Nelson Algren

Do American faces so often look so lost because they are most tragically trapped between a very real dread of coming alive to something more than merely existing, and an equal dread of going down to the grave without having done more than merely be comfortable? If so, this is the truly American disease. And would account in part for the fact that we lead the world today in insanity, criminality, alcoholism, narcoticism, psychoanalysm, cancer, homicide and perversion in sex as well as in perversion just for the pure hell of the thing. Never on the earth of man has he lived so tidily as here amidst such psychological disorder. Never has any people lived so hygienically while daily dousing itself with the ritual slops of guilt. Nowhere has any people set itself a moral code so rigid while applying it quite so flexibly.

We live today in a laboratory of human suffering as vast and terrible as that in which Dickens and Dostoevsky wrote. The only real difference being that the England of Dickens and the Russia of Dostoevsky could not afford the soundscreens and the smokescreens with which we so ingeniously conceal our true condition from ourselves.

There, in Dockery's Dollhouse [...] a straight-haired flat-chested hard-of-eye hustler called Tough Kitty was trying to get credit for just one little beer. / But the bartender, acting as oddly as , didn't seem to hear. / [...] / So she drew from the pocket of her faded blue jeans a small change-purse and emptied it on the bar: twelve pennies and one nickel. / ‘I got enough for a beer,’ she took count, ‘but not enough to get drunk on.’ And looked left-out of everything.

‘I feel like I been everywhere God got land,’ Dove thought, ‘yet all I found was people with hard ways to go. All I found was troubles 'n degradation. All I found was that those with the hardest ways of all to go were quicker to help others than those with the easiest ways. All I found was two kinds of people. Them that would rather live on the loser's side of the street with the other losers than to win off by theirselves; and them who want to be one of the winners even though the only way left for them to win was over them who have already been whipped. / ‘All I found was men and women, and all the women were fallen. Sports of the world, poor bummies, poor tarts, all they were good for was to draw flies I was told. You could always treat one too good, it was said, but you never could treat one too bad. Yet I wouldn't trade off the worst of the lot for the best of the other kind. I think they were the real salt of the earth.’

Another was an old sad lonesome lecher with a face that had never been up from the cellar, who had nobody's sympathy at all; not even his own. The turnkey had nicknamed him ‘Raincoat’ – which was kinder than what the prisoners had named him. / This ancient simple satyr's offense had been nothing more dreadful than the devising of a time-and-money-saving operation. [...] Here and there, passing some woman who appeared deserving, he would fling the raincoat wide for her amazement and delight, then modestly button himself and modestly hurry on. / Talent can spring up anywhere.

‘Blow wise to this, friend,’ he advised Dove, ‘it's always easier to convict a man of something he didn't do than it is to prove that what he actually was doing was a crime. That's why the nabbers are so much tougher on the man without a record than they are on the finished criminal product. They've got the finished product solved, they can nab him any time, so they can afford to be friendly. It's the bird who pops up on some corner they never seen him around there before, he claims he never been arrested, he got no needle marks, he don't act like a thief and they can't find a set of prints on him that worries them. They figure he must be some too-wise ghee. They got to find a crime to fit him. And if he's innocent that takes persuasion.’

You don't write a novel out of sheer pity any more than you blow a safe out of a vague longing to be rich. Compassion is all to the good, but vindictiveness is the verity Faulkner forgot: the organic force in every creative effort, from the poetry of Villon to the Brinks Express Robbery, that gives shape and color to all our dreams. [...] A certain ruthlessness and a sense of alienation from society is as essential to creative writing as it is to armed robbery. The strong-armer isn't out merely to turn a fast buck any more than the poet is out solely to see his name on the cover of a book, whatever satisfaction that event may afford him. What both need most deeply is to get even. And, of course, neither will.

‘The best days of my life, my happiest time,’ a human dishrag called Pinky would recall, ‘was doing close-order drill in the evening with the national guard.’ / Pinky had stolen fifty feet of garden hose in lieu of back wages. That the back wages were largely imaginary didn't make the hose less real, and Pinky still had five months to go.

All of the inmates of Tank Ten were white. At night they heard laughter from the Negro tier one flight above, and most of the trusties were short-term Negroes. Murphy insisted it was his influence that kept the tank lily white, but Dove suspected privately that the authorities had something to do with it.

‘It don't do no good for a man to rise these days, son,’ was Country Kline's curious philosophy, ‘for that can't be done any longer except on the necks of others. And when you make it that way, all the satisfaction is taken out of it. Son, I hope you don't mind my saying so, but you got pimp wrote large all over you – but that's the sorriest way of all to rise, and the reason I'll tell you why – if God ever made anything better than a hustling girl He's kept it to Himself. There's no trick in not going down the drain if you don't live in the sink. But you take a woman who makes her living where the water is sucking the weaker bugs down and she don't go down, she's twice the woman that one who never had to fight for her soul is.’

In the mixed-up April of '32 the numbers of jobless rose to eight millions, two hundred thousand steelworkers took a fifteen percent wage cut and it took a cardinal to perceive that the country's economic collapse was actually a wonderful piece of luck, for every day it brought thousands closer to the poverty of Christ, who had been nowhere near before. For thousands it was the chance of a lifetime to bring Jesus' simplicity, the cardinal said, right into the home. All over the country men and women and even small children began taking advantage of this spiritual opportunity. All manner of little goodies like that were lying about in the mixed-up April of '32.

The American middle class's faith in personal comfort as an end in itself is, in essence, a denial of life. And it has been imposed upon American writers and playwrights strongly enough to cut them off from their deeper sources. The shortcut to comfort is called “specialization,” and in an eye-ear-nose-and-throat doctor this makes sense. But in a writer it is fatal. The less he sees of other writers the more of a writer he will ultimately become. When he sees scarcely anyone except other writers, he is ready for New York.