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Ken Kesey
Born	Kenneth Elton Kesey September 17, 1935(1935-09-17) La Junta, Colorado, U.S.
Died	November 10, 2001 (aged 66) Pleasant Hill, Oregon, U.S.
Occupation	Novelist, short story writer, essayist
Nationality	American
Genres	Beat, Postmodernism
Literary movement	Merry Pranksters
Notable work(s)	One Flew Over the Cuckoo's Nest (1962) Sometimes a Great Notion (1964)
Influences Ernest Hemingway, Jack Kerouac, William Faulkner, Friedrich Nietzsche, William Shakespeare, William S. Burroughs, Sigmund Freud, Mark Twain, Fyodor Dostoyevsky
Influenced Jerry Garcia, Lester Bangs, Hunter S. Thompson, Chuck Palahniuk, Tom Wolfe, Paul McCartney

Kenneth Elton "Ken" Kesey (pronounced /ˈkiːziː/; September 17, 1935 – November 10, 2001) was an American author, best known for his novel One Flew Over the Cuckoo's Nest (1962),^[1] and as a counter-cultural figure who considered himself a link between the Beat Generation of the 1950s and the hippies of the 1960s. "I was too young to be a beatnik, and too old to be a hippie," Kesey said in a 1999 interview with Robert K. Elder.^[2]

Early life

Ken Kesey was born in La Junta, Colorado to dairy farmers Frederick A. Kesey and Ginevra Smith.^[3] In 1946, the family moved to Springfield, Oregon.^[4] A champion wrestler in both high school and college, he graduated from Springfield High School in 1953.^[4]

In 1956, while attending college at the University of Oregon in neighboring Eugene, Kesey eloped with his high-school sweetheart, Norma "Faye" Haxby, whom he had met in seventh grade.^[4] They had three children, Jed, Zane, and Shannon; Kesey had another child, Sunshine, in 1966 with fellow Merry Prankster Carolyn Adams.^[5]

Kesey attended the University of Oregon's School of Journalism, where he received a degree in speech and communication in 1957, where he was also a brother of Beta Theta Pi. He was awarded a Woodrow Wilson National Fellowship in 1958 to enroll in the creative writing program at Stanford University, which he did the following year.^[4] While at Stanford, he studied under Wallace Stegner and began the manuscript that would become One Flew Over the Cuckoo's Nest.

Experimentation with psychoactive drugs

At Stanford in 1959, Kesey volunteered to take part in a CIA-financed study named Project MKULTRA at the Menlo Park Veterans Hospital. The project studied the effects of psychoactive drugs, particularly LSD, psilocybin, mescaline, cocaine, AMT, and DMT on people.^[4] Kesey wrote many detailed accounts of his experiences with these drugs, both during the Project MKULTRA study and in the years of private experimentation that followed. Kesey's role as a medical guinea pig inspired him to write One Flew Over the Cuckoo's Nest in 1962. The success of this book, as well as the sale of his residence at Stanford, allowed him to move to La Honda, California, in the mountains south of San Francisco. He frequently entertained friends and many others with parties he called "Acid Tests" involving music (such as Kesey's favorite band, The Warlocks, later known as the Grateful Dead), black lights, fluorescent paint, strobes and other "psychedelic" effects, and, of course, LSD. These parties were noted in some of Allen Ginsberg's poems and are also described in Tom Wolfe's The Electric Kool-Aid Acid Test, as well as Hell's Angels: The Strange and Terrible Saga of the Outlaw Motorcycle Gangs by Hunter S. Thompson and Freewheelin Frank, Secretary of the Hell's Angels by Frank Reynolds. Ken Kesey was also said to have experimented with LSD with Ringo Starr in 1965 and in fact influenced the set up for his future performances with The Beatles in the UK.

One Flew Over the Cuckoo's Nest

In 1959, Kesey wrote Zoo, a novel about the beatniks living in the North Beach community of San Francisco, but it was never published. In 1960, he wrote End of Autumn, about a young man who leaves his working class family after he gets a scholarship to an Ivy League school, also unpublished.

The inspiration for One Flew Over the Cuckoo's Nest came while working on the night shift (with Gordon Lish) at the Menlo Park Veterans' Hospital. There, Kesey often spent time talking to the patients, sometimes under the influence of the hallucinogenic drugs with which he had volunteered to experiment. Kesey did not believe that these patients were insane, rather that society had pushed them out because they did not fit the conventional ideas of how people were supposed to act and behave. Published in 1962, it was an immediate success; in 1963, it was adapted into a successful stage play by Dale Wasserman; in 1975, Miloš Forman directed a screen adaptation, which won the "Big Five" Academy Awards: Best Picture, Best Actor (Jack Nicholson), Best Actress (Louise Fletcher), Best Director (Forman) and Best Adapted Screenplay (Lawrence Hauben, Bo Goldman).

Kesey was originally involved in creating the film, but left two weeks into production. He claimed never to have seen the movie because of a dispute over the $20,000 he was initially paid for the film rights. Kesey loathed the fact that, unlike the book, the film was not narrated by the Chief Bromden character, and he disagreed with Jack Nicholson being cast as Randle McMurphy (he wanted Gene Hackman). Despite this, Faye Kesey has stated that Ken was generally supportive of the film and pleased that it was made.

Merry Pranksters

When the publication of his second novel, Sometimes a Great Notion in 1964 required his presence in New York, Kesey, Neal Cassady, and others in a group of friends they called the "Merry Pranksters" took a cross-country trip in a school bus nicknamed "Furthur."^[6] This trip, described in Tom Wolfe's The Electric Kool-Aid Acid Test (and later in Kesey's own screenplay "The Further Inquiry") was the group's attempt to create art out of everyday life. In New York, Cassady introduced Kesey to Jack Kerouac and Allen Ginsberg, who in turn introduced them to Timothy Leary. Sometimes a Great Notion was made into a 1971 film starring and directed by Paul Newman; it was nominated for two Academy Awards, and in 1972 was the first film shown by the new television network HBO, in Wilkes-Barre, Pennsylvania.

Legal trouble

Kesey was arrested for possession of marijuana in 1965. In an attempt to mislead police, he faked suicide by having friends leave his truck on a cliffside road near Eureka, along with an elaborate suicide note, written by the Pranksters on drugs. Kesey fled to Mexico in the back of a friend's car. When he returned to the United States eight months later, Kesey was arrested and sent to the San Mateo County jail in Redwood City, California, for five months. On his release, he moved back to the family farm in Pleasant Hill, Oregon, in the Willamette Valley, where he spent the rest of his life.^{[citation needed]} He wrote many articles, books (mostly collections of his articles), and short stories during that time.

Twister

In 1994 he toured with members of the Merry Pranksters performing a musical play he wrote about the millennium called Twister: A Ritual Reality. Many old and new friends and family showed up to support the Pranksters on this tour that took them from Seattle's Bumbershoot, all along the West Coast including a sold out two-night run at The Fillmore in San Francisco to Boulder, Colorado, where they coaxed (or pranked) the Beat Generation poet Allen Ginsberg into performing with them. Kesey, always a friend to musicians since his days of the Acid Test, enlisted the band Jambay, one of the original bands of the jam band genre, to be his "pit orchestra." Jambay played an acoustic set before each Twister performance and an electric set after each show.

Final years

Statue of Ken Kesey in Eugene, Oregon.

Kesey mainly kept to his home life in Pleasant Hill, preferring to make artistic contributions on the Internet, or holding ritualistic revivals in the spirit of the Acid Test. He occasionally made appearances at rock concerts and festivals, bringing the second bus and various Pranksters with him. In the official Grateful Dead DVD release The Closing of Winterland (2003), which documents the monumental New Year's '78 concert, Kesey is featured in a between-set interview. More notably, he appeared at the Hog Farm Family Pig-Nic Festival (organized by Woodstock MC Wavy Gravy, in Laytonville, California), where they mock-canonized a very ill but still quite aware Dr. Timothy Leary atop "Furthur". He also performed on stage with Jambay at the Pig-Nic, playing a few songs from Twister with members of the original cast.

In 1984, Kesey's son Jed, a wrestler for the University of Oregon, was killed on the way to a wrestling tournament when the team's bald-tired van crashed.^{[citation needed]} This deeply affected Kesey, who later said Jed was a victim of conservative, anti-government policy that starved the team of proper funding.^{[citation needed]} There is a memorial dedicated to Jed on the top of Mount Pisgah, which is near the Keseys' home in Pleasant Hill. In a Grateful Dead Halloween concert just days after Bill Graham died in a helicopter crash, Kesey appeared on stage in a tuxedo to deliver a eulogy, mentioning that Graham had paid for Jed's mountain-top memorial.

In June 2001, Kesey was invited and accepted as the keynote speaker at the annual commencement of The Evergreen State College.

His last major work was an essay for Rolling Stone magazine calling for peace in the aftermath of the September 11, 2001 attacks.

In 1997, health problems began to take their toll on Kesey, starting with a stroke that year.^[4] After developing diabetes, he then needed surgery on his liver to remove a tumor on October 25, 2001.^[4] Ken Kesey never recovered from the operation and died on November 10, 2001, at the age of 66.^[4]

Works

Some of Kesey's better-known works include:^[7]

• One Flew Over the Cuckoo's Nest (1962, novel)
• Genesis West: Volume Five (1963, magazine article)
• Sometimes a Great Notion (1964, novel)
• Kesey's Garage Sale (1973, collection of essays)
• Demon Box (1986, collection of essays and short stories)
• Caverns (1989, novel)
• The Further Inquiry (1990, play)
• Sailor Song (1992, novel)
• Last Go Round (1994, novel, written with Ken Babbs)
• Twister (1994, play)
• Kesey's Jail Journal (2003, collection of essays)

Portrayals of Ken Kesey

• Neal Cassady, starring Tate Donovan as Cassady, and Chris Bauer as Kesey.
• Across the Universe, Bono as Doctor Robert, a caricature of Kesey.
• Kesey is the central character in The Electric Kool-Aid Acid Test

Footnotes

References

• McNally, Dennis (2002). A Long Strange Trip: the Inside History of the Grateful Dead. Broadway Books. ISBN 0-7679-1186-5. 
• Charters, Ann (ed.). The Portable Beat Reader. Penguin Books. New York. 1992. ISBN 0-670-83885-3 (hc); ISBN 0-14-015102-8 (pbk)
• Owen, Tim (November 10, 2001). "Remembering Ken Kesey". Cosmik Debris Magazine. http://www.cosmik.com/aa-december01/ken_kesey.html. Retrieved 2007-10-26. 
• Dodgson, Rick (2001–2003). Prankster History Project "[no specific item cited]". Prankster History Project. http://www.pranksterweb.org/frontdoor.htm Prankster History Project. Retrieved 2007-10-26. 
• Comer, Chris; and Ervin, Rob (August 3, 1999). "Ken Kesey interview". The Chris and Rob Radio Talk Show (Cincinnati, Ohio: WAIF Radio). http://www.chriscomerradio.com/ken_kesey/ken_kesey8-3-99.htm. Retrieved 2007-10-26. 

External links

• Works by or about Ken Kesey in libraries (WorldCat catalog)
• Ken Kesey and the Merry Pranksters
• Ken Kesey Multimedia Directory - Kerouac Alley
• Ken Kesey - The Beat Museum
• Ken Kesey - The Beat Page
• Interview with his son, Zane Kesey
• "Ken Kesey" by Bruce Carnes from the Western Writers Series Digital Editions at Boise State University
• Ken Kesey at Find a Grave

Modern history of Oregon (1890–present) Topics Tax revolt · Governors · Bottle Bill · Centennial Tokens · Roll on Columbia · Meier & Frank · Willamette Industries · Direct Legislation League Events USS Oregon · Lewis & Clark Expo · Oregon land fraud scandal · Lookout Air Raid · Columbus Day Storm · Exploding whale · 1977 NBA Finals · 1980 eruption of Mt. St. Helens · Rajneeshee bioterror attack · Rajneeshee assassination plot · New Carissa Places Vanport · Bonneville Dam · Shanghai tunnels · Kaiser Shipyards · Fort Stevens · Celilo Falls · Copperfield · Harbor Drive People Terry Baker · George Chamberlain · James A. Fee · David B. Frohnmayer · Neil Goldschmidt · Matt Groening · Mark Hatfield · Nan Wood Honeyman · Ken Kesey · Phil Knight · Hall S. Lusk · Tom McCall · Douglas McKay · Charles McNary · Wayne Morse · Maurine Brown Neuberger · Norma Paulus · Steve Prefontaine · Jack Ramsay · Barbara Roberts · James H. Weaver History of Oregon's native peoples · of Oregon to 1806 · of pioneers in Oregon · of Oregon in modern times

From Wikiquote

We think we’re in the present, but we aren’t. The present we know is only a movie of the past.

Ken Kesey (17 September 1935 – 10 November 2001) was an American writer, best known for his novel, One Flew Over the Cuckoo's Nest, and as a cultural icon whom some consider a link between the "beat generation" of the 1950s and the "hippies" of the 1960s as a founding member of the Merry Pranksters.

See also: One Flew Over the Cuckoo's Nest (the 1975 film adaptation of Kesey's novel)

Sourced

I'd rather be a lightning rod than a seismograph.

• Along the western slopes of the Oregon Coastal Range . . . come look: the hysterical crashing of tributaries as they merge into the Wakonda Auga River . . .
  • Sometimes a Great Notion (1964) First lines

• NEVER GIVE A INCH!
  • Sometimes a Great Notion (1964)

• The Grateful Dead are faster than light drive.
  • Inside cover of "The Grateful Dead" LP (1967)

If you're on the bus, and you get left behind, then you'll find it again. If you're off the bus in the first place — then it won't make a damn.

• I'd rather be a lightning rod than a seismograph.
  • As quoted by Tom Wolfe in The Electric Kool-Aid Acid Test (1968) Ch. 1

• We are always acting on what has just finished happening. It happened at least 1/30th of a second ago. We think we’re in the present, but we aren’t. The present we know is only a movie of the past.
  • As quoted by Tom Wolfe in The Electric Kool-Aid Acid Test (1968) Ch. 11

• There are going to be times when we can't wait for somebody. Now, you're either on the bus or off the bus. If you're on the bus, and you get left behind, then you'll find it again. If you're off the bus in the first place — then it won't make a damn.
  • As quoted by Tom Wolfe in The Electric Kool-Aid Acid Test (1968)

• Nothing lasts.
  • As quoted by Tom Wolfe in The Electric Kool-Aid Acid Test (1968)

• Once upon a time a young man of American background thought he had discovered the Great Secret, the Skeleton Key to the Cosmos, the Absolute Answer to the Age Old Question asked by every Wizard, and Alchemist and Mystic that ever peered curiously into the Perplexing Heavens, by every Doctor and Scientist and Explorer that ever wondered about the Winding Ways of this world, by every Philosopher and Holyman and Politician that ever listened for the Mysterious Song beneath the beat of the Human Heart... the answer to "What Makes It All Go?"
  • Kesey's Garage Sale (1973)

• I believe that with the advent of acid, we discovered a new way to think, and it has to do with piecing together new thoughts in your mind. Why is it that people think it's so evil? What is it about it that scares people so deeply, even the guy that invented it, what is it? Because they're afraid that there's more to reality than they have confronted. That there are doors that they're afraid to go in, and they don't want us to go in there either, because if we go in we might learn something that they don't know. And that makes us a little out of their control.
  • As quoted in the BBC documentary The Beyond Within: The Rise and Fall of LSD (1987)

• This is just shit. It's happening. No blame. Happening and on the rise it would appear. What can we do to delay it? Probably zilch. To stop it? Likely less. But to survive it? Now that sounds more promising. There is evidence of bad shit having been survived before. Ancient Advice Left in cave by Wise French Caveman: "When Bigbad Shit come, no run scream hide. Try paint picture of it on wall. Drum to it. Sing to it. Dance to it. This give you handle on it." So Twister is my try.
  • Letter to Allen Ginsberg (August 1993)

I've never seen anybody really find the answer, but they think they have. So they stop thinking. But the job is to seek mystery, evoke mystery, plant a garden in which strange plants grow and mysteries bloom. The need for mystery is greater than the need for an answer.

• I'm for mystery, not interpretive answers. ... The answer is never the answer. What's really interesting is the mystery. If you seek the mystery instead of the answer, you'll always be seeking. I've never seen anybody really find the answer, but they think they have. So they stop thinking. But the job is to seek mystery, evoke mystery, plant a garden in which strange plants grow and mysteries bloom. The need for mystery is greater than the need for an answer.
  • "The Art of Fiction" - interview by Robert Faggen, The Paris Review No. 130 (Spring 1994)

• One of these days you're going to have a visitation. You're going to be walking down the street and across the street you're going to look and see God standing over there on the street corner motioning to you, saying, 'Come to me, come to me.' And you will know it's God, there will be no doubt in your mind — he has slitty little eyes like Buddha, and he's got a long nice beard and blood on his hands. He's got a big Charlton Heston jaw like Moses, he's stacked like Venus, and he has a great jeweled scimitar like Mohammed. And God will tell you to come to him and sing his praises. And he will promise that if you do, all of the muses that ever visited Shakespeare will fly in your ear and out of your mouth like golden pennies. It's the job of the writer in America to say, "Fuck you God, fuck you and the Old Testament that you rode in on, fuck you." The job of the writer is to kiss no ass, no matter how big and holy and white and tempting and powerful.
  • "The Art of Fiction" - interview by Robert Faggen, The Paris Review No. 130 (Spring 1994)

• God... your book is beautiful!
  • To Peter Reich on his memoir: A Book of Dreams about his early life and his father Wilhelm Reich.

One Flew Over the Cuckoo's Nest (1962)

• One flew east, One flew west, One flew over the cuckoo's nest.
  • A children's folk rhyme quoted in the front pages of the book.

• They're out there.
  Black boys in white suits up before me to commit sex acts in the hall and get it mopped up before I can catch them.
  • First lines, Ch. 1

• It's still hard for me to have a clear mind thinking on it. But it's the truth even if it didn't happen.
  • Ch. 1

• Damn, what a sorry-looking outfit. You boys don't look so crazy to me.
  • Ch. 1

• He who marches out of line hears another drum.
  • Ch. 1

• Mr. Bibbit, you might warn this Mr. Harding that I'm so crazy I admit to voting for Eisenhower.
  Bibbit! You tell Mr. McMurphy I'm so crazy I voted for Eisenhower twice!
  And you tell Mr. Harding right back — he puts both hands on the table and leans down, his voice getting low — that I'm so crazy I plan to vote for Eisenhower again this November.
  • Ch. 1

• This is what I know. The ward is a factory for the Combine. It's for fixing up mistakes made in the neighborhoods and in the schools and in the churches, the hospital is. When a completed product goes back out into society, all fixed up good as new, better than new sometimes, it brings joy to the Big Nurse's heart; something that came in all twisted and different is now a functioning, adjusted component, a credit to the whole outfit and a marvel to behold.
  • Ch. 4

• I can't help it. I was born a miscarriage. I had so many insults I died. I was born dead. I can't help it.... I'm tired.
  • Ch. 5

• ...[B]ut the rest are even scared to open up and laugh. You know, that's the first thing that got me about this place, that there wasn't anybody laughing. I haven't heard a real laugh since I came through that door, do you know that? Man, when you lose your laugh you lose your footing.
  • Ch. 5

• But if they don't exist, how can a man see them?
  • Ch. 7

• I thought for a minute there I saw her whipped. Maybe I did. But I see now that it don't make any difference.... To beat her you don't have to whip her two out of three or three out of five, but every time you meet. As soon as you let down your guard, as soon as you lose once, she's won for good. And eventually we all got to lose. Nobody can help that.
  • Ch. 9

• "But I tried though," he says. "Goddammit, I sure as hell did that much, now, didn't I?"
  • Ch. 11

• Later, hiding in the latrine from the black boys, I'd take a look at my own self in the mirror and wonder how it was possible that anybody could manage such an enormous thing as being what he was.
  • Ch. 17

• But just as soon as we got to the pool he said he did wish something mighta been done, though, and dove into the water.
  • Ch. 18

• Alla you! Quit bugging me, goddammit!
  • Ch. 21

• You think I wuh-wuh-wuh-want to stay in here? You think I wouldn't like a con-con-vertible and a guh-guh-girl friend? But did you ever have people l-l-laughing at you? No, because you're so b-big and so tough! Well, I'm not big and tough.
  • Ch. 22

• While McMurphy laughs. Rocking farther and farther backward against the cabin top, spreading his laugh out across the water — laughing at the girl, at the guys, at George, at me sucking my bleeding thumb, at the captain back at the pier... and the Big Nurse and all of it. Because he knows you have to laugh at the things that hurt you just to keep yourself in balance, just to keep the world from running you plumb crazy. He knows there's a painful side; he knows my thumb smarts and his girlfriend has a bruised breast and the doctor is losing his glasses, but he won't let the pain blot out the humor no more'n he'll let the humor blot out the pain.
  • Ch. 25

• "What worries me, Billy," she said — I could hear the change in her voice — "is how your mother is going to take this."
  • Ch. 29

• He gave a cry. At the last, falling backward, his face appearing to us for a second upside down before he was smothered on the floor by a pile of white uniforms, he let himself cry out: A sound of cornered-animal fear and hate and surrender and defiance, that if you ever trailed coon or cougar or lynx is like the last sound the treed and shot and falling animal makes as the dogs get him, when he finally doesn't care any more about anything but himself and his dying.
  • Ch. 29

• I watched and tried to figure out what he would have done. I was only sure of one thing: he wouldn't have left something like that sit there in the day room with his name tacked on it for twenty or thirty years so the Big Nurse could use it as an example of what can happen if you buck the system. I was sure of that.
  • Ch. 29

• I been away a long time.
  • Ch. 29

Trip of a Lifetime (1999)

Quotations from an interview in The Sun Times (29 August 1999)

• I got high on psychedelics before I was ever drunk. I never smoked. Then LSD came by. And to me it was the most wonderful thing that had ever happened... And, of course, the best drugs ever were manufactured by the government.

• You can't trust the quality any more...
  • On why he seldom took LSD in his later years.

• I have known a lot of people to go down and out — they kill themselves with alcohol or downers. But I've never known anybody to go up and out.

• LSD lets you in on something. When you're tripping, the idea of race disappears; the idea of sex disappears; you don't even know what species you are sometimes. And I don't know of anybody who hasn't come back from that being more humane, more thoughtful, more understanding.

• A TV crew came over 10 years or so ago, on the anniversary of the discovery of LSD, and those guys were trying to push me towards saying how bad it was. They wanted me to talk about the dark underbelly of the drug culture. And I said, I'm not going to talk about that because I've never seen it, except in kids doing stuff that I don't know about and I'm not interested in... I've never taken crack and I've never taken ecstasy; none of us has. I don't want to take some strange drug and end up chewing my tongue for 12 hours.

• What I always wanted to be was a magician... My real upbringing when I was a teenager was doing magic shows, all over the state, with my father and brothers. Doing magic, you not only have to be able to do a trick, you have to have a little story line to go with it. And writing is essentially a trick.

• When people ask me what I think is my best work, it's the bus. There're lots of books, but there's only one bus.

• The real crazies who are looking for a messiah... after an hour or so they realise I'm not it and go off and look somewhere else.

• What we hoped was that we could stop the coming end of the world.

• You can't bomb for a humane reason. What we should do is just Mother Teresa them to death with love. It's that old hippie nonsense but it's still the best stuff there is.

Quotes about Kesey

• Kesey creates finally in McMurphy a modern unhero or anti-hero who expands himself, through a gradual shift in his concern from himself to those around him, into the role of the traditional hero. It is a strange and preposterous role... In the modern world, such a hero, individualistic to the point of disaffiliation but at the same time altruistic to the point of self-sacrifice, is by definition absurd; and all people and actions touched by such heroism are tinted by its absurdity.
  • Joseph J. Waldmeir in "Two Novelists of the Absurd: Heller and Kesey" (1964)

• Big Nurse speaks for the fixed pattern, the unbreakable routine, the submission of individual will to mechanical, humourless control. McMurphy speaks an older American language of freedom, unhindered movement, self-reliance, anarchic humour and a trust in the more animal instincts.
  • Tony Tanner in City of Words (1971)

• Kesey practices what has come to be known as gonzo journalism. The reporter, often intoxicated, fails to get the story but delivers instead a stylishly bizarre account that mocks conventional journalism.
  • R. Z. Sheppard in Time magazine (8 September 1986)

• McMurphy is not merely up against the Big Nurse and her ward, but against all the controlling aspects of society, which molds its conformists into dull mechanical robots for the Combine.
  • Matthew Rick in "Tarnished Galahad: The Prose and Pranks of Ken Kesey"

External links

Wikipedia has an article about:

Ken Kesey

• "Tarnished Galahad: The Prose and Pranks of Ken Kesey"
• Brief biography at Kirjasto (Pegasos)
• Remembering Ken Kesey
• Brief biography at Beatland
• Kesey, Oregon are inseparable
• One Flew Over the Cuckoo's Nest quotes analyzed; character analyses, themes, literary devices, teacher resources