The Importance of Elbow Room in Ken Kesey's Novels Dennis Schreiner B.A., University of Northern British Columbia, 1996 Thesis Submitted in Partial Fulfillment of The Requirements for the Degree of Master of Arts in English The University of Northern British Columbia April 2009 © Dennis Schreiner, 2009 Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-48744-0 Our file Notre reference ISBN: 978-0-494-48744-0 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Plntemet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. 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Canada Abstract The purpose of this thesis is to examine, through cultural studies, the works of Ken Kesey and establish that he is building upon certain long-standing mores and myths in American society and that, despite being popularly viewed as a countercultural icon, his works demonstrate that he is actually more of a traditionalist in terms of his views. He is a writer who believes individualism is both a right and a means to personal success and emotional well-being. As such, his works embody the kind of frontier mentality outlined by Frederick Jackson Turner and Richard Slotkin. These works promote the belief that American independence stems from characteristics that are necessarily forged when people leave the city for the frontier, characteristics such as pragmatism and self-sufficiency. TABLE OF CONTENTS Abstract Table of Contents Acknowledgements Introduction Ken Kesey Reconsidered Chapter One Kesey and Kerouac Chapter Two Visions of Superheroes and Women Chapter Three The Cold War Individual vs. The System Chapter Four The Problems of Individuality and the Libertarian Ideal Conclusion The Entrenchment of the Rebel Bibliography Acknowledgements I would like to thank Dr. Jacqueline Holler, Dr. Rob Budde, and Dr. Stan Beeler for all their time and input. As well, thanks to Dr. Andrew Kitchenham for serving as Chair for my defence and to Dr. John Robert Ross for acting as the external. I would also like to offer a special thank you to Dr. Dee Home, who acted as my supervisor and whose support, viewpoints, and suggestions were invaluable to me during this entire process. And finally, I would like to thank my parents and my brother for their continued belief in my abilities. iv Introduction - Ken Kesey Reconsidered An often unfortunate irony of fame is that it obscures the talent responsible for it in the first place. Fame - lasting fame - usually relies on two factors that frequently manage to separate themselves from talent: image and name recognition. The concept of image is often reduced, as Raymond Williams states, to "a jargon term of commercial advertising and public relations" (158) and when it is filtered through the various media available, particularly in today's world of instant access and communication, it can distort one's perceptions rather than clarify them. The assertion can thus be made that such "commercial and manipulative processes of image" (158) alter our perceptions of people in many instances and often fracture and diminish the importance of their accomplishments. Alfred Hitchcock is probably the most famous example of a filmmaker who has become a brand name, but his dark and recurrent themes of obsession and voyeurism and his mastery at manipulating an audience through cinematic techniques are often pushed aside in favour of his persona. He is a famous silhouette who has acquired his own adjective (how many times has a film been referred to as Hitchcockian, merely on the basis of qualifying as an entry in the thriller/suspense genre?). He is hardly unique in this respect as many other famous people have had their abilities superseded by society's image of them. Elizabeth Taylor rose to fame early as an actress of great promise in National Velvet and subsequently proved herself to be a great talent in such Oscar-winning films as Butterfield 8 and Who's Afraid of Virginia Woolf? However, the public fascination with her numerous marital escapades often eclipsed these accomplishments. As well, an artist like Andy Warhol is known as much, if not more, for his unusual appearance and seemingly decadent lifestyle as he is for his art and films, despite the 1 fact that he rose through the ranks of the art world in New York precisely because of his talent. The world of literature, while often not as glamorous or as captivating to society or the general public because of its seeming resistance to the world of the ubiquitous celebrity, nonetheless has its share of authors who became known as much for their larger-than-life personas as they did for their works. Ken Kesey is a prime example of just such a writer. Ken Kesey is a unique literary figure who rose to prominence in the early 1960s with the arrival of his two most recognized works: One Flew Over the Cuckoo's Nest and Sometimes a Great Notion. Although these works strongly link him to the Pacific Northwest, he was in fact born in La Junta, Colorado on September 17,1935. His family, after a brief spell of rootlessness that commenced in 1941 (due in part to his father's military service), settled in Eugene, Oregon in 1946. Kesey received his B.A. from the University of Oregon in 1957, and in 1958 he entered the creative writing program at Stanford. In 1960, he made a key decision that forever altered his life, both professionally and personally. He volunteered "to be a subject for government experiments with 'psychomimetic' drugs" (Leeds xi) at the Menlo Park Veterans' Hospital. His experiences as a 'guinea pig' were positive in that they convinced him of the necessity to pursue higher states of consciousness, and caused him to develop a long-term affinity with LSD. After these experiences, he "took a job as [an] aide at the hospital. The hospital work provided inspiration and material for" his first novel (Tanner 15), which proved to be a resounding critical and commercial success. However, after the publication of the ambitious and multilayered Great Notion in 1964, he essentially abandoned writing and instead turned all his attention and energies to fostering and accelerating the growing countercultural movement that was beginning to have an impact on the various strata of American society. Kesey became so enraptured with this movement that he began "talking about how writing was an old-fashioned and artificial form 2 and pointing out, for all who cared to look ... the bus" (Wolfe 91). The bus in question was a multi-coloured 1939 International Harvester (Tanner 89) named 'Furthur.' He and various friends travelled in it across the United States, at first ostensibly "to visit the World's Fair and be in New York when Great Notion was published" (89) but also to "experiment as a group with drugs and make a movie of the experience as it happened" (89). Kesey and his mates referred to themselves as the Merry Pranksters. Their quest for transcendental states of mind gave spiritual and hipster connotations to the phrases 'on the bus' and 'off the bus.' You either 'got' the Pranksters and their lifestyle or you did not; if you did you were 'on the bus'. Kesey became the unofficial ringleader of this group and movement, a figure as boisterous, pragmatic, and individualistic as the characters of his novels. He became a kind of "lightning rod" (89) to the 60s generation of youth, altering the culture through his introduction of Acid Tests, which promoted the use of LSD to achieve what he felt were mind-altering and limitless states of being. The impact of these tests had reverberations throughout society as they "were one of those outrages, one of those scandals, that create a new style or a new world view" (Wolfe 223). They were the impetus for what became "[m]ixed media" (223) entertainment: a "combination of light and movie projections, strobes, tapes, rock 'n' roll, black light" (223) and were also the cornerstone characteristics of the developing psychedelic movement. It is hard to imagine a psychedelic movement without Ken Kesey and his Pranksters. They and their Acid Tests turned that era into a world of "psychedelic poster art, the quasi- art nouveau swirls of lettering, design and vibrating colors, electro-pastels and spectral Day- Glo" (224).