If he had done nothing more than to create Archie Goodwin, Rex Stout would deserve the gratitude of whatever assessors watch over the prosperity of American literature.
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Jacques Barzun, A Birthday Tribute to Rex Stout. New York: The Viking Press, 1965. Reprinted by permission in The Rex Stout Journal, number 2, Spring 1985, pp. 4–9Rex Stout
Stout says to us, "Here are two friends. Here are two people sharing their lives. As you wish for friendship, share in theirs. As you seek companionship, share in theirs. As you search for love, share in theirs." Rex Stout invites us into the family and offers warmth and security and certainty. He affirms what we all seek on some primal level. If such disparate individuals as Wolfe and Goodwin can share friendship and love and caring and life, can not we? That’s the strength here. That’s the message and the feel-good inherent in the voice and character that Rex Stout has given to Archie Goodwin. In this cold world, it is a fire on which we may warm our hands.
Rex Stout
Literature that is not the breath of contemporary society, that dares not transmit the pains and fears of that society, that does not warn in time against threatening moral and social dangers — such literature does not deserve the name of literature; it is only a façade. Such literature loses the confidence of its own people, and its published works are used as wastepaper instead of being read.
Aleksandr Solzhenitsyn
Rex Stout's greater innovation lay in his attention to the realities of the larger world. Nero Wolfe might not know the streets of his city very well, but he knew his nation. There are, for examples, reference in Fer-de-Lance to national issues such as Prohibition, and the Depression, and the Lindbergh baby. A few others writers of Golden Age detective stories were inserting a few topical references of this sort, but none to the degree Stout did. The Wolfe series is probably the only major detective story series before the 1970s to make national affairs an essential part of the detective's world, and few of the post-1970 series are as explicit about historical events and figures. ... Stout does not feel obligated to invent a surrogate senator from a vaguely Midwestern state; Nero Wolfe despises Joseph R. McCarthy, and he says so. Archie may drive a Heron, but when it comes to J. Edgar Hoover or Richard M. Nixon, he names names.
Rex Stout
We need to work in a job that we like and always be peaceful people, to do what we like. We must be what we are and not what they want us to be. To love what we love without obligation, without neurotic knots that we cannot untie. To desire what we want and to create what we are capable of making. To live with a certain prosperity, without wasting. But a prosperity for everyone, not a prosperity based on exploiting others. And, of course, it is necessary to become immortals and for this we have to live as if we were immortals thinking that we have a thousand years more to do what we want but without forgetting that in ten seconds we can die.
Alejandro Jodorowsky
The older newspapermen sit in the chicken coop press boxes around the circuit and watch Lou Gehrig go through the laborious movements of playing first base, and wonder if they’re seeing one of the institutions of the American League crumble before their eyes. They watch him at the bat and note that he isn’t hitting the ball well; they watch around the bag and it’s plain that he’s not getting the balls he used to get; They watch him run and they fancy they can hear his bones creak and his lungs wheeze as he lumbers around the bases...On eyewitness testimony alone the verdict must be that of a battle-scarred veteran falling apart.
Lou Gehrig
Stout, Rex
Stove, David
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