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Every Trip Is a Quest
(Except When It’s Not)
O
KAY, SO HERE’S THE DEAL:
let’s say, purely hypothetically, you’re reading a book about an average
sixteen-year-old kid in the summer of 1968. The kid—let’s call him Kip—who hopes his acne clears
up before he gets drafted, is on his way to the A&P. His bike is a one-speed with a coaster brake and
therefore deeply humiliating, and riding it to run an errand for his mother makes it even worse. Along
the way he has a couple of disturbing experiences, including a minorly unpleasant encounter with a
German shepherd, topped off in the supermarket parking lot where he sees the girl of his dreams,
Karen, laughing and horsing around in Tony Vauxhall’s brand-new Barracuda. Now Kip hates Tony
already because he has a name like Vauxhall and not like Smith, which Kip thinks is pretty lame as a
name to follow Kip, and because the ’Cuda is bright green and goes approximately the speed of light,
and also because Tony has never had to work a day in his life. So Karen, who is laughing and having
a great time, turns and sees Kip, who has recently asked her out, and she keeps laughing. (She could
stop laughing and it wouldn’t matter to us, since we’re considering this structurally. In the story we’re
inventing here, though, she keeps laughing.) Kip goes on into the store to buy the loaf of Wonder
Bread that his mother told him to pick up, and as he reaches for the bread, he decides right then and
there to lie about his age to the Marine recruiter even though it means going to Vietnam, because
nothing will ever happen for him in this one-horse burg where the only thing that matters is how much
money your old man has. Either that or Kip has a vision of St. Abillard (any saint will do, but our
imaginary author picked a comparatively obscure one), whose face appears on one of the red, yellow,
or blue balloons. For our purposes, the nature of the decision doesn’t matter any more than whether
Karen keeps laughing or which color balloon manifests the saint.
What just happened here?
If you were an English professor, and not even a particularly weird English professor, you’d know
that you’d just watched a knight have a not very suitable encounter with his nemesis.
In other words, a quest just happened.
But it just looked like a trip to the store for some white bread.
True. But consider the quest. Of what does it consist? A knight, a dangerous road, a Holy Grail
(whatever one of those may be), at least one dragon, one evil knight, one princess. Sound about right?
That’s a list I can live with: a knight (named Kip), a dangerous road (nasty German shepherds), a
Holy Grail (one form of which is a loaf of Wonder Bread), at least one dragon (trust me, a ’68 ’Cuda
could definitely breathe fire), one evil knight (Tony), one princess (who can either keep laughing or
stop).
Seems like a bit of a stretch.
On the surface, sure. But let’s think structurally. The quest consists of five things: (a) a quester, (b)
a place to go, (c) a stated reason to go there, (d) challenges and trials en route, and (e) a real reason
to go there. Item (a) is easy; a quester is just a person who goes on a quest, whether or not he knows
it’s a quest. In fact, usually he doesn’t know. Items (b) and (c) should be considered together:
someone tells our protagonist, our hero, who need not look very heroic, to go somewhere and do
something. Go in search of the Holy Grail. Go to the store for bread. Go to Vegas and whack a guy.
Tasks of varying nobility, to be sure, but structurally all the same. Go there, do that. Note that I said
the stated reason for the quest. That’s because of item (e).
The real reason for a quest never involves the stated reason. In fact, more often than not, the
quester fails at the stated task. So why do they go and why do we care? They go because of the stated
task, mistakenly believing that it is their real mission. We know, however, that their quest is
educational. They don’t know enough about the only subject that really matters: themselves. The real
reason for a quest is always self-knowledge. That’s why questers are so often young,
inexperienced, immature, sheltered. Forty-five-year-old men either have self-knowledge or they’re
never going to get it, while your average sixteen-to-seventeen-year-old kid is likely to have a long
way to go in the self-knowledge department.
Let’s look at a real example. When I teach the late-twentieth-century novel, I always begin with the
greatest quest novel of the last century: Thomas Pynchon’s Crying of Lot 49 (1965). Beginning
readers can find the novel mystifying, irritating, and highly peculiar. True enough, there is a good bit
of cartoonish strangeness in the novel, which can mask the basic quest structure. On the other hand,
Sir Gawain and the Green Knight (late fourteenth century) and Edmund Spenser’s Faerie Queen
(1596), two of the great quest narratives from early English literature, also have what modern readers
must consider cartoonish elements. It’s really only a matter of whether we’re talking Classics
Illustrated or Zap Comics. So here’s the setup in The Crying of Lot 49:
1) Our quester: a young woman, not very happy in her marriage or her life, not too old to learn,
not too assertive where men are concerned.
2) A place to go: in order to carry out her duties, she must drive to Southern California from her
home near San Francisco. Eventually she will travel back and forth between the two, and
between her past (a husband with a disintegrating personality and a fondness for LSD, an
insane ex-Nazi psychotherapist) and her future (highly unclear).
3) A stated reason to go there: she has been made executor of the will of her former lover, a
fabulously wealthy and eccentric businessman and stamp collector.
4) Challenges and trials: our heroine meets lots of really strange, scary, and occasionally truly
dangerous people. She goes on a nightlong excursion through the world of the outcasts and the
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