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10 Hip versus Cool in The Fugitive Kind (1960) and Paris Blues (1962)
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Joel Dinerstein
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Chapters in this book
- Frontmatter i
- Contents vii
- Prelude 1
- Introduction 7
- 1 Lester Young and the Birth of Cool 37
- 2 Humphrey Bogart and the Birth of Noir Cool from the Great Depression 73
- 3 Albert Camus and the Birth of Existential Cool from the Idea of Rebellion (and the Blues) 121
- 4 Billie Holiday and Simone de Beauvoir 165
- 5 Cool Convergences, 1950 187
- A Generational Interlude 225
- 6 Kerouac and the Cool Mind: Jazz and Zen 239
- 7 From Noir Cool to Vegas Cool 271
- 8 American Rebel Cool 307
- 9 Sonny Rollins and Miles Davis Sound Out Cool Individuality 347
- 10 Hip versus Cool in The Fugitive Kind (1960) and Paris Blues (1962) 383
- 11 Lorraine Hansberry and the End of Postwar Cool 403
- Epilogue 439
- Acknowledgments 461
- Notes 465
- Index 529
Chapters in this book
- Frontmatter i
- Contents vii
- Prelude 1
- Introduction 7
- 1 Lester Young and the Birth of Cool 37
- 2 Humphrey Bogart and the Birth of Noir Cool from the Great Depression 73
- 3 Albert Camus and the Birth of Existential Cool from the Idea of Rebellion (and the Blues) 121
- 4 Billie Holiday and Simone de Beauvoir 165
- 5 Cool Convergences, 1950 187
- A Generational Interlude 225
- 6 Kerouac and the Cool Mind: Jazz and Zen 239
- 7 From Noir Cool to Vegas Cool 271
- 8 American Rebel Cool 307
- 9 Sonny Rollins and Miles Davis Sound Out Cool Individuality 347
- 10 Hip versus Cool in The Fugitive Kind (1960) and Paris Blues (1962) 383
- 11 Lorraine Hansberry and the End of Postwar Cool 403
- Epilogue 439
- Acknowledgments 461
- Notes 465
- Index 529
