There are too many "creative writing" courses and seminars, in which young writers are constantly being taught to rewrite the previous generation. Th… - John Dos Passos

He is walking up an incline. There are tracks below him and the slow clatter of a freight, the hiss of an engine. At the top of a hill he stops to look back. He can see nothing but fog spaced with a file of blurred archlights. Then he walks on, taking pleasure in breathing, in the beat of his blood, in the tread of his feet on the pavement, between rows of otherworldly frame houses. Gradually the fog thins, a morning pearliness is seeping in from somewhere. Sunrise finds him walking along a cement road between dumping grounds full of smoking rubbishpiles. The sun shines redly through the mist on rusty donkey-engines, skeleton trucks, wishbones of Fords, shapeless masses of corroding metal. Jimmy walks fast to get out of the smell. He is hungry; his shoes are beginning to raise blisters on his big toes. At a cross-road where the warning light still winks and winks, is a gasoline station, opposite it the Lightning Bug lunchwagon. Carefully he spends his last quarter on breakfast. That leaves him three cents for good luck, or bad luck for that matter. A huge furniture truck, shiny and yellow, has drawn up outside.
"Say will you give me a lift?" he asks the redhaired man at the wheel.
"How fur ye goin?"
"I dunno. . . . Pretty far." (pp. 403-404)

How did they pick John Doe?

If there is a special Hell for writers it would be in the forced contemplation of their own works, with all the misconceptions, the omissions, the failures that any finished work of art implies.