Abraham Rattner
- Painter
Depicts
The book's traveling companion in its early stretches — the painter's eye Miller borrowed while taking America's measure.

by Henry Miller
Henry Miller's 1945 account of driving across the United States for a year and disliking most of what he found.
The war forced Henry Miller home from Europe in 1940. With advance money for a book about rediscovering America, he bought a secondhand Buick, learned to drive, and spent a year crossing the country. The book he published in 1945 is a road book and an argument: the landscape amazed him, and American life — commercial, conformist, comfortable — did not. The title is his verdict. (A journey, not a plot — spoiler-free.)
Miller returned to the United States in 1940, after twelve years in Europe, and did not want to be back. With an advance for a book about rediscovering America, he set out from New York in October 1940 in a secondhand 1932 Buick, having only just gotten his driver's license, and spent the next year on the road: the South, New Orleans, the Southwest, the Pacific coast. For stretches of the drive his companion was the painter Abraham Rattner.
The book alternates between attack and admiration. Miller argued that American life had been organized around sales and comfort at the cost of everything he valued; the title phrase is his summary of it. Against that he set the people he met who seemed to him to be living real lives — painters, craftsmen, small-town originals — and the landscape itself, which he wrote about with awe. He finished the manuscript by 1942, but a book this hostile to American life could not appear in wartime; New Directions published it in 1945.
Miller leaves New York in October 1940 and drives south: Virginia, the Carolinas, New Orleans, Natchez, the Ozarks, then the Grand Canyon, the desert, and California. The chapters alternate between criticism of the cities and factories he passes through and portraits of the people who impress him — painters, preachers, drifters, craftsmen.
The question he keeps asking, at diners and gas stations across the country, is what all of it is for. His answer — that America had traded living for the machinery of living — was finished by 1942 and published in 1945, just as the country won the war.
Miller drove the whole country and wrote down what he thought of it. Most later American road books are politer versions of this one.
The people Miller admired on the trip — painters, craftsmen, small-town originals — get the warmest pages in the book.
His case, that comfort had replaced experience in American life, has kept the book in print and in arguments since 1945.
Depicts
The book's traveling companion in its early stretches — the painter's eye Miller borrowed while taking America's measure.
1940
Home from Europe, Miller sets out from New York in October in a secondhand Buick, joined for stretches by the painter Abraham Rattner.
1942
The manuscript is finished, but it is too critical of American life to publish in wartime.
1945
New Directions publishes it just as the war ends.


Miller's earlier book about New York; this one extends the argument to the whole country.
Read our take
The official second volume, in which Miller remembers France against the American present.
Read our take
The Greece book he wrote just before returning; the two books are opposites in mood.
Read our takeHenry Miller. It was published in 1945, after the war sent him home to the United States from Europe.
Miller's year-long drive across the United States, begun in October 1940 after the war forced him home from Europe. He records the landscape, the people he met, and his argument with American life.
Miller came home unwillingly after twelve years abroad and found American life the opposite of what he valued. The book says so directly.
Yes. The landscape, and the artists and eccentrics he met on the way — their portraits are the warmest parts of the book.
The Colossus of Maroussi, written just before it, describes a world Miller loved; this book describes the one he came home to. He saw them as opposites.