Frank Norris Quotes

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Always blame conditions, not men
Frank Norris (The Octopus: A Story Of California [UNABRIDGED] (Classic Books on Cassettes Collection))
I never truckled. I never took off the hat to Fashion and held it out for pennies. I told them the truth. They liked it or they didn't like it. What had that to do with me? I told them the truth.
Frank Norris (McTeague: A Story of San Francisco (Signet Classics))
The People have a right to the Truth as they have a right to life, liberty and the pursuit of happiness.
Frank Norris
It belonged to the changeless order of things---the man desiring the woman only for what she withholds; the woman worshipping the man for that which she yields up to him. With each concession gained the man′s desire cools; with every surrender made the woman′s adoration increases...
Frank Norris (McTeague: A Story of San Francisco (Signet Classics))
Wait till you see-at the same time that your family is dying for lack of bread-a hundred thousand acres of wheat-millions of bushels of food-grabbed and gobbled by the Railroad Trust, and then talk of moderation. That talk is just what the Trust wants to hear. It ain't frightened of that. There's one thing only it does listen to, one things it is frightened of-the people with dynamite in their hands,-six inches of plugged gaspipe. That talks.
Frank Norris (The Octopus: A Story of California)
The ancient little dressmaker was at all times willing to talk of Old Grannis to anybody that would listen, quite unconscious of the gossip of the flat.
Frank Norris (Mcteague)
For Jack’s father it must have been more like the fate of McTeague the dentist at the end of Frank Norris’s great novel: handcuffed to a dead man in the wasteland.
Stephen King (The Shining (The Shining, #1))
The eternal raison d'etre of America is in its being the "sweet land of liberty". Should a land so dreamed into existence, so degenerate through material prosperity as to become what its European critics, with too much justice, have scornfully renamed it the "Land of the Dollar" - such a development will be one of the sorriest conclusions of history, and the most colossal disillusionment that has ever happened to mankind.
Frank Norris (Complete Works of Frank Norris)
He looks at Norris, exasperated. He seems to think that with eloquence, with sincerity, with frankness, he can change what is happening. The whole court has seen him slobbering over the queen. How could he expect to go shopping with his eyes, and finger the goods no doubt, and not have an account to settle at the end of it?
Hilary Mantel (Bring Up the Bodies (Thomas Cromwell, #2))
I’ll cut him in two—with the whip,” he shouted. “I will, I will, I say I will, for a fact. He wouldn’t fight, hey? I’ll give um all the fight he wants, nasty, mangy cur. If he won’t fight he won’t eat. I’m going to get the butcher’s bull pup and I’ll put um both in a bag and shake um up. I will, for a fact, and I guess Alec will fight. Come along, Mister Grannis,” and he took the old Englishman away.
Frank Norris (Mcteague)
If I were to name the one crying evil of American life, Mr. Derrick, it would be the indifference of the better people to public affairs. It is so in all our great centres. There are other great trusts, God knows, in the United States besides our own dear P. and S.W. Railroad. Every state has its own grievance. If it is not a railroad trust, it is a sugar trust, or an oil trust, or an industrial trust, that exploits the People, because the people allow it. The indifference of the People is the opportunity of the despot. It is as true as that the whole is greater than the part, and the maxim is so old that it is trite - it is laughable. It is neglected and disused for the sake of some new ingenious and complicated theory, some wonderful scheme of reorganization, the fact remains, nevertheless, simple, fundamental, everlasting. The People have but to say 'No' and not the strongest tyranny, political, religious, or financial, that was ever organized, could survive one week.
Frank Norris (The Octopus: A Story of California)
Quite an affair had arisen from this circumstance. Miss Baker and Old Grannis were both over sixty, and yet it was current talk amongst the lodgers of the flat that the two were in love with each other. Singularly enough, they were not even acquaintances; never a word had passed between them.
Frank Norris (Mcteague)
It was curious to note the effect of the alcohol upon the dentist. It did not make him drunk, it made him vicious. So far from being stupefied, he became, after the fourth glass, active, alert, quick-witted, even talkative; a certain wickedness stirred in him then; he was intractable, mean; and when he had drunk a little more heavily than usual, he found a certain pleasure in annoying and exasperating Trina, even in abusing and hurting her.
Frank Norris (Mcteague)
Unmistakably behind Native Son, although in no way detracting from Wright’s personal achievement in creating the novel, is the tradition of naturalism, especially urban naturalism, in American writing as epitomized before Wright by novelists such as Frank Norris, Stephen Crane, Jack London, Theodore Dreiser, and James T. Farrell. To such writers, the city in the late nineteenth and the early twentieth centuries in America could be an alluring place; but it also often was, for persons without brains or money or simply good luck, a crucible in which the superficial elements of personality and civilization were quickly burned away, to reveal the animal underneath.
Richard Wright (Native Son)
Name is Maria—Miranda—Macapa." Then, after a pause, she added, as though she had but that moment thought of it, "Had a flying squirrel an’ let him go.
Frank Norris (McTeague: A Story of San Francisco (Signet Classics))
A literature that cannot be vulgarized is no literature at all and will perish.
Frank Norris
Never give up. (L. Frank Baum)
Mairi Norris
This was nobility. Their mutual affection and esteem suddenly increased enormously. It was Damon and Pythias; it was David and Jonathan; nothing could ever estrange them. Now it was for life or death.
Frank Norris (Mcteague)
Believe this, young man," exclaimed Shelgrim, layinga thick powerful forefinger on the table to emphasize his words, "try to believe this - to begin with - that railroads build themselves. Where there is a demand sooner or later there will be a supply. Mr. Derrick, does he grow his wheat? The Wheat grows itself. What does he count for? Does he supply the force? What do I count for? Do I build the Railroad? You are dealing with forces, young man, when you speak of Wheat and the Railroads, not with men. There is the Wheat, the supply. It must be carried to feed the People. There is the demand. The Wheat is one force, the Railroad, another, and there is the law that governs them - supply and demand. Men have only little to do in the whole business. Complications may arise, conditions that bear hard on the individual - crush him maybe - but the Wheat will be carried to feed the people as inevitably as it will grow. If you want to fasten the blame of the affair at Los Muertos on any one person, you will make a mistake. Blame conditions, not men.
Frank Norris (The Octopus: A Story of California)
Oh, look out, Miss Baker. Those two dogs hate each other just like humans. You best look out. They’ll fight sure.” Miss Baker sought safety in a nearby vestibule, whence she peered forth at the scene, very interested and curious.
Frank Norris (Mcteague)
See You Tomorrow by William Maxwell; The Border Trilogy by Cormac McCarthy; Memories of a Catholic Girlhood by Mary McCarthy; Angela’s Ashes by Frank McCourt; Dakota by Kathleen Norris; and Adventures of Huckleberry Finn by Mark Twain.
Leif Enger (Peace Like a River)
Well,” said one of the deputies, as he backed the horse into the shafts of the buggy in which the pursuers had driven over from the hill, “we’ve about as good as got him. It isn’t hard to follow a man who carries a birdcage with him wherever he goes.
Frank Norris (Mcteague)
That’s what cousin Mark says. We are going to send the twins to the kindergarten next month.” “What’s the kindergarten?” “Oh, they teach them to make things out of straw and toothpicks—kind of a play place to keep them off the street.” “There’s one up on Sacramento Street, not far from Polk Street. I saw the sign.
Frank Norris (Mcteague)
Frenna did a big business all day long. The murder was the one subject of conversation. Little parties were made up in his saloon—parties of twos and threes—to go over and have a look at the outside of the junk shop. Heise was the most important man the length and breadth of Polk Street; almost invariably he accompanied these parties, telling again and again of the part he had played in the affair.
Frank Norris (Mcteague)
It soon became apparent that Trina would be an extraordinarily good housekeeper. Economy was her strong point. A good deal of peasant blood still ran undiluted in her veins, and she had all the instinct of a hardy and penurious mountain race—the instinct which saves without any thought, without idea of consequence—saving for the sake of saving, hoarding without knowing why. Even McTeague did not know how closely Trina held to her new-found wealth.
Frank Norris (Mcteague)
Or, again, she would draw the heap lovingly toward her and bury her face in it, delighted at the smell of it and the feel of the smooth, cool metal on her cheeks. She even put the smaller gold pieces in her mouth, and jingled them there. She loved her money with an intensity that she could hardly express. She would plunge her small fingers into the pile with little murmurs of affection, her long, narrow eyes half closed and shining, her breath coming in long sighs. “Ah, the dear money, the dear money,” she would whisper. “I love you so! All mine, every penny of it. No one shall ever, ever get you. How I’ve worked for you! How I’ve slaved and saved for you! And I’m going to get more; I’m going to get more, more, more; a little every day.
Frank Norris (Mcteague)
He strove for the diapason, the great song that should embrace in itself a whole epoch, a complete era, the voice of an entire people, wherein all people should be included—they and their legends, their folk lore, their fightings, their loves and their lusts, their blunt, grim humour, their stoicism under stress, their adventures, their treasures found in a day and gambled in a night, their direct, crude speech, their generosity and cruelty, their heroism and bestiality, their religion and profanity, their self-sacrifice and obscenity—a true and fearless setting forth of a passing phase of history, un-compromising, sincere; each group in its proper environment; the valley, the plain, and the mountain; the ranch, the range, and the mine—all this, all the traits and types of every community from the Dakotas to the Mexicos, from Winnipeg to Guadalupe, gathered together, swept together, welded and riven together in one single, mighty song, the Song of the West.
Frank Norris (The Octopus: A California Story)
Never, never, never should a penny of that miraculous fortune be spent; rather should it be added to. It was a nest egg, a monstrous, roc-like nest egg, not so large, however, but that it could be made larger. Already by the end of that winter Trina had begun to make up the deficit of two hundred dollars that she had been forced to expend on the preparations for her marriage.
Frank Norris (Mcteague)
Late in the afternoon his canary bird, in its gilt cage just over his head, began to sing.
Frank Norris (Mcteague)
The six lugubrious airs that he knew, always carried him back to the time when he was a car-boy at the Big Dipper Mine in Placer County, ten years before. He remembered the years he had spent there trundling the heavy cars of ore in and out of the tunnel under the direction of his father. For thirteen days of each fortnight his father was a steady, hard-working shift-boss of the mine. Every other Sunday he became an irresponsible animal, a beast, a brute, crazy with alcohol.
Frank Norris (Mcteague)
McTeague remembered his mother, too, who, with the help of the Chinaman, cooked for forty miners. She was an overworked drudge, fiery and energetic for all that, filled with the one idea of having her son rise in life and enter a profession. The chance had come at last when the father died, corroded with alcohol, collapsing in a few hours. Two or three years later a travelling dentist visited the mine and put up his tent near the bunkhouse. He was more or less of a charlatan, but he fired Mrs. McTeague’s ambition, and young McTeague went away with him to learn his profession.
Frank Norris (Mcteague)
He had learnt it after a fashion, mostly by watching the charlatan operate. He had read many of the necessary books, but he was too hopelessly stupid to get much benefit from them.
Frank Norris (Mcteague)
McTeague’s mind was as his body, heavy, slow to act, sluggish. Yet there was nothing vicious about the man.
Frank Norris (Mcteague)
It was his ambition, his dream, to have projecting from that corner window a huge gilded tooth, a molar with enormous prongs, something gorgeous and attractive. He would have it someday, on that he was resolved; but as yet such a thing was far beyond his means.
Frank Norris (Mcteague)
Look at your facts, look at your figures. I am a free American citizen, ain’t I? I pay my taxes to support a good government, don’t I? It’s a contract between me and the government, ain’t it? Well, then, by damn! if the authorities do not or will not afford me protection for life, liberty, and the pursuit of happiness, then my obligations are at an end; I withhold my taxes. I do—I do—I say I do. What?” He glared about him, seeking opposition.
Frank Norris (Mcteague)
I’ve not, I’ve not,” declared Trina, “and you know I’ve not. I wish mamma hadn’t asked me for any money. Why can’t she be a little more economical? I manage all right. No, no, I can’t possibly afford to send her fifty.” “Oh, pshaw! What will you do, then?” grumbled her husband. “I’ll send her twenty-five this month, and tell her I’ll send the rest as soon as I can afford it.” “Trina, you’re a regular little miser,” said McTeague. “I don’t care,” answered Trina, beginning to laugh. “I guess I am, but I can’t help it, and it’s a good fault.
Frank Norris (Mcteague)
The room had been picked and stripped till only the bare walls and floor remained. Here where they had been married, where the wedding supper had taken place, where Trina had bade farewell to her father and mother, here where she had spent those first few hard months of her married life, where afterward she had grown to be happy and contented, where she had passed the long hours of the afternoon at her work of whittling, and where she and her husband had spent so many evenings looking out of the window before the lamp was lit—here in what had been her home, nothing was left but echoes and the emptiness of complete desolation. Only one thing remained. On the wall between the windows, in its oval glass frame, preserved by some unknown and fearful process, a melancholy relic of a vanished happiness, unsold, neglected, and forgotten, a thing that nobody wanted, hung Trina’s wedding bouquet.
Frank Norris (Mcteague)
Her avarice had grown to be her one dominant passion; her love of money for the money’s sake brooded in her heart, driving out by degrees every other natural affection.
Frank Norris (Mcteague)
At last that great supper was over, everything had been eaten; the enormous roast goose had dwindled to a very skeleton. Mr. Sieppe had reduced the calf’s head to a mere skull; a row of empty champagne bottles—“dead soldiers,” as the facetious waiter had called them—lined the mantelpiece. Nothing of the stewed prunes remained but the juice, which was given to Owgooste and the twins. The platters were as clean as if they had been washed; crumbs of bread, potato parings, nutshells, and bits of cake littered the table; coffee and ice-cream stains and spots of congealed gravy marked the position of each plate. It was a devastation, a pillage; the table presented the appearance of an abandoned battlefield
Frank Norris (Mcteague)
But the couple faced the room, Trina throwing back her veil. She—perhaps McTeague as well—felt that there was a certain inadequateness about the ceremony. Was that all there was to it? Did just those few muttered phrases make them man and wife? It had been over in a few moments, but it had bound them for life. Had not something been left out? Was not the whole affair cursory, superficial? It was disappointing.
Frank Norris (Mcteague)
Neither of them had asked that this thing should be—that their destinies, their very souls, should be the sport of chance. If they could have known, they would have shunned the fearful risk. But they were allowed no voice in the matter. Why should it all be?
Frank Norris (Mcteague)
I want to live as long as I can, and die when I can't help it.
Frank Norris (Moran Of The Lady Letty)
Goo'-by, ole Bill, by-by. There you go, an' the signal o' distress roun' you, H. B. 'I'm in need of assistance.' Lord, here comes the sharks--look! look! look at um fight! look at um takin' ole Bill! I'm in need of assistance. I sh'd say you were, ole Bill.
Frank Norris (Moran Of The Lady Letty)
On the other hand, she was perfectly at her ease; doubtless the woman in her was not yet awakened; she was yet, as one might say, without sex. She was almost like a boy, frank, candid, unreserved.
Frank Norris (Mcteague)
This poor crude dentist of Polk Street, stupid, ignorant, vulgar, with his sham education and plebeian tastes, whose only relaxations were to eat, to drink steam beer, and to play upon his concertina, was living through his first romance, his first idyll.
Frank Norris (Mcteague)
As a Northern school, Wheaton’s egalitarian theology was a sharp break from the racially-tinged fundamentalism of the South. Although Rice identified himself as a fundamentalist, he sought a national platform for his focus on revival and soul-winning. He saw himself as a leader who could help white Southerners move past their fixation on race, which he believed was detrimental to their mission as Christians. The move to Wheaton was an explicit rejection of the cultural narrowness of Texas, and a definitive separation from the racial and political extremism of men such as J. Frank Norris.
Andrew Himes (The Sword of the Lord: The Roots of Fundamentalism in an American Family)
No one to love, none to caress, Left all alone in this world's wilderness.
Frank Norris (McTeague)
She should have gone to some other dentist; the young fellow on the corner, for instance, the poser, the rider of bicycles, the courser of greyhounds. McTeague began to loathe and to envy this fellow. He spied upon him going in and out of his office, and noted his salmon-pink neckties and his astonishing waistcoats.
Frank Norris (McTeague (Signet Classics))
It could be foreseen that morally he was of that sort who avoid evil through good taste, lack of decision, and want of opportunity.
Frank Norris (The Octopus:A story of California)
Work, food, and sleep, all life reduced to its bare essentials, uncomplex, honest, healthy.
Frank Norris (The Octopus (A Story of California))
Work, food, and sleep, all life reduced to its bare essentials, uncomplex, honest, healthy
Frank Norris (The Octopus: A Story of California)
No, not the gold piece,” she said to herself. “It’s too pretty. He can have the silver.” She made the change and counted out ten silver dollars into her palm. But what a difference it made in the appearance and weight of the little chamois bag! The bag was shrunken and withered, long wrinkles appeared running downward from the draw-string. It was a lamentable sight. Trina looked longingly at the ten broad pieces in her hand. Then suddenly all her intuitive desire of saving, her instinct of hoarding, her love of money for the money’s sake, rose strong within her.
Frank Norris (Mcteague)
for that matter, were any of the people of the little world of Polk Street. The shop girls, the plumbers’ apprentices, the small tradespeople, and their like, whose social position was not clearly defined, could never be sure how far they could go and yet preserve their “respectability.” When they wished to be “proper,” they invariably overdid the thing. It was not as if they belonged to the “tough” element, who had no appearances to keep up. Polk Street rubbed elbows with the “avenue” one block above. There were certain limits which its dwellers could not overstep; but unfortunately for them, these limits were poorly defined. They could never be sure of themselves. At an unguarded moment they might be taken for “toughs,” so they generally erred in the other direction, and were absurdly formal. No people have a keener eye for the amenities than those whose social position is not assured.
Frank Norris (Mcteague)