Lhamon's main point is that in the '50s high and vernacular culture penetrated each other in a big way and that, behind the decade's vaunted illusion of 18-hole tranquility, both neighborhoods were jiving with experimentation. He manages the feat of fingering common impulses in the artistry of Ornette Coleman, Jackson Pollock, Chuck Berry and Thomas Pynchon without blurring the obvious distinctions among their works.