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Read through the most famous quotes by topic #cornell
This may not be art as art commonly goes; the lack of discipline, of control, would seem to rule it out of that category. And yet Woolrich's lack of control over emotions is a crucial element in his work, not only because it intensifies the fragility and momentariness of love but also because it tears away the comfortable belief, evident in some of the greatest works of the human imagination such as Oedipus Rex, that nobility in the face of nothingness is possible. And if Woolrich's work is not art as commonly understood, there is an art beyond art, whose form is not the novel or story but the scream; and of this art Woolrich is beyond doubt a master. ("Introduction") ↗
In Woolrich's crime fiction there is a gradual development from pulp to noir. The earlier a story, the more likely it stresses pulp elements: one-dimensional macho protagonists, preposterous methods of murder, hordes of cardboard gangsters, dialogue full of whiny insults, blistering fast action. But even in some of his earliest crime stories one finds aspects of noir, and over time the stream works itself pure. In mature Woolrich the world is an incomprehensible place where beams happen to fall, and are predestined to fall, and are toppled over by malevolent powers; a world ruled by chance, fate and God the malign thug. But the everyday life he portrays is just as terrifying and treacherous. The dominant economic reality is the Depression, which for Woolrich usually means a frightened little guy in a rundown apartment with a hungry wife and children, no money, no job, and desperation eating him like a cancer. The dominant political reality is a police force made up of a few decent cops and a horde of sociopaths licensed to torture and kill, whose outrages are casually accepted by all concerned, not least by the victims. The prevailing emotional states are loneliness and fear. Events take place in darkness, menace breathes out of every corner of the night, the bleak cityscape comes alive on the page and in our hearts. ("Introduction") ↗
Woolrich had a genius for creating types of story perfectly consonant with his world: the noir cop story, the clock race story, the waking nightmare, the oscillation thriller, the headlong through the night story, the annihilation story, the last hours story. These situations, and variations on them, and others like them, are paradigms of our position in the world as Woolrich sees it. His mastery of suspense, his genius (like that of his spiritual brother Alfred Hitchcock) for keeping us on the edge of our seats and gasping with fright, stems not only from the nightmarish situations he conjured up but from his prose, which is compulsively readable, cinematically vivid, high-strung almost to the point of hysteria, forcing us into the skins of the hunted and doomed where we live their agonies and die with them a thousand small deaths. ↗
A first-rate college library with a comfortable campus around it is a fine milieu for a writer. There is, of course, the problem of educating the young. I remember how once, between terms, not at Cornell, a student brought a transistor set with him into the reading room. He managed to state that one, he was playing “classical” music; that two, he was doing it “softly”; and that three, “there were not many readers around in summer.” I was there, a one-man multitude. ↗
But suspense presupposes uncertainty. No matter how nightmarish the situation, real suspense is impossible when we know in advance that the protagonist will prevail (as we would if Woolrich had used series characters) or will be destroyed. This is why, despite his congenital pessimism, Woolrich manages any number of times to squeeze out an upbeat resolution. Precisely because we can never know whether a particular novel or story will be light or dark, allegre or noir, his work remains hauntingly suspenseful. ("Introduction") ↗
