Nelson Algren Quotes

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.

But blow wise to this, buddy, blow wise to this: 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. Never let nobody talk you into shaking another man's jolt. And never you cop another man's plea. I've tried 'em all and I know. They don't work. / Life is hard by the yard, son. But you don't have to do it by the yard. By the inch it's a cinch. And money can't buy everything. For example: poverty.

I don't know many writers. [...] Well, I dunno, but I do have the feeling that other writers can't help you with writing. I've gone to writers' conferences and writers' sessions and writers' clinics, and the more I see of them, the more I'm sure it's the wrong direction. It isn't the place where you learn to write. I've always felt strongly that a writer shouldn't be engaged with other writers, or with people who make books, or even with people who read them. I think the farther away you get from the literary traffic, the closer you are to sources. I mean, a writer doesn't really live, he observes.

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.

Well, I haven't consciously tried to develop [a style]. The only thing I've consciously tried to do was put myself in a position to hear the people I wanted to hear talk talk. I used the police lineup for I don't know how many years. [...] I was just over on the South Side and got rolled. But they gave me a card, you know, to look for the guys in the lineup, and I used that card for something like seven years.

Living in a very dense area, you're conscious of how the people underneath live, and you have a certain feeling toward them – so much so that you'd rather live among them than with the business classes. In a historical sense, it might be related to an idea, but you write out of – well, I wouldn't call it indignation, but a kind of irritability that these people on top should be so contented, so absolutely unaware of these other people, and so sure that their values are the right ones. I mean, there's a certain satisfaction in recording the people underneath, whose values are as sound as theirs, and a lot funnier, and a lot truer in a way. There's a certain overall satisfaction in kind of scooping up a shovelful of these people and dumping them in somebody's parlor.

I've always figured the only way I could finish a book and get a plot was just to keep making it longer and longer until something happens – you know, until it finds its own plot – because you can't outline and then fit the thing into it. I suppose it's a slow way of working.

I always think of writing as a physical thing. I'm not trying to generalize, it just happens to be that way with me.

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.

Never eat at a place called Mom's. Never play cards with a man named Doc. And never lay down with a woman who's got more troubles than you.

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.

A man who won't demean himself for a dollar is a phoney to my way of thinking.

[About his legacy:] I'll be all right so long as it has been written on some corner of a human heart. On the heart, it doesn't matter how you spell it.

[About Chicago:] It's every man for himself in this hired air. / 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.

I am the penny whistle of American literature.