On the Road读后感锦集
《On the Road》是一本由Jack Kerouac著作，Penguin出版的Paperpack图书，本书定价：$18.03，页数：320，特精心从网络上整理的一些读者的读后感，希望对大家能有帮助。
《On the Road》精选点评：
●不知道该不该给5星 也许5颗星其实是给自己的 2013年5月研究生毕业后把英文版放进ipad 然后开始了第一次roadtrip 到现在读完的时候完成了4次总共13000mile的roadtrip 很多想说的话更愿意留给自己吧
●终于读完了 我原以为自己会热血沸腾 相反的我特别平静 没有什么想法 我不喜欢Dean 对Remi印象很深 大概电影不会面面俱到给每个角色出场的机会吧 还是期待看到Remi
●为了论文撸一遍原版。。。。
●You only live once.
●因为是第一个人这样写, 所以值得所有的殊荣.
●事实证明，15天写完的书，我需要6个月才能看完
● 看了译文版又看了原版，对有些语句理解的更深刻了。特别是看最后一段，比起读译文更让人难受：I think of Dean Moriarty.
●I was going to be alone in California. But why think about that when all the golden land's in front of you, and all kinds of nice surprises wait for you?很理解那在路上的感觉，所有的遭遇，泄气的事情都比不过眼前的景色。那些烦恼，想它干嘛。我还年轻，我渴望上路~
●So so sad
●红楼梦里薛姨妈讲，笑话不在于好歹，对景了就使人发笑。同样，小说只有结合其环境与背景才能显示出其意义，很可惜，未经过垮掉的一代的我，对小说中重复往来的搭车，喧闹与酒吧音乐，有些厌烦了。
《On the Road》读后感(一)：上路的冲动
“All I hope, Dean, is someday we'll be able to live on the same street with our families and get to be a couple of oldtimers together.”
这是Sal对生活的一种憧憬，疯够了浪够了的一对基友，洗净旅尘，安定下来，相妻教子，周末去酒吧回忆往昔峥嵘岁月。Sal心里总有一块地方希望安定下来，找一个眼睛清澈见底的女孩，可以安放灵魂，慢慢变老的那种。
可他总是一次又一次地出发上路。
al不是自助游，没去什么名山大川，历史遗迹，就是搭车或者坐车穿越美国，从东走到西，从南走到北，累了买个可乐，爱了，就去吻姑娘的嘴。这种生活似乎是颓废的，抛弃家庭和社会责任，严重到Dean这样的，四个娃，还居无定所，旅行对于他来说也意味着逃离。同时，选择这种生活的又不会是贪图安逸的人，旅途非常辛苦，吃不饱睡不好是常态，没有旺盛的生命力，是不能在这状态下还随时保持着奔酒吧找姑娘的欲望的。
毕竟一个人只活一次，很难说朝九晚五，四世同堂就比活在路上更有意义。
可能每个人都有上路的冲动，作为一个缺少活在当下能力的人，我理解活在路上还是有困难。
《On the Road》读后感(二)：写在研究学习之前
尼尔·卡萨迪是罪犯，是圣人，是流浪汉。尼尔·卡萨迪开车奔过荒原，大地和泥浪在他的轮下臣服，他头顶有巨大的翻卷着的云，眼前残破如羊皮纸展开的是整个世界。尼尔·卡萨迪是酒、波普爵士乐和性的结合体，他同时看着所有的地方做着所有的事，说起话来汗流浃背兴奋难抑如同周身有火焰在燃烧。尼尔·卡萨迪被人爱着也恨着，对人有着疯狂的兴趣又对他们感到厌烦。尼尔·卡萨迪身后是追随他模仿他的影子和长长的尘烟，身前是一切，或称什么也没有。尼尔·卡萨迪就要来了，仓促的准备迎接不了他，人们以他为无上的光荣和无耻的罪恶，但人们只能隔着眼睛看他，没有人能成为他，只有草漠能成为他，只有冬夜的高山能成为他，只有峡谷上一线的青天河密西西比河上漂流而上的玫瑰能成为他，顺流，逆流，飞驰而过的公路涌进胸膛，唯有他走过的路能全部成为他。
那些路长如生活，把你的汗和泪激成一汪汪炽热凶猛的水洼，划过黑夜，穿过黎明，在某一个灯火通明的城市戛然而止，又在另一个白日挟着电光火石与风尘仆仆再度狂奔。连死神也走不完它，连暮者也怀念它，它源源不断地卷入尼尔·卡萨迪的胸口，让他在死了之后继续活着，继续揉着肚子一边嚎叫一边笑，在生活的破烂褴褛与富丽堂皇之上飞驰，朝着所有地方驶去，朝着我们驶来，尼尔·卡萨迪就要来了。
（写这东西的诱因是书里Jack他们得知Neal到来时的一段文字，很有意思。某种程度上来说，Neal Cassady是个American Saint正在翩翩降临。五一要写研究学习paper，那之后再来补充也不迟。）
《On the Road》读后感(三)：文艺驴
年终读书盘点。今年读的另一本英文书是克鲁亚克的《在路上》。
作为自封的驴友，这本书一直没读过有些说不过去。不过国内现有的三个中译本，我对照了下原文，觉得实在都不忍卒读，至少那阅读时间花得不值。这本的英文确实有点难读，要用中文传达出那意韵就几乎是不可能的任务。我甚至自己尝试重译了一段，但是The Beat Generation的风格真是很难把握。
克鲁亚克的风格是所谓“自发式写作”，句子如行云流水般，但又并非口语化的随意而是带有韵律感的诗意。相应的，译文不能晦涩，要有一气呵成的青春气息，但又不能显得痞气；要有游吟的意境，但又不能有文艺腔。
关于内容，这本书原没有传说中的那样离经叛道，只是很真实而已，无论是记述怯懦、困境、平庸，还是放纵和狂喜。大部分是平实的记述笔法，但对风景的感受中则是诗意的狂喜。一代人去，一代人来，这本书永远不会过时。
我在想这本书是不是可能译成酱紫，比如开头这段：
认识小狄，是在我离婚之后不久。当时我刚大病一场，这个不谈了，反正多少是给离婚这破事闹得，只觉得万念俱灰。这时小狄出现了，打开了我生活的新篇章，称得上是在路上的生活吧。在那之前我其实也心动过去西部看看乡村，但想法都不成形，实际也没成行。小狄命里就是个在路上的人，他真的就是生在路上的。那是1926年，在一辆皮卡里，他父母在去洛杉矶的路上，正经过盐湖城。最早是柴德金和我提起他的，还给我看了几封他从新墨西哥州一个少教所里写来的信。那些信让我来了兴致，因为里面很萌地向老柴求教关于尼采的各种问题还有老柴所知道的其他一些高智商问题。有次卡罗和我说起这些信，说起不知有没有可能会会这个怪咖狄某人。这些都是老早以前的事了，当时小狄还不是今天的样子，当时他是个来历不明的少年犯。后来听说小狄从少教所里出来了，要来纽约，他的第一次；还听说他刚娶了个叫小梅的女孩。
有天我正在校园里逛，老柴和田家瑞告诉我小狄在东哈林区找了个老工房住下了，就是那个西班牙人社区里。小狄是前一天晚上到的，是第一次来纽约，带着他的漂亮美眉小梅。他们在五零大街下了长途车，拐过街角就开始找吃的，就这么撞进了霍家小馆。从此以后霍家小馆在小狄心中就成了纽约的标志。他们花钱买了光鲜的大蛋糕还有奶油泡芙。
《On the Road》读后感(四)：on the road: reflecting the falling star-catcher
One soul can be so intensely, energetically intrigued by another- a soul that is “wrapped up in a fast car, a coast to reach, and a woman at the end of the road” (p. 232). Moreover, this inspiration only happens when the two physical bodies are present in the same space- without the company of Dean Moriarty, Sal’s life falls to depression and pessimism. All Dean is about is to live in the present. He almost has an aura around emitting energy- every flow of the light is trying to burn for the moment. He does everything at the same time. However, a destiny of anything that shines too bright is to burn out, which is in our expectation while we read. In the end, when Dean deserted Sal sick in bed in the damp environment of Mexico, to Sal, the star has already burned out- he is no longer the holy or iconic. At that moment, Sal ends his journey “running from one falling star to another”.
Dean has the power to influence, to inspire Sal because he is the counterculture that Sal seeks. Almost every rebellion needs a radical start. His extreme, almost self-destructive behavior of drinking, doing drugs, and chasing after women, to Sal, also shows his passion for life and desire of constant actions. “The only people for me are the mad ones, the ones who are mad to live, mad to talk, mad to be saved, desirous of everything at the same time”(p.5). This is what Sal misses in the old stagnant east, which he himself had been part of as well. The dissatisfaction of the east has led him to go on chasing the ‘spirit of the West’. As controversial as Dean is among Sal’s friends and family, he has been a heroic symbol to him. At another time, Dean is the ‘jazz musician” who represents the free improvising expression- a new expression that belongs to the new generation.
Clearly, part of Sal’s admiration of Dean comes from his own projection of a pre-defined character that is related to the West. A spirit that is free and wild. This explained the “Holiness” that Sal sees in Dean. Sal has this tendency to think people he meets as the caricature of the region they come from. He sees the cow boy from Dean. When they arrived in Los Angeles, Sal thinks “the cops in LA looked like handsome gigolos; obviously they’d come to LA to make the movies. ” This sometimes become irrational imaginations that comes from Sal’s mind and ideas which turns out to disappoint Sal.
He is on the road with Dean not only for the drinks and the woman, but also for a legendary “IT”. Dean talked about constantly on the road looking for “it” in the people they meet. At one time, the musician Rollo Greb has “it”, and at another time, a jazz pianist has it. “he knows time, he has nothing to do but rock back and forth. Man, he’s the end! You see, if you go like him all the time you’ll finally get it.” (p.127) But none of them in the end give any explanation on it. Being constant on the road that directs toward a certain place, either west or south, represents a pursue for an ideal future that lies beyond the horizon in front of them. Both Dean and Sal has a “IT” in their mind of a great life with everything solved. They roll the wheels, the most direct way of getting closer to the IT and they enjoy this temporary idea of knowing they are on the move and keep repeating it.
Dean has always been seeking his father, while Sal has lost his father and grew up with his aunt. On their trip to the “magical south” to Mexico with Stan who was raised by his grandfather, they three are are also seeking the root together.
Right in the beginning of the first trip, Sal writes “The greatest ride in my life was about to come up, a truck, with a flatboard at the back.” We infer from this that he does not enjoy his later journeys as much as the first. He might have gone on the other ones trying to re-experience the best, but nonetheless cannot find it. Even at the end of the first journey when they arrive in San Francisco where there is no where to go westward, he found before him is “the great raw bulge and bulk of my American continent; somewhere far across, gloomy, crazy New York was throwing up its cloud of dust and brown steam. There is something brown and holy about the East; and California is white like washlines and emptyheaded.” (p.79) Experience of disappointment drives him to move on backwards just to be on the road again. He is avoiding to face the consequence of having no where to go. Constantly on the move gives frees him from facing it. The ideals breaks when the reach the end of the road which is why they have to be on the road again.
However, to Sal, although at one point he left his girl friend, his school work, and his “real life”, he knows has to go back to it. Unlike to Dean, their is a consequence to Sal. He knows he could not always “picks up the GI check of his aunt and leave Mexico.” Before the journeys, Sal has also taken real actions to get a job as a writer.
When Carlo asked him about it, he ambiguously answered “That last thing is what you can’t get, Carlo. Nobody can get to that last thing. We keep on living in hopes of catching it once for all.” (p.48) IT is what we can never get to. Sal knows and already implies that neither Dean or the road has “it”. He goes on the journeys trying to avoid the consequence enjoying the temporary before he gets to the end. This explains his disappointment every time he returns. Also answers why he finds himself “running from one falling star to another”- representing his fallacious dreams that he can never get to.
What dean doesn’t realize is the deeper sadness underneath the enjoyment of the group when they cross the country. When they are on the ferry to New Orleans, Sal “saw in the newspaper the next day” that “a girl committed suicide off the deck.(p. 147). Under another occasion, Sal sang a line from Fidelio “Ah me, what gloom!” (p.54) during a joyous, frantic night he had in Denver. The sadness that is often mentioned but never analyzed of the cause. Again, Sal is avoiding the explanation.
al has the desire to know what is underneath, to know what is happening to the country. Sal takes an action to change by writing. He wants to have real influence on what he is not satisfied with instead of being not sure of what is coming up to him or avoiding the consequences by passing through people and places too quickly. He is in love with America for the “beloved Mississippi River, dry in the summer haze, low water, with its big rank smell that smells like the raw body of America itself.” The author Jack Kerouac is also looking inward for answers. In this novel created from autobiography, Jack is also writing about his own desires to change and to find new expression for his generation through writing this book.