- Title Pages
- A Prologue
- Chapter 1 A Usable Past
- Chapter 2 The Magic of Words
- Chapter 3 Whatever World There Would Be
- Chapter 4 The Stale Bread of Dedication
- Chapter 5 A Weekend in July
- Chapter 6 A Kind of Beatness
- Chapter 7 Neal & Co.
- Chapter 8 This Particular Kind of Madness
- Chapter 9 Angelic Visions
- Chapter 10 In the Temple of the Gods
- Chapter 11 A Torrent of Words
- Chapter 12 The Liveitup Kid
- Chapter 13 Perfect Fools
- Chapter 14 The Rising Tide of Fame
- Chapter 15 What Am I Doing Here?
- Chapter 16 The Horn
- Chapter 17 Too-Late Words
- Chapter 18 A Sweet Attention
- Chapter 19 To the Edge of Eros
- Chapter 20 Gypsying
- Chapter 21 A Turn of the Circle
- Chapter 22 Gone in October
- Chapter 23 On a Porch in Boulder
- Chapter 24 Final Chorus
- (p.279) Chapter 16 The Horn
- University Press of Mississippi
The Horn is John Clellon Holmes’s brilliant, troubling testament to jazz. Loosely based on the lives and careers of jazz musicians Holmes admired, the book employs the narrative structure of tragic drama, which is defined by the Aristotelian rules of unity of action. Although it drifts between a number of musicians’ apartments and Harlem bars, The Horn is essentially set within the same scene, as proposed by Aristotle. In June 1977, Holmes discussed his specific aims in the novel with the young academic Tim Hunt. A month later, he wrote to Richard K. Ardinger, who had become interested in the Beat Generation as a student and was compiling Holmes’s bibliography, to talk about the conception of the novel. Two of the characters in The Horn are Jack Kerouac and Holmes himself. At its release, the novel received mostly moderate reviews from the mainstream press, but was acclaimed by knowledgeable critics with a close connection with jazz, such as Ralph Gleason in San Francisco and Studs Terkel in Chicago.
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