To dive in the darkness, I should dive in the truth, then in images of the world..., then facts, then in books, then listening, then in short stories... that's how I write the horror. It's very complicated.
No one is treated with more patronizing condescension than the unpublished author or, in general, the would-be artist. At best he is commiserated. At worst mocked. He has presumed to rise above others and failed. I still recall a conversation around my father__ deathbed when the visiting doctor asked him what his three children were doing. When he arrived at the last and said young Timothy was writing a novel and wanted to become a writer, the good lady, unaware that I was entering the room, told my father not to worry, I would soon change my mind and find something sensible to do. Many years later, the same woman shook my hand with genuine respect and congratulated me on my career. She had not read my books.
Where I'm Reading From: The Changing World of Books
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No one is treated with more patronizing condescension than the unpublished author or, in general, the would-be artist. At best he is commiserated. At worst mocked. He has presumed to rise above others and failed. I still recall a conversation around my father__ deathbed when the visiting doctor asked him what his three children were doing. When he arrived at the last and said young Timothy was writing a novel and wanted to become a writer, the good lady, unaware that I was entering the room, told my father not to worry, I would soon change my mind and find something sensible to do. Many years later, the same woman shook my hand with genuine respect and congratulated me on my career. She had not read my books.
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Maybe Laura__ real problem came in admitting this: there was nothing new under the sun. To write a story would be, somehow deep down, to embrace her limits, to admit that, indeed, she would someday die__f not of a worm or a ceiling, then of something else. The very nature of a story admitted this reality. To be a writer was to say, yes, I am just another Murasaki, and it is quite possible that no one will remember my name.
The viewpoint character in each story is usually someone trapped in a living nightmare, but this doesn't guarantee that we and the protagonist are at one. In fact Woolrich often makes us pull away from the person at the center of the storm, splitting our reaction in two, stripping his protagonist of moral authority, denying us the luxury of unequivocal identification, drawing characters so psychologically warped and sometimes so despicable that a part of us wants to see them suffer. Woolrich also denies us the luxury of total disidentification with all sorts of sociopaths, especially those who wear badges. His Noir Cop tales are crammed with acts of police sadism, casually committed or at least endorsed by the detective protagonist. These monstrosities are explicitly condemned almost never and the moral outrage we feel has no internal support in the stories except the objective horror of what is shown, so that one might almost believe that a part of Woolrich wants us to enjoy the spectacles. If so, it's yet another instance of how his most powerful novels and stories are divided against themselves so as to evoke in us a divided response that mirrors his own self-division.("Introduction")