A Thousand and One Afternoons in Chicago Quotes

“Tell it, Fanny. About the crowds, streets, buildings, lights, about the whirligig of loneliness, about the humpty-dumpty clutter of longings. And then explain about the summer parks and the white snow and the moon window in the sky. Throw in a poignantly ironical dissertation on life, on its uncharted aimlessness, and speak like Sherwood Anderson about the desire that stir in the heart. Speak like Remy de Gourmont and Dostoevsky and Stevie Crane, like Schopenhauer and Dreiser and Isaiah; speak like all the great questioners whose tongues have wagged and whose hearts have burned with questions. He will listen bewilderedly and, perhaps, only perhaps, understand for a moment the dumb pathos of your eyes.”
― Ben Hecht, A Thousand and One Afternoons in Chicago

“We have in Europe a peculiar situation," he says. "England and France, although hitched to the same wagon, pull in different directions. England must build up her trade. France must build up her morale. These involve different efforts. To build up her trade England must re-establish Germany. To build up her morale France must see that Germany is not re-established and that it remains forever a beaten enemy.”
― Ben Hecht, A Thousand and One Afternoons in Chicago

“Do you want to see the dead warriors come back, the fallen army come back, crawling out of its million coffins and walking back across the sea and across the prairie; the waxen face of youth come out of its million graves and its uniform hanging from its limp frame? Do you want to see the war dead, the young ones ripped to pieces in the trenches standing like tired beggars at your back door, dead hands and dead eyes and wailing softly: "I was so young. I died so soon. All of us from all the countries who died so soon, we grow lonely on the other side. Ah, my unlived days! My uneaten bread! My uncounted years! They lie in a little corner and nobody comes to them!”
― Ben Hecht, A Thousand and One Afternoons in Chicago

“It rains. The arc lamps gleam through the monotonous downpour. One can only stand and dream … how charming people are since they are alive … how charming the rain is and the night. … And how foolish arguments are … how banal are these cerebral monsters who pose as iconoclasts and devote themselves grandiloquently and inanely to disturbing the paper masks.”
― Ben Hecht, A Thousand and One Afternoons in Chicago

“But in this rain at night they rest from their perfections, they lay aside for a few hours their paper masks. And one can contemplate them with a curious absence of indignation or criticism. There is something warm and intimate about the vision of many people sleeping in the beds above the darkened store fronts of this little street. Their bodies have been in the world so long—almost as long as the stones out of which their houses are made. So many things have happened to them, so many debacles and monsters and horrors have swept them off their feet … and always they have kept on—persisting through floods, volcanic eruptions, plagues and wars.”
― Ben Hecht, A Thousand and One Afternoons in Chicago

“One becomes aware of such curious facts in the rain at night and one's iconoclasm, like a broken umbrella, hangs useless from one's hand. Tomorrow these people who are now asleep will be stirring, giving vent to outrageous ideas, championing incredulous banalities, prostrating themselves before imbecile superstitions. Tomorrow they will rise and begin forthwith to lie, quibble, cheat, steal, fourflush and kill, each and all inspired by the solacing monomania that every one of their words and gestures is a credible variant of perfection. Yes, tomorrow they will be as they were yesterday.”
― Ben Hecht, A Thousand and One Afternoons in Chicago

“There are at least two hundred of them. And if you should read them all through at one sitting you would get a strange sense that this caricature of the hooded face was talking to you. That the Queer One who shuffles through the streets was sitting beside you and whispering marvelous things into your ear.”
― Ben Hecht, A Thousand and One Afternoons in Chicago

“The story of the odd ones is perhaps no more interesting than the story that might be written of the letters that "tip them off." A story here, of the harried, buried little figures that make up the swarm of the city and of the way they glimpse mystery out of the corners of their eyes. Of the way they pause for a moment on their treadmill to wonder about the silent, shuffling caricature with its hooded face and its thin fingers groping under its heavy black cloak.”
― Ben Hecht, A Thousand and One Afternoons in Chicago

“They continue—tips on strange, weird, curious, odd, old, chuckling, mysterious men and women. Solitaries. Enigmatic figures moving silently through the streets. Nameless ones; exiles from the free and easy conformity of the town. If you should read these letters all through at one sitting you would get a very strange impression of the city. You would see a procession of mysterious figures flitting through the streets, an unending swarm of dim ones, queer ones. And then as you kept on reading this procession would gradually focus into a single figure. This is because all the letters are so nearly alike and because the mysterious ones offered as tips are described in almost identical terms.”
― Ben Hecht, A Thousand and One Afternoons in Chicago

“It was Mr. Darrow's good-bye to his dear friend. He stood up and his loose figure and slyly malicious face wore an unaccustomed seriousness. The audience waited, but the facile Mr. Darrow was having difficulty locating his voice, his words. His eyes, blurred with tears, were still staring at the coffin. Finally Mr. Darrow began. His dear friend. Dead. So charming a man. So brilliant a mind. Dead now. He had been so amazingly alive it seemed incredible that he should be dead. It was as if part of himself—Mr. Darrow—lay in the coffin.”
― Ben Hecht, A Thousand and One Afternoons in Chicago

“Art is a contagious business. Perfectly normal and marvelously wholesome-minded people are as likely to succumb to it as anybody else. It is significant that the Purity League meeting in the city a few weeks ago discussed the dangers which lay in exposing even decent, law-abiding people to art, any kind of art.”
― Ben Hecht, A Thousand and One Afternoons in Chicago

“When Mrs. Sardotopolis got home there would be eight other children to take care of. But that was a simple matter. None of them was sick. When the eight children weren't sick they tumbled, shrieked and squealed in the dark hallway or in the street. Anywhere. Mrs. Sardotopolis only listened with half an ear. As long as they made noise they were healthy. So from day to day she listened not for their noise but to hear if any of them grew quiet.”
― Ben Hecht, A Thousand and One Afternoons in Chicago

“The saloon is burning fine. Everything is going up in smoke. Broun and I, we hold on to each other. We see Jo Davidson running to the fire and we nod at him politely. Money makes a big difference, you know. "And then we hear a cry. I recognize Schneider and I see him break loose from the crowd. He runs back into the burning saloon, a fireman after him. Broun and I, we stand and watch. He is probably gone after one of his kids. But I count the kids who are all in the street and they are all there. "Then Schneider comes out and the fireman, too. And they are carrying something. Broun falls against the delicatessen store window and groans. And I close my eyes. Yes, it is the picture. "Schneider sees us and comes rushing. He is half burned up. But the picture is not touched. He and the fireman hand us the picture. As for me, I turn away and I lose command of the English language. "'You boys trusted me,' says Schneider, 'and I remembered just in time. I remembered your picture. I may not be an artist, but I don't let a masterpiece burn up. Not in my saloon.”
― Ben Hecht, A Thousand and One Afternoons in Chicago

“The newspaper man, listening, thought, "An infant gone mad with her dolls. Or no, vice has lost its humanness. She's the symbol of new sin—the unhuman, passionless whirligig of baby girls and baby boys through the cabarets.”
― Ben Hecht, A Thousand and One Afternoons in Chicago

“but a lot o' molls and a lot of sucker guys. Them? Say, they never learn no better. Tough guys ain't no different from soft guys, see? They all fall for the dames just as hard and just as worse. There's many a good guy in this place that's been gave a tumble by them, see?”
― Ben Hecht, A Thousand and One Afternoons in Chicago

“carefully combed and scented vulture waiting to swoop down from the side lines." Evening after evening between 6 o'clock and midnight he drifts in and out of the lobby, up and down Randolph Street and takes up his position at various points of vantage where crowds pass, where women pass. I've watched him. No one ever talks to him. There are no salutations. He is unknown and worse. For the women, the rouged and ornamental ones, know him a bit too well. They”
― Ben Hecht, A Thousand and One Afternoons in Chicago

“The nose of this shuffling one is larger than the noses in the city streets. His fingers are larger, his neck is larger. There is a curious earthy look to this shuffling one seldom to be seen about men in streets. He is a huge creature with great thighs and Laocoön sinews and he towers a head above his brothers in front of the employment office. He is of a different mold from the men in the street. Strength ripples under his tattered mackinaw and his stiff looking hands could break the heads of two men against each other like eggshells while they rained puny blows on his dull face. And yet of all the men moving about on the pavement in front of the Clinton Street bulletin boards it is this shuffling one who is the most impotent seeming. His figure is the most helpless. It slouches as under a final defeat. His eyes are the dullest. He stops at the corner and stands waiting, his head lowered, his shoulders hunched in and he looks like a man weighed down by a harness.”
― Ben Hecht, A Thousand and One Afternoons in Chicago

“But there is something else. Long ago men hunted and fished to keep alive. They fought with animals and sat with empty stomachs staring at the water, not in quest of Nirvanas but of fish. So now, after ages and ages have passed, there is left a vague memory of this in the minds of these fishermen. This memory makes them still feel a certain thrill in the business of pursuit. Even as they sit, stoical and inanimate, forgetful of unpaid bills, unfinished and never-to-be-finished plans—there comes this curious thrill. A mouth tugs at the little minnow. The pole jerks electrically in the hand. Something alive is on the hook. And the fisherman for an instant recovers his past.”
― Ben Hecht, A Thousand and One Afternoons in Chicago

“What are you going to do with them?" He looks up and grins slowly. Then he points to his lips with his fingers and makes signs. This means he is dumb. He places his hand over his stomach and grins again. He is going to eat them. It is time to go home and do this, so he puts up his fishpole and packs his primitive paraphernalia—a tin can, a rusty spike, a bamboo pole. Here is one, then, who, in the heart of the steel forest called civilization, still seeks out long forgotten ways of keeping life in his body. He hunts for fish. The sun slides down the sky. The fishermen begin to pack up. They walk with their heads down and bent forward like number 7s. They raise their eyes occasionally to the piles of stone and steel that mark the city front. Back to their troubles and their cinder patch, but—and this is a curious fact—their eyes gleam with hope and curiosity.”
― Ben Hecht, A Thousand and One Afternoons in Chicago

“Him," he sighed, "that was Jim Sloan, constable from Grand Island, Neb. And they sent him here about two weeks ago to find me. See? And all this rube does is ride around in rubberneck wagons and take in the museums and parks, having no idee where I was. He figured merely on enjoyin' himself at Nebraska's expense. "And he was just on the observation tower lookin' over the city in his rube way when I have to walk into him. Yes, sir, Pete Handley, and there ain't no slicker guy in the country, walkin' like a prize sucker right into the arms of a Grand Island, Neb., constable. It all goes to show," sighed Dapper Pete, "what a small world it is after all.”
― Ben Hecht, A Thousand and One Afternoons in Chicago

“Well, then I spent three days in the Field Museum, eyeing the exhibits. Can you beat it? I walk around and walk around rubbering at mummies and bones and—well, I ain't kiddin', but they was among the three most interesting days I ever put in. And I felt pretty good, too, knowin' that no copper would be thinking of Dapper Pete as being in the museums.”
― Ben Hecht, A Thousand and One Afternoons in Chicago

“Well, then I spent three days in the Field Museum, eyeing the exhibits. Can you beat it? I walk around and walk around rubbering at mummies and bones and—well, I ain't kiddin', but they was among the three most interesting days I ever put in.”
― Ben Hecht, A Thousand and One Afternoons in Chicago

“It was like this," he said. "I made up my mind that I would take in a few of the points of interest in the city I ain't ever got around to. Being a Chicagoan, like most Chicagoans I ain't ever seen any of our natural wonders at all. So first day out I figured that the place no copper would ever look for me would be like the Field Museum and in the zoo and on the beach and like that.”
― Ben Hecht, A Thousand and One Afternoons in Chicago

“But I like the fog because it slows things up. Things are too damn fast to suit me. I like 'em slow. Like they used to be a century ago.”
― Ben Hecht, A Thousand and One Afternoons in Chicago

“When it is light and one can see the cogs of the monstrous clock go round and the springs unwind one thinks of people as a part of this mechanism. And so people grow vague in one's mind and unhuman or only half-human.”
― Ben Hecht, A Thousand and One Afternoons in Chicago

“The fog pictures grow charming. There is an idea in them now. People are detached little decorations etched upon a mist. The cat has eaten up the monstrous clock and people have rid themselves of their routine, which was to tumble and scurry among its cogs and levers. They are done with life, with buying and selling and with the perpetual errand. And they have become a swarm of little ornaments. Men and women denuded of the city. Their outlines posture quaintly in the mist. Their little faces say, "The clock is gone. There is nothing any more to make us alive. So we have become our unconnected selves.”
― Ben Hecht, A Thousand and One Afternoons in Chicago

“I'll give you another chance," he says. "The next time it'll be jail. Keep this in mind. If you're brought in again, no excuses will go. Call the next case." Now one can follow Fanny. She walks out of the courtroom. The street swallows her. Nobody in the crowds knows what has happened. Fanny is anybody now. Still, one may follow. Perhaps something will reveal itself, something will add an illuminating touch to the incident of the courtroom.”
― Ben Hecht, A Thousand and One Afternoons in Chicago

“He half-hears the familiar accusation that the policeman drones, a terribly matter-of-fact drone. Another raid on a suspected flat. Routine, routine. Evil has its eternal root in the cities. A tireless Satan, bored with the monotony of his rôle; a tireless Justice, bored with the routine of tears and pleadings, lies and guilt. There is no story in all this.”
― Ben Hecht, A Thousand and One Afternoons in Chicago