Ghost Rider Is Neil Peart's Term Paper

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He uses ample slang and simple sentence construction that is nevertheless sophisticated enough to warrant attention by publishers that aim to reach a broad audience. Readers of Ghost Rider could be motorcycle enthusiasts, Rush fans, or travelogue lovers and "The Loneliest Road in America" would satisfy all three groups of readers. His descriptions are not overloaded by flowery language. Nevertheless, they are vivid and active: "I had almost reached the clouds when the trail petered out at a tumble of boulders marking the base of the actual peak, a rough pyramid of bare, wet rocks," (107). In his attempt to paint pictures of the natural surroundings, Peart also steers away from similes and metaphors that could seem clumsy. For example, he writes, "I looked back at that view from below, the wrinkled, treeless bluff falling into shadow in the translucent twilight, lights beginning to appear from ranches up along that old wagon road." Woven in between travelogue narratives describing highways and scenery, Peart includes internal dialogue, descriptions of his states of mind, and stories from his past. The combination of past and present, of reflective introspection and practical storytelling makes the chapter a compelling read. Furthermore, Peart includes pertinent and fascinating historical information about the places that he visits, such as his accounts of Sam Hill and John Day. There are no scenes without meaning for the author and the author makes sure that everything he describes also becomes meaningful for the reader too.

Peart's first person narrative is remarkably unself-conscious as well. While he refers to his friends from Rush and oozes with the self-confidence that characterizes rock stars and independent motorcyclists, Peart doesn't seem to care whether or not his readers actually like him. The author's lack of concern for being accepted also coincides with his theme of ghost riding, of rugged independence.

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Based on "The Loneliest Road in America," Peart's objective is to show readers the world through the eyes of Neil Peart; whether or not readers agree with Peart or see the world in the same way is irrelevant. Peart also satisfies fans of Rush through Rush-related memories and stories. Because many readers of the book will be Rush fans, these insertions are absolutely necessary. The tales are also interesting even for those unfamiliar with or unappreciative of the band.

The main reasons why "The Loneliest Road in America" is an example of strong writing include overall brevity, casual sentence structure and diction, and a humorous, cynical tone. The forty-odd page chapter is a fast and compelling read. Peart never dwells too long on any one incident; rather, he drives the chapter as fast as he would his bike. Peart's ability to succinctly describe encounters from the "fascist" border crossing incident to Jack London State Part is one of the main strengths of the author as demonstrated in this book chapter. Peart moves from incident to incident, story to story seamlessly. The thread tying the narratives together is Peart's personal perspective, his humorous tone and unique vision of North American life. Peart puts enough of himself into the chapter to make his writing personal and conversational in tone but not so much that the work is sentimental. In fact, his writing is so casual that he frequently refers to the notes he actually jotted down while he was on the road. The author also exposes his political and philosophical beliefs without imposing them onto the reader. Throughout "The Loneliest Road in America," Peart proudly displays his cynical attitude with ample humor. Above all, humor and an engaging writing style is what drives "The Loneliest Road in America" setting it apart from other travel memoirs.

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