Erskine Caldwell Quotes

Menulis cerita pendek dan novel bukanlah sesuatu hal yang dapat aku lakukan dengan mudah dan menyenangkan.

Preachers has got to preach against something. It wouldn’t do them no good to preach for everything. They got to be against something every time.

They were sitting in their nice apartments or dorm rooms reading the latest Haruki Murakami story while I was sitting in a shitty little ramshackle house reading a used copy of Erskine Caldwell's God's Little Acre. They weren't bad people. They all did volunteer work, voted Democrat and believed in the goodness of humanity. I voted Democrat, needed Habitat for Humanity to come to my house and knew from personal experience the shittiness of humanity because I was shitty myself.

He still could not understand why he had nothing, and would never have anything, and there was no one who knew and who could tell him. It was the unsolved mystery of his life.

You don't love Buck. If you did, you'd have four kids by now. Wouldn't you? Now wouldn't you? A woman like you...

Menulis fiksi adalah menuangkan perasaan dan semangat hidup dalam untaian kata-kata di atas kertas-sebuah usaha tanpa akhir untuk mendapatkan makna-makna yang berbeda

Good preachers don’t preach about God and heaven, and things like that. They always preach against something, like hell and the devil. Them is things to be against. It wouldn’t do a preacher no good to preach for God. He’s got to preach against the devil and all wicked and sinful things. That’s what the people like to hear about. They want to hear about the bad things.

Co-operative and corporate farming would have saved them all.

She could sometimes stand the pain of it in her stomach when she knew there was nothing to eat, but when Lov stood in full view taking turnips out of the sack, she could not bear the sight of seeing food no one would let her have.

Kegiatan fisik dalam menulis fiksi bertolak belakang dengan hasil yang didapat. Kegiatan tersebut adalah duduk tegang dan jenuh sepanjang siang atau malam di depan meja dan mesin ketik, pada saat aku ingin berdiri dan pergi ke suatu tempat untuk melihat sesuatu yang aku yakini lebih menarik dibanding apa yang sedang aku kerjakan.

He sometimes said it was partly his own fault, but he believed steadfastly that his position had been brought about by other people. He

Menulis fiksi adalah usaha untuk menciptakan tokoh-tokoh rekaan dan kejadian-kejadian penuh makna dalam batas-batas sempit dunia kecil yang aku kenal.

Erskine Caldwell’s stories of rural poverty (Tobacco Road) and

There were always well-developed plans in Jeeter’s mind for the things he intended doing; but somehow he never got around to doing them. One day led to the next, and it was much more easy to say he would wait until tomorrow. When that day arrived, he invariably postponed action until a more convenient time. Things had been going along in that easy way for almost a lifetime now; nevertheless,

Though it sometimes looks like a rich man will never help the poor; whereas the poor people will give away everything they has to help somebody who ain’t got nothing. That’s how it looks to me. Don’t seem like it ought to be that way, but I reckon the rich ain’t got no time to fool with us poor folks.

The spring-time ain’t going to let you fool it by hiding away inside a durn cotton mill. It knows you got to stay on the land to feel good. That’s because humans made the mills. God made the land, but you don’t see Him building durn cotton mills. That’s how I know better than to go up there like the rest of them. I stay where God made a place for me.

All you boys seem to think about is the things you can see and touch—that ain’t living. It’s the things you can feel inside of you—that’s what living is made for.

James Agee. He was born a prince of the language, and so he remains. And Capote. I don't care what kind of stupid ass remarks he makes, he can write; he really can. When he's on he's really on. Updike would be twice the writer he is if he weren't such a hot dog. God knows, he's a word man. Eudora Welty, great writer. Erskine Caldwell, by the way is a helluva lot better than he's ever been given credit for. But if you ask me, "Who's your favorite writer?" there's no answer to that. That's like saying, "What do you like best for breakfast?" Some mornings you want a beer; some mornings you want strawberries; some mornings you want, God help us, Frostie Crispie Flakes with a lot of sugar, and some mornings you want your old lady.

He would not even consider going elsewhere to live, even though he were offered a chance to work another man’s farm on shares. Even to move to Augusta and work in the cotton mills would be impossible for him. The restless movement of the other tenant farmers to the mills had never had any effect on Jeeter. Working in cotton mills might be all right for some people, he said, but as for him, he would rather die of starvation than leave the land. In seven years his views of the subject had not been altered; and if anything, he was more determined than ever to remain where he was at all cost.

Before becoming Sam Goldwyn’s prized possession—and during a decade and more of taking roles that put him out there to be seen and perhaps noticed—Brennan did play characters who disparaged women. But what happened when he was offered the plum role of Jeeter Lester in John Ford’s production of Tobacco Road (March 7, 1941) is revealing. Erskine Caldwell’s best-selling novel had been a huge hit when it was adapted for the Broadway stage, and now the prestigious director was casting the film version with several actors—including Ward Bond, Gene Tierney, and Dana Andrews—whose careers would benefit from Ford’s attention. In Tobacco Road, Jeeter is the shiftless family patriarch. Not only does he lack ambition, his jokes, to Walter Brennan, seemed offensive. Ada, Jeeter’s wife, is demeaned just for laughs when he says she “never spoke a word to me for our first ten years we was married. Heh! Them was the happiest ten years of my life.

Me and Tom used to get along first-rate concerning everything. Me and him never had no difficulties like I was always having with my other children. They used to throw rocks at me and hit me over the head with sticks, but Tom never did. Tom was always a first-rate boy when I knowed him.

It was still not too late to begin, but Jeeter did not have a mule, and he did not have the credit to purchase seed-cotton and guano at the stores. Up until this year, he had lived in the hope that something would happen at the last moment to provide a mule and credit, but now it seemed to him that there was no use hoping for anything any more. He could still look forward to the following year when he could perhaps raise a crop of cotton, but it was an anticipation not so keen as it once had been. He had felt himself sink lower and lower, his condition fall further and further, year after year, until now his trust in God and the land was at the stage where further disappointment might easily cause him to lose his mind and reason. He still could not understand why he had nothing, and would never have anything, and there was no one who knew and who could tell him. It was the unsolved mystery of his life.

He knew the time for burning and plowing had ended the day before, but there still lingered in the warm March air something of the new season. The smell of freshly turned earth and the odor of pine and sedge-smoke hovered over the land even after burning and plowing was done. He breathed deeply of it, filling his body with the invigorating aroma.

The individual most responsible for the triumph of the documentary style was probably Roy Stryker of the government’s Farm Security Administration (FSA), who sent a platoon of famous photographers out to record the lives of impoverished farmers and thus “introduce America to Americans.” Stryker was the son of a Kansas Populist, and, according to a recent study of his work, “agrarian populism” was the “first basic assumption” of the distinctive FSA style. Other agencies pursued the same aesthetic goal from different directions. Federal workers transcribed folklore, interviewed surviving ex-slaves, and recorded the music of the common man. Federally employed artists painted murals illustrating local legends and the daily work of ordinary people on the walls of public buildings. Unknowns contributed to this work, and great artists did too—Thomas Hart Benton, for example, painted a mural that was actually titled A Social History of the State of Missouri in the capitol building in Jefferson City.16 There was a mania for documentary books, photos of ordinary people in their homes and workplaces that were collected and narrated by some renowned prose stylist. James Agee wrote the most enduring of these, Let Us Now Praise Famous Men, in cooperation with photographer Walker Evans, but there were many others. The novelist Erskine Caldwell and the photographer Margaret Bourke-White published You Have Seen Their Faces in 1937, while Richard Wright, fresh from the success of his novel Native Son, published Twelve Million Black Voices in 1941, with depictions of African American life chosen from the populist photographic output of the FSA.

JULY 24 The alarm found me in the Foreign Office after a press conference. In the shelter I was surrounded by foreign correspondents. Among them was the American author Erskine Caldwell. I remember his stories—cruel and humane. There is much of the clay and of the master about him. At two a.m. he put on a helmet and went off to broadcast for America. Werth had been in Paris and in London, another Englishman had been in Spain; these are specialists on war and bombs. Some of them are in a skeptical mood: they fear a “lightning” denouement. In the theaters the actors take turns as watchmen in anti-air defense. An air-alarm, and lo, Lope de Vega Spaniards run up the roof with a hose.

Women ain’t good for nothing but to marry and work for men,

Erskine Caldwell's Tobacco Road, which showed the darker side of American society, was one example of the banned book, while samurai movies were among the 236 films condemned by Supreme Commander for the Allied Powers as feudalistic and militaristic. Alle reference do SCAP's involvement in government reforms were also prohibited.

Jimmy stated that as a youth he was a triple threat. He couldn’t hit, run fast or field a grounder. I am beginning to like Jimmy even more than the day I met him. This is a far cry from Lewis’s youthful self-aggrandizement. Yet I like Lewis for his youthful self-aggrandizement. Writing is kinda funny that way. Candidly, I like Jimmy’s and Lewis’s stuff better than Erskine Caldwell’s depressing stuff, but I digress. Plus, it is shabby form to dis a writer who is no longer around to defend himself. But if Erskine was around, my guess is his self defense would be depressing.