Tropic of Cancer is a classic novel of an American abroad. Self-imposed exile to Europe (frequently to Paris in particular) has long been a rite of passage for American writers, and Miller’s Modernist generation is especially associated with this trend. The novel is a baldly autobiographical account of Miller’s experiences in Paris, and it’s packed with his reflections on the difference between Paris and New York (his birthplace), and more broadly between Europe and the United States. Like many self-exiled American artists before and after him, Henry has little but scorn for the U.S., with its grotesque materialism and its obsession with “progress” and cleanliness. He calls America “this virus which is poisoning the whole world” and adds, “America is the very incarnation of doom.” His contempt for the American way of life seems surprising at first, given how externally dismal and unsuccessful his life in Paris has been.
Yet it is precisely this dwelling in society’s lower depths that he relishes about Parisian life: unlike in America, where “you think of nothing but becoming President of the United States some day,” the expectations in Europe are very low—“Here every man is potentially a zero.” Henry thus feels liberated in Europe to lead the listless, hedonistic, and brooding writer’s life that he actually enjoys, despite its hardships and disreputability. Toward the end of the novel, Henry’s American friend Fillmore has a breakdown, realizes he misses the U.S., and returns home. Henry supports his friend but finds this reversal absurd and cowardly. The novel ends with Henry considering making his own return to the United States and definitively rejecting the idea. In this moment he feels himself unite with the Seine River and its “ancient soil,” showing that he’s found his permanent home in France. This image of rootedness conveys a sense of what Henry could never find in the nomadic, ruthlessly future-oriented United States. That so many of Henry’s compatriots of a similarly artistic bent come to the same conclusion hints at a growing sense, at this time, among American artists and intellectuals that the U.S.’s national values do not reflect their own. Through his rejection of the U.S., Henry suggests that Europe, where life is accepted in all its seediness and complexity, is more hospitable to the artistic temperament than the U.S.’s power-hungry optimism can ever be.
The United States vs. Europe ThemeTracker
The United States vs. Europe Quotes in Tropic of Cancer
"I hate Paris!" he whines. "All these stupid people playing cards all day... look at them! And this writing! What's the use of putting words together? I can be a writer without writing, can't I? What does it prove if I write a book? What do we want with books anyway? There are too many books already..."
As I listen to his tales of America I see how absurd it is to expect of Gandhi that miracle which will deroute the trend of destiny. India's enemy is not England, but America. India's enemy is the time spirit, the hand which cannot be turned back. Nothing will avail to offset this virus which is poisoning the whole world. America is the very incarnation of doom. She will drag the whole world down to the bottomless pit.
The wallpaper with which the men of science have covered the world of reality is falling to tatters. The grand whorehouse which they have made of life requires no decoration; it is essential only that the drains function adequately. Beauty, that feline beauty which has us by the balls in America, is finished. To fathom the new reality it is first necessary to dismantle the drains, to lay open the gangrened ducts which compose the genito-urinary system that supplies the excreta of art.
It's best to keep America just like that, always in the background, a sort of picture post-card which you look at in a weak moment. Like that, you imagine it's always there waiting for you, unchanged, unspoiled, a big patriotic open space with cows and sheep and tenderhearted men ready to bugger everything in sight, man, woman or beast. It doesn't exist, America. It's a name you give to an abstract idea...
There was nothing pressing, except to finish the book, and that didn't worry me much because I was already convinced that nobody would accept it anyway.
Often we sat by the fire drinking hot toddies and discussing the life back there in the States. We talked about it as if we never expected to go back there again. Fillmore had a map of New York City which he had tacked on the wall; we used to spend whole evenings discussing the relative virtues of Paris and New York. And inevitably there always crept into our discussions the figure of Whitman, that one lone figure which America has produced in the course of her brief life. In Whitman the whole American scene comes to life, her past and her future, her birth and her death. Whatever there is of value in America Whitman has expressed, and there is nothing more to be said.
The sun is setting. I feel this river flowing through me – its past, its ancient soil, the changing climate. The hills gently girdle it about: its course is fixed.