People From Chicago

"What I have learned, above all, is to keep marching forward because the best news is that since chance does play a role, one important factor in success is under our control: the number of at bats, the number of chances taken, the number of opportunities seized."

"Obviously it can be a mistake to assign brilliance in proportion to wealth. We cannot see a persons potential, only his or her results, so we often misjudge people by thinking that the results must reflect the person. The normal accident theory of life shows not that the connection between actions and rewards is random but that random influences are as important as our qualities and actions."

"Even random differences in pay lead to the backward inference of differences in skill and hence to the development of unequal influence. It's an element of personal and office dynamics that can't be ignored."

"We unfortunately seem to be unconsciously biased against those in society who come out on the bottom."

"It might seem daunting to think that effort and chance, as much as innate talent, are what counts. But I find it encouraging because, while our genetic makeup is out of our control, our degree of effort is up to us. And the effects of chance, too, can be controlled to the extent that by committing ourselves to repeated attempts, we can increase our odds of success."

"Perception requires imagination because the data people encounter in their lives are never complete and always equivocal."

"We afford automatic respect to superstar business moguls, politicians, and actors and to anyone flying around in a private jet, as if their accomplishments must reflect unique qualities not shared by those forced to eat commercial airline food. And we place too much confidence in the overly precise predictions of people - political pundits, financial experts, business consultants - who claim a track record demonstrating expertise."

"It is one of those contradictions of life that although measurement always carries uncertainty, the uncertainty in measurement is rarely discussed."

"Comets at the time were considered by theologians and the general public alike as a sign of divine anger, and God must have seemed pretty pissed off to create this one - it occupied more than half of the visible sky."

"The law of small numbers is not really a law. It is a sarcastic name describing the misguided attempt to apply the law of large numbers when the numbers aren't large."

"Historians whose profession is to study the past, are as wary as scientists of the idea that events unfold in a manner that can be predicted. In fact, in a study of history the illusion of inevitability has serious consequences that it is one of the few things that both conservative and socialist historians can agree on."

"The outline of our lives, like the candles flame, is continuously coaxed in new directions by a variety of random events that, along with our responses to them, determine our fate."

"Random events often come like the raisins in a box of cereal - in groups, streaks, and clusters. And although Fortune is fair in potentialities, she is not fair in outcomes."

"The theory of randomness is fundamentally a codification of common sense."

"The fact that human intuition is ill suited to situations involving uncertainty was known as early as the 1930's, when researchers noted that people could neither make up a sequence of numbers that passed mathematical tests for randomness nor recognize reliably whether a given string was randomly generated."

"The nasty thing about the availability bias is that it insidiously distorts our view of the world by distorting our perception of past events and our environment."

"After my two attempts at gently raising the issue of string theory, one afternoon I stepped into Feynman's office to ask him what he really thought."Can we talk a little about string theory?" I asked. … "Don't you think there are aspects of it that seem very promising?""Promising? What does it promise? Does it promise to tell you the mass of the proton? No. What does it promise to tell you?""Well, no one knows how to extract any quantitative predictions yet, but—""You're wrong. It does make a quantitative prediction. Do you know what that is?"I looked at him. My mind was a blank."It requires that we live in ten dimensions. Is it reasonable to have a theory that requires ten dimensions? No. Do we see those dimensions? No. So it rolls them up into tiny balls or cylinders too small to detect. So the only prediction it makes is one that has to be explained away because it doesn't fit with observation.""

"Another lottery mystery that raised many eyebrows occurred in Germany on June 21, 1995. The freak event happened in a lottery called Lotto 6/49, which means that the winning six numbers are drawn from 1 to 49. On the day in question the winning numbers were 15-25-27-30-42-48. The very same sequence had been drawn previously, on December 20, 1986. It was the first time in 3,016 drawings that a winning sequence had been repeated. What were the chances of that? Not as bad as you'd think. When you do the math, the chance of a repeat at some point over the years comes out to around 28 percent."

"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."

"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."

"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."

"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."

"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."

"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."

"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."

"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."

"I am the penny whistle of American literature."

"What country is there for a white man who isn't white?"

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

"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."

"Thinking of Melville, thinking of Poe, thinking of Mark Twain and Vachel Lindsay, thinking of Jack London and Tom Wolfe, one begins to feel there is almost no way of becoming a creative writer in America without being a loser."

"[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."

"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."

"[Chicago is] the only major city in the country where you can easily buy your way out of a murder rap."

"The clock in the room above the Safari told only Junkie Time. For every hour here was Old Junkie's Hour and the walls were the color of all old junkies' dreams: the hue of diluted morphine in the moment before the needle draws the suffering blood. / Walls that went up and up like walls in a troubled dream. Walls like water where no legend could be written and no hand grasp metal or wood. [...] 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-colored walls of [an addict]'s terrible pit."

"‘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.’"

"A writer who knows what he is doing isn't doing very much."

"[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."

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

"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."

"[About whether critics have influenced his work:] None could have, because I don't read them. I doubt anyone does, except other critics. It seems like a sealed-off field with its own lieutenants, pretty much preoccupied with its own intrigues. I got a glimpse into the uses of a certain kind of criticism this past summer at a writers' conference – into how the avocation of assessing the failures of better men can be turned into a comfortable livelihood, providing you back it up with a Ph.D. I saw how it was possible to gain a chair of literature on no qualification other than persistence in nipping the heels of Hemingway, Faulkner, and Steinbeck. I know, of course, that there are true critics, one or two. For the rest all I can say is, “Deal around me.”"

"Algren had his vices – he never did see a dollar that wouldn't look better at the center of a poker table – but it was virtue that unwound his life."

"For Algren, writing is not a trade or a hobby. It is a calling that requires practitioners give more of themselves emotionally than they can afford, and demands they tell the truest stories they possibly can, the kind that make the teller partner to the actions of their subjects, and create complicity in the telling. Everything else is just words on a page. In exchange for these sacrifices he guarantees no reward. Instead he promises commercial failure and the risk of emotional collapse, yet keeps faith with his vision and claims the other side asks more. They demand conformity."

"Algren's epitaph for Fitzgerald could apply equally to himself: "Unsaving of spirit and heart and brain, he served the lives of which he wrote rather than allowing himself to be served by them. And so he died like a scapegoat, died like a victim, his work unfinished, his hopes in ruin.""

"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."

"The American dream was one of materialism, its hope that, even if you had lost everything yesterday, you might regain it today. Algren's dream is one of humanity: of how you might live a fully human life when you have lost everything and nothing can be regained – through humour, small victories and love."

""Vast populations, towering cities, erroneous and clamorous publicity, have conspired to make unknown great men one of America's traditions," Borges wrote. "Edgar Allan Poe was one of these; so was Melville." And so too Nelson Algren."

"Algren's characters fail even at failure. They manage to mismanage crime, vice, sin. Nothing is so worthless that it cannot be lost, and Algren's mean streets are revealed by the passing of time to be both as real and as allegorical as Kafka's courtrooms and castles. It is a hell, and it is the ultimate test of our humanity. / Like Chekhov, Algren believed a writer's role was to side with the guilty."

"[Nelson Algren] was a type of loser we can't stomach in this country. [...] America has always been able to countenance beggars, short-con men, and nine-to-fivers who just can't get ahead, but we've never known what to do with the type of person who could have been really big but chose not to make the concessions required."

"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; [...]"