Useful Inspector Calls Quotes

As a matter of fact I don’t care two pins about accuracy. Who is accurate? Nobody nowadays. If a reporter writes that a beautiful girl of twenty-two dies by turning on the gas after looking out over the sea and kissing her favourite Labrador, Bob, goodbye, does anybody make a fuss because the girl was twenty-six, the room faced inland, and the dog was a Sealyham terrier called Bonnie? If a journalist can do that sort of thing I don’t see that it matters if I mix up police ranks and say a revolver when I mean an automatic and a dictograph when I mean a phonograph, and use a poison that just allows you to gasp one dying sentence and no more. What really matters is plenty of bodies! If the thing’s getting a little dull, some more blood cheers it up. Somebody is going to tell something – and then they’re killed first! That always goes down well. It comes in all my books – camouflaged different ways of course. And people like untraceable poisons, and idiotic police inspectors and girls tied up in cellars with sewer gas or water pouring in (such a troublesome way of killing anyone really) and a hero who can dispose of anything from three to seven villains singlehanded.

One of my students told the class that he worked in a bank in which everybody made note of every action—a telephone call, a calculation, use of a computer, waiting on a customer, etc. There was a standard time for every act, and everybody was rated every day. Some days this man would make a score of 50, next day 260, etc. Everybody was ranked on his score, the lower the score, the higher the rank. Morale was understandably low. “My rate is 155 pieces per day. I can’t come near this figure—and we all have the problem—without turning out a lot of defective items.” She must bury her pride of workmanship to make her quota, or lose pay and maybe also her job. It could well be that with intelligent supervision and help, and with no inherited defects, this operator could produce in a day and with less effort many more good items than her stated rate. Some people in management claim that they have a better plan: dock her for a defective item. This sounds great. Make it clear that this is not the place for mistakes and defective items. Actually, this may be cruel supervision. Who declares an item to be defective? Is it clear to the worker and to the inspector—both of them—what constitutes a defective item? Would it have been declared defective yesterday? Who made the defective item? The worker, or the system? Where is the evidence?

Everything about this project was dark alley, cloak and dagger. Even the way they financed the operation was highly unconventional: using secret contingency funds, they back-doored payment to Lockheed by writing personal checks to Kelly for more than a million bucks as start-up costs. The checks arrived by regular mail at his Encino home, which had to be the wildest government payout in history. Johnson could have absconded with the dough and taken off on a one-way ticket to Tahiti. He banked the funds through a phony company called “C & J Engineering,” the “C & J” standing for Clarence Johnson. Even our drawings bore the logo “C & J”—the word “Lockheed” never appeared. We used a mail drop out at Sunland, a remote locale in the San Fernando Valley, for suppliers to send us parts. The local postmaster got curious about all the crates and boxes piling up in his bins and looked up “C & J” in the phone book and, of course, found nothing. So he decided to have one of his inspectors follow our unmarked van as it traveled back to Burbank. Our security people nabbed him just outside the plant and had him signing national security secrecy forms until he pleaded writer’s cramp.

mention that!). Teresa is way more than an agent. She’s also a lovely, thoughtful person. I’d also like to thank my good friends Susan McKenzie and Lili de Grandpré, for their help and support. And finally I want to say a word about the poetry I use in this book, and the others. As much as I’d love not to say anything and hope you believe I wrote it, I actually need to thank the wonderful poets who’ve allowed me to use their works and words. I adore poetry, as you can tell. Indeed, it inspires me—with words and emotions. I tell aspiring writers to read poetry, which I think for them is often the literary equivalent of being told to eat Brussels sprouts. They’re none too enthusiastic. But what a shame if a writer doesn’t at least try to find poems that speak to him or her. Poets manage to get into a couplet what I struggle to achieve in an entire book. I thought it was time I acknowledged that. In this book I use, as always, works from Margaret Atwood’s slim volume Morning in the Burned House. Not a very cheerful title, but brilliant poems. I’ve also quoted from a lovely old work called The Bells of Heaven by Ralph Hodgson. And a wonderful poem called “Gravity Zero” from an emerging Canadian poet named Mike Freeman, from his book Bones. I wanted you to know that. And I hope these poems speak to you, as they speak to me.

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