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      "text": "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.",
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      "text": "‘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.’",
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      "text": "‘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.’",
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      "text": "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.",
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      "text": "To see life steadily, and see it whole, as a creature of the deep sees it, from below. Our myths are so many, our vision so dim, our self-deception so deep and our smugness so gross that scarcely any way now remains of reporting the American Century except from behind the billboards.",
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      "text": "When we get more houses than we can live in, more cars than we can ride in, more food than we can eat ourselves, the only one way of getting richer is by cutting off those who don't have enough. If everybody has more than enough, what good is my more-than-enough? What good is a wide meadow open to everyone? It isn't until others are fenced out that the open pasture begins to have real value. What good is being a major if you can't have more than a second lieutenant? What good is a second lieutenant for that matter?",
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      "text": "That nothing could lower human dignity faster than manual labor was understood. ‘Go get yourself a lunch bucket and get back in your ditch’ was the ultimate insult on Perdido Street.",
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      "text": "‘When you start hitting toward sixty,’ Gross complained, ‘you feel some days like you want to take a cab to the graveyard and wait for your maker beside your stone. Yet when you've not had an hour's true contentment out of all those sixty years, you don't want to lay down till you've had your hour. You want something for all your pain.’",
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      "text": "‘The poorer people are the more likely they are to help you,’ Kitty told him the next morning after they had once again left engine and cars in charge of the crew. ‘Pick the first unpainted shack you see.’ / She followed Dove into a littered yard and waited while he rapped the door of a knocked-together-by-hand house the color of soot. A soot-colored wife came to answer.",
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      "text": "‘Oh, don't always pertend you don't know what I'm talkin' about,’ she persisted, ‘a woman is the downfall of every man 'n a man is the downfall of every woman. You're my downfall 'n I'm yours. [...] What I mean is there's nuttin' deader'n a dead love,’ she told him sternly, ‘nuttin' deader.’ / ‘Sure there is,’ he assured her lightly, ‘dead people. They're deader'n anybody.’",
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      "text": "What did it mean that all the guilty felt so certain of their own innocence while he felt so uncertain of his own? It was patently wrong that men locked up by the law should laugh while the man who locked them there no longer felt able even to cry. As if those caged there had learned secretly that all men are innocent in a way no captain might ever understand.",
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      "text": "He was simply a man who didn't know what to do with himself, for he didn't yet know who he was. It's sometimes easier to find a job than to find oneself and John hadn't yet gotten around to doing the first. How could he know who he was? Some find themselves through joy, some through suffering and some through toil. Johnny had till now tried nothing but whisky. A process which left him feeling like somebody new every day. / [...] He was many men and no man at all. He was a hysterical little bundle of possibilities that could never come true.",
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