“All we can do about this nightmare we live in is to create, if we are very lucky, a few islands of love and trust to sustain us and help us forget. But love dies while the lovers go on… — Francis M. Nevins Copy Share
“Long before the Theater of the Absurd, Woolrich discovered that an incomprehensible universe is best reflected in an incomprehensible story. ("Introduction")” — Francis M. Nevins Copy Share Image
“His most characteristic detective stories end with the realization that no rational account of events is possible, and his suspense stories tend to close… — Francis M. Nevins Copy Share Image
“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… — Francis M. Nevins Copy Share
“The hallmarks of the noir style are fear, guilt and loneliness, breakdown and despair, sexual obsession and social corruption, a sense that the world is controlled by, malignant forces preying on us, a rejection of happy endings and a preference for resolutions heavy with doom, but always redeemed by a breathtakingly vivid poetry of word (if the work was a… — Francis M. Nevins Copy Share
“All we can do about this nightmare we live in is to create, if we are very lucky, a few islands of love and trust to sustain us and help us forget. But love dies while the lovers go on living, and Woolrich excels at making us watch while relationships corrode. He knew the horrors that both love and lovelessness… — Francis M. Nevins Copy Share
“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… — Francis M. Nevins Copy Share
“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… — Francis M. Nevins Copy Share Image
“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:… — Francis M. Nevins Copy Share Image
