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Some mediocre ladies in influential positions are usually embarrassed by an unusual book and so prefer the old familiar stuff which doesn't embarrass them and also doesn't give the child one slight inkling of beauty and reality. This is most discouraging to a creative writer, like you, and also to a hardworking and devoted editor like me. I love most of my editor colleagues but I must confess that I get a little depressed and sad when some of their neat little items about a little girl in old Newburyport during the War of 1812 gets [sic] adopted by a Reading Circle.
Leonard S. Marcus
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Some mediocre ladies in influential positions are usually embarrassed by an unusual book and so prefer the old familiar stuff which doesn't embarrass them and also doesn't give the child one slight inkling of beauty and reality. This is most discouraging to a creative writer, like you, and also to a hardworking and devoted editor like me. I love most of my editor colleagues but I must confess that I get a little depressed and sad when some of their neat little items about a little girl in old Newburyport during the War of 1812 gets [sic] adopted by a Reading Circle.

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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")

FJ
Francis M. Nevins Jr.

Night and Fear: A Centenary Collection of Stories by Cornell Woolrich