People note American writer Nelson Algren for his novels, including
The Man with the Golden Arm
(1949), about the pride and longings of impoverished people.
Born of Swedish-immigrant parents, Nelson Ahlgren Abraham moved at an early age to Chicago. At University of Illinois, he studied journalism. His experiences as a migrant worker during the Depression provided the material for his first
Somebody in Boots
(1935). Throughout life, Algren identified with the underdog. From 1936 to 1940, the high-point of left-wing ideas on the literary scene of the United States, he served as editor of the project in Illinois. After putting the finishing touches to his second, he in 1942 joined and enlisted for the war.
Never Come Morning
received universal acclaim and eventually sold more than a million copies.
A dark naturalist style of Algren passionately records the details of trapped urban existence with flashes of melancholy poetry. He characterizes the lowlife drifters, whores, junkies, and barflies of row. He records the bravado of their colloquial language and lays their predicament bare.
“I don't know what kind of great I'm bound to be," Dove considered his prospects calmly, "all I know for certain is I'm born a world-shaker.”
“For people never say anything the same way twice; no two of them ever say it the same. The greatest imaginative writer that ever brooded in a lavender robe and a mellowed briar in his teeth, couldn't tell you, though e try for a lifetime, how the simplest strap-hanger will ask the conductor to be let off at the next stop. ...It is all for the taking. All the manuals by frustrated fictioneers on how to write can't give you the first syllable of reality, at any cot, that any common conversation can. All the classics, read and re-read, can't help you catch the ring of truth as does the word heard first-hand.”
“He was falling between glacial walls, he didn't know how anyone could fall so far away from everyone else in the world. So far to fall, so cold all the way, so steep and dark between those morphine-coloured walls...”
“There is no way of being a creative writer in America without being a loser.”
“Big-shot town, small-shot town, jet-propelled old-fashioned town, by old-world hands with new-world tools built into a place whose heartbeat carries farther than its shout, whose whispering in the night sounds less hollow than its roistering noontime laugh: they have builded a heavy-shouldered laughter here who went to work too young.”
“I am the penny whistle of American literature.”
“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 ...”
“If you feel you belong to things as they are, you won’t hold up anyone in the alley no matter how hungry you may get. And you won’t write anything that anyone will read a second time either.”
“There's people in hell who want ice water.”
“Heroin got the drive awright-but there’s not a tingle to a ton-you got to get M to get the tingle-tingle.”
“If Jesus Christ treated me like you do, I’d drive in the nails myself.”
“Then the wooden benches along the walls, where so many outcasts had slept, would be lit by a sort of slow, clocked lightning til the bulb steadied and fastened its tiny feral fury upon the center of the room like a single sullen and manic eye. To burn on there with a steady hate. Til morning wearied and dimmed it away to nothing more than some sort of little old lost gray child of a district-station moon, all its hatred spent.”
“A book, a true book, is the writer's confessional. For, whether he would have it so or not, he is betrayed, directly or indirectly, by his characters, into presenting publicly his innermost feelings.”
“To literary critics a book is assumed to be guilty until it proves itself innocent.”
“Chicago is an October sort of city even in spring.”
“Never sleep with someone whose troubles are worse than your own.”
“The devil lives in a double-shot", Roman explains himself obscurely. "I got a great worm inside. Gnaws and gnaws. Every day I drown him and every day he gnaws. Help me drown the worm, fellas.”
“The hard necessity of bringing the judge on the bench down into the dock has been the peculiar responsibility of the writer in all ages of man.”
“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. A certain ruthlessness and a sense of alienation from society is as essential to creative writing as it is to armed robbery.”
“I bet you think fellas are the ones to remember a girl -- don't you?"He shook his head hurriedly, that he'd always thought that."Fellas have all the fun 'n she just sees one right after another, so it seems like HE'D remember her, better 'n SHE'D remember him, only it works the other way around. I ain't forgot one single fella, all these years. But I bet there ain't TWO 'd know me from a big of bananas this minute.”
“The great trains howling from track to track all night. The taut and telegraphic murmur of ten thousand city wires, drawn most cruelly against a city sky. The rush of city waters, beneath the city streets. The passionate passing of the night's last El.”
“When I burn please bury me deepSomewhere on West Division StreetPut a bottle beneat' my head'n a bottle beneat' my feet”
“The Irish 'n Polacks always get along- didn't ya ever notice? Irish 'n Polacks live on p'tatoes 'n got it in for Hitler, that's why they get along so good; all over the world. Never heard of no war between Poland 'n Ireland, did you? No sir, that's cause we're all Cath'lics.”
“So he bought tickets to the Greyhound and they climbed, painfully, inch by inch and with the knowledge that, once they reached the top, there would be one breath-taking moment when the car would tip precariously into space, over an incline six stories steep and then plunge, like a plunging plane. She buried her head against him, fearing to look at the park spread below. He forced himself to look: thousands of little people and hundreds of bright little stands, and over it all the coal-smoke pall of the river factories and railroad yards. He saw in that moment the whole dim-lit city on the last night of summer; the troubled streets that led to the abandoned beaches, the for-rent signs above overnight hotels and furnished basement rooms, moving trolleys and rising bridges: the cagework city, beneath a coalsmoke sky.”
“It's the place built out of Man's ceaseless failure to overcome himself. Out of Man's endless war against himself we build our successes as well as our failures. Making it the city of all cities most like Man himself— loneliest creation of all this very old poor earth.”
“I'm not against sentimentality. I think you need it. I mean, I don't think you get a true picture of people without it in writing... It's a kind of poetry, it's an emotional poetry, and, to bring it back to the literary scene, I don't think anything is true that doesn't have it, that doesn't have poetry in it.”
“And money can't buy everything. For example: poverty.”
“...he said, with sort of a little derisive smile, "How can you walk down the street with all this stuff going on inside you?" I said, "I don't know how you can walk down the street with nothing going on inside you.”
“Yet once you've come to be part of this particular patch, you'll never love another. Like loving a woman with a broken nose, you may well find lovelier lovelies. But never a lovely so real.”
“Any writer who knows what he's doing isn't doing very much.”
“Never play cards with a man called Doc. Never eat at a place called Mom's. Never sleep with a woman whose troubles are worse than your own.”
“...a city that was to live by night after the wilderness had passed. A city that was to forge out of steel and blood-red neon its own peculiar wilderness.”
“... Chicago divided your heart. Leaving you loving the joint for keeps. Yet knowing it never can love you.”