Chicago: City on the Make

Nelson Algren

6 ideas

  1. Loving a place with a broken nose

    Algren compares loving Chicago to loving a woman with a broken nose: the attachment is real precisely because it has absorbed the damage instead of denying it. Love without illusion treats a place's scars as part of its face, not blemishes to hide. This lets the critic be the harshest accuser and the most loyal lover at once, and it makes booster affection look like a shallower kind of love.

  2. The city of hustlers and suckers

    Algren splits the city into those who work the angle and those who get worked. The fix, the payoff and the rigged game are the normal operating system, not deviations from it. Civic slogans about progress and enterprise serve as cover language for this sorting of people into hustlers and marks.

  3. Say it ain't so, Joe

    Algren retells the 1919 Black Sox scandal through a boy whose idol, Shoeless Joe Jackson, turns out to have thrown the World Series. The story shows the fix reaching even the thing a kid believed was clean. The lesson is that in a city on the make, innocence is lost when you discover your heroes were for sale too.

  4. Progress is billed to the nobodies

    The skyline, the stockyards and the booster statistics are paid for by the drifters, addicts, rooming-house tenants and forgotten workers the city prefers not to count. A city that measures itself only by its winners makes its casualties invisible. Algren argues that the true portrait of a city is found in the lives it discards, not in the achievements it advertises.

  5. A city that abandons its rebels

    Chicago once produced dissenters and truth-tellers such as Altgeld, the Haymarket defenders, Dreiser and Sandburg. Algren argues that by mid-century the city had traded that tradition for cold-war conformity and respectable silence. A city that forgets its own dissenters loses its conscience, and what remains is appetite with good public relations.

  6. The writer sides with the underdog

    Algren holds that a writer's job is to stand with people under the heel and to challenge the official, flattering version of events. A writer who adopts the booster line or retreats into safe, comfortable prose has given up that job. Being hated by the city's papers and chamber of commerce is evidence that the writer is doing the work.

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