How we cite our quotes: Citations follow this format: (Part.Chapter.Paragraph)
Quote #25
Stranger flowers yet - for as the N***o alto mused over everyone’s head with dignity, the young, tall, slender, blond kid from Curtis Street, Denver, jeans and studded belt, sucked on his mouthpiece while waiting for the others to finish; and when they did he started, and you had to look around to see where the solo was coming from, for it came from angelical smiling lips upon the mouthpiece and it was a soft, sweet, fairy-tale solo on an alto. Lonely as America, a throatpierced sound in the night. (III.10.5)
Like Dean, Sal connects spirituality with music.
Quote #26
Suddenly Dean stared into the darkness of a corner beyond the bandstand and said, "Sal, God has arrived."
I looked. George Shearing. And as always he leaned his blind head on his pale hand, all ears opened like the ears of an elephant, listening to the American sounds and mastering them for his own English summer’s-night use. Then they urged him to get up and play. He did. He played innumerable choruses with amazing chords that mounted higher and higher till the sweat splashed all over the piano and everybody listened in awe and fright. They led him off the stand after an hour. He went back to his dark corner, old God Shearing, and the boys said, "There ain’t nothin left after that." (III.10.8, III.10.9)
Dean sees God in Shearing because of his ability to keep a beat and "know time."
Quote #27
By this time Dean was so exhausted and out of his mind that everything he saw delighted him. He was reaching another pious frenzy. He sweated and sweated. The moment we were in the new Chrysler and off to New York the poor man realized he had contracted a ride with two maniacs, but he made the best of it and in fact got used to us just as we passed Briggs Stadium and talked about next year’s Detroit Tigers. (III.11.3)
Sal compares Dean’s fits of madness to religious fervors, an analogy that emphasizes the intensity and admirability of Dean’s character.