In Arthur Miller’s Death of a Salesman, the character Willy Loman exemplifies the American salesman archetype who negotiates constantly, whether it is selling products or negotiating his own worth.
literature
dark, ruthless
In The Grapes of Wrath by John Steinbeck (1939), the Joad family arrives in California during the Great Depression, seeking work. They encounter a contractor who offers them substandard wages, knowing they are desperate. The contractor leverages the Joads’ desperation to dictate the terms of employment, setting up a classic power imbalance. Despite the unfair terms, the Joads have no leverage to negotiate, highlighting the stark economic realities of the time. The focus on exploiting power dynamics, leveraging scarcity, and driving a hard bargain without regard for fairness reflects the darker, more ruthless side of American negotiation culture.
keep the family afloat
Buddenbrooks by Thomas Mann (1901). Thomas Buddenbrook engages in several tense business negotiations to keep the family firm afloat. He approaches each deal with meticulous preparation, insisting on strict contracts, detailed terms, and precise accounting. Despite financial pressure, he refuses to compromise on quality or integrity. The emphasis on structure, risk management, and long-term stability, as well as the refusal to make quick, desperate deals, reflects the German preference for order and predictability.
Tom challenges Jay
The Great Gatsby by F. Scott Fitzgerald (1925). In The Great Gatsby, Tom Buchanan, a man of privilege and power, confronts Jay Gatsby about his business dealings and relationship with Daisy. Tom challenges Gatsby to admit that his wealth is acquired through criminal means, asserting his dominance through aggressive, confrontational tactics.
Tom uses intimidation, personal attacks, and moral superiority to destabilize Gatsby and assert control over Daisy. He frames the interaction as a power play, showing how negotiation in American culture can be as much about positioning oneself as it is about the actual deal. The focus on personal leverage, assertiveness, and direct confrontation exemplifies the American approach to negotiation, where outcomes and power dynamics take precedence over decorum or structure.
Jake lends money to Robert
In The Sun Also Rises by Ernest Hemingway (1926), Jake Barnes lends money to Robert Cohn, a wealthy but insecure man who uses charm and persuasion to get what he wants. Jake negotiates the terms of repayment, maintaining a transactional, businesslike tone despite their friendship.
Jake’s refusal to let the transaction become personal and his insistence on clear repayment terms reflect a pragmatic, results-oriented approach. The emphasis on keeping business and personal matters separate, along with the insistence on specific, enforceable terms, reflects the American approach to negotiation as a clear-cut, business-first interaction.
Sollozzo requests
In The Godfather (Mario Puzo, 1969), Sollozzo, a narcotics dealer, meets with Don Corleone to request protection and investment in the drug trade. Don Corleone remains calm, calculated, and strategic, leveraging his reputation and network to assert control over the negotiation without ever raising his voice or making threats. The focus on power, reputation, and strategic long-term thinking, combined with a willingness to use leverage discreetly, aligns with a classic American negotiation style: firm, but not reckless.
power, dominance, coercion
In Of Mice and Men by John Steinbeck (1937), Curley, the boss’s son, tries to intimidate Lennie, a simple-minded but physically strong worker. Curley uses aggressive tactics, verbally attacking Lennie to assert dominance and provoke a reaction. Curley’s approach is all about power, dominance, and coercion. He seeks to establish authority through threats and physical aggression rather than logical arguments or compromise. The emphasis on force, intimidation, and asserting one’s will over others exemplifies a negotiation style focused on power dynamics rather than consensus-building. Not uncommon in the U.S.
Faust
Faust by Johann Wolfgang von Goethe (1808, 1832). In Faust’s pact with Mephistopheles, Faust, a scholar, is disillusioned with life and craves deeper meaning and fulfillment. Mephistopheles, the devil, offers to serve Faust in life in exchange for Faust’s soul in the afterlife.
The scene is structured like a contract negotiation, with both parties meticulously defining the terms and consequences. Mephistopheles is the classic hardball negotiator, pressing Faust to commit to a deal that appears advantageous but has dire consequences. Faust, in turn, tries to outwit him by adding specific conditions. The emphasis on structure, explicit terms, and legalistic language reflects the German preference for clearly defined agreements, logical arguments, and strict adherence to commitments.
The Tin Drum
The Tin Drum by Günter Grass (1959). Oskar Matzerath negotiates a deal with a photographer to stage various emotionally charged scenes for financial gain. Oskar is cold, calculated, and businesslike, clearly outlining the terms of each staged photograph and negotiating a precise payment structure. The photographer, however, is unnerved by Oskar’s dispassionate, methodical approach. The focus on detailed terms and rational calculations reflects a distinctly German emphasis on order, clear expectations, and financial accountability.
Effi Briest
Effi Briest by Theodor Fontane (1896). In the confrontation between Geert von Instetten and Major Crampas, Instetten challenges Crampas to a duel after discovering that his wife Effi had an affair. The duel is framed as a matter of honor, duty, and adherence to societal rules. Instetten’s actions are driven not by personal anger but by a sense of obligation to maintain social order and follow protocol. The focus on duty, principle, and maintaining the integrity of agreements underscores the German tendency to adhere strictly to social norms and established structures.