Jack Kerouac's novel, On the Road, is a characteristic story of the Beat Generation, a movement defined by its rejection of conformity in favor of research deeper meaning. It is this search that serves as the catalyst for much of the action of the narrative, as protagonist Sal Paradise travels across the country with a multitude of companions, chief among them Dean Moriarty. The story revolves around a series of excursions, including trips to Denver, San Francisco, New Orleans, and Mexico. Both Sal and Dean seem unable to settle down, especially Dean, who flits between three different relationships and marries three times over the course of the plot. Ultimately however, Sal becomes disillusioned with Dean's unconsciousness when he suffers from delirium in Mexico and Dean leaves him. He returns to New York and chooses to live a more settled life with a steady girlfriend. Dean visits him, but he is no longer able to delight Sal with his impulsive behavior and philosophical musings. A divide forms between the two, as Sal remains still and content and Dean continues to drift through his travels with reckless abandon, searching for the intangible meaning that will give his life meaning. Throughout the novel, Kerouac's unique writing style helps describe an era and the complex web of relationships that drive the story. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get an original essay One of the main elements of Kerouac's narrative is his use of characterization. Kerouac's cast is a multi-faceted group of individuals whom he portrays in the context of their individuality and dynamic energy, the essence of his Beat Generation. Dean immediately stands out as a scattered character who enjoys wandering and discussing metaphysical ideals. Kerouac depicts a conversation between Dean and his first wife Marylou, in which Dean paces around his apartment, disturbed by a lack of activity. He tells her: “In other words, we have to get to work, darling, what I'm saying, otherwise it will be fluctuating and lacking in true knowledge and crystallization of our plans” (3). He speaks in a way that makes it seem like the words are flowing out of him in a stream-of-consciousness style. Dean is constantly eager to move and leave, but it's never clear where he wants to end up. He simply doesn't want to stay in one place for too long and often expresses this in long, nonsensical sentences that describe his inner turmoil and confusion. Kerouac also depicts Dean's inconsistency through other characters' opinions of him. Marylou laments that Dean "leaves you aside whenever it's in his interest" (159) and Galatea chastises him for "having respect for no one but yourself" (183). Dean himself recognizes his own discrepancy and characterizes himself as a constantly restive individual, saying, "my trunk is always sticking out from under the bed, I'm ready to leave or be kicked out" (239). The trunks are symbols of their traveling lives, and while Sal manages to lock his up figuratively and literally, Dean's is omnipresent and constantly inspiring him to move. All of these revelations foreshadow the novel's conclusion, when Sal becomes painfully aware of Dean's true nature after he was abandoned in Mexico when he was in need. Kerouac also uses busy descriptions to describe the frenetic and inquisitive atmosphere of the novel. Sal explains that he pursues interesting people and "burns, burns, burns like fabulous yellow Roman candles exploding like spiders through the stars" (5)..