‘The Neon Wilderness’ (Part 1) by Nelson Algren

1947-club-pinkAs I was trying to decide what to read for the ‘1947 Club’ two books jumped out at me; both were books I’d read before and which I’d been meaning to re-read for quite a while. As I’ll probably only have time to read one for this group I’ll have to ditch the other one, which was going to be Jean Genet’s Querelle of Brest, and instead just concentrate on The Neon Wilderness which is a collection of stories by Nelson Algren (1909-1981). Nelson Algren is a favourite author of mine but he seems to be largely forgotten or ignored these days. He is most famous for the books The Man With the Golden Arm (1949) which is about the morphine addict Frankie Machine (played by Frank Sinatra in the film version) and A Walk on the Wild Side (1956) which, like most of his books, is about the urban lowlife such as prostitutes, drunks, addicts etc. n.b. despite the Lou Reed song it has nothing to do with transvestites or transexuals. I think of Nelson Algren as a ‘pre-Beat’, one of those writers whose work must have influenced the Beats to some extent, even though he doesn’t get mentioned much by them. This post is going to concentrate on just two of the stories as they’re two of my favourites (of any author) and I’ll hope to post on some of the others during the rest of the week. The two stories are how the devil came down division street and stickman’s laughter. BTW In my edition all the titles are lowercase; I’m not sure if that was the case in the original edition but it seems to suit Algren’s style, and I like it, so I’ll stick to that in my posts.

I’ll start with the opening paragraphs of how the devil came down division street:

Last Saturday evening there was a great argument in the Polonia Bar. All the biggest drunks on Division were there, trying to decide who the biggest drunk of them was. Symanski said he was, and Oljiec said he was, and Koncel said he was, and Czechowski said he was.
    Then Roman Orlov came in and the argument was decided. For Poor Roman has been drunk so long, night and day, that when we remember living men we almost forget Poor Roman, as though he were no longer really among the living at all.
    “The devil lives in a double-shot”, Roman explains himself obscurely. “I got a great worm inside. Gnaws and gnaws. Every day I drown him and every day he gnaws. Help me drown the worm, fellas.”
    So I bought Poor Roman a double-shot and asked him frankly how, before he was thirty, he had become the biggest drunk on Division.

The narrator has to supply him with more drinks before he’ll unburden himself with his story. Roman’s story is a short story of a childhood of poverty which has a very Dickensian feel to it, especially when Roman relates how they found out how algren_neon-wilderness_fcx-700pxthe previous tenant of their flat, who they believe is haunting them, had beaten his wife to death and then committed suicide. But, if we think that Poor Roman was traumatised by this then we’d be wrong; in some ways it brought the family together as they prayed for the man’s soul and they gained the respect of the local neighbours and priest for being so compassionate. But as Roman’s father stops going out at night it means that Roman is left without anywhere to sleep in the crowded flat and so ends up sleeping during the day and going out at nights: ‘And at night, as everyone knows, there is no place to go but the taverns.’ And so he began to spend the whole nights in a tavern awaiting dawn, the bitterest hour. In a way it’s a silly story, but it’s the story of a drunkard trying to wheedle money out of the listener—and that opening is pure brilliance.

The story stickman’s laughter concerns the poor weak-willed Banty Longobardi who has a thing for gambling. The story begins:

Banty Longobardi trudged up his own back steps; his cap was in his hand and his pay on his hip. He’d take the old woman to the Little Pulaski—triple horror feature with blue enamel ovenware to the ladies and community singing.
    But the door was locked and the woman was out, so he went down the steps again. She ought to know better than to go visiting on a community-singing, free-ovenware night.

So what does Banty do now? He goes out to the gambling rooms; but he only bets a dollar, he’s just passing time until his woman gets home…and he’s lucky…he wins…and wins again…and leaves the establishment up by forty dollars. But when he returns home his wife is still not home, he can’t stay at home all alone so he goes out again, this time to the bar to waste some time.

Then he had three shots, to relieve the ache further, and began wondering how long he’d been gone. He didn’t want to drink up too much of the extra pay roll; but he’d give her plenty of time to get home and miss him a spell too.

Banty starts to get argumentative with the bartender, who tells Banty to go home and tells him he’s just seen his wife walk past on her way home. But instead of going home he finds himself back at the gambling room. He’s in a fuddled state, he wins money, he loses money, but he’s only betting with his previous winnings. Of course, his winnings disappear and facing the stickman’s laughter at his predicament he gambles all his pay as well—and loses everything.

And so Banty returns home, shamefaced; he hopes his woman is asleep so he won’t have to explain the stituation but she calls out to him from the bedroom. There’s no escape.

    “Are you coming to bed or are you going to stand there on one foot all night?”
    When she saw him shuffling toward her she switched off the light and lay back waiting for him in the dark. When he reached the bed he had only to wait for her to take his head on her breast.
    That’s the kind of old woman Banty had himself.
    “My fault,” she assured him softly, like a storyteller making up stories to put a child to sleep. “I knew it was payday but I went out just the same. No supper for poor Banty either. Poor Banty. Lost all his money and no supper either. Wanted to go to community singing and got hisself drunked up instead.”
    She felt his tenseness lessening. Felt his tears between the shadowed valley of her breasts. And knew that they were for her.

Yes, Poor Banty indeed. He’s just like a child, unable to stay at home when his wife isn’t there, unable to stay away from the gambling rooms. I have a bit of a soft spot for weak characters, that is, as long as the author doesn’t get too mawkish. But what is brilliant about the story is the compassion and forgiveness that his wife shows him, even though he’s lost all his pay. I mean it’s not really a very realistic ending as in reality it would most likely end up with a blazing row with most people—but they don’t and that’s what makes the story great.

I’m enjoying getting reacquainted with Algren’s work and I’m looking forward to reading the rest of the stories. I feel like re-reading some of his novels as well now.

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11 Comments

Filed under Algren, Nelson, Fiction

11 responses to “‘The Neon Wilderness’ (Part 1) by Nelson Algren

  1. I was trying to remember what else Algren had written and you cleared that up for me.

    Liked by 1 person

  2. I still need to read Algren (I have at least one of his books somewhere, plus Simone de Beauvoir’s letters to him) – but these sound good too!

    Liked by 1 person

  3. I have wanted to read Algren. I also like the passages that you quoted. The people seems to paint very realistic picture of the scene.

    I also like flawed characters. You raise a good point, they are the most likable when their flaws are limited.

    Like

    • Jonathan

      He is a great read. His dialogue is brilliant, though I can’t vouch that the slang terms are accurate, and his prose is tough but compassionate.

      Like

  4. I’m pretty sure I’ve been confusing Nelson Algren with some other American writer – Napoleon Hill perhaps? – and have therefore avoided him… when it sounds, in fact, like he may be the exact opposite.

    Liked by 1 person

    • Jonathan

      I’d only vaguely heard of Napoleon Hill so I just checked him out on Wikipedia and yes, Algren is virtually the opposite. Algren’s characters are often the poor, immigrants, criminals, prostitutes etc. They’re usually set in Chicago. There’s a lot of humour in them though.

      Liked by 1 person

  5. Pingback: ‘The Neon Wilderness’ (Part 2) by Nelson Algren | Intermittencies of the Mind

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