Bad news. If you can see it coming, you brace yourself; you weigh the outcome. But there's always that niggling voice, that voice of hope whispering, 'Maybe it's good news.' Whether you can admit it or not, that little whisper is a potent thing.

The only way to wrest yourself from Bad Luck's grip is to act. Not randomly, but with logical purpose. And if you were wrong, you backed up and re- A person can't sit on their ass and wait for Good Luck to walk by.reasoned. Chance still overrode your efforts, but what other way did you have to combat chaos?

you were attacked by cement monkeys?

The viewpoint character in each story is usually someone trapped in a living nightmare, but this doesn't guarantee that we and the protagonist are at one. In fact Woolrich often makes us pull away from the person at the center of the storm, splitting our reaction in two, stripping his protagonist of moral authority, denying us the luxury of unequivocal identification, drawing characters so psychologically warped and sometimes so despicable that a part of us wants to see them suffer. Woolrich also denies us the luxury of total disidentification with all sorts of sociopaths, especially those who wear badges. His Noir Cop tales are crammed with acts of police sadism, casually committed or at least endorsed by the detective protagonist. These monstrosities are explicitly condemned almost never and the moral outrage we feel has no internal support in the stories except the objective horror of what is shown, so that one might almost believe that a part of Woolrich wants us to enjoy the spectacles. If so, it's yet another instance of how his most powerful novels and stories are divided against themselves so as to evoke in us a divided response that mirrors his own self-division.("Introduction")

Machines can't lie," I said, lying through my circuits.

Colorful characters are the odd shaped pieces that fill the holes in life's puzzle.