Jack Kerouac's novel, On the Road, follows Sal Paradise on trips across America. Sal spends most of his time traveling on foot or by car; however, the novel focuses on his stay in three American cities: New York, Denver and San Francisco. Kerouac elaborates his presentation of Sal in these cities to show how the character has a distinct identity and sense of self during each of his stays in the city. New York City serves as the home base for Sal and his writing, while Denver and San Francisco offer a more masculine interpretation of the character. Say No to Plagiarism Get a tailor-made essay on “Why Video Games Should Not Be Violent”. Banned'?Get the original essaySal begins and ends each of his continental trips in New York. This town provides a place of congregation for Sal and his friends as well as a professional base for Sal's writing. All of these aspects are included in New York City. establishing a basic identity for Sal that the rest of the novel builds upon. Sal's first trip west begins in the winter of 1947. He lives as a writer and a social outcast. Dean Moriarty is attracted to Sal's writing personality, which surfaces primarily during his time in New York. Conversely, Sal admires the way Dean deviates from the qualities found in Sal's current New York crowd. Dean's arrival prompts Sal to seek a new identity that opposes the general atmosphere of New York City that he describes in this passage: "Plus, all my New York friends were in the negative position and nightmarish to belittle society and give their tired books or policies their psychoanalytic reason(s), but Dean was just running around society...he didn't care one way or the other. (7) Sal's description of these New York figures signals his identity as a self-proclaimed outsider. He puts distance between himself and the group when he uses the label “all my New York friends.” The absence of “we” in the classification of one's status in the group implies a separation from these characters. The word "friends", however, indicates a kind of close camaraderie, even if Sal disagrees with their attitudes. Sal's position as a social outsider is criticized by his colleague Carlo Marx, upon his return to New York at New Year's Eve 1948–1949: The ball won't sustain you much longer. And not only that, it's also an abstract balloon. You will all fly to the West Coast and stagger back in search of your stone. (121)Carlo Marx comments on Sal's desire to leave his home base of New York. He doubts the necessity of the trip. His use of the word "abstract" to describe the search for a new personality categorizes Sal's New York identity as more concrete and natural than that of other cities. Despite Sal's efforts to distance himself from the attitudes of New York City, Carlo asserts that Sal will return to his home base and his craft as a writer in the end. Additionally, Carlo associates New York with a “stone.” This contrasts with the abstract nature of Western American cities and places redemptive philosophical knowledge available in New York. Additionally, the balloon represents empty and airy thoughts. It acts like an aimless object whose destiny ends in deflation. Carlo compares Sal to a clownish, childish view of life that changes and becomes more philosophical when Sal returns to New York. In New York, Sal is a self-proclaimed outsider. In Denver, however, he became a dominant male pioneer. His presence in Denver began in July 1947. Sal's first comments as he entered the city created aco-dependence on others and how they perceive him. He associates his travel experience with the heritage of Christ or Moses: ...and in their eyes I would be strange and in rags like the Prophet who crossed the land to bring the obscure Word, and the only Word that I was 'Wow!'. (32) This passage shows how Sal's attitude shifts from being an outside observer on the fringes of the social world to a perspective that places him at the center. Sal believes he is a leader rather than a bystander. While in Denver, Sal becomes obsessed with other people's perceptions. This contrasts with his criticism and separation within the social world of New York. Instead of opposing Denver's existing social attitudes, he creates a patriarchal presentation of himself in order to participate in society. Denver offers Sal a new environment and inspiration for a change of identity. He continued this distinct vision upon his return to Denver in 1949: “I saw myself in Central America, a patriarch” (169). The words “patriarch” and “prophet” suggest a hierarchy in lineage. Sal considers himself the leader of a biblical journey. These two male-identifiable words imply that those who follow Sal's example will draw energy and inspiration from his travel experience. His patriarchal attitude is linked to his own admiration for the character of Dean Moriarty who initially sent him to the West. Additionally, Sal's transition from "prophet" to "patriarch" traces his maturation between journeys. He escapes his dependence on external perceptions and gains confidence in himself. His initial comments about the role he wanted to play in Denver were realized upon his return in 1949. Sal continued to improve his masculinity when he reached San Francisco. Sal's identity in San Francisco involves a confirmation of his masculinity and heterosexuality through the role of an enforcer. Until his time in San Francisco, Sal's interaction with people is on a non-physical, intellectual level. But in this city, communication is expressed through force and violence. Sal describes this communication while carrying a gun: Many times I went to San Francisco with my gun and when a fag approached me in a bar, I pulled the gun out...I knew queers all over the country. It was just the loneliness of San Francisco and the fact that I had a gun. I had to show it to someone. (66) This passage highlights Sal's need to be masculine and heterosexual. The “loneliness” of San Francisco creates this attitude in Sal. He does not specify what makes San Francisco lonely, but he suggests a sexual loneliness due to his rejection of male advances. This is the only town where Sal carries a gun. The weapon is a symbol of his masculinity. Sal uses this visual and the word “queer” to reaffirm his heterosexual dominance. His action of showing the gun fits his view of Denver as patriarch. Each association refers to qualities of dominance or a male hierarchy within a system. San Francisco's revolution around masculine centricity is reinforced in the relationship between Sal's friends Remi and Lee Ann. In one scene, Remi and Lee Ann argue over a gun: "Remi pushed Lee Ann. She lunged for the gun. Remi gave me the gun and told me to hide it ; there was an eight-shell magazine in it” (168). Remi asks Sal to hide the gun while Lee Ann tries to grab it. This action symbolizes the transfer of power between men and the emphasis on maintaining masculinity that colors Sal's experience in San Francisco. San Francisco, Denver, and New York each provide Sal with a place to explore various aspects of his identity and worldview. A link between each of the cities is the use.