s narrative
displays not just one style but various styles of writing, and it is
partly this stylistic diversity that gives the book much of its interest and appeal.
Sometimes, for example, the style is simple and plain, showing some of the influence of
the no-nonsense phrasing associated with Hemingway:
I
first met Dean not long after my wife and I split up.
Sometimes the phrasing is suggestive and tantalizing, reminiscent
in some ways of the phrasing we associate with Holden Caulfield in The Catcher in the
Rye:
I had just
gotten over a serious illness that I won't bother to talk about . . . .
Sometimes the phrasing manages to seem colloquial and literary at
the same time:
. . . he was a young jailkid shrouded in
mystery.
Sometimes the phrasing uses vivid
slang:
Dean was staying in a cold-water pad . . .
.
On other occasions it piles on adjectives:
. . . his beautiful little sharp chick Marylou . . . .
At other times the details are precise and almost
sensual:
. . ....
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