{"id":4033,"date":"2022-01-10T22:17:49","date_gmt":"2022-01-11T06:17:49","guid":{"rendered":"http:\/\/localhost:8000\/?page_id=4033"},"modified":"2025-03-02T18:36:36","modified_gmt":"2025-03-03T02:36:36","slug":"notes","status":"publish","type":"page","link":"https:\/\/www.catholicboy.com\/WP\/research\/academic-studies-of-jim-carroll\/masters-thesis-1990-basketball-diaries-and-forced-entries\/notes\/","title":{"rendered":"Notes"},"content":{"rendered":"\n

Notes
Jim Carroll’s The Basketball Diaries<\/em> and Forced Entries<\/em><\/span>
By Cassie Carter <\/p>\n\n\n\n

\n\n\n\n

Title Page<\/a>   Table of Contents<\/a>   Abstract<\/a>   Chapter One<\/a>   Chapter Two<\/a>   Chapter Three<\/a>   Chapter Four<\/a>   Appendix<\/a>   Notes <\/strong>  Works Cited<\/a><\/p>\n\n\n\n

\n\n\n\n
<\/div>\n\n\n\n

CHAPTER ONE <\/h3>\n\n\n\n

1<\/strong>
All biographical information is based on a composite picture I derived
while researching my annotated bibliography of Carroll. I am drawing from
Carroll’s diaries as well as his interviews and articles about him. <\/p>\n\n\n\n

2<\/strong>
Carroll’s song “Crow,” on Catholic Boy, is a tribute to Patti Smith.
The song is a sort of mini-biography, documenting the time she “fell from
the stage and landed on the concrete floor fourteen feet below, suffering
a concussion and fracturing several vertebrae in her neck” (Moritz 537);
Carroll writes: “It must be strange to just fall from the stage \/ and
snap a bone that is so close to the brain.” The song also describes her
job working in a book store and her residence at the Chelsea Hotel (536),
emphasizing her boundless passion and compassion: “You covered me with
blankets in the Chelsea Hotel lobby.” Finally, he sings, “I’d start reachin’
for the scar along your belly”; Smith had a child by caesarean section
when she was 19 (535). The title, “Crow,” probably derives from the one-act
play she co-wrote with Sam Shepard, titled Cowboy Mouth, whose
“female character, Cavale, . . . imagines herself to be a crow, [and]
has kidnapped . . . a family man . . . with the intention of making him
a rock-‘n’-roll star” (536). <\/p>\n\n\n\n

3<\/strong>
The Jim Carroll Band eventually ended up on the Atco-Atlantic label.<\/p>\n\n\n\n

4<\/strong>
Clarice Rivers asked why Carroll called his album Catholic Boy<\/em>;
Carroll replied: “I wanted to call it Dry Dream because I really
don’t like the kind of attitude of rock and roll that is so dominated
by sexual images–it’s a kind of cock rock . . . So rather than a wet
dream these songs are dry dreams.” Of course, Dry Dreams<\/em>
became the title of his second album.<\/p>\n\n\n\n

5<\/strong>
I derived the “real” identities of characters in The Basketball Diaries<\/em>
while researching my bibliography; however, no source directly documents
the aliases in Forced Entries<\/em>. I concluded from a comment Carroll
made to Chet Flippo that Frank Smith is “Mr. Brothers” (BBD 34), and Carroll
unveiled the identities of “Jenny Ann” and “D.M.Z” to me personally when
I talked with him in July of 1989. I gleaned the identity of “Gloria Excelsior”
from Victor Bockris’s biography of Andy Warhol.<\/p>\n\n\n\n

CHAPTER TWO<\/h3>\n\n\n\n

6<\/strong>
This is a lyric from “City Drops Into the Night,” on Catholic Boy<\/em>,
which I discuss in the final chapter.<\/p>\n\n\n\n

7<\/strong>
See my discussion of Carroll’s song “People Who Died” in the final chapter.<\/p>\n\n\n\n

8<\/strong>
It seems clear that in this first entry Carroll is establishing his illegitimacy–his
status as an imposter–in the Biddy League, as well as the illegitimacy
of the whole system he wants to enter. He does precisely the opposite
in Forced Entries<\/em> where, in the first entry, he legitimizes himself
by naming off famous people who share his birthday (and also places Jerry
Garcia in the same category as Melville and Claudius).<\/p>\n\n\n\n

9<\/strong>
To illustrate the effects of a failed performance, Carroll describes the
ultimate “un-punk” performance by John, “a rookie at the top” like Carroll:<\/p>\n\n\n\n

\n

Scared shit and mouth wide, he peeped one more time into the river, waved
at the waiting sightseers, took one step back, five hundred deep
breaths, muttered, “Fuck it,” then yelled out the same thing,
clutched his balls with both hands and jumped. Down he was going,
legs spread far apart, and jitterbugging like he was doing the
Popeye or something, still clutching his crotch. “Bad form,” I
sighed, as he hit the water, and what a fucking understatement
that was. It was pitiful, he hit the water like a fucking octopus,
limbs flying everywhere, and the splash contained a smacking sound
that hurt all the way up to me at the top of the cliff. When he
came up to the surface he swam to the shore with one hand paddling
and holding onto his sore, sore ass with the other, so that he
was slow enough to get attacked by a fair sized shit line. . .
.<\/p>\n<\/blockquote>\n\n\n\n

The fact is that, if you’re going to perform, you’ve got to do it right. John’s
performance provokes no response from the audience, with “the whole fucking
scene having Danny,” the only experienced jumper, “in stitches over near
the tracks.” In other words, John made a fool of himself. (49-50) <\/p>\n\n\n\n


10<\/strong>
In Catholicism, confession is the second stage of penance, which is “one
of the sacraments . . . relating to the expiation of sins after baptism.”
The three steps comprising penance are: (1) contrition (“sorrow that one
has sinned coupled with intention to abstain therefrom in the future”);
(2) confession (“acknowledgment of one’s sin to a priest”); and (3) satisfaction
(“carrying out works of penance assigned by one’s confessor; almsgiving,
fasting, praying, reparation”). . . . “Upon completion of the three steps,
absolution, or reconciliation with the Church, is granted by the priest
as a temporal sign of the sinner’s reconciliation with God” (Reese 421).<\/p>\n\n\n\n

11<\/strong>
He does find two good souls within the institution, however. The priest
in the confessional “knew I was shitting in my pants and told me it wasn’t
my fault and just step out and don’t worry about a thing”; Carroll says,
“He was an o.k. mug” (26). Also, Carroll calls Brother Kenneth “the only
good dude in the joint.” When Billy “Dong” Burlap goes into an epileptic
seizure, Brother Kenneth isn’t afraid to get involved: “Brother Kenny’s
hand was bloody from teeth marks as he tried to get ahold of Billy’s tongue
so he wouldn’t choke on it. His whole hand was scarred from handling fits
over the years.” By comparison, Carroll’s teacher, “a snoot intellectual
but all freeze in a clutch, didn’t know what the hell to do” (28).<\/p>\n\n\n\n

12<\/strong>
As I discuss in my final chapter, Teddy Rayhill is the first person Carroll
names in his song “People Who Died” on Catholic Boy: “Teddy sniffing
glue, he was 12 years old \/ fell from the roof on east 29.” <\/strong><\/p>\n\n\n\n

13<\/strong>
Both “2nd Train (for Frank O’Hara)” and “Red Rabbit Running Backwards
(for A.W.)” mention clocks falling on him; the latter also cites “The
aesthetic value of a red tee shirt.” <\/strong><\/p>\n\n\n\n

14<\/strong>
Carroll reiterates the last line of the poem, “I just want to be pure,”
throughout the rest of the Diaries, and in fact these are his final
words in the book. Apparently, since it is not included in an earlier
version published in Paris Review, Carroll added “I just want to
be pure” to the end of the last entry quite a while after the fact.<\/p>\n\n\n\n

15<\/strong>
Some of the later entries describe events which chronologically came
earlier, when he was 18 and 19.<\/p>\n\n\n\n

CHAPTER THREE<\/h3>\n\n\n\n

16<\/strong>
“Dial-A-Poem” was a service in which one could listen to assorted recorded
poetry over the telephone. Apparently, Carroll’s earliest recording was
in 1969, when he read two excerpts from The Basketball Diaries<\/em>
for Dial-a-Poem (1972). The same readings appear on You’re a
Hook: The 15 Year Anniversary of Dial-a-Poem<\/em> (1983).<\/p>\n\n\n\n

17<\/strong>
All works mentioned are cited in my annotated bibliography.<\/p>\n\n\n\n

18<\/strong>
In his 1969 feature on Carroll, Ted Berrigan notes that Living at the
Movies<\/em> is “due out in the fall from Cape-Goliard” (9); the book was
not published until 1973.<\/p>\n\n\n\n

19
<\/strong>Some of Carroll’s earliest published poems have never been collected,
including “Christmas Lists,” “The Marketplace,” and “Ode,” all published
in 1967. Uncollected works are listed in my annotated bibliography.<\/p>\n\n\n\n

20<\/strong>
One basketball diary, published in Adventures in Poetry<\/em> in 1968,
is not collected in The Basketball Diaries<\/em>. See preceding note.<\/p>\n\n\n\n

21<\/strong>
Carroll makes reference to this twice in Forced Entries<\/em> (27, 68).<\/p>\n\n\n\n

22<\/strong>
While the Grateful Dead represent a different drug culture from the one
in which Carroll is involved, there are some interesting implications
in his reference to Jerry Garcia, and some striking similarities between
Carroll’s career and the Dead’s. Aside from the obvious connection with
Carroll’s later venture into rock (the idea of which Carroll toys with
during the period of Forced Entrie<\/em>s), the “Jerry Garcia of the
Grateful Dead” potential represents a certain way of being, and an identity,
that Carroll finds appealing. First, based on Ken Tucker’s analysis of
the Grateful Dead, the band’s history parallels Carroll’s own, with their
“average record sales and minimal impact on the music world.” That is,
like Carroll, the Dead had their “following,” but it wasn’t quite enough
to launch them to superstardom (for Carroll, this would be Melville-dom),
yet their impact was and has remained strong enough for them to “persevere.”
Also, like the Dead, Carroll’s self-indulgence has often been a point
of contention, and “the point of much of” Carroll’s work has likewise
always been “that self-indulgence had its place, in art and in life.”
Furthermore, Carroll’s “self-indulgence was one of the qualities [his]
fans treasured most” (“Rock Endures” 579). One hopes that Carroll will
eventually approach “superstardom” as have the Dead in recent years.<\/p>\n\n\n\n

23<\/strong>
The epigraph highlights the confessional nature of Forced Entries<\/em>:
“‘All writers of confessions, from Augustine on down, have always remained
a little in love with their sins’–Anatole France.”<\/p>\n\n\n\n

24<\/strong>
This entry is a prime example of Carroll’s careful structuring and ordering
of events in Forced Entries: in fact, he did not write the diaries
until at least a decade later. In a 1981 interview, Clarice Rivers asked
if he had continued to keep diaries since The Basketball Diaries<\/em>.
Carroll said, “No, I don’t have them written, but I have notes of what
happened.”<\/p>\n\n\n\n

25<\/strong> The “new poem of mine in the recent issue of Poetry Mag”
Carroll refers to is “The Distances,” the only poem he ever published
in Poetry<\/em>.<\/p>\n\n\n\n

26<\/strong>
Victor Bockris, in his biography of Andy Warhol, uses Forced Entries
as a source in his discussion of AWT-BAG. Apparently, AWT-BAG existed
from July 25 to August 5, 1969; hence, these are the approximate dates
of Carroll’s diaries describing his job at the theater.<\/p>\n\n\n\n

27<\/strong> When I (informally) talked with Carroll in 1989, he expressed
his concern regarding how various people view his work and, in the process,
made it clear that he despises Paul Morrissey. He said something to the
effect that, “With someone like Paul Morrissey, I don’t give a shit.”<\/p>\n\n\n\n

28<\/strong>
According to Ronald Sukenick, the creator of the laser beam is Frosty
Meyers. “Frosty drills a hole through the window of his studio, which
is a couple of blocks up Park Avenue South, aims the laser through the
hole, and puts it on a timer. . . . It draws a red line diagonally across
the street, goes through Max’s front window, then hits a little mirror
and goes on down the bar into the back of the room” (207). While Carroll
apparently doesn’t know this, Sukenick indicates here that the beam originates
practically across the street from Carroll’s own apartment.<\/p>\n\n\n\n

29<\/strong>
Victor Bockris notes that Andrea Feldman began “calling herself Andrea
Warhol in the hope that Andy would get the idea and marry her.” In Warhol’s
film Heat, Feldman “played a borderline psychotic who kept her
baby quiet with sleeping pills and couldn’t remember if she was a sadist
or a masochist. . . .” Bockris cites Forced Entries in his discussion
of Feldman and, in doing so, establishes the dates of the “Andrea” entries
as September of 1972, shortly after the release of Trash (359-60).<\/p>\n\n\n\n

30<\/strong>
I have been unable to ascertain the precise dates of Carroll’s stay in
California. He lived there approximately five years, part of the time
in San Francisco’s North Beach. In 1978 he returned to New York to arrange
the publication of The Basketball Diaries<\/em> with Grossman and met
with Earl or Paul McGrath. Whether Carroll returned to New York between
1974 and 1978 is uncertain.<\/p>\n\n\n\n

31<\/strong>
Only William Hochswender finds merit in “The Move To California,” yet
his praise is confined to one lone sentence: “When, ultimately, Carroll
finds his redemption in California, detoxing in the bucolic confines of
Bolinas, we sense that enormity of the underground experience, as lived,
in ways a documentary history can only grope for.” Other reviewers, including
Delacorte (cited in text), devote even less space to this section, finding
it boring or worse. After running through an account of Carroll’s escape
to California and methadone treatment, Mark Stevens decides that “The
tinsel [of ‘The Downtown Diaries’] is better.” Tony Perry barely mentions
the section in passing, while Christopher Lehmann-Haupt, Margo Jefferson,
John Mutter, and the reviewer in Jim Kobak’s Kirkus Reviews<\/em> don’t
mention it at all. <\/p>\n\n\n\n

32<\/strong>
Here, in “The Move To California,” we meet the author of The Book of
Nods<\/em> and the rock lyricist of Catholic Boy<\/em>, and find the beginnings
of Dry Dreams<\/em> and I Write Your Name.<\/em><\/p>\n\n\n\n

33<\/strong>
His concern with time is evident in his uncollected poem “Kitten (Self
Pity).” The poem is dated July 30, 1974, just two days before his birthday;
Carroll writes, “I will never be twenty-three years old again” (9).<\/p>\n\n\n\n

34<\/strong>
This existential notion is perhaps best described by Albert Camus in The
Myth of Sisyphus<\/em>:<\/p>\n\n\n\n

\n

I don’t know whether this world has a meaning that transcends
it. But I know that I do not know that meaning and that it is
impossible for me just now to know it. What can a meaning outside
my condition mean to me? I can understand only in human terms.
What I touch, what resists me–that is what I understand. And
these two certainties–my appetite for the absolute and for unity
and the impossibility of reducing this world to a rational and
reasonable principle–I also know that I cannot reconcile them.
What other truth can I admit without lying, without bringing in
a hope which I lack and which means nothing within the limits
of my condition? (38)<\/p>\n<\/blockquote>\n\n\n\n

35<\/strong>
Reese notes that Gnosticism is marked by the basic duality of good and
evil, dark and light, and aims toward personal salvation through the pursuit
of wisdom. The “great mother” of Gnosticism is Sophia, goddess of wisdom,
and she is often paired with the archetypal “primal man,” whose task it
is to set her free. The union between Sophia and the primal man leads
to salvation (192-93). Carroll’s best illustrates his fascination with
Gnosticism in “Sophia” (BN 142). At the end of the poem, he writes: “She
steadies a magnifying glass \/ Before her breast, burning open \/ The abcess
of her heart, releasing \/ that wisdom and that shame” (28-31)<\/p>\n\n\n\n

\n\n\n\n

CHAPTER FOUR<\/h3>\n\n\n\n

36<\/strong>
At the Spirit club in July of 1989, Carroll read several new selections
he plans to include in the novel he is presently writing. He made a point
of saying this new book will be fiction.<\/p>\n\n\n\n

37<\/strong>
Beyond the structural aspects I note in my analysis, Carroll’s allusions
are quite complex. Mayakovsky was a Russian poet, political activist,
and propagandist. Like Carroll, the city was one of his favorite subjects,
and through the use of often vulgar, violent imagery he condemned conventions
of all sorts. Rene Magritte, too, often utilized shock tactics in his
paintings to unsettle otherwise banal scenes.<\/p>\n\n\n\n

38<\/strong>
The titles of some of the articles during this period reveal the “image”
Carroll’s critics have imposed on him: “Pain Paved Way to Better Life
for Rocker”; “Mean Streets”; “Carroll’s Got an Interesting Story”; “Jim
Carroll’s Rock ‘n’ Roll Heart-On”; “The Catholic Boy Confesses”; “Jim
Carroll’s Second Coming”; “Latest ‘Urban Poet’ Singer Fails with ‘Catholic
Boy'”; “Subterranean Urbanesque Blues”; “Jim Carroll’s a Legend Before
His Time.”<\/p>\n\n\n\n

39<\/strong>
That The Basketball Diaries<\/em> has become the undisputed definition
of Carroll is revealed by the front covers of the Penguin editions of
his books. Living at the Movies<\/em> and The Book of Nods<\/em> are
both by Jim Carroll, “Author of The Basketball Diaries”; Forced
Entries<\/em> is “The sensational sequel to The Basketball Diaries<\/em>.”<\/p>\n\n\n\n

40<\/strong>
At the end of the “Author’s Note” in the Tombouctou edition of The
Basketball Diaries<\/em>, Carroll quotes Hassan Sabah, leader of the cult
of the assassins: “Nothing is true; Everything is permitted” (xi). However,
Carroll says, “I first read it in one of Mr. Burroughs’ books”; as he
puts it, “Burroughs quoted that line so much that it’s kinda like . .
. public domain” (Norton, “Heart-on” 33).<\/p>\n\n\n\n

41<\/strong>
Since the lyrics for Catholic Boy<\/em> are not printed on the album
sleeve, I have transcribed them as best I could; I have bracketed lyrics
I’m not sure about.<\/p>\n\n\n\n

42<\/strong>
In “Barricades,” on Dry Dreams,<\/em> Carroll takes up a related issue,
describing the hypocrisy and senselessness of war, as well as emphasizing
the void left by those killed in battle:<\/p>\n\n\n\n

\n

Who makes promises for the Neutron bomb?
It will sign your lungs to death
And leave the corporate walls unharmed . . .
Who makes promises with such insidious charm?
But it would have made things cleaner
In old Vietnam . . .
That’s when Kevin got called up
Ritchie got called . . .
And Kevin never came back
Ritchie never came home
Theirfolks got a letter in the mail
THEY GOT A LETTER IN THE MAIL . . .
I ain’t gonna die for Standard Oil!
I.B.M. . . . I wouldn’t die for them!
G.E.? Not me! <\/p>\n<\/blockquote>\n\n\n\n

43<\/strong>
Carroll told me the “Author’s Note” was written by lawyers as libel protection;
he only made it funny.<\/p>\n\n\n\n

44<\/strong>
This is a funny story in itself. At the time, I was compiling my annotated
bibliography on his work for the Bulletin of Bibliograph<\/em>y and had
arranged with Rosemary Carroll (his agent\/ex-wife) to meet with Carroll
after his reading at the Spirit club on July 7, 1989. After the reading,
I met him in the “green room” and introduced myself. When I told him I
had been unable to find Organic Trains<\/em>, he pulled a copy of it
out of his duffel bag and said, “I don’t usually have this with me, but
here. It’s worth about $500. . . .” Shortly after this, he bummed a ride
off me to his motel (the EZ-8); sitting in the cab of a Mazda pickup,
we talked until almost 3:00 in the morning.<\/p>\n\n\n\n

<\/div>\n\n\n\n
Previous: Appendix<\/a><\/td>Next: Works Cited<\/a><\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

\u00a91990 Cassie Carter. This material may not be reprinted except by permission from the author.<\/p>\n\n\n\n

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NotesJim Carroll’s The Basketball Diaries and Forced EntriesBy Cassie Carter Title Page   Table of Contents   Abstract   Chapter One   Chapter Two   Chapter Three   Chapter Four   Appendix   Notes   Works Cited CHAPTER ONE 1All biographical information is based on a composite picture I derivedwhile researching my annotated bibliography of … Continue reading Notes<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"parent":4148,"menu_order":8,"comment_status":"closed","ping_status":"closed","template":"","meta":{"advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"jetpack_post_was_ever_published":false,"footnotes":""},"folder":[83,27],"class_list":["post-4033","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P9VlUH-133","jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":4148,"url":"https:\/\/www.catholicboy.com\/WP\/research\/academic-studies-of-jim-carroll\/masters-thesis-1990-basketball-diaries-and-forced-entries\/","url_meta":{"origin":4033,"position":0},"title":"1990 Master’s Thesis on The Basketball Diaries and Forced Entries","author":"Cassie Carter","date":"January 10, 2022","format":false,"excerpt":"Title Page \u00a0 Table of Contents \u00a0 Abstract \u00a0 Chapter One \u00a0 Chapter Two \u00a0 Chapter Three \u00a0 Chapter Four \u00a0 Appendix \u00a0 Notes \u00a0 Works Cited JIM CARROLL'S BASKETBALL DIARIESAND FORCED ENTRIES: SHIT INTO GOLD A Thesispresented to theFaculty ofSan Diego State University In Partial Fulfillmentof the Requirements for\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":4510,"url":"https:\/\/www.catholicboy.com\/WP\/research\/academic-studies-of-jim-carroll\/masters-thesis-1990-basketball-diaries-and-forced-entries\/table-of-contents\/","url_meta":{"origin":4033,"position":1},"title":"Table of Contents","author":"catholicboy.com","date":"January 10, 2022","format":false,"excerpt":"Table of ContentsJim Carroll's The Basketball Diaries and Forced EntriesBy Cassie Carter Title Page \u00a0 Table of Contents \u00a0 Abstract \u00a0 Chapter One \u00a0 Chapter Two \u00a0 Chapter Three \u00a0 Chapter Four \u00a0 Appendix \u00a0 Notes \u00a0 Works Cited Abstract Summary of the thesis. Chapter One - Introduction: Shit Into\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":4043,"url":"https:\/\/www.catholicboy.com\/WP\/research\/academic-studies-of-jim-carroll\/masters-thesis-1990-basketball-diaries-and-forced-entries\/home-research-academic-studies\/","url_meta":{"origin":4033,"position":2},"title":"Thesis TOC","author":"catholicboy.com","date":"January 10, 2022","format":false,"excerpt":"Home > Research > Academic Studies Table of Contents Shit Into Gold: Jim Carroll's The Basketball Diaries and Forced Entries By Cassie Carter Title Page If you want to cite this thesis, here's where you find the bibliographic information. Table of Contents This page. Abstract Summary of the thesis. Chapter\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":4141,"url":"https:\/\/www.catholicboy.com\/WP\/research\/academic-studies-of-jim-carroll\/masters-thesis-1990-basketball-diaries-and-forced-entries\/abstract\/","url_meta":{"origin":4033,"position":3},"title":"Abstract","author":"catholicboy.com","date":"January 10, 2022","format":false,"excerpt":"Abstract Jim Carroll's The Basketball Diaries and Forced Entries By Cassie Carter Title Page \u00a0 Table of Contents \u00a0 Abstract \u00a0 Chapter One \u00a0 Chapter Two \u00a0 Chapter Three \u00a0 Chapter Four \u00a0 Appendix \u00a0 Notes \u00a0 Works Cited By the time Jim Carroll was 16 years old, he was\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":4046,"url":"https:\/\/www.catholicboy.com\/WP\/research\/academic-studies-of-jim-carroll\/masters-thesis-1990-basketball-diaries-and-forced-entries\/a-jim-carroll-chronology\/","url_meta":{"origin":4033,"position":4},"title":"A Jim Carroll Chronology","author":"catholicboy.com","date":"January 10, 2022","format":false,"excerpt":"Appendix A Jim Carroll Chronology Jim Carroll's The Basketball Diaries and Forced Entries By Cassie Carter Title Page \u00a0 Table of Contents \u00a0 Abstract \u00a0 Chapter One \u00a0 Chapter Two \u00a0 Chapter Three \u00a0 Chapter Four \u00a0 Appendix \u00a0 Notes \u00a0 Works Cited This chronology was compiled in 1990. I\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":4034,"url":"https:\/\/www.catholicboy.com\/WP\/research\/academic-studies-of-jim-carroll\/masters-thesis-1990-basketball-diaries-and-forced-entries\/works-cited\/","url_meta":{"origin":4033,"position":5},"title":"Works Cited","author":"Cassie Carter","date":"January 10, 2022","format":false,"excerpt":"Works CitedJim Carroll's The Basketball Diaries and Forced EntriesBy Cassie Carter Title Page \u00a0 Table of Contents \u00a0 Abstract \u00a0 Chapter One \u00a0 Chapter Two \u00a0 Chapter Three \u00a0 Chapter Four \u00a0 Appendix \u00a0 Notes \u00a0 Works Cited Allen, Donald, ed. The New American Poetry. NewYork: Grove, 1960. Appel, Alfred\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]}],"_links":{"self":[{"href":"https:\/\/www.catholicboy.com\/WP\/wp-json\/wp\/v2\/pages\/4033","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.catholicboy.com\/WP\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.catholicboy.com\/WP\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.catholicboy.com\/WP\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.catholicboy.com\/WP\/wp-json\/wp\/v2\/comments?post=4033"}],"version-history":[{"count":5,"href":"https:\/\/www.catholicboy.com\/WP\/wp-json\/wp\/v2\/pages\/4033\/revisions"}],"predecessor-version":[{"id":8363,"href":"https:\/\/www.catholicboy.com\/WP\/wp-json\/wp\/v2\/pages\/4033\/revisions\/8363"}],"up":[{"embeddable":true,"href":"https:\/\/www.catholicboy.com\/WP\/wp-json\/wp\/v2\/pages\/4148"}],"wp:attachment":[{"href":"https:\/\/www.catholicboy.com\/WP\/wp-json\/wp\/v2\/media?parent=4033"}],"wp:term":[{"taxonomy":"folder","embeddable":true,"href":"https:\/\/www.catholicboy.com\/WP\/wp-json\/wp\/v2\/folder?post=4033"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}