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- W2912650766 abstract "In twentieth-century American popular culture, there are really only two reasons to go onthe road: to become famous or to hide. Born too late for the pioneer projects of blazing trails,extending natural frontiers, or just lighting out for the territory, modern Americans hit a roadnot only already taken, but paved, ramped, mapped, and marked by the commercial sites ofmobile mass culture: the motel, the roadside diner, the filling station, and the drive-in movietheater. For those traversing this ground for purposes other than leisurely sight-seeing, theroad points towards a promising future or leads away from a dead-end past: the slightestredefinition of perspective shifts the purpose of a road trip from seeking a desired goal intoflight from a desperate origin. In fact, despite the strong emphasis given to departures andarrivals, the road trip is largely defined by its extended middle; as Jack Kerouac’s terse titleaffirms, being “on the road,” rather than starting or stopping, defines the postwar Americanexperience. As the narrator of Bayard Johnson’s road novel Damned Right insists: “That’swhy they’re called freeways. It’s on stretches like that you can be free in America . . . Afterall, it’s a free country” (9). No matter how many actual lanes a modern superhighwayexpands into laterally, the American road is always metaphorically a two-way streetgenerating either exploration (the panoramic view ahead through the windshield) or escape(the furtive backward glance in the rear-view mirror), and, perhaps, the sudden reversibilityof destiny and destination promised by the possibility of making a – legal or illegal – u-turn.Every American who knows “there’s no place like home” – the mantra of America’s mostfamous road movie – also remembers that “you can’t go home again.”" @default.
- W2912650766 created "2019-02-21" @default.
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- W2912650766 date "2002-01-04" @default.
- W2912650766 modified "2023-09-27" @default.
- W2912650766 title "ON THE RUN AND ON THE ROAD Fame and the outlaw couple in American cinema" @default.
- W2912650766 doi "https://doi.org/10.4324/9780203137420-13" @default.
- W2912650766 hasPublicationYear "2002" @default.
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