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 vindict… - Nelson Algren

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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.

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About Nelson Algren

(March 28, 1909 – May 9, 1981) was an American writer. Best known for two of his novels, The Man with the Golden Arm (1949, , adapted into ) and A Walk on the Wild Side (1956, adapted into ), Algren also wrote short stories collected in The Neon Wilderness (1947), and the book-length essays Chicago: City on the Make (1951) and Nonconformity (1953/1996).

Also Known As

Alternative Names: Nelson Ahlgren Abraham
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Additional quotes by Nelson Algren

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.

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