences to fit better into the novel. The profound quotation above is very relatable and well written to me. However, in the book, the author adds flowery vocabulary such as “fabulous” which seems unnecessary. I understand that he aimed to make the story more comprehensible for the reader but in this attempt I fear that Kerouac lost some of the authenticity he originally had in his work. The writing style in the first draft was straightforward and I believe this primary writing better represents the author and his experiences. Since the story is basically all fact and true accounts of Kerouac’s own travels, it only makes sense that his writing should reflect that. I agree with Sante that although the edited version was appropriate for the mid 1900’s, the original scroll is the real piece of literature that will last throughout time.
 
Kerouac, Hemingway and Bowles all overtly imposed aspects of their own lives into their writing. Each of these authors made the profession of their main character or narrator some sort of writer. Being that this is what each of these men know well, they are clearly reflecting themselves into the characters. These authors also incorporate their entire lives into their works, as seen in the road trips by Sal in On the Road and the African travels of Port in The Sheltering Sky. Travel stories, it seems, are best told through nonfiction accounts. It is difficult to make up a story of travel, with all of the intimacies and abnormalities one experiences, when the author himself has never partaken in the journey. For this reason, these authors’ stories are authentic, only subtly skewed, memories of actual people. I find, as a reader, that I enjoy an interesting true story much more than an interesting made up story. To know that the authors have dropped everything to travel across the country or took leisure trips to remote parts of the world procures in me a sense of respect for them. A travel story by nature is meant to transport the reader to the time and place in which it takes place; it is meant to make the reader feel as though they are taking the journey too. Kerouac’s inclusion of so many familiar characters and his way of describing his surroundings accomplishes this. I not only enjoyed On the Road because it is entertaining, but also because it is basically fact.

Port, Kit and Tunner all assume the role of tourists in their journey throughout Africa. I believe that the nature of a tourist experience is a combination of the ideas of Boorstin and MacCannell. The impetus of a tourist’s travels usually come from trivial or superficial reasoning; we spoke in class about the reasons for travel and some included to gain social status or to run from something at home. On the other hand, many people who travel are in search of authenticity to some extent, whether or not they are aware of it. “The tourists are often seen as ‘travellers for pleasure’,” this is an accurate description of Port, Kit and Tunner. Several noted experts consider tourism “an abberation”. This, I believe, is a closed-minded view, and one that stems from sentiments of superiority of those who believe it. Not every tourist is loud and inconsiderate like the Lyles, and not ever tourist is understanding and open as are Port and Kit. There are plenty of people in the middle, who simply want to travel and see he world but have no desire for an extended stay abroad. Whatever the tourist may choose, they are entitled to their experience, as is any well-seasoned traveler. It is interesting to note that MacCannell sees Boorstin as an actual part of the problem he himself described.

It is true that “tourists demand authenticity”. Port is not content in Africa because he is constantly searching for an unknown location; he restlessly travels deeper and deeper into the continent as he attempts to gain authenticity and the feeling of truly being alive. In this way, the existential properties of The Sheltering Sky are revealed. Life, in a way, seems to be meaningless to these tourists; Port even forgoes his vaccinations before the trip as if to show that whether or not he lives is of little importance. As described in the article, the “existential experience” is fueled by the desire to visit the “old country”. Kit and Port initially visit Africa due to their need to see life continue on in the same way it had before World War II. The couple traveled off the beaten path to find a place, and its inhabitants, who did not resemble those from the place from which they came. In some ways, the story depicts a pilgrimage for the characters as they are in search of a greater meaning. Kit especially, at the end of the book, is traveling by means of strangers and is looking for some unknown entity. All we know as readers is that she is slowly losing her own identity and by the end, Miss Ferry, a woman who previously would have been on the same social level as Kit, views Kit as a poor, unfortunate case. For this drastic change to occur, Kit’s travels must have taken a severe toll on her inward perception of herself. In general, the characters in The Sheltering Sky contain traits of tourists as they travel in search of missing aspects of their lives. 

As a reader, Kit’s vivid description of a man with “the most hideous human face she had ever seen” led to a deeper understanding of the characterization used in the story. This one section, pages 77-78, describes a man without a nose and with white lips; Kit imagines him to look like a lion. Further, she begins to question the reasoning behind her own disgust at his face and insinuates that her reaction was due to the materialistic age in which she lives. It is interesting to analyze Kit’s train of thought to gain insight into the reason a character reacts the way he or she does, and, even more, to see what provokes us to travel.
 
Kit says. “Nothing should be so horrible to look at than a face whose tissues are healthy but whose expression reveals an interior corruption”. I feel that this line is presented perfectly; it explains the essence of our judgmental nature as humans. Also, it is evident that Kit believes she may be in the presence of those with a clear exterior but a “corrupt” interior. Because of this, the reader is able to view Kit as a multifaceted character; we can relate to her statements because we have all dealt with people who appear one way but turn out to be completely different. As if to prove her inner purity or righteousness, Kit then spends almost the rest of the train ride in the fourth class section with the natives and lower-class people. It appears that she wanted so much to go against her initial feelings of dislike towards the man with the “horrible” face and perhaps to punish herself for her closed-minded emotions. 
 
Kit’s physical location at the time of this statement is symbolic of the journey on which she is embarking. The train is bringing Kit to her husband while her soon-to-be lover waits only a few train cars away. Rain is seen as a cleansing entity in literature, therefore it can be seen that Kit is attempting a new start when she positions herself where the storm will drench her. The movement of the train and the action of travel in general is a constant theme in the book. Kit, Port and Tunner are traveling throughout Africa for a reason unknown to the reader. This gives the story an air of mystery and the feeling of constant motion, an attribute that keeps the audience involved in the happenings of the characters.
 
Overall, this short moment in Kit’s story provides enough insight to make the reader invested in her life. We begin to see her not only as Port’s wife or a woman who places too much store in omens, but also as a woman trying to find herself in a foreign place.
 
 

Throughout The Sun Also Rises, Lady Brett Ashley is portrayed as a careless, affectionate woman with a love for men of all kinds. It is interesting to see, then, how each male character views and acts around her, and the effect that their judgment has on her perception of herself.
 
It seems as if Jake treasures Brett as a superior being who can do no wrong. From the start, she flaunts other men and spends her time with various suitors, all while coming back to Jake and expressing her love for him. To an average person, this situation may become exhausting and it may seem increasingly useless to pursue a relationship. Jake, however, is not keen in realizing that perhaps he is being used and undervalued. He justifies Brett’s actions endlessly, such as her late arrival to the trip they had planned. She was delayed due to a spontaneous stop in San Sebastian with Mike, her supposed fiancé, and Robert, her pursuer; all of these factors, however, do not seem to affect Jake. As a result of Jake’s consistent attention, Brett appears to be comfortable in his presence. She confides in him and allows him to comfort her in times of hardship. Nevertheless, Brett refuses to procure a relationship with Jake, most likely because she feels as though she already posses his love.
 
Another suitor of Brett is Mike. Although the two anticipate their marriage, Brett feels no remorse for spending time with other men. It is clear to the reader that she does not truly love Mike, but less clear is her reasoning for being with him since she appears to have so many other options. Mike’s drunken habits and history of bankruptcy make him a questionable candidate for marriage. This then reflects that Brett is easily persuaded into the affair and, as she expresses in the end, has a difficult time dismissing him. It is amusing that Brett speaks so highly of Mike when the story commences, but as the reader gains further insight, we are then disappointed with his character.
 
Count Mippipopolous is portrayed as a likeable man as he is kind to Jake and extremely accommodating to Brett. He seems like a gentleman and stands in stark comparison to Mike; this is further induced by Brett’s quick change from passing her days with the Count, straight to vacationing with Mike. His title allows the Count to stand out from the other common men. Brett seems to enjoy his company but refrains from considering him someone worthy of a lot of her time. This is evidenced by her sending him away for champagne in order for her to speak with Jake.
 
Other suitors include Robert Cohn and the bullfighter Romero. Robert acts as a lap dog, literally following Brett until he is forced to leave due to violence. The fact that Brett does not dismiss him further supports her need for attention. Romero becomes Brett’s fling in Pamplona where she eventually accepts their gaping age difference and allows herself to part from him.
 
Subsequently, the question arises: Does Brett actually take pleasure in being with these men or are they merely a mode of comfort and a source of self-esteem for her?

Somehow, in a social setting, one’s repertoire of countries or cities that they have visited allows them to stand out as admirable and privileged. The longer the list, the worldlier and even more educated a person may seem. Why is it that we place so much emphasis on travel as a pathway to a high social standing?
 
In Henry James’ “Daisy Miller”, Mrs. Miller moves with her two children from America to Europe. This action was due to her belief that her daughter, Daisy, needed to see this other part of the world. Mrs. Miller left her husband behind in New York, thus proving her insistence on this experience for Daisy through her ability to make such an immense sacrifice. The reader is then led to wonder for what reason European travel is regarded with such heavy importance. Daisy’s actions throughout the story demonstrate her need for attention and her desire to become a member of the elite social circles. By travelling, not only to Europe itself but also to several locations within the continent, Daisy indicates her constant ambition to thrive in the upper class.
 
Ironically, Daisy never actually achieves the high social status for which she had hoped. Soon after her arrival, Daisy becomes known as the “American flirt” and is purposefully excluded by members of the European upper class, such as Mrs. Costello. Although Daisy seems to understand that she is not in the same social tier as such a woman as Mrs. Costello, she continues to believe that while her actions remain unchanging, she will eventually gain access into the society. Winterbourne attributes Daisy’s beliefs to her immaturity. He repeatedly refers to Daisy as a “young girl” and makes references to her innocence. In labeling Daisy this way, it is as if Winterbourne is justifying Daisy’s haphazard actions as she is seen all around Europe with different men. In contrast, Daisy seems to think that the constant company of men improves her image and makes her seem as if she belongs in Mrs. Costello or Mrs. Walker’s set. Evidence of this is Daisy’s insistence on bringing Mr. Giovanelli to Mrs. Walker’s party at the start of part III:
 
’He’s an Italian,’ Daisy pursued, with the prettiest sincerity. ‘He’s a great friend of mine- he’s the handsomest man in the world- except Mr. Winterbourne! He knows plenty of Italians, but he wants to know some Americans. He thinks ever so much of Americans. He’s tremendously clever. He’s perfectly lovely!’ (James, 37)
 
In this extract, Daisy speaks of Mr. Giovanelli as if he were extremely chic and that by bringing him to the party, she intends to impress the partygoers. Furthermore, Daisy’s outlandish attitude stands in stark contrast to her mother’s lack of knowledge:
 
Her explanation of Daisy's delayed arrival at Mrs. Walker's party is similarly unsophisticated: the impracticality of Daisy's dressing so early obscures for Mrs. Miller the impropriety of her remaining alone with her Italian suitor. (Barnett, http://go.galegroup.com/ps/i.do?&id=GALE%7CH1420025346&v=2.1&u=&it=r&p=LitRC&sw=w)
 
Overall, Daisy and her mother attempt to gain status and social stature by travelling to Europe. They fall short in the eyes of the established people in the Old World and are seen as uneducated and ignorant; in the mind of the Millers, however, they are en route to becoming a part of the upper class because of their travels.

It was as if no other moment existed. To be suspended in mid-air with only a thin rope of support on which to rely. I glanced at the world through pre-Columbian eyes and saw a flat, smooth earth speckled with mansions the size of dollhouses and humans invisible from so high up in the air.
 
After pounds of peer pressure, I had set my mind on parasailing. As a near acrophobic, I had barely had enough courage to climb a tree in recent years, let alone allow myself to be lifted above the ocean by a fast-moving boat. Curiously, the day had begun with a leisurely trip to the stunning rocky beaches of Nice, France.
 
A far cry from the popular metropolis of Paris, Nice emanated a clear relaxation that I planned on taking advantage of during one sun-soaked, June day. As we arrived to the beach early that morning, the first parasailing trips were underway. My immediate thought was, I would never do that. Soon, however, a short while lounging and people watching on the beach had taken its toll on our ever-racing minds; my friends and I were up for something more entertaining. A stroll down the beach later and it was no time before I found myself strapped into a harness with my best friend, someone I would consider exponentially more adventurous than myself, literally attached to my hip. 
 
The engine revved on the boat just yards ahead of me and my stomach dropped. But instantly France dissolved beneath me and I flew. Not a fast, airplane-like rush, but first a rough lurch, then silence. I became an untouched cloud on an overcast day, floating easily above the Mediterranean. To my left was the sea merging with the sky, creating an image only ever discovered by those few people who ditched the boat and chose to throw themselves into the atmosphere. To the right was a landscape I attributed to the work of Renoir. The vibrant blues and forest greens of Nice, the water, and the mountains beyond further induced the reality of this nonsensical sky voyage.
 
Freedom always seemed, to me, like an idea. It could be reached, even if temporarily, through hard work or visits to unknown places. It was all in the mind, or so I thought. This new physical freedom made the other version appear intangible. I now had a presence and an experience to put with an idea. So I drifted, more slowly than I expected, and watched the boats and large fish below as if a film was being recorded in my mind. Something so unreal became my reality in a matter of seconds and while I was in the air, the weightlessness of the breeze was my ground. I stood there, simply remembering. This was a feeling I could not allow to be erased no matter how many other adventures were to ensue in my life.
 
The flight by plane to France from the United States procured in me a desire for the future. My flight by parachute created the standard of comparison I use in order to optimize any occasion to come.