Hands By Sherwood Anderson Quotes

The eighteen years he has lived seem but a moment, a breathing space in the long march of humanity. Already he hears death calling. With all his heart he wants to come close to some other human, touch someone with his hands, be touched by the hand of another.

On the trees are only a few gnarled apples that the pickers have rejected. They look like the knuckles of Doctor Reefy's hands. One nibbles at them and they are delicious. Into a little round place at the side of the apple has been gathered all its sweetness. One runs from tree to tree over the frosted ground picking the gnarled, twisted apples and filling his pockets with them. Only the few know the sweetness of the twisted apples.

It was as though her woman's hand was assisting him to make some minute readjustment of the machinery of his life.

If you have your own kind of power, show your hand. Make the man fear you in you own field. For example, you can write. Your rich man cannot do that. It is quite all right to exercise your own power. Have faith in yourself.

Having made a few bicycles in factories, having written some thousands of rather senseless advertisements, having rubbed affectionately the legs of a few race horses, having tried blunderingly to love a few women and having written a few novels that did not satisfy me or anyone else, having done these few things, could I begin now to think of myself as tired out and done for? Because my own hands had for the most part served me so badly could I let them lie beside me in idleness?

The death of her father and mother and the rich acres of land that had come down to her had set a train of suitors on her heels. For two years she saw suitors almost every evening. Except two they were all alike. They talked to her of passion and there was a strained eager quality in their voices and in their eyes when they looked at her. The two who were different were much unlike each other. One of them, a slender young man with white hands, the son of a jeweler in Winesburg, talked continually of virginity. When he was with her he was never off the subject. The other, a black-haired boy with large ears, said nothing at all but always managed to get her into the darkness, where he began to kiss her. For a time the tall dark girl thought she would marry the jeweler's son. For hours she sat in silence listening as he talked to her and then she began to be afraid of something. Beneath his talk of virginity she began to think there was a lust greater than in all the others. At times it seemed to her that as he talked he was holding her body in his hands. She imagined him turning it slowly about in the white hands and staring at it. At night she dreamed that he had bitten into her body and that his jaws were dripping. She had the dream three times, then she became in the family way to the one who said nothing at all but who in the moment of his passion actually did bite her shoulder so that for days the marks of his teeth showed.

The story of Doctor Reefy and his courtship of the tall dark girl who became his wife and left her money to him is a very curious story. It is delicious, like the twisted little apples that grow in the orchards of Winesburg. In the fall one walks in the orchards and the ground is hard with frost underfoot. The apples have been taken from the trees by the pickers. They have been put in barrels and shipped to the cities where they will be eaten in apartments that are filled with books, magazines, furniture, and people. On the trees are only a few gnarled apples that the pickers have rejected. They look like the knuckles of Doctor Reefy's hands. One nibbles at them and they are delicious. Into a little round place at the side of the apple has been gathered all of its sweetness. One runs from tree to tree over the frosted ground picking the gnarled, twisted apples and filling his pockets with them. Only the few know the sweetness of the twisted apples.

In Winesburg, as in all Ohio towns of twenty years ago, there was a section in which lived day laborers. As the time of factories had not yet come, the laborers worked in the fields or were section hands on the railroads. They worked twelve hours a day and received one dollar for the long day of toil. The houses in which they lived were small cheaply constructed wooden affairs with a garden at the back. The more comfortable among them kept cows and perhaps a pig, housed in a little shed at the rear of the garden.

I wanted, as all men do, to belong. To what? To an America alive, an America that was no longer a despised cultural foster child of Europe, with unpleasant questions always being asked about its parentage, to an America that had begun to be conscious of itself as a living home-making folk, to an America that had at last given up the notion that anything worth while could ever be got by being in a hurry, by being dollar rich, by being merely big and able to lick some smaller nation with one hand tied behind its broad national back.

There is a time in the life of every boy when he for the first time takes the backward view of life. Perhaps that is the moment when he crosses the line into manhood. The boy is walking through the street of his town. He is thinking of the future and of the figure he will cut in the world. Ambitions and regrets awake within him. Suddenly something happens; he stops under a tree and waits as for a voice calling his name. Ghosts of old things creep into his consciousness; the voices outside of himself whisper a message concerning the limitations of life. From being quite sure of himself and his future he becomes not at all sure. If he be an imaginative boy a door is torn open and for the first time he looks out upon the world, seeing, as though they marched in procession before him, the countless figures of men who before his time have come out of nothingness into the world, lived their lives and again disappeared into nothingness. The sadness of sophistication has come to the boy. With a little gasp he sees himself as merely a leaf blown by the wind through the streets of his village. He knows that in spite of all the stout talk of his fellows he must live and die in uncertainty, a thing blown by the winds, a thing destined like corn to wilt in the sun. He shivers and looks eagerly about. The eighteen years he has lived seem but a moment, a breathing space in the long march of humanity. Already he hears death calling. With all his heart he wants to come close to some other human, touch someone with his hands, be touched by the hand of another. If he prefers that the other be a woman, that is because he believes that a woman will be gentle, that she will understand. He wants, most of all, understanding.

Anderson’s use of the word ‘grotesque’ is quite important in this context. In its usual sense in reference to human beings it connotes disgust or revulsion, but Anderson’s use is quite different. To him a grotesque is, as he points out later, like the twisted apples that are left behind in the orchards because they are imperfect. These apples, he says, are the sweetest of all, perhaps even because of the imperfections that have caused them to be rejected. He approaches the people in his stories as he does the apples, secure in his knowledge that the sources or natures of their deformities are unimportant when compared to their intrinsic worth as human beings needing and deserving of understanding. This approach is based on intuition rather than objective knowledge, and it is the same sort of intuition with which one approaches the twisted apples; he believes that one dare not reject because of mere appearance, either physical or spiritual; that appearance may mask a significant experience made more intense and more worthwhile by the deformity itself. In the body of the work proper, following this introductory sketch, Anderson has set up an organizational pattern that no only gives partial unity to the book but explores systematically the diverse origins of the isolation of his people, each of whom is in effect a social displaced person because he is cut off from human intercourse with his fellow human beings. In the first three stories Anderson deals with three aspects of the problem of human isolation. The first story, ‘Hands,’ deals with the inability to communicate feeling; the second, ‘Paper Pills,’ is devoted to the inability to communicate thought; and the third, ‘Mother,’ focuses on the inability to communicate love. This three-phased examination of the basic problem of human isolation sets the tone for the rest of the book because these three shortcomings, resulting partially from the narrowness of the vision of each central figure but primarily from the lack of sympathy with which the contemporaries of each regard him, are the real creators of the grotesques in human nature. Each of the three characters has encountered one aspect of the problem: he has something that he feels is vital and real within himself that he wants desperately to reveal to others, but in each case he is rebuffed, and, turning in upon himself, he becomes a bit more twisted and worn spiritually. But, like the apples left in the orchards, he is the sweeter, the more human for it. In each case the inner vision of the main character remains clear, and the thing that he wishes to communicate is in itself good, but his inability to break through the shell that prevents him from talking to others results in misunderstanding and spiritual tragedy. David D. Anderson “Sherwood Anderson’s Moments of Insight

Tales are people who sit on the doorstep of the house of my mind. It is cold outside and they sit waiting. I look out at a window. The tales have cold hands, Their hands are freezing. A short thickly-built tale arises and threshes his arms about. His nose is red and he has two gold teeth. There is an old female tale sitting hunched up in a cloak. Many tales come to sit for a few moments on the doorstep and then go away. It is too cold for them outside. The street before the door of the house of my mind is filled with tales. They murmur and cry out, they are dying of cold and hunger. I am a helpless man--my hands tremble. I should be sitting on a bench like a tailor. I should be weaving warm cloth out of the threads of thought. The tales should be clothed. They are freezing on the doorstep of the house of my mind. I am a helpless man--my hands tremble. I feel in the darkness but cannot find the doorknob. I look out at a window. Many tales are dying in the street before the house of my mind. CONTENTS

He is one of those men in whom the force that creates life is diffused, not centralized. Under the caress of his hands, doubt and disbelief went out of the minds of the boys, and they also began to dream.

The two climbed over a fence and walked along the bank of the stream. The boy paid no attention to the muttering of his grandfather, but ran along beside him and wondered what was going to happen. When a rabbit jumped up and ran away through the woods, he clapped his hands and danced with delight. He looked at the tall trees and was sorry that he was not a little animal to climb high in the air without being frightened. Stooping, he picked up a small stone and threw it over the head of his grandfather into a clump of bushes. “Wake up, little animal. Go and climb to the top of the trees,” he shouted in a shrill voice.

Wash Williams, the telegraph operator of Winesburg, was the ugliest thing in town. His girth was immense, his neck thin, his legs feeble. He was dirty. Everything about him was unclean. Even the whites of his eyes looked soiled. I go too fast. Not everything about Wash was unclean. He took care of his hands.

Cavalcade productions. The writing was from the best hands in the business, young playwright Arthur Miller becoming (as Barnouw remembers it) a kind of “utility man” who could be tapped for spur-of-the-moment work on the most rigid deadlines. Special projects were put together by Carl Sandburg, Stephen Vincent Benét, Maxwell Anderson, and Robert Sherwood.