This extended internal monologue of a gay alcoholic loose on the streets of Manhattan was in very modern in many ways despite its 1936 setting. Jackson gets very deep into the erratic, diseased alcoholic logic; his depictions of hangovers and lust for alcohol are moving and at times comic. The passing characters are a mix of distinct portraits (e.g., Bim, the nurse in the drunk tank at the hospital) and weak caricatures (e.g., the hostess at the narrator's customary bar). Indeed, the female characters in particular suffer in depth relative to the males. But what ultimately doomed this work was its repetition and length; it desperately needed an editor. The interminable dream sequence on his last day was both unnecessary and distracting.