From "Single Exit" (first published in 1947) in Entrapment by Nelson Algren:
"He walked down endless flights, turning at last into the hotel entrance to the bar. Juke music funneled out through the entrance in a roaring bass, beating out 'Blues in the Night' in a vocal that rang hoarsely, like a manacled madman's voice full of hoarse glee at his own pain. Beneath it, standing in the doorway, Katz heard the fast and slippered shuffle of the same shoes he had heard whispering so lonesomely away, down an uncarpeted hall and out into the lonesome street. A soft-shoe shuffle! Would there be applause to greet him? And many friends? He brushed down his coat and hurried in. As the juke died out on a troubled whine.
The dancers all had gone. The singers all were still. There was no one but a sweatered fellow placing chairs along the bar.
Katz stood shifting restlessly from one foot to another, trying to down his disappointment at forever, all his life, arriving just a moment too late for everything.
'Closing up?' he asked diffidently.
The fellow moved on toward the back without answering, drawing chairs soundlessly across the floor, tossing them slowly, without effort, along the bar, so that no matter how carelessly he moved, they fell, softly, into neat rows, and stayed so strangely motionless, all along the bar.
Above the bar mirror a neon kitten flashed two suggestions off and on, in bright and blood-red steel:
GET UP A PARTY
FEED THE KITTY
GET UP A PARTY
FEED THE KITTY"
Why doesn't anyone write like this anymore?
Maybe there are those who do, but, if so, they are most likely on the margins of the literary world. Because most writers, including crime writers, haven't the nerve to put themselves out there like Algren did, while, at the same time, doing so with all their heart and soul. Not, at any rate, if they intend to sell books or, for that matter, get published. Of course, there are examples of extreme literature, but it's usually pretty sterile stuff in comparison, too ironic or pretending to be tough and in your face. Few are willing to be as overtly political, literary and as cantankerous as Algren. Always concerned about those at the bottom end of society. This even though Algren believed that his work had no effect on the culture. Nevertheless, Algren won the National Book Award for Man With a Golden Arm and was, for a while, a best selling writer.
Algren, based on the stories, essays, poems, prose poems and fragments of a novel in Entrapment, and much of his other work, could be arrested for incitement to intelligence, much less riot. In fact, it's almost impossible to comprehend that Algren could have been so popular during the 1950s and early 1960s. We have Otto, Sinatra, Kim to partially thank for that, though Algren's popularity started before that. Yet Man With a Golden Arm was such a mess of a movie, at least compared to the book, that it ruined the novel for many subsequent readers. Nor was Walk on the Wildside, with a script by John Fante (aided by Ben Hecht), much better. On the other hand, it's hard to imagine how anyone might be able to capture Algren on film, that is without sacraficing so much of the literary quality of his novels. Maybe it's just that Algren, with all his ruminations and characters who move from the comedy to tragedy, sweet wise yet so innocent, can't be filmed.
Algren was part of a generation of writers that included James T. Farrell (in fact, there is a short piece in Entrapment which constitutes Algren's apology for dissing Farrell on ideological grounds and recognising that, though Farrell was not a great stylist, Studs Lonigan affected a generation of people), John Dos Passos, Richard Wright whose last remaining personage was probably Studs Terkel. They were all political radicals with a sense of the street and literary enough to hold their own with more established types. Algren has been compared favorably to Faulkner, and one can see why. Okay, so maybe he's more erratic, but at his best he is every bit Faulkner's equal.
I might be alone in thinking his early writing, particularly his short stories, constitutes his best work. Not that I didn't enjoy his later novels, but they are just a bit too contrived for me. I like him best when he is in Whitman/Farrell mode, railing against the rich and the stupid and the reactionary, and doing it with his heart and soul.
Entrapment- the title comes from Algren's unpublished final novel, a semi-autobiographical work about the love-sick- is already one of my favorite books of the year. One wishes Algren, capable of breaking your heart with a single phrase or sentence, had been able to finish the book. But, as the editors, who have done an exemplary job in putting this collection together, say, it was far too close to the bone. Likewise, I wish he were around today to comment on what was going on in the world.