"I've never been a cop nor hope to be a cop, thanks"
About this Quote
Evan Hunter’s line lands like a throwaway wisecrack, but it’s also a neat little thesis on authority: “I’ve never been a cop nor hope to be a cop, thanks.” The first clause is plain biography; the second is a deliberate moral posture. The “thanks” is the blade. It’s faux-polite, the verbal equivalent of a door closed softly so no one can accuse you of slamming it. Hunter isn’t just declining a job; he’s refusing an identity.
Coming from a career built on crime fiction and urban realism (and a writer who moved easily between pen names and genres), the sentence reads as both distancing and positioning. Cops in mid-century American storytelling were often marketed as clean avatars of order. Hunter’s work, by contrast, thrives on systems that grind people down: procedure, bureaucracy, the tense choreography between citizens and institutions. This line signals skepticism toward the romance of policing without needing a sermon. He’s not saying cops are villains; he’s saying the role itself is constraining, maybe contaminating, and definitely not aspirational.
There’s subtext, too, about the writer’s job. Hunter makes his living observing power, not wielding it. The refusal is an artistic declaration: his authority comes from narration, empathy, and suspicion, not from a badge. And the compact rhythm - “never… nor hope… thanks” - gives it snap: three beats, no elaboration, a smirk that doubles as a boundary.
Coming from a career built on crime fiction and urban realism (and a writer who moved easily between pen names and genres), the sentence reads as both distancing and positioning. Cops in mid-century American storytelling were often marketed as clean avatars of order. Hunter’s work, by contrast, thrives on systems that grind people down: procedure, bureaucracy, the tense choreography between citizens and institutions. This line signals skepticism toward the romance of policing without needing a sermon. He’s not saying cops are villains; he’s saying the role itself is constraining, maybe contaminating, and definitely not aspirational.
There’s subtext, too, about the writer’s job. Hunter makes his living observing power, not wielding it. The refusal is an artistic declaration: his authority comes from narration, empathy, and suspicion, not from a badge. And the compact rhythm - “never… nor hope… thanks” - gives it snap: three beats, no elaboration, a smirk that doubles as a boundary.
Quote Details
| Topic | Police & Firefighter |
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