Nelson Algren quotes - page 2
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.
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.
Nelson Algren
I don't think the isolation of the American writer is a tradition; it's more that geographically he just is isolated, unless he happens to live in New York City. But I don't suppose there's a small town around the country that doesn't have a writer. The thing is that here you get to be a writer differently. I mean, a writer like Sartre decides, like any professional man, when he's fifteen, sixteen years old, that instead of being a doctor he's going to be a writer. And he absorbs the French tradition and proceeds from there. Well, here you get to be a writer when there's absolutely nothing else you can do. I mean, I don't know of any writers here who just started out to be writers, and then became writers. They just happen to fall into it.
Nelson Algren
Perhaps Algren was our Cassandra: he was right when he argued for the significance of "squalor” and for the literary significance of the vast demographic of the dispossessed. The city was integral to what Algren observed and animated in his best fiction; thanks to Algren and a few others, Chicago framed American conversations about urban reality from the Thirties all the way through the Seventies and Eighties. [... Algren was] the most perceptive and humane novelist produced by Chicago in the 20th century.
Nelson Algren
[Nelson Algren] broke new ground by depicting persons said to be dehumanized by poverty and ignorance and injustice as being genuinely dehumanized, and dehumanized quite permanently. [...] Reporting on what he saw of dehumanized Americans with his own eyes day after day, year after year, Algren said in effect, ‘Hey – an awful lot of these people your hearts are bleeding for are really mean and stupid. That's just a fact. Did you know that?'
Nelson Algren
It shouldn't surprise me that Nelson Algren, clearly one of the best novelists of his time, is not much read these days. It's the "kill the messenger" syndrome, I suppose, for the news that Algren's works brings us is not good news: if the world he describes is at all like our own, then it's not morning in America, and it hasn't been for a long, long time. In an Algren novel or story, the only thing that trickles down to where most folks live is disdain, violence and sometimes, on a good day, benign neglect; [...].
Nelson Algren
Algren's work was soon attracting attention for its unusual marriage of sumptuous prose and dry humour, describing a subject – the lives of those at the bottom – normally rendered in the dreariest of naturalistic tones. Algren's world, in one of the many phrases he brought into common usage (including "walk on the wild side", "monkey on the back", and "I knew I'd never make it to 21 anyway") was "neon wilderness".
Nelson Algren
During Algren's childhood, America was a symbol of an ideal that could still seem revolutionary. For Whitman, a seminal influence on Algren, American democracy was a new event; for Algren, it is one more lost cause in a life devoted to lost causes, the greatest of which was writing, the act of which demanded you spend of your soul until there is nothing left but the prospect of death.
Nelson Algren