The Project Gutenberg eBook of The Bookman anthology of essays [1923]
This eBook is for the use of anyone anywhere in the United States and
most other parts of the world at no cost and with almost no restrictions
whatsoever. You may copy it, give it away or re-use it under the terms
of the Project Gutenberg License included with this eBook or online
at www.gutenberg.org. If you are not located in the United States,
you will have to check the laws of the country where you are located
before using this eBook.
Title: The Bookman anthology of essays [1923]
Editor: John Chipman Farrar
Release date: March 24, 2026 [eBook #78290]
Language: English
Original publication: New York: George H. Doran Company, 1923
Other information and formats: www.gutenberg.org/ebooks/78290
Credits: Tim Miller, Paul Fatula and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)
*** START OF THE PROJECT GUTENBERG EBOOK THE BOOKMAN ANTHOLOGY OF ESSAYS [1923] ***
THE BOOKMAN ANTHOLOGY
OF ESSAYS [_1923_]
Edited by JOHN FARRAR
THE BOOKMAN _Books_
[Illustration: Sea-themed emblem]
A series of volumes dealing with literary subjects, sometimes grave,
sometimes gay; but designed to acquaint the reader with the current
tendencies of writing in America.
A PARODY OUTLINE OF HISTORY
_Donald Ogden Stewart_
THE BUSINESS OF WRITING:
A Practical Guide for Authors
_Robert Cortes Holliday_ and
_Alexander Van Rensselaer_
THE BOOKMAN ANTHOLOGY OF VERSE [1922]
edited by _John Farrar_
TIMOTHY TUBBY’S JOURNAL
_Anonymous_
THE BOOKMAN ANTHOLOGY OF ESSAYS [1923]
edited by _John Farrar_
THE LITERARY SPOTLIGHT
_Anonymous_
with an introduction by _John Farrar_
NEW YORK: GEORGE H. DORAN COMPANY
THE
BOOKMAN ANTHOLOGY
OF ESSAYS
[_1923_]
EDITED BY
JOHN FARRAR
NEW [Illustration: Octagonal GDH icon] YORK
GEORGE H. DORAN COMPANY
COPYRIGHT, 1923,
BY GEORGE H. DORAN COMPANY
[Illustration: Oval GDH icon]
THE BOOKMAN ANTHOLOGY OF ESSAYS [1923]. I
PRINTED IN THE UNITED STATES OF AMERICA
PREFACE
This book is not properly titled. It should not have been called “The
Bookman Anthology of Essays.” This is not a collection of essays;
but of sketches, of discussions, of literary jottings, miscellaneous
pieces that have been published in +The Bookman+ during the past two
years. My excuse for collecting them is that for the most part they
are worth while in themselves, and, as a whole, seem to me to show the
present-day literary attitude in America.
For a true anthology of essays one would be obliged to secure the work
of English writers such as Chesterton, Lucas and Belloc, American
writers such as Agnes Repplier, Samuel Crothers and Gamaliel Bradford.
Perhaps some day it will be my good fortune to prepare such a volume;
but for the present, I have attempted to give you an informal survey
of the way those who write our books and our magazines are thinking
to-day. These pieces of prose are not from the pens of members of any
single school or group of writers. Personally, I am one of those who
believe that such schools or groups do not exist in the United States.
At any rate, here are varying shades of opinion, varying methods of
writing, varying moods. A Negro discusses the position of his race
among American writers; one dramatic critic recounts anecdotes of O.
Henry, another, memories of Sarah Bernhardt; Heywood Broun describes
the reading of a great prizefighter; Hugh Walpole chides the volatile
Mr. Mencken, and Mr. Mencken replies. Charles Henry Meltzer was a
dramatic critic in New York many years ago, Alexander Woollcott now
serves in that capacity. Both of them are represented here. Arthur
Bostwick is a famous librarian, William McFee, a ship’s engineer who
writes novels. William Lyon Phelps is a critic of enthusiasm and of
experience. Burton Rascoe is a young man with a biting tongue and a
fresh standard. Here they speak for themselves. My attempt has been, as
you see, to present contrasts, and to present them without prejudice.
The only Englishmen included here are William McFee and Hugh Walpole,
both of whom have such definite connections with America that they seem
a part of our literary scene. McFee has made New York his home port
for many years and is about to become a naturalized American. Walpole
went to school in New York when he was a boy, has lectured here with
success, and, to my mind, understands and seems to like the United
States, better than any other of the procession of visiting English
novelists.
To understand current literary tendencies in America would be a
Herculean task. To sympathize with such tendencies after they were
understood would, I fancy, require the ability of a chameleon. To study
them, however, is fascinating. As a public we are yet so young and
so impressionable that we veer to the right and to the left with the
slightest inflation of our sails; and following in the footsteps of
Mr. Barnum, our mentors are peculiarly adept at furnishing the wind of
publicity. This keeps our literary study clubs, our college curricula
and our literary magazines and newspaper supplements in such a state
of flux that analysis of a year’s opinions issuing from the same
fountain-head would be sure to uncover mirth-provoking inconstancy.
In spite of all this, we are gradually developing a national taste in
reading and a national interest in things cultural. I want you to note
the curious and constant use by my contributors of the name of Harold
Bell Wright as a symbol of American taste.
I hope that in the following pages you will find a key which is not
too heavy, which will unlock one door, at least, of the fortress of
American opinion. As in “The Bookman Anthology of Verse” I hoped that
you would read casually at first, here, too, I should be pleased if
you would skim the volume rapidly, gaining from it, if my attempt has
been successful, an informal, gay and yet real panorama of the world
of letters in America to-day. When you return to your individual
favorites, when you look, perhaps, further than this volume for more
of their work, I hope you will find that writing in America, while it
is formative, often crude, and occasionally ill-mannered, is gaining
a vitality of expression and viewpoint which the literature of more
polished countries is losing, or has lost.
J. F.
_New York City,_
_September, 1923_.
ACKNOWLEDGMENTS
The editor would like to thank the publishers and the authors of the
following volumes for permission to reprint certain things from them:
+George H. Doran Company+--for Heywood Broun’s “Mr. Dempsey’s
Five-Foot Shelf” from _Pieces of Hate_; Aline Kilmer’s “On Works
of Reference” from _Hunting a Hair Shirt and Other Spiritual
Adventures_; Oliver Herford’s “The Hundredth Amendment” from
_Neither Here Nor There_.
+Duffield and Company+--for John Erskine’s “Spotlight or Fame” from
_The Literary Discipline_.
+Century Company+--for Alexander Woollcott’s “O. Henry, Playwright”
from _Shouts and Murmurs_.
+Harcourt, Brace & Co.+--for Kenneth Macgowan’s “Religion and the
Theatre” from _Continental Stagecraft_.
INDEX OF AUTHORS
+Austin, Mary+, 214
+Bostwick, Arthur E.+, 117
+Brawley, Benjamin+, 259
+Broun, Heywood+, 17
+Brown, Abbie Farwell+, 77
+Dell, Floyd+, 137
+Erskine, John+, 37
+Fisher, Dorothy Canfield+, 236
+Gale, Zona+, 152
+Hawthorne, Hildegarde+, 103
+Herford, Oliver+, 250
+Holliday, Robert Cortes+, 184
+Kilmer, Aline+, 131
+Macgowan, Kenneth+, 172
+Masson, Thomas L.+, 46
+Maurice, Arthur Bartlett+, 113
+McFee, William+, 27
+Meltzer, Charles Henry+, 69
+Mencken, H. L.+, 65
+Phelps, William Lyon+, 158
+Preston, Keith+, 88
+Rascoe, Burton+, 226
+Rinehart, Mary Roberts+, 94
+Walpole, Hugh+, 54
+Woollcott, Alexander+, 197
INDEX OF ESSAYS
+Bernhardt, Sarah+, 69
_Charles Henry Meltzer_
+Church and the Library, The+, 118
_Arthur E. Bostwick_
+Criticism and Bad Manners+, 138
_Floyd Dell_
+Dempsey’s Five-Foot Shelf, Mr.+, 18
_Heywood Broun_
+Dickens of It, The+, 89
_Keith Preston_
+Gentle Argonauts, The+, 28
_William McFee_
+Hundredth Amendment, The+, 250
_Oliver Herford_
+Landmark Passes, A+, 114
_Arthur Bartlett Maurice_
+Mencken, H. L., An Open Letter to+, 55
_Hugh Walpole_
+Mencken, Mr., Replies+, 66
_H. L. Mencken_
+Murray Hill’s Recollections of James Huneker+, 185
_Robert Cortes Holliday_
+Negro in American Literature, The+, 259
_Benjamin Brawley_
+Nietzschean Pilgrim Fathers+, 237
_Dorothy Canfield Fisher_
+New Word in Play Producing, The+, 153
_Zona Gale_
+O. Henry, Playwright+, 198
_Alexander Woollcott_
+On Works of Reference+, 132
_Aline Kilmer_
+Peabody, Josephine, “The Piper,”+ 77
_Abbie Farwell Brown_
+Religion and the Theatre+, 173
_Kenneth Macgowan_
+Santayana’s, George, “Life of Reason,”+ 227
_Burton Rascoe_
+Spotlight or Fame?+, 38
_John Erskine_
+Surrender Books+, 47
_Thomas L. Masson_
+Unreality of Modern Realism, The+, 95
_Mary Roberts Rinehart_
+Why of the Best Seller, The+, 159
_William Lyon Phelps_
+Women as Audience+, 215
_Mary Austin_
+Wright American, The+, 104
_Hildegarde Hawthorne_
THE BOOKMAN ANTHOLOGY
OF ESSAYS [_1923_]
THE
BOOKMAN ANTHOLOGY
OF ESSAYS
_Heywood Broun_
Large, shambling, often ill at ease, kindly, yet with that curious
detachment which marks those who are much absorbed in their own
thought, Heywood Broun invariably impresses one as possessing a
child-like eagerness. Whether as sport writer, feature writer, critic
of books or plays, colyumnist, essayist or novelist, his writing is
characterized by the same freshness, the same accuracy of reporting. He
was born in Brooklyn. For a time he attended Harvard University. His
greatest enthusiasm is, perhaps, for baseball, though he likes poker. I
like best to think of him in his office at the New York “World”, about
fifteen minutes before copy is due for the morning paper, surrounded
by papers, letters from contributors, his own jottings, what not,
spinning a yarn from nowhere, gathering an opinion from the wind as it
whistles around the tower of the Pulitzer Building. His wife is Miss
Ruth Hale, writer and motion picture critic. His child is well known
to the public through his father’s writings as “H 3d.” I have attended
football games, theatres, dinners, and heaven save me, teas, with Mr.
Broun. He always shows fresh curiosity for events as they unfold, a
gentle sympathy for all types of men and a thorough disrespect for
all forms of snobbery. It is natural that in the following essay he
should defend the somewhat frowned on champion of the ring. Dempsey’s
child-like determination could not but appeal to the mind of Mr. Broun.
If he were not so clever, he would be sentimental; as it is, he is
thoroughly human.
MR. DEMPSEY’S FIVE-FOOT SHELF
It is hardly fair to expect Jack Dempsey to take literature very
seriously. How, for instance, can he afford to pay much attention to
George Bernard Shaw who declared just before the fight that Carpentier
could not lose and ought to be quoted at odds of fifty to one? From
the point of view of Dempsey, then, creative evolution, the superman
and all the rest, are the merest moonshine. He might well take the
position that since Mr. Shaw was so palpably wrong about the outcome of
the fight two days before it happened, it scarcely behooves anybody to
pay much attention to his predictions as to the fate of the world and
mankind two thousand years hence.
Whatever the reason, Jack Dempsey does not read George Bernard Shaw
much. But he has heard of him. When some reporter came to Dempsey a day
or so before the fight and told him that Shaw had fixed fifty to one
as the proper odds on Carpentier, the champion made no comment. The
newspaper gossiper, disappointed of his sensation, asked if Dempsey had
ever heard of Shaw and the fighter stoutly maintained that he had. The
examination went no further but it is fair to assume that Dempsey did
know the great British sporting writer. It was not remarkable that he
paid no attention to his prediction. Dempsey would not even be moved
much by a prediction from Hughie Fullerton.
In other words literature and life are things divorced in Dempsey’s
mind. He does read. The first time we ever saw Dempsey he discussed
books with not a little interest. He was not at his training quarters
when we arrived but his press agent showed us about--a singularly
reverential man this press agent. “This”, he said, and he seemed to
lower his voice, “is the bed where Jack Dempsey sleeps”. All the
Louises knew better beds and so did Lafayette even when a stranger in
a strange land. Washington himself fared better in the midst of war.
Nor can it be said that there was anything very compelling about the
room in which Dempsey slept. It had air but not much distinction. There
were just two pictures on the wall. One represented a heavy surf upon
an indeterminate but rather rockbound coast and the other showed a lady
asleep with cupids hovering about her bed. Although the thought is
erotic the artist had removed all that in the execution.
Much more striking was the fact that upon a chair beside the bed of
Dempsey lay a couple of books and a magazine. It was not +The Bookman+
but “Photo Play”. The books were “The Czar’s Spy” by William Le Queux,
“The Spoilers” by Rex Beach, and at least one other western novel which
we have unfortunately forgotten. It was, as we remember it, the Luck
of the Lazy Something or Other. The press agent said that Jack read
quite a little and pointed to the reading light which had been strung
over his bed. He then went on to show us the clothes closet and the
bureau of the champion to prove that he was no slave to fashion. We can
testify that only one pair of shoes in the room had grey suède tops.
Then we saw the kitchen and were done.
There had been awe in the tones of the conductor from the beginning.
“Jack’s going to have roast lamb for dinner to-night”, he announced in
an awful hush. Even as we went out he could not resist lowering his
voice a little as he said, “This is the hat rack. This is where the
champion puts his hat”. We had gone only fifty yards away from the
house when a big brown limousine drew up. “That”, said the press agent,
and this time we feared that he was going to die, “is Jack Dempsey
himself”.
The preparation had been so similar to the first act of “Enter Madame”
that we expected temperament and gesture from the star. He put us
wholly at ease by being much more frightened than anyone in the
visiting party. As somebody has said somewhere, “Any mouse can make
this elephant squeal”. Jack Dempsey is decidedly a timid man and we
found later that he was a gentle one. He answered, “Yes sir” and “No
sir” at first. If we had his back and shoulders we’d have a civil word
for no man. By and by he grew a little more at ease and somebody
asked him what he read. He was not particularly strong on the names of
books and he always forgot the author, which detracts somewhat from
this article as a guide for readers. There were almost three hundred
books at his disposal, since his training quarters had once been an
aviation camp. These were the books of the fliers. Practically all the
popular novelists and short story writers were represented. We remember
seeing several titles by Mary Roberts Rinehart, Irvin Cobb, Zane Grey,
Rupert Hughes, and Rex Beach. Older books were scarce. The only one we
noticed was “A Tale of Two Cities”. This Dempsey had not read. Perhaps
Jack Kearns advised against it on account of the possible disturbing
psychological effects of the chapter with all the counting.
Dempsey said he had devoted most of his time to western novels. When
questioned he admitted that he did not altogether surrender himself to
them. “I was a cowboy once for a while”, he said. “There’s a lot of
hoakum in those books”. But when pressed as to what he really liked his
face did light up and he even remembered the name of the book. “There
was one book I’ve been reading”, he burst out; “it’s a fine book. It’s
called ‘The Czar’s Spy’.”
“Perhaps”, suggested Ruth Hale of the visiting party, “a grand duke
would say there was a lot of hoakum in that.”
Dempsey was not to be deterred by any such higher criticism. Never
having been a grand duke, he did not worry about the accuracy of
the story. It was in a field far apart from life. That we gathered
was his idea of the proper field for fiction. In life Dempsey is a
stern realist. It is only in reading that he is romantic. A more
impressionable man would have been disturbed by the air of secrecy
which surrounded the camp of Carpentier. That never worried Dempsey.
He prepared himself and never thought up contingencies. He did not
even like to talk fight. None of us drew him out much about boxing.
Somebody told him that Jim Corbett had reported that when he first met
Carpentier he had been vastly tempted to make a feint at the Frenchman
to see whether or not he would fall into a proper attitude of defense.
“Yes”, giggled Dempsey, “and it would have been funny if Carp had
busted him one on the chin.” This seemed to him an extraordinarily
humorous conceit and he kept chuckling over it every now and then.
While he was in this good humor somebody sounded him out as to what
he would do if he lost; or rather the comment was made that an old
time fighter, once a champion, was now coming back to the ring and had
declared that he was as good as he ever was.
“Why shouldn’t he?” said Dempsey just a little sharply. “Nobody wants
to see a man that says he isn’t as good as he used to be.”
“Would you say that?” he was asked.
“Well”, said Dempsey, and this time he reflected a little, “it would
all depend on how I was fixed. If I needed the money I would. I’d use
all the old alibis.”
We liked that frankness and we liked Dempsey again when somebody wanted
to know how he could possibly say anything in the ring during the
fight to “get the goat of Carpentier”. “We ain’t nearly well enough
acquainted for that”, said Dempsey and we gathered that he was of the
opinion that you must know a man pretty well before you can insult
him. The champion is not a man to whom one would look for telling
rejoinders, though he has needed them often enough in the last year
and a half. Criticism has hurt him, for he is not insensitive. He is
merely inarticulate. This must have been the reason which prompted some
sporting writers to feel that he would come into the ring whipped and
down from the fact that he had been able to make no reply to all the
charges brought against him. It did not work out that way. Dempsey
did have a means of expression and he used it. There is no logic in
force and yet a man can say, “Is that so?” with his fists. Dempsey
said it. As the Freudians have it, fighting is his “escape”. Decidedly
he is a man with an inferiority complex. But for his boxing skill he
would need literature badly. As it is he does not need to read about
hairbreadth escapes. He has them, such as in the second round of the
fight on Boyle’s Thirty Acres. In summing up we can only add that as
yet literature has had no large effect upon the life of Jack Dempsey.
But what does Carpentier read? That we must confess was part of our
assignment. We have nothing to report. The challenger was in secret
training throughout. Evidently his trainers hoped to worry Dempsey
by not letting him know whether Carpentier was with Racine or Paul
de Kock. And all the time Dempsey was sticking to “The Czar’s Spy”
and worrying not at all. We don’t know then whether or not Carpentier
is interested in literature or influenced by it, but the drama has
made him. He is drama. No piece of acting was ever so perfect as the
tragedy which Carpentier played in Jersey City. We liked Dempsey but
no sooner had Carpentier come into the ring than we began to cheer him
and kept it up. The crowd cheered him when he took off his bath-robe,
when he was photographed, when he almost knocked Dempsey down, and when
he was himself knocked down. Leaving the ring a little later, he was
cheered as no other beaten fighter has ever been cheered in America.
We wish every young American playwright who is about to write a tragedy
had seen the fight. They would realize then that the school founded by
Eugene O’Neill is based on a misconception of the spirit of tragedy. It
does not lie in the fact that man is small and helpless in the hands of
fate which outclasses him in reach and in weight. The tragic fact is
that man is almost good enough to win in his inspired moments. He can
rock fate but he cannot down it. That is the pity of the struggle. But
come to think of it there is nothing so terribly sorrowful in tragedy
after all. Fate, like Jack Dempsey, wins the title; but the gesture
remains with man, the light heavyweight. As he goes down he hears no
slow toll of numbers. All that is drowned out by the cheering.
_William McFee_
William McFee was born, I believe, on his father’s ship. Most of his
life he has spent in ships as a sea-going engineer. He has shown me
the engine room of a fruit vessel with as much pride as the script of
a new novel. A strong man, and a bluff man, with a seaman’s sense of
humor and a book lover’s wisdom, he does not bemoan the vanished days
of sailing vessels. His romances are those of the swift modern ships,
of merchantman and transport. As an essayist and critic he is almost
as well known as for his novels. Now, he has left the sea, bought a
cottage at Westport, Connecticut, where he intends living with his
mother who has come from England to join him. But the last one hears
of him is sailing off with Captain David Bone, author of the “The
Brassbounder,” on the “Tuscania”. On that trip one can picture many a
chat such as the one described in the following essay. However, when he
does settle down in the New England country, he will doubtless dream of
the sea, and write his romances. Here is an Englishman who has firmly
adopted the ways of America. A quiet, deep-thinking man, William McFee,
with a personality that is sturdy, rather than magnetic, dependable
rather than fiery.
THE GENTLE ARGONAUTS
The group in the smoke room this morning was a fairly representative
microcosm. There were two men making the round trip because it was
the slack of the year in their businesses, and Europe was too far,
too costly, and too inconvenient. There were a couple of salesmen
voyaging with the idea of conquering the West Indies for their houses,
an official, with a monocle, proceeding to some distant British
possession; and one or two of the ship’s officers, who regarded the
glittering beauty of the blue waters with bored and introspective eyes.
In a far corner a young gentleman with extremely sleek black hair was
writing a letter--he was no doubt a Latin American youth returning
disconsolately to his own volcanic country after a hilarious time at
an American university. In the palm court abaft the smoke room were
reclining a number of dark dazzling creatures, their hands and arms
and ears sparkling with massive gems, who were likewise returning to
the bosoms of their families after a successful season in New York.
And ever and anon there could be seen passing the open windows, as he
made his morning promenade, the inevitable elderly and dried up Latin
American of immense wealth, one of whom, in grey pants and alpaca coat,
seems to be forever drifting to and fro on the waters of the Caribbean.
And in some way now forgotten by all concerned, the talk turned upon
books.
“I never read anything,” barked one of the roundtrippers, reaching for
a match. “My wife’s crazy about books--house is full of ’em--Ibáñez and
Harold Bell Wright, and Shakespeare, and all those fellows. I never
read any of ’em.”
There was a delighted silence while he lit his cigar.
The Englishman’s monocle showed a blind white glare as he looked out at
the dancing sea.
“Oh, I shouldn’t go as far as that”, he murmured. “It is a great
comfort, you know, in certain situations--the reading habit, don’t you
think?”
He didn’t look it, but he had spent an anxious year in Mesopotamian
prisons and would have gone mad there but for a damaged novelette
which he had read so often it had rotted under his hands. He received
unexpected support from the other roundtripper.
“You’ve said something,” agreed that gentleman. “I consider reading
a very fine thing--a very fine thing indeed. I collect books,
gentlemen, first editions of living authors. I have a remarkably fine
collection--all signed first editions. I send my bookplate with a
letter and the authors send it back signed.”
“What’s the good of that?” demanded his companion suspiciously. “Look
at the cost!”
“Autographs,” replied the other tranquilly, “are going up. Some of mine
are worth fifty dollars.”
His truculent friend let his jaw drop a little as he stared and
digested this novel fact. He was interested in an indolent way.
His suspicion, his truculence, his interest, all had a slightly
meretricious air. He was on vacation. No doubt his attitude toward life
at home was sane and humorous enough. Books were not his métier.
“Oh, no doubt,” the Englishman was saying. “It is very difficult to
make a decent choice, once you leave the regular well known men. Even
they,” he added, rubbing his nose with the side of his forefinger,
“let you down at times.”
One of the salesmen reached behind him on the cushions and fished out
a volume. “What would you say about this sort of thing,” he asked,
handing it over. “Everybody seems to be reading them now.”
The Englishman accepted it gingerly, his rigid features assuming an
expression of extreme concern, as though he felt he had been taken
at a disadvantage. As he had. He had forgotten the American Law of
Applied Responsibility. By this law, if you reveal an aptitude or a
proclivity, you are instantly voted into a position where that aptitude
or proclivity can be useful to the community and a source of profit to
yourself. This peculiar custom is unknown in England, where a man of
talent often spends half his life modestly concealing his ability, and
the other half waiting for someone else to die, so that he can get a
chance to use it. Realizing, however, that he was one of an imperial
race, this particular Englishman braced himself, settled his eyeglass,
and after examining the book said he had read it and “found it rather
rot, you know.”
“Oh, no!” objected one of the officers, suddenly. “It is a very
important book, if you look at it from the right standpoint. Did you
read it through?”
“Couldn’t,” replied the Englishman in a small, precise voice. “I got as
far as--as far as--well, anyhow, I had to chuck it. Not in my line.”
“Then you can hardly set up as a judge of it,” suggested the other. The
Englishman was somewhat nettled.
“Only in so far as I couldn’t stay the whole distance,” he retorted.
“That’s criticism in a way I take it. What!”
There was a general laugh and a readjustment of moods as the waiter
approached with tall glasses.
“You were saying--” murmured the Englishman after a first libation.
“That a book like this one here, a solidly packed slab of fiction, is a
sign of the times. It has no particular features of originality at all.
But it has for its theme and milieu the Marquesas or some such island
group in the South Seas, and just at present there is a very peculiar
craze for the South Seas. Anything at all, so long as it is about the
South Seas, may go with the public, and the publishers take the wildest
chances. People without any ability to write at all are preparing huge
masses of trivial travel talk and illustrating it with photographs of
themselves in loin cloths grouped with native women who do not look
beautiful even in the prints. Anything at all may make a hit. They, the
publishers, think of ‘The Moon and Sixpence,’ forgetting that Somerset
Maugham’s genius had a good deal to do with that book. They remember
only that in spite of Curwood, Jack London, Ridgwell Cullum, and other
specialists of the north, there is a decided set toward the South Seas.”
“How do you account for that?” asked one of the company.
“I can’t account for it, but I have sometimes felt that people were
turning toward these distant spots of earth as to a kind of modern
Hesperides or Fortunate Islands, where the troubles of life in
steamheated apartments, department stores, and crowded subways, for
instance, do not exist. The north and the west have been worked to
death. The east, Europe and so forth, have gone down in our estimation
as paradises. And so, led as usual by the artists, by Gauguin,
Stevenson, and Somerset Maugham, we are all busy in the bazaars
demanding private magic carpets to take us to the Sunny South Seas,
where golden skinned men and delicious girls play _papalagis_ to the
_wahines_. Or is it the _wahines_ which are played to the _papalagis_?
I forget. Nor does it matter. This search for innocent and philosophic
harems is bound to fail. Those islands have no existence save for
the artists who discover them. If you look around the promenade deck
here you will find most of the passengers reading about the distant
coral groups of the Southern Pacific, with one or two exceptions
who are reading about the coral lips of Ethel Dell’s heroines, or
the cattle corrals of Zane Grey’s virile heroes. The author of this
particular book, however, has rashly decided to do without photographs
of repulsive Polynesian women. The character of his hero, a handsome
Englishman in love with a Latin American president’s daughter, is out
of date as well as out of drawing. Indeed there is no harm in a picture
being out of drawing, as we say, if it carries you with it and conveys
an authentic emotion. But to be out of date is the worst of literary
crimes. All art is convention, and it is therefore imperative that
you use the current convention to reveal the truth. This book reveals
nothing save the author’s absurd notions of the ingredients of a
romance.”
“A romance is a love story, I take it,” said someone.
“Quite possibly. Nowadays, however, a romance has to take place on an
island. Have you ever reflected upon the fascination islands seem to
exert upon novelists? Think of the islands of literature--a veritable
archipelago! Shakespeare with his ‘Tempest’ was an early victim.
Swift invented a floating island. Defoe of course you recall. Modern
authors teem with islands. ‘Treasure Island,’ ‘The Island of Doctor
Moreau,’ ‘L’Ile des Pingouins,’ ‘The Island Princess,’ ‘Island Nights’
Entertainments,’ ‘The Isle of Unrest,’ ‘An Outcast of the Islands.’
You can even include Kipling’s ‘Islanders’ and Galsworthy’s ‘Island
Pharisees’ if you are of a sardonic turn. There is something romantic
in the very nature of an island, something finite, enclosed, cut off,
remote--the centre of a mysterious hemispherical universe of sea and
sky. I admit this because I am under the spell of an island myself. I
know an island, not so large, which is very dear to my heart. All day
and all night you can hear the immense rumor of the tides of human life
washing to and fro in the caverns, almost ‘measureless to man,’ of
her rocks. Each day increase the great cliffs of coralline structure
fashioned by her millions of tiny inhabitants. The men are not golden
skinned, but they have strong hearts and steady brains and are good
comrades. As for the women, who would leave them for the doubtful
charms of Polynesia? The women of my island are the most beautiful in
the world, for they have been garnered from all over the world.”
“Where’s this place!” barked the truculent health seeker. “In the West
Indies?”
The other man smiled a little and shook his head.
“Oh no,” he said, signaling to the waiter, “we’ve just left it. I was
speaking of Manhattan.”
_John Erskine_
First, the lover of literature, second, the professor, I should say of
John Erskine. This large, genial but positive gentleman has long been
among the undergraduates one of the most popular professors at Columbia
University. Yet he has preserved, in the midst of academic strictures,
an unusual tolerance for modern tendencies in letters. While he chides
you gently for carelessness of viewpoint or slovenly phrase, he is
willing to find whatever is good in the new thing. His own poetry in
its recent collection shows beauty of phrase, incisive imagery, and
adherence to old models. Always he is interested in the young poet, and
we find him the willing patron and adviser of undergraduate poets and
poetry societies. Born in New York City, he took both his A.B. and his
Ph.D. degrees from Columbia University. This has not made him, however,
insular. As President of the Authors Club he made valiant attempts to
keep that institution from a too rigid adherence to dusty tradition,
and, if his efforts to unite and strengthen the unruly and amorphous
Poetry Society of America were not successful, failure must be traced
to the nature of the organization itself rather than to any lack of
effort on Dr. Erskine’s part. His viewpoint is well illustrated by this
essay in which he deplores the journalistic attitude. Technique, after
all, is a god which cannot be lightly discarded. An able executive, a
poet of charm, a teacher of great abilities, John Erskine has been a
stabilizing force in American letters.
SPOTLIGHT OR FAME?
If a popular writer today ever asks himself what his chances are for
fame, he may well conclude that popularity is all he should hope for.
He must see that the public have become accustomed to reading books
but once, as they read a newspaper; that to maintain his position he
must continue to bring out new books; and that when he comes to an end,
other writers will take his place. He will notice also that authors who
once reached a large audience now miss their old effect even though
they continue to produce books--as though they had left the track of
popularity without knowing it. He may wonder whether they are merely
repeating themselves before an audience that must have novelty, or
whether--(comfort too tempting!)--their work has improved beyond the
public taste.
However he analyzes it, the tendency he observes in our writing is a
tendency toward journalism instead of art. The reward of journalistic
success may be popularity, the temporary spotlight, but it cannot be
fame. Fame is continued admiration for something that endures. The
service that journalism renders us is too great not to have a vast
appreciation, but the service is for a day, and the interest of a
day is novelty, news, and the reward of news is the headline or the
spotlight, not fame. Our books are largely written as news, advertised
as news, criticized as news. Mr. Van Loon writes that James Harvey
Robinson’s new book “is a bomb.” Another very contemporary critic says
that Mr. Van Loon’s own new book “has all the thrills of a Nick Carter
detective story”. Since the books so described are studies in history,
we might expect them to have the praise of being true, but truth and
news are not necessarily the same thing. To call a book a bomb or to
compare it to a Nick Carter story is to give it the praise of news,
which goes off but once. Mr. Van Loon and Mr. Robinson must write other
books if they wish to hold the spotlight; the bombs of memory, however
cherished, cannot compete with actual noises.
The journalistic tendency is felt perhaps in all the arts, but most
in books and in the theatre, less in music, still less in painting,
and least in architecture and sculpture. From these last we can learn,
if we need a reminder, what are the conditions of enduring art, and
what, in contrast to popularity, is fame. Sculpture and architecture,
from the substantial nature of their medium, must submit to be looked
at more than once, to be lived with, finally to be judged by the good
opinions of many men over a long period of time; and a good opinion
of such work, so lived with, will depend less on the first impression
than on habitual contact. For such work popularity is difficult, if not
impossible. “Three Soldiers” is a popular book; the Farragut statue in
Madison Square is not a popular statue. What statue is popular? It can
have only the better kind of success, if any; like the Farragut, it can
be famous, loved and returned to over an indefinite length of time. For
we can read a book once and throw it aside, or hear music or see a play
but once, and then criticize it; it lies entirely in our choice whether
we shall read or hear twice. How different our criticism would be if
it were based on at least half a dozen readings and hearings.
It would be a misfortune to seem to be attacking journalism as such;
what is here intended is only to distinguish between journalism and
art. Art is the expression of life we can live with habitually. But
there is much about life which we ought to know, and yet we do not care
to dwell on, nor even enjoy hearing the first time. To give us this,
along with other news, is the function of journalism. Mrs. Stowe’s
disclosure of Byron’s private life may have been as necessary to
print as she thought it was, in the interest of justice and morality,
but it was journalism, not art. As much may be said today for Mr.
O’Neill’s plays, which as they follow each other in journalistic
succession maintain a journalistic success by bringing headline news
of society. If Mr. O’Neill should stop writing now, would his plays
hold the stage? Of course the question is irrelevant if he is primarily
concerned with educating us to the truth, as Mrs. Stowe was, but if he
has an artist’s interest in the permanent audience, in the judgment
that ripens with long acquaintance, he may ask himself whether he has
written anything yet that human beings will care to live with. “Three
Soldiers”, to return to the striking example, was frankly advertised
and properly criticized as journalism, as news, revelations of the
now-it-can-be-told kind. In what he had to tell, Mr. Dos Passos, like
Mrs. Stowe in her Byron story, may have been wrong, and nothing worse
can be said of news than that it is not correct. But whether wrong
or right, the book will be read widely as long as the psychology of
the American soldier is a subject of popular debate, and then it will
become as forgotten as Mrs. Stowe’s far more sensational paper. For
all we know, Mr. Dos Passos may be an artist as well as a journalist.
When he begins the career of the artist, he will learn the old truth
about art, that it is long, and that its reward in fame comes slowly.
The same experience will come to Scott Fitzgerald and Dorothy Speare,
or to any others who bring us news of the Younger Generation; they now
enjoy our gratitude for the news, but in that kind of popularity there
are always the seeds of neglect and obscurity--they must bring us more
news, and more news, and they must keep up to date, or we will have
another town crier. And what town crier, for all the attention he got,
ever had fame?
It would be a misfortune also to seem to say that the author who misses
popularity is necessarily an artist, or that even temporary success is
not to be admired. But in American letters we are beginning to wonder
why our great successes are so transitory; why a writer who sells
more copies of his first book than did Thackeray or Dickens, does not
continue like them to reach a large public with succeeding books; and
why he does not, like them, continue to be read after he has ceased to
write. The explanation suggested is that most American writers, not
only today but throughout the last twenty-five years, have written as
journalists--have put out their material not as life but as news about
life, and the critics have discussed it as news, and the readers have
come to look for the news in it, and for nothing else. Some novelists
still writing began their work with successful stories of local color,
which we read in order to learn about Louisiana or Pennsylvania or
the middle west; having got the information we were looking for, we
went elsewhere to look into other novelties. It goes without saying
that in this process we readers have done injustice to many a work of
art; “Old Creole Days” and “Main Traveled Roads” have something for
the permanent reader, as well as for the news seeker, and “Trilby”--to
speak of an English book, is still a magnificent romance of friendship
and chivalry, though it expired of its own success as a bulletin from
the Latin Quarter and a document in hypnotism.
Are we doing a similar injustice to works of art today, by asking of
them only a temporary service? How many of us will read a novel or a
poem more than once, or will go several times to the same play? How
many young writers care to aim at such an audience, who ask of art
the privilege of entering themselves into the novel or poem or play,
of living the lives of the characters, of falling in love with hero
or heroine, of hating the villain, and of repeating this experience
with deeper emotions on each rereading? The future of our literature
is bound up with such questions. We shall have plenty of stories of
the studious or psychological kind, plenty of philosophical or social
minded novels and poems, but that is not enough; we must have the
opportunity to reach experience in our own imagination, and do our own
thinking about it. The author’s point of view, if presented apart from
life or with life only as an illustration of it, is after all nothing
but news. We read a book by Mr. Keynes to get his latest ideas on the
economics of the Treaty, or a book by Mr. Shaw to see what he will say
next, or one by Winston Churchill, once an artist, to see whether we
share his opinion of the churches or his guesses about immortality;
but to art we return to meet old friends like Tom Sawyer or
Leatherstocking or David Harum or Doctor Lavendar, to be with them, to
come under their influence, to reflect upon their fortunes. I thought I
saw such art in “The Age of Innocence”, but most of my neighbors read
the book as a sort of Baedeker of old New York, to catch Mrs. Wharton
in mistakes of information. Now I think I see such art in Joseph
Anthony’s “The Gang”, which I read with pleasure the more undisturbed
because my neighbors find in it no news at all, and therefore leave it
alone.
_Thomas L. Masson_
For nearly thirty years Tom Masson was the Managing Editor of “Life”.
He watched it through various phases of humor and propaganda. He knew
the writers of light and of heavier verse, the artists of gay or of
poignant sketches, the fashioners of new anecdotes, the cullers of old.
This short, slight, wiry Connecticut Yankee, who peers at you through
large and heavy spectacles, has probably read, written, and planned
more jokes than any other living human being. His voice is as dry
and as sharp as his wit. Now, when he is not editing his department,
“Short Turns and Encores”, for “The Saturday Evening Post”, he sits
out in New Jersey and busily writes essays and short stories. For such
a quiet little man to have been the cause of so many riotous laughs
seems odd. I have never heard him laugh loudly himself--just a soft,
short, nervous, almost apologetic laugh, as if it seemed to him a sin
really to laugh at a thing which might not be as funny as it should
be. However, there is always the twinkle behind the glasses. Like
“Surrender Books” his essays are often quiet bookish observations,
usually with a quaint viewpoint, developed and explained by several
thousand rambling but delightful words. His acquaintance among American
writers is unlimited, for there is no man so dull that he does not
like to consider himself funny; and I fancy many a lay reader of these
paragraphs will look back with a blush to the time when Tom Masson
rejected, or perhaps accepted, a whimsical or at least a would-be
amusing manuscript.
SURRENDER BOOKS
There is a class of books that nobody apparently has ever thought of
grouping before. Yet they have a very definite place in the mind of
each one of us who is devoted to reading, and to know what they are is
to have information of great value. They are what I may term surrender
books. And presently I hope by example to explain them very definitely.
Of course, lists of books that one ought to read always vary according
to taste, and nothing indeed has involved so much controversy as what
these books should be. There cannot in the nature of things be any
uniform method of selection, this always depending upon individual
taste, previous education, heritage, environment, etc. But it seems
to me that it is possible to create a new standard which deals with
surrender books alone, and I should think that lovers of books
generally would be fairly well agreed as to what these are. We may
expect differences, but not the violent differences we have observed
among those who just make lists of the best books.
What then is a surrender book?
By “surrender” I mean that power a book has over you to make you
surrender yourself to it completely. There are plenty of good books
that do not have this power. It is also true that many of the books
that do have this power are not necessarily novels. The surrender books
indeed are in a class by themselves--as I have hinted, a unique class
quite apart from anything else in literature. I possess a few of them,
and I would not part from these books for anything in the world that I
can think of. I cannot, however, explain them definitely all at once. I
can do so only little by little. If I should attempt to make a complete
definition of a surrender book, you would immediately begin to qualify
it; yet it is quite definite, when you understand the conditions.
A surrender book is one that carries with it a complete atmosphere. It
is just as if the author had the power to invent a world of his own, in
which there is nothing superfluous, and from which, when you once get
into it, you do not want to part. Furthermore, all the outside world
has left you; nothing else matters. The power to do this is a distinct
power; it appears to me to be a peculiarity of some authors. It may not
be the highest power. But there it is--a quite definite thing.
A surrender book is one that we are quite content to be let alone
with. It is not necessarily an exciting book, which, so to speak,
acts upon us like a disease. It may have that quality, and yet it
may not. “The Count of Monte Cristo” is a surrender book; it has its
imperfections, but it qualifies. And also, in my experience, so does
James Ford Rhodes’s history of the United States. Mr. Rhodes first got
together the materials to make his world, then he assimilated them,
and after that, by the peculiar power I have referred to, he created
his illusion. When you step into the first volume, you are living over
again, with him, the history of your country. He has made an atmosphere
for you; you are carried along by it, it envelops you completely. You
don’t care much what happens outside. I suppose, indeed, that it may
be said of a surrender book that it has the power of hypnotizing you.
Now the same thing is true of Jane Austen as of Mr. Rhodes. I am aware
that there are people who don’t like Jane Austen. Mark Twain couldn’t
abide her. He ranted when he mentioned her name. He said that any
library would be a good one without the works of Jane Austen in it. But
Mark Twain’s literary judgment wasn’t worth a whoop. There is nothing
superfluous about Jane Austen. She has the power of making you feel
that you are there, moving about, guided by her fairy wand, and not
caring to be anywhere else.
I should say after all that the quality which enables an author
to produce this illusion is one in which he is able to inspire
our immediate confidence. If you are at the circus and you see a
trapeze performer hesitate over his act, you are at once filled with
nervousness about him. Every moment that you view him is an agony. But
if he shows that he is perfectly able to control himself, you view his
performance with pleasure and serenity. This surrender power is due to
the care with which the author has written his book; but this is by no
means all. Many an author who has taken infinite pains is deadly dull,
and irritatingly accurate. Neither is it due to a dramatic quality.
Some authors, who have this dramatic trick, are constantly leading
up to climaxes which absorb you at the time, and yet you have not
surrendered as a whole. You still retain your self-possession, you are
still looking and have one eye on the outside world.
I confess that I have often tried to define this surrender quality in
such a manner that I would cover it altogether and have not succeeded.
The best thing I can do is to give examples.
“Vanity Fair” for instance is not a surrender book; there are parts
of it altogether too detached. This does not detract from its glory;
only, it doesn’t happen to be that kind. For surrender value I should
much prefer “The Newcomes”, but Thackeray is not a perfect type of a
surrender author. Neither, on the whole, is Dickens. He carries you
off your feet; he bangs you up against the wall; he certainly absorbs
you; he is like a contagion. But think of Parkman and his stories of
conquest and Indians. Here, by that subtle alchemy of which I have
spoken, you are immediately carried into another world, with swift and
sure touches. After you have once read, as an instance, “Conspiracy of
Pontiac”, how different is everything. To me the supreme pleasure of
reading, after you have gotten through a surrender book, and it has
become a possession, is to want to live it all over again. Nothing but
high genius in writing has the power to enable you to do this.
Perhaps the biggest books in the world are not the surrender books.
Neither Shakespeare nor Plato nor the Bible could qualify. There is a
sense in which they are too big. There are, of course, stories in the
Bible that have great surrender value. A reading of Shakespeare may
easily be an absorbing occupation. I remember when, as a boy, I read
his plays for the first time, their story value fascinated me, held me.
But to meet these three works and come finally to enter into them and
understand them requires a long experience with life. Indeed, it is not
until we approach the end of life that, as we ponder over them, their
great beauty and their profundity almost overawe us.
If you are a natural born reader, however, you can begin at almost
any time to collect surrender books. “Les Miserables” is one of them.
This is what Walter Scott might call a big bowwow surrender book. You
must lead up to it almost with fasting and prayer; especially in these
days, when a snatching of newspaper headings, and a fitful flitting
from magazine page to magazine page, weakens one’s sense so of true
literary values. I read “Les Miserables” when I was convalescing from
a long illness, when my mind had been swept clean. It was a wonderful
experience. But I suppose the most wonderful surrender experience in
the world would be to have nothing to do but to read Balzac through.
And think of some of our modern authors in comparison with these
surrender books I have mentioned! They make one shudder with their
mosaic qualities, with their utter inability to transport you anywhere
without your sinking on the ground and resting every few moments. I
have in mind some of our more recent books where I felt as if I were
obliged to hold up the author’s words all the time, as I went along.
You say of some books: “It takes him so long to say anything.”
But that isn’t quite it.
It took Victor Hugo long to say some things, but how well he said them!
And while he was saying them you forgot that he was saying anything.
You were moving along with him, almost without being aware of it. Think
of the flight of Jean Valjean! Has the surrender value of that part
ever been equaled?
_Hugh Walpole_
The egotism of most authors stalks in front of them as they enter the
room. I have yet to discover such a thing round about the person of
Hugh Walpole. He is the most modest author I know; yet, somehow, the
most confident. He believes in his books; but he does not expect you
to believe in them. If you do, he is glad. If you do not--well, then,
there will always be another book, another chance for you to believe.
Walpole is tall, broad-shouldered, practically always smiling. He has
a wide forehead. He wears glasses. His platform manner is excellent,
and he speaks, as he writes, with care and distinction. Walpole’s work
is rich in background, as well as in a rare understanding of humanity
without an overlarding of the sentimental. He is wise, tolerant, and
youthful in his freshness of interest in life. He was born in Auckland,
New Zealand. He is a son of the Bishop of Edinburgh. As a boy, he lived
in America and attended a private school on Washington Square. While
an undergraduate at Cambridge, he wrote two novels. One of them, “The
Wooden Horse”, was his first published story. Before this, however, at
the age of twelve, he is said to have written a novel concerning Guy
Fawkes for the delectation of the family cook. For a time he worked as
a journalist on “The London Standard”. Now, both in England and in the
United States, he is the greatly popular young novelist of recognized
worth. His attitude toward America is far more cordial than that of
most English writers. Any differences of opinion he regrets and, as can
be seen by his little tiff with Mr. Mencken, he is anxious to act as
mediator. Socially popular, invited everywhere in London and New York,
the real Walpole, I imagine, is the one who secludes himself in the
little Cornish village of Polperro, walks among the fishermen, works
long and diligently on his novels.
AN OPEN LETTER TO H. L. MENCKEN
My dear Mencken,
I have been intending to write to you for some months past a personal
and private letter with nothing more urgent in it than an affectionate
greeting and a strong appeal to you to come over here as soon as
possible and share my excellent Irish whisky, but there have been
certain utterances of yours in “The Smart Set” during the past few
months that have led me to make this letter a public one, because the
matter of it seems to me of general interest.
I know that you are set tight in your own opinions like a toad in its
hole, and you know how greatly, in the past, I have admired many of
those same dogmatisms. It is only because I admire so greatly your
critical mind and feel that you are doing a most important work for
English as well as American letters, that I write to you as I do. There
is little hope of changing you, but it is time that someone on this
side of the Atlantic challenged some of your absurd views about the
English novel and, above all, about English contemporary criticism.
In these recent numbers of “The Smart Set” you have returned again and
again to the main charges; one, that the English critics are engaged
in a sort of conspiracy against the contemporary American novel; the
other, that the same English critics are busied with log-rolling in
connection with their favorite novelists. You make distinct charges,
for instance, that no American novelist, save Hergesheimer, and Edith
Wharton, is treated with any respect over here: that is, that we
deliberately and of malice aforethought despise and condemn James
Branch Cabell, Sinclair Lewis, Sherwood Anderson, Floyd Dell, Ben
Hecht and the rest, and that we praise the works of, in your opinion,
poor novelists like Frank Swinnerton and Michael Sadleir, and neglect
the genius of such an author as W. L. George. You also imply that
the American public is paying too much attention to the contemporary
English novel and is neglecting the brilliant new American novel now
arising. Why, you ask, should the Americans flatter the English in this
way when the English so utterly neglect the American?
My dear Mencken, it is really time that you paid a visit to this happy
little island of ours. I should be very sorry indeed were you to come
just at the time of my visit to America. I look forward to eating, if
not drinking, with you in Baltimore, but even at the risk of missing
your most engaging company, I do beg you to come over. I regard it
as a matter of the utmost importance that the English and American
novelists should just at this time go hand in hand together. There is
a new American novel of the greatest interest and individualism, just
as there is a new language. It has already certain characteristics most
definitely of its own, yielding nothing to past tradition, English
or other, standing strongly on its own feet, the most interesting
movement, I think, in American letters of the last fifty years.
There is no reason however why, because of this new and splendid
phenomenon, the American critics should decide that the American
public has no more use for the English novel. The more individual and
distinctive the American novel becomes, the more different will it be
from the English and the more enjoyable will both be in comparison and
in friendly rivalry. It is quite impossible, for instance (to take one
or two recent examples), for any Englishman to father such books as
“Main Street”, “Moon-Calf”, “Miss Lulu Bett”, “Cytherea”, or “Three
Soldiers”, just as it would be equally impossible for “To Let” or
“Dangerous Ages” or “The Death of Society” or “Crome Yellow” to have
come from an American talent. Surely this is a good thing. Instead of
both countries producing, as they were engaged in doing twenty years
ago, insipid historical romances that might have come from anywhere,
the younger generations of both peoples are now working on their own
grounds, cultivating most happily their own gardens.
That brings me directly to your charge that the English critics are
neglecting the more recent American novelists. You except Edith
Wharton and Joseph Hergesheimer, so I will not speak of them, only
hinting in parenthesis that if you imagine that Hergesheimer’s art is
European rather than American, you are making the greatest mistake
of your young critical life; but is it true for a single moment that
Cabell, Booth Tarkington, Sinclair Lewis, Sherwood Anderson, Miss
Cather and the others are passed over here? That their novels do not
command great sales here is perfectly true. For some reason, the
American novel presents English readers with conditions that are very
difficult for them to understand. Part of the difficulty is beyond
question this problem of the new American language. Take “Main Street”
or “Three Soldiers” or “Moon-Calf”, and you will find pages of those
books peppered with phrases that to nine Englishmen out of ten are
quite unintelligible. When you get to the words of Don Marquis or
Ring Lardner they might, for most English readers, be just as readily
written in Russian or Chinese. But it is not only difficulty of
language. American conditions simply have no parallel in this country.
The majority of Englishmen have not visited the United States, and
many of those who have been there have penetrated no farther than the
wilds of New York and Chicago.
Such a book as one of the very finest of all American novels, “My
Ántonia”, is simply not intelligible to the ordinary English reader,
and the small sales of “Main Street” over here are entirely due to
the fact that we have nothing in our country at all parallel with the
cultural conditions of your own small towns. It would be in many ways
much better for us if we had.
That these writers are critically neglected, is simply untrue. You
mention Cabell’s name. The limited edition of “Jurgen” that John
Lane published over here has been one of the great successes of the
autumn. The 3,000 copies of that edition were sold out within the first
fortnight, and booksellers are besieged with requests for it. That book
had columns of reviews in all the leading literary journals. The only
important paper that treated it with contempt was “The London Mercury”,
whose notices of fiction are by far its weakest section. “Figures of
Earth”, which has just appeared here, has again been treated with the
most serious attention. Sherwood Anderson has hitherto been presented
in England by his weakest work only, and it is not the fault of the
English critics if they do not yet realize how considerable an artist
he is. Such a book as Ben Hecht’s “Erik Dorn” has not, I think, yet
been published here, but in any case you would not, I imagine, wish to
have that represented as the finest flower of American contemporary
genius. Booth Tarkington has had critical attention here for years.
“The Narrow House” by Evelyn Scott received any number of reviews, and
“Miss Lulu Bett” was greeted with the greatest enthusiasm.
The fact, however, remains that the American novel is at present
dealing with conditions unknown to the English reader, while the
English novel is speaking of manners and customs that have been known
for generations to American visitors.
I come to your second charge, which is that the English reviewer is a
fellow of small cliques and coteries who is engaged in praising only
the works of his own set. Never was there anything falser. You instance
certain names, Frank Swinnerton, Michael Sadleir and others. The fact
of the matter is that there is a very wholesome tendency among English
critics here to knock any novelist on the head as soon as he shows
signs of getting above himself. This is an admirable and most natural
instinct in human nature, peculiar not only to the English. You will
remember that Henry James in some articles in the “Times” just before
the war collected certain young novelists together and either patted
them on the head or rapped them on the knuckles according to the way
in which you interpreted his rather mysterious prose. In any case, he
gave them undue prominence, they having but just then chipped the egg,
having the whole of their young literary lives in front of them. They
have suffered from this paternal blessing ever since, and in their
case, at any rate, there have been no logs rolled. Neither W. L. George
nor Frank Swinnerton was mentioned by Henry James. Mr. George has had,
it is true, some severe criticism for his last two or three novels,
but that is because they are provocative and argumentative, they were
pacifist in tendency during the war, and have on one occasion at least
been concerned with backgrounds that were not perhaps the atmospheres
in which his talent could work most naturally.
Frank Swinnerton, until after the publication of “Nocturne”, had
universal praise from the critics. After “Nocturne” he became a public
figure, a definite representative of the younger English novel and
therefore a legitimate Aunt Sally. “Coquette”, one of his very best
novels and certainly one of the best English novels of the last ten
years, received a very mixed press indeed, and you are quite wrong
if you imagine that he is being praised unduly. He is working most
wisely in a small corner of contemporary English life that he knows
absolutely, that is his own by right of mastery, and if you think
“Nocturne”, “Coquette”, “On the Staircase”, and “The Happy Family” are
poor novels, I can only reply to you that you don’t know the English
life of which he is writing.
As to Michael Sadleir, of whose “Privilege” you spoke with a
contemptuous sniff, there has, in his case, been no conspiracy to
praise. The reviews of that book were very divided. I would not have
expected you to be in sympathy with it. It is a romantic work both
definitely and deliberately, and has for its most ancient ancestor the
highly colored Mrs. Radcliffe whose fiction I suspect you of never
having read.
But these are mere matters of opinion. What I want to say to you is
that there is no evidence anywhere of log-rolling in the reviewing of
fiction in England today. With regard to modern poetry I am not so
sure, but I can speak there with no authority.
What it comes to, my dear Mencken, is that we want you over here for
a little while. Aren’t you conscious yourself of an increasing tinge
of provincialism in your critical utterances? Don’t you really think
that there is plenty of room for the contemporary English and American
novels to walk hand in hand? What we want over here is some definite
authority who will speak to us about the present development of the
American novel. You’re the man for that. Come over and help us. I can
promise you a most cordial welcome.
Yours ever,
+Hugh Walpole+.
_H. L. Mencken_
That a violent critic should ever prove other than the most mild
mannered of men is unthinkable. Mencken, the bitter, the cynical, the
terrible, is in reality a large, healthy, Germanic figure who lives in
a white house with green blinds in Baltimore, his home town, with his
mother. He is thoroughly domestic and exceedingly fond of beer. There
you have him! He is clever in his speech, though not so quick to the
attack as his co-editor, George Jean Nathan. His complexion is florid,
his manners sturdy, his gestures broad. His life has been devoted to
journalism and to a hearty public dislike of American politics, and the
more obvious “booberies” of the American scene. Yet he is an earnest
ballyboo for such idiosyncrasies as the so-called American language,
on which he has written a huge tome which must have involved much
painstaking research. He is, in the main, anti-British, though he seems
to have enjoyed himself when he was in London last season. At heart he
is a sentimentalist. This he has learned to conceal; but he has never
been able to destroy all copies of “Ventures into Verse” published in
1901. That and the quality of “The Smart Set” poetry betray him. As
a critical force he has had large influence in molding the younger
writers of America. He is often a champion for uncompromising realism.
He is far more interested in life problems, however, than in the
technique of writing. By nature a philosopher and a politician, he has
become by accident an editor and critic. With his co-editor he is now
engaged in a new venture, the establishing of a new monthly magazine,
“The American Mercury.”
MR. MENCKEN REPLIES
My dear Walpole:
The facts, alas, confound you. During the past year I have reviewed
exactly 25 novels in “The Smart Set”, setting aside mere notices. Of
these, 7 were English and 18 were American. Of the English novels,
I anointed 3 with praise, or 43%; of the American novels, 9, or
50%. Two of the English novels I denounced as garbage, and 5 of the
American--28.5% and 27.7% respectively. Regarding two of the English
novels and four of the American I was in doubt--28.5% and 22.3%
respectively.
Certainly these figures show no chauvinistic bias. I receive about
350 novels every year--a great many more than any man could read. I
pick out for review those that seem most likely to be interesting or
significant. Is it remarkable that an American should find 2-4/7 times
as many of these among American books as among English books? What
English reviewer, in the other direction, shows a score so high, or
even half so high? Or so close a correspondence between the two series
of percentages?
The log-rolling I complain of has its chief scene in the United States,
not in England. It takes the form of extravagant efforts to promote the
American sale of books by Englishmen of a small group, most of them
bad. It is carried on partly by publishing houses dealing in English
goods, and partly by touring propagandists and literary bagmen. It is
aided by certain American journals that practise a puerile and slimy
Anglophilism. It has become a public nuisance, and when I deal with
it at all I treat it as such. The English opinion upon which it is
presumably based seems to me to be incompetent, and, in part at least,
disingenuous. It is a body of opinion that is ignorantly and incurably
anti-American.
I need not tell you, my dear Walpole, that when I chance to take a hack
at such a fraud it is done without the slightest messianic purpose. I
am entirely devoid of public spirit, and it would give me no more joy
to see log-rolling stopped than it would give me to see baptism by
total immersion stopped. But it diverts me to chase mountebanks, and so
I occasionally yield to the vice. Now you jump into the arena and get
in my way. Back to your place! Specifically, back to the bar under the
grandstand, where I’ll be delighted presently to join you and drink a
_Humpen_ with you, for you are not a mountebank but an honest artist
(as I have more than once declared in print), and you no more belong
among the zanies I pursue than I belong among the syndics of the Y. M.
C. A.
I refuse absolutely to talk about the American novel when I get to
England, or about anything else so depressing. But I have some amusing
scandal for you, and you may rest assured that I’ll not neglect your
Irish _Schnapps_.
Yours----
+H. L. Mencken+.
_Charles Henry Meltzer_
A dramatic critic who flayed John Drew in his youth and has reached
a mellow old age without losing his enthusiasm for carping over fine
points in the theatre, Charles Henry Meltzer is a dignified figure. His
contact with both American and continental theatres has been long and
intimate. Born in England, of Russian extraction, he is an accomplished
linguist. He has written plays in French as well as in English. He
has made many opera librettos. He has acted as foreign correspondent
for various New York newspapers in numerous foreign capitals. He was
dramatic and musical critic for both the New York “Herald” and “World.”
A precise yet entertaining gentleman, meticulous, courteous, widely
read, a type that one does not often meet in theatrical circles of
today.
SARAH BERNHARDT
I am old enough to have been under the spell of Sarah Bernhardt when
she was in her prime; and young enough to have kept the enthusiasm
which she awoke in me till the last days of her long life drew
near. To most reviewers of the hour here in New York, with their
near backgrounds, Bernhardt has sometimes seemed a tedious legend.
But to those of us who were fortunate enough to applaud her at the
Théâtre-Français on great nights gone by, she will be always dear and
an unfading glory.
It is not, though, to the actress who has passed on to another stage
that I ask permission to pay tribute--the poor tribute of a friend who
knew her closely, at her best and worst, and who, despite her human
faults and human frailties, admired her always and believed her a great
woman. Beside her even Duse, a rare artist, seems rather trifling to
the writer of these lines. While of the “stars”, so called, to whom
most here bow down, who has a scintilla of her brightness?
She was an artist, of the finest, highest kind. But she was first
a character--a woman of compelling will and force, individual, all
herself, a burning flame. Incidentally, but only in a small way, she
was in turn sculptor, painter, and writer. She had invented several
plays, some of which were never acted, while one was seen and rather
well received at the Paris Odéon. She had also now and then dashed off
some novels. Of these the last, I think, was “Petite Idole”, published
here last year as “The Idol of Paris”. It is largely autobiographical.
If any person in the world has proved the truth of the perhaps
misleading dictum which defines genius as the art of taking infinite
pains, Bernhardt surely has. She was an honest, tireless, never
resting worker in her chosen field. Her art was the one god she always
worshipped. And to that art she gave up all her strength. She had
no patience with her many gifted rivals who were content with being
charming and inspired. Unless they worked to make the utmost of their
gifts, she would condemn them. Thanks to her patience, her intelligence
and honesty, her artistic honesty, when she was seventy she could
still delight her audiences. Behind all her most amazing exhibitions,
we could perceive the great technique which made them possible. Her
technique helped her to the very end. It overcame, at times, the tragic
handicap of an actress who had lost one of her limbs. It enabled her,
only a few years ago, to play the death scene in “La Dame aux Camélias”
as touchingly as in her early days. Her devotion to the technique of
her art shamed our young “stars”. But our reviewers only saw in her--a
woman: a woman maimed and aging, and not beautiful, perhaps, who
fought with passion to retain her envied queenship.
For she had been--and she still was--a queen. I can recall a certain
night when Paris crowned her, and when the critics of New York, at
my petition, sent her a message to express their admiration. And I
remember her reply--the gracious telegram in which she thanked them for
their tribute. She was not young then. She was growing old. Yet her
vitality and will were so surprising that for almost twenty years after
that night she kept her grip on Paris. Not till a year or two ago,
indeed, did she begin to realize--or to confess--how old she was. When
I last talked with her, in her familiar home near the Place Wagram,
I noticed that she was ceasing to disguise her age. White locks were
mingled with her tawny hair and, to my sorrow, she was slightly hard
of hearing. We lunched together. She was full of life, as usual. She
talked of everything: the stage, the world, and art. She referred to
Charlie Chaplin and to Arbuckle (who, she protested, was too fat to be
a criminal). But I could see that it was only by an effort that she
kept pace with life. The coquetries and graces which had charmed me
many times at her own table were less natural. And they all vanished
when a retainer came to carry her upstairs--poor tortured soul--on a
chair or litter. I turned away then, for I dreaded to embarrass her,
but she rebuked me, saying, “Oh, you needn’t mind me!”
She had been a friend to me, and in her way an ideal, since my young
student days at the Sorbonne. And when she chose, she could be a
kind friend. Yet caprices were not foreign to her nature, and, if it
pleased her, she could be a dangerous foe. She never, I think, wholly
forgave Duse for challenging her supremacy, or quite forgot what she
regarded--even if she did not say so--as Duse’s ingratitude. It was
at Bernhardt’s theatre (then the Renaissance) that Duse had appeared
for the first time in Paris. Soon after that, the two “stars” had been
parted.
However tragic she might be upon the boards, in private--with her
friends--Bernhardt dropped tragedy. She had the gaiety and lightness
of a comédienne, though only twice, in great ways, did she reveal
this fact--in “Francillon” and in “Frou-frou”. It was a privilege and
joy to be her guest, as I have often been. To her the theatre seemed
a part, not all, of life. When she was touring in this country, she
would miss no chance, if her train stopped here or there, of getting
out and driving madly through the neighborhood, till “All aboard!” was
heard and she rode on again. Her interest in life was inexhaustible. It
was not confined to drama or to those other arts in which she played
her part. It embraced religion, science, sociology, politics, and
literature.
At our last meeting, she presented me with a copy of her novel “Petite
Idole”, which she had written “_pour passer le temps_” when she was
“resting” in her Belle-Ile seaside home. “Read this,” she said. “I
think you will like it. Much in the book, as you will see, concerns
myself.”
I have not forgotten many other things she said to me, especially as
to the folly, as she thought it, of allowing oneself to cease working
before one was exhausted. At eighty or thereabouts, the most popular
and remarkable journalist of his time in France, Emile de Girardin, had
announced to her his intention of retiring. “Don’t do that”, she had
answered, “or you’ll--die!” But he persisted. And he lived six weeks.
No matter who might be the guests she was entertaining--royalties
had foregathered with her--when she was due at a performance or a
rehearsal she would leave them. Art and her public meant much more to
her than royalty. Once, when I was among her visitors at Les Poulains
(her first Belle-Ile house, off the coast of Brittany) she received a
telegram. It reminded her that she had promised to be present at the
unveiling of some statue in the north of France. In a moment she began
packing. Next morning we were whirled away in a dreadful express train
to Paris. A promise of that kind was not mere piecrust to this spoilt
tragédienne.
Her leisure? Well, she spent it in reading plays, in writing stories,
or in painting, studying parts, and toying with sculpture. She had a
quick wit and she liked amusing anecdotes. Her humor helped to sustain
her in adversity.
Adversity. It dogged her. Even in the heydey of her career she was in
financial difficulties. She had been “sold up” in one of her Paris
homes--in the Avenue de Villiers. Her possessions had been scattered.
She was constantly in debt. For, though she had earned millions, she
had spent freely. Money was much to her. Yet she treated it as if it
meant little. I am told (I do not know how truly) that, but for her
indebtedness to the United States Internal Revenue Department, she
would have returned to America, for the last of her farewell tours. It
may have been just as well that she did not return.
Time was, in the days of “Le Sphinx” and “L’Etrangère” at the
Théâtre-Français, when it was Sarah Bernhardt’s wish, they say, to
be buried at Père-la-Chaise (where she now rests), next to her long
popular comrade and rival, Croizette. Later we heard that she had
determined she would prefer her tomb to be erected on one of the huge
rocks on the dark coastline of Belle-Ile. There the roaring waves and
peeping sea gulls would have sung to her an appropriate threnody. And
there, perhaps, long after those who loved and applauded her had gone
to their accounts, pilgrims would have stared and wondered at her
monument.
_Abbie Farwell Brown_
A meeting at the Boston Authors’ Club is something to remember. The
faces one sees are largely of New England. It is as if one had stepped
back to a different period when English blood in America had not quite
so great a foreign infusion. In this Colonial, or perhaps Victorian
atmosphere, Abbie Farwell Brown is a gay, active figure. It was in
this atmosphere that Josephine Preston Peabody Marks was beloved and
influential. They were great friends. Miss Abbie Brown has written many
books for children. She has written short stories. She has published
volumes of poems. Her muse is a fanciful one. It springs from the
sources of the Cambridge School. It is gentle, quiet, and not without
its charm. Its place in America cannot yet be shaken by the Menckens
and the Untermeyers.
JOSEPHINE PEABODY, “THE PIPER”
In the summer of 1910 I streaked across Ireland and half England on
a joyful errand. I had already crossed the Atlantic toward the same
end. For it seemed to me then, and it seems to me now, that the prize
performance of Josephine Peabody’s “Piper” was one of the significant
events in modern English letters: an American triumph in a new field.
Was it not amazing that an American, and a woman, should win a prize
offered by Shakespeare’s own town and open to the English speaking
world, for the best poetic drama? There were three hundred competitors
sending manuscripts. Imagine the astonishment of those English men
of letters who were the judges when they found that “The Piper” was
conceived in Cambridge (Massachusetts, not England), and that the
author was the wife of a Harvard professor, being indeed that fair
young poet of whom Austin Dobson had written when she first visited
England:
She came to my poor garden bower,
She bloomed like a new garden flower;
I know not how the time was spent,
I know she came ... I know she went.
The prize, three hundred pounds, carried with it the promise that the
successful play should be given a performance at the Stratford Memorial
Festival during the spring of 1910. I think it was this promise that
chiefly attracted J. P. For Shakespeare was the hero of her worship,
and Stratford her Mecca, though she loved festivals for any sake. She
had already in 1900 published a one act play founded on Shakespeare’s
Sonnets, “Fortune and Men’s Eyes”. She knew her Stratford well, through
a lonely girlhood pilgrimage to that shrine. And she dared believe that
her dramatic fancy, making of the old Pied Piper legend a beautiful
biting arraignment of materialism, might be worthy of the high company
at a Shakespeare Memorial. I believe she was confident from the first
that fate was with her in this dear desire. Her self-confidence was one
of her strongest assets in a life of counter-circumstance.
It was a tense year for my friend. “The Piper” was already in print,
though not yet published (it was written in 1907, the year following
her marriage), when she heard almost by chance of the prize offer.
Having ascertained that a printed book was eligible, she sent it off,
just barely in time to get by. Then came weeks of eager waiting. She
heard from headquarters that “The Piper” was still among the final
half dozen plays in the survival of the fittest. Then, that there was
but one other rival. At this juncture J. P., as usual in a crisis,
consulted her Shakespeare oracle. The final judge in the contest was
the Duke of Argyle. And the page chosen at random from “Midsummer
Night’s Dream” declared cryptically, “_All that I will tell you is that
the Duke hath dined!_” This sounded promising. But when on his return
that night J. P. showed the oracle to her husband, he turned to the
page that followed, and found this, in the same speech of Bottom: “_For
the short and the long is, our play is preferred.... And I do not doubt
but to hear them say, it is a sweet comedy!_” No more anxiety.
She resolved to be present at the performance and receive the prize
in person. But the public announcement of the prize winner found her
absorbed in her newest poem, a wee Lionel Marks Junior. A less spirited
adventurer might have hesitated. But she took the eight weeks old
baby and her tiny daughter and made the voyage alone. She confessed
afterward that she almost died on the journey. But her courage never
wavered.
Arrived in Stratford she met disappointment, hope deferred. For early
in May King Edward fell ill, and died on the very eve of the day
announced for the performance of “The Piper”. All England went into
mourning, of course. No chance for a spring festival at Stratford.
Everything postponed till midsummer. It was to be a midsummer night’s
dream, after all! Meanwhile, with her two small babies, and with the
gay little frocks that she loved, J. P. was obliged to go into official
mourning, and to possess her soul in as much patience as a poet can
summon under such circumstances.
One pleasant thing at least happened in that trying interval of
waiting. Little Lionel was baptized in old Stratford church, in the
very same font where Shakespeare himself had been baptized 345 years
earlier. By such intimate and picturesque association between life and
symbolism J. P. loved to vary the course of her earthly pilgrimage. As
she once expressed it, “Every day ought to be a festival for one reason
or another.” Another favorite slogan was: “Let us turn routine into
rhythm!” She believed passionately in life as a thrilling adventure.
Tragic it might be at times, painful or cruel. But she could not for a
moment have allowed it to be dull. The Piper says:
It keeps me searching. ’Tis so glad and sad
And strange to find out, What-Will-Happen-Next!
The performance itself turned out a personal triumph for J. P. as well
as an artistic triumph for the play and its distinguished actors.
Marion Terry--sister of Ellen Terry, who was in the audience--took
the chief woman’s part, and F. R. Benson, veteran actor and manager,
had the title rôle and produced the play. Violet Farebrother, Eric
Maxon, and other favorites shared the honors. A brilliant audience had
gathered in Stratford town from all parts of England for the unique
occasion. As scene followed beautiful scene in the tender, whimsical
drama, Bottom’s prophecy was verified. It was indeed a “sweet comedy”.
Gradually unfolded the symbolic meaning of the captured children and
their rainbow, the little lame boy with his winged shoes, the one
mother who understood, the Lonely Man, and the selfless idealist,
the Piper, bent on setting things right. The Piper was, of course,
Josephine Peabody herself speaking in character:
For all who wear the motley in the heart
Or on the body, for all cagèd glories,
And trodden wings, and sorrows laughed to scorn.
Throughout her life J. P. could truly say, as she said in this play:
’Twas not the thousand guilders that I wanted--
Life, life I wanted! Safety, sun and wind!
And but to show them how their daily fear
They call their faith, is made of blasphemies
That would put out the Sun and Moon and Stars
Early, for some last judgment!--And the Lord,
Where would He get His harpers and singing men
And them that laugh for joy? From Hamelin guilds?
I shall never forget the surprised thrill that rippled over the tense
audience when, after the play was over and acclaimed, J. P. stepped
out to receive her prize in its handsome silver box. She was so young
and beautiful in her white wedding gown: scarcely, I imagine, the
preconceived British idea of an American _bas bleu_. Amazing her poise
and gracious dignity. And when she spoke her voice, with its honey
sweetness, its clear inflections void of Yankee twang, must have been
still more of a surprise. She made the most graceful little speech,
apparently offhand, though of course it had been most carefully
considered. For she had a message to deliver. She told those British
folk (there were few Americans to share my pride) what most of them
probably had never thought before. That she came not as a stranger to
Stratford, for Shakespeare was _our_ Shakespeare, too. That we had
as great a pride as our British kin in the development of our common
literature. (She might well have added that our country was founded by
folk who left England just after Shakespeare died, bringing hither his
idiom, still current in certain Yankee seaboard hamlets--and perhaps
nowhere else.)
It was a new Declaration--not of Independence but of Heirship. They
cheered her with rapture. And I feel sure that this acceptance of
her dictum by at least one representative British audience was the
beginning of a new rapprochement with American letters. Perhaps this
victory made easier the way and more cordial the welcome to still
“newer” poets who came flocking very shortly. Robert Frost, for
instance, was hailed and understood and published there as early as
1912, before he was known in his own country. Why do we make so little
of our literary assets, when we grow hysterical so easily over things
that count for much less? Had Josephine Peabody been a Frenchwoman her
proud country would never have let this victory be forgotten by anyone.
Had “The Piper” been the name of a winning yacht, our cup defender, it
would have captured the public imagination and have become a watchword.
Had J. P. been a Marathon runner or a heavyweight champion, her success
would have filled the daily press, and her recent passing (with half a
dozen unfinished plays in her fertile brain) would have sent a nation
into mourning.
She achieved the climax of her “success” with that performance of “The
Piper”. And few persons, I doubt, have had so unsullied a triumph.
Certainly I have never seen a face so radiant with happiness as was
hers that night. It was no doubt a disappointment that her plays
were not thereafter sought out for stage presentation by her own
country. “The Piper” had a short run in New York. This and her other
nine volumes are read and loved by many. But her best dramatic work
in “Marlowe”, nobly conceived and skilfully handled, remains still
like her “Nightingale,--_Unheard_”. “The Wolf of Gubbio”, a moving
and picturesque drama most originally developed, “Fortune and Men’s
Eyes”, and “Wings”--each brimming with lovely poetry and dramatic
effectiveness--have waited all these years for their professional
chance. “The Portrait of Mrs. W.” (that cleverest dramatic study in
prose of Mary Wollstonecraft and her circle) is still untried after the
first year of its life, which was the last year of our poet.
Poetic drama was her chosen medium, and she stuck valiantly to her
ideal in the face of all temptation to more popular and lucrative
expression. At the end of her busy life she could “proudly boast, I
never wrote just for money”. For, as the Piper declares again:
When we sell our hearts
We buy us nothing.
The taste of her time and the physical difficulties in the way of
producing the kind of play she elected to make; the prejudice of the
average producer, manager, and actor, and the unintelligence of the
modern audience in respect to spoken poetry--she discounted all these,
and was willing to bide the renascence of opportunity for the poet with
a dramatic imagination. There are some who feel that maybe the time
is not distant when her plays will emerge as a fresh and delightful
surprise to audiences who are tired of things so very, very different.
She was always a master of poetic technique. I don’t know how or where
she acquired it. But when I first knew her, a school girl, she was
already publishing graceful, musical lyrics in the accepted forms. They
were unusually thoughtful, if rather youthfully melancholy. She had
not yet realized the power of her gayer, at times almost mischievous
muse, which was quite as characteristic of herself. From the publishing
of her first book “The Wayfarers”, her reaction to her fellow men and
women developed rapidly through a too brief but eventful life. Out of
a rather detached young disciple of æsthetic and spiritual beauty, she
became a passionate and militant apostle of the beauty spelled in human
justice and sympathy. The whole burden of her later books was a sense
of responsibility toward folk less fortunate than herself.
“You four walls, wall not in my heart!”
Though she clung to traditional poetic forms she was no reactionary
in spirit. She was indeed, as one realizes with some surprise on
considering the whole content of her ten volumes, more revolutionary
than many of the “newer” poets. No stanza perhaps expresses with more
direct simplicity and good humor her spiritual challenge to her times
than this song, again of the Piper:
Out of your cage,
Come out of your cage,
And take your soul on a pilgrimage!
Peas in your shoes, an if you must!
But out and away before you’re dust!
Scribe and Stay-at-home
Saint and Sage,
Out of your cage,
Out of your cage!
_Keith Preston_
Keith Preston is a Latin professor with a sense of humor. In my
experience this is a usual combination. I have known two others, but
neither of them conducted colyums nor wrote humorous verses and essays.
Mr. Preston is a native of Chicago, he is a graduate of the University
of Chicago, he teaches in Northwestern University. He is small, quick
of movement, highly entertaining--a most diverting luncheon companion.
He is an enthusiastic member of the Chicago group of writers, eats with
them at their luncheons, boosts them when he can; but seems never quite
to lose his sense of humor about it all. His verse is gay, pointed,
graceful. His paragraphs are considered by many persons to be the best
written in the country. As a story-teller he is unexcelled, though his
wit has a mordant touch which is alarming in large companies. A person
of great vitality, wit, and buoyancy, he yet is domestic and thoroughly
tame when seen in the atmosphere of Evanston, Illinois, where he lives.
In this cynical bit which he wrote for me on H. G. Wells, he shows his
colors. His laughter at the world is often a little bitter; but at the
same time it rings with wholesome reproof.
THE DICKENS OF IT
Swinging along through the ages with H. G. Wells, no more than any
other reader could we pause to reflect or question. Not until we came
to page 676 of the second volume of “The Outline of History” did we
recall that in the back of our head a still small something had been
a-troubling of us for some time. What could it be, and when did it
start? After much knitting of the brows and scratching of the head, we
recalled that our subliminal bedevilment had begun on page 530 of the
first volume, with the following text:
If the prominent men of this or that British or Gallic city lacked
any profound Greek culture themselves, they could always turn to
some slave or other, whose learning had been guaranteed of the
highest quality by the slave-dealer, to supply the deficiency.
Here it was that we were first reminded of the experts who had assisted
at the birth of “The Outline of History” and who hide their diminished
heads in the footnotes of the same. Was Mr. Wells quite respectful to
his experts? Where, in the first place, did he derive his conception
of experts? This last seemed after all to be the main question, and
on this we concentrated with complete success. We find that Mr. Wells
owes his conception of experts to the immortal Mr. Boffin in Charles
Dickens’s “Our Mutual Friend”.
Like H. G. Wells, Mr. Boffin had achieved the highest success in a
practical line. At the peak of this practical triumph, Mr. Boffin
conceived a cultural project of the first magnitude, a course of
historical reading which should include the most solid and serious
thought upon man, his achievements, and his destiny. Certain
difficulties of time and mechanical equipment at first seemed to
interfere. How did Mr. Boffin meet these difficulties? By the idea of
experts. In his own words:
“Now, it’s too late for me to begin shoveling and sifting at
alphabeds and grammar books. I’m getting to be an old bird, and I
want to take it easy. But I want some reading.... How can I get
that reading, Wegg? By,” tapping him on the breast with the head of
his thick stick, “paying a man truly qualified to do it, so much an
hour (say two-pence) to come and do it.”
The reader must beware of forcing an attractive analogy, especially of
forcing it beyond the point where it flatters Mr. Wells. It is all
very well to admire the economy of time and the enlargement of scope
secured by the employment of experts, whether the beneficiary be a
Boffin or a Wells. But Mr. Boffin was entirely too deferential to Mr.
Silas Wegg, his expert, _with_ a wooden leg.
“I don’t”, said Boffin, in a free-handed manner, “want to tie a
literary man--_with_ a wooden leg--down too tight.”
Mr. Wells has tied his experts (with no wooden legs to tax his
compassion) in double bowknots; he has trussed them and stowed them in
the footnotes. Still more must the reader beware of applying to our
author phrases used only of the expert:
“A certain loftiness, likewise, took possession of Mr. Wegg; a
condescending sense of being in request as an official expounder of
mysteries.”
Mr. Boffin, a humble sort of person, was unable to defend himself
against the arrogance of his expert. Mr. Wells, a man of independent
thought, has guarded himself against expert impositions; he has
sternly repressed that tendency to oppose facts against ideas which
is the first and probably the greatest danger in the employment of
literal-minded experts.
The legitimate applications of our analogy are, after all, sufficiently
numerous. Taking the classical period, with which Boffin started, we
find that both Boffin and Wells relied chiefly on Gibbon’s “Decline and
Fall of the Roman Empire”. The set used by Boffin and Wegg was in “8
wollumes”; exact data on Mr. Wells’s edition are lacking. Both Wells
and Boffin were apparently familiar with Polybius, “pronounced Polly
Beeious, and supposed by Mr. Boffin to be a Roman virgin”. In this
connection we would note that both Wells and Boffin seem to have had
certain scandalous interpretations imposed upon them by their experts.
In the case of Mr. Wells, this is particularly apparent in the account
of Julius Cæsar.
“There can be little doubt”, says Mr. Wells, “that he was a dissolute
and extravagant young man--the scandals cluster thick about his sojourn
in Bithynia.”
Mr. Wells likewise refers delicately if not darkly to Cæsar’s “amorous
pleasantries with Cleopatra”, hints that the hussy followed Julius to
Rome, and concludes:
“Such complications with a woman mark the elderly sensualist or
sentimentalist--he was fifty-four at the commencement of the
_affaire_--rather than the master-ruler of men.”
Now we are not so much concerned with defending the late Julius
(though, hussies or no hussies, we are still convinced that he was
a very able person), as we are with inquiring whether Mr. Wells’s
judgment in this matter accords with his judgment in his novels. Were
Mr. Wells’s fictional heroes subject to such discipline? Not as we
remember. What is the difference between novels and history?
“The difference, sir?” says Mr. Wegg. “There you place me in a
difficulty, Mr. Boffin. Suffice it to observe, that the difference is
best postponed to some other occasion when Mrs. Boffin does not honor
us with her company. In Mrs. Boffin’s presence, sir, we had better drop
it!”
The truth is that Mr. Wells, possibly on advice of his particular Mr.
Wegg, or some other among the council of experts, seems in “The Outline
of History” abnormally concerned with Mrs. Boffin, or Mrs. Grundy, or
Mrs. Potter. Rereading our “Outline of History” we frequently feel the
presence of Mrs. Boffin. Under her eye Mr. Wells has been as unfair
to Cæsar, Napoleon, and some others as we, in this little paper, have
tried to be to Wells. For Boffinizing history is a game that two can
play at, and the reader must be on his guard against taking the results
too seriously.
_Mary Roberts Rinehart_
Mrs. Rinehart works swiftly and she works constantly. Her life has
been a succession of amazing successes; but they have come as a result
of a genius for understanding the public mind, a fine ability for
story-telling, an excellent sense of characterization, an unusual
executive sense, and a gift of fortune--luck, if you like. Mrs.
Rinehart became a nurse when she was very young. In the hospital
she met Dr. Rinehart. At nineteen, she was married to him. It was
not until after her three sons were born that she started writing.
Her first efforts were children’s poems, which she tells you were
exceedingly bad. Then she wrote short stories with some success. From
then on her progress has been steady. Her first novel, “The Circular
Staircase”, was immediately popular. She has never since written a
failure. Her attitude toward the war was remarkably sane. Her work
for the Department of Justice was secret, brave and successful. To
meet Mrs. Rinehart in her Washington home is to see a hostess of
charm, and to hear a _raconteur_ of ability. She has the rare gift
of dramatizing truth so that it has the thrill of a mystery story.
Fresh, dark, faultlessly dressed, with graceful hands and the deep
eyes that are at once penetrating and sympathetic, she is a beautiful
and a forceful woman. In “The Unreality of Modern Realism” she states
clearly her literary creed. The great strength of her books lies in the
fact that human beings find in them stories about other human beings
like themselves, who have similar difficulties, and who find, often, a
solution to life’s problem.
THE UNREALITY OF MODERN REALISM
Realism: _In literature and art, the principle of depicting persons and
scenes as they exist, without any attempt at idealization._
The quest for the ideal, the striving after perfection, is the finest
single attribute of the human heart. It comprehends all the higher
emotions; it differentiates man from the animal; the search for it has
given him his religions, his laws, and his progress. Without it he is a
creature; with it he is man created in the image of God.
So insistent has been this belief in the ideal that it has colored all
his created works. By reality he has lived. By ideality he has climbed.
Out of his dream of perfection he has wrought his paintings and his
cathedrals, and has written his idealistic literature. And strangely,
only that which has been founded on his dream has survived.
Opposed to idealism is realism. It deals only with the tangible,
the scientifically demonstrable. It discounts the visionary and the
imaginative. It sees things only as they appear to the physical eye.
It is neither idealistic nor sceptic. In architecture it builds office
buildings instead of cathedrals, and in literature it reports life and
becomes a form of journalism.
Yet the simple reporting of the life of a period is important. It may
not be art; indeed, it is doubtful whether such reporting has any of
the æsthetic quality of art. But it is making a gesture toward truth
as well as fact. It may bear much the same relation to real literature
that the photograph does to the painting; it may be the least difficult
of all forms of creative writing, since it depicts life only, and not
life plus. But at least it makes its gesture toward truth.
If there is much to be said for realism, then, there is not much to say
against it. But there _is_ much to be said against the present day
tendency to prostitute it to pure mechanism. Worse even than that, to
pure materialism; the attempt to portray a three-dimensional world in
two. To take the human individual of soul, mind, and body, and strip
him to body and mind. And to do this in the name of truth.
Just what is the province of creative literature? To lead men on and
up? To depict them as they are? Or to drag them down? To hold forth
the ideal of perfection? To give a surface interpretation of life? Or
cynically to depict life as cheaper, more drab, less worth while than
it is in actuality?
Granted that a writer sees life only as cheap, drab, and not worth
while, is it his province to spread broadcast this conviction? The
writer has a much greater responsibility than merely the egoistic
attempt to interpret the world about him in his own terms. The ruthless
iconoclast, destroying ideals the world has carefully preserved, is the
Hun of literature. What if the fabric be built of illusions, of happy
misconceptions, of small vanities and prides? Are not these the fine
hypocrisies by which men clothe their nakedness?
Yet it should do no man grave harm to see himself as he is. It may,
indeed, be a benefit. But let the mirror in which he views himself
be an accurate one. The writer, reflecting mankind to itself, may do
so without protest, providing he reflect accurately. If the realism
be truth, then let us have truth, and neither a portion of it nor a
distortion of it.
To write life without idealization may be only a portion of it. It is
at least a failure of responsibility. But to write life cynically is a
distortion. Cynicism is not truth. It is insolent self-righteousness.
It has a contempt for the virtues and generosities. It is pessimistic,
despondent, astigmatic. It has a biased view. Seeing crookedly, it sees
a crooked world.
Yet perhaps a healthy cynicism is an excellent antidote for smugness.
It is only when cynicism masquerades as realism that it becomes
dangerous. And that this is the underlying principle of much of the
realistic fiction of the day a careful study will corroborate. Not
truth, but an unhappy, warped, and incomplete view of life. Not only an
emphasis and exaltation of the material as opposed to the spiritual,
but a cynical denial of the spiritual.
This is not realism. True realism would see in the human individual
something more than the creature of his environment and the slave of
his physical body. It would yield him his abject surrenders, but grant
him his kinship with God.
That there has arisen, then, a mainly young, frankly cynical and
disillusioned school of writing is a grave commentary on the times in
which we are living. Its followers are honest in their convictions.
They are writing life as it appears to them, without uplift, without
much hope. They will not cater to the public taste, which has cried for
happiness. They maintain, and they are right, that life does not deal
in happy endings. But life is a fluid thing. It has its high moments
and its low. Neither one does more than come and pass along. From the
standpoint of reality one is as incorrect as the other. It is from the
standpoint of cynicism that they choose the low note.
In their desire to avoid idealization, too, they are sometimes as
guilty of underdrawing as the wildest idealist is of exaggeration. Not
life, nor life plus, but life minus, must be charged to their account.
And here again we have the misplaced emphasis. They are obsessed not
only with the ugliness of life but with the importance of _things_.
They stress the life of the body, insistent and often sordid, and with
a sort of indecent honesty they violate the sanctuary of the human
mind, and expose it in print. It is analysis, not synthesis; it is
dissection, not creation.
But the dissecting room deals with disease. Have we no health?
Is it extraordinary that there has arisen, in a frantic effort to
restore the balance, to paint the high lights in the picture, a school
which goes to the other extreme and with exasperating smugness cries
that all is always well with the world? Giving us cloying sweetness to
take the bad taste of this one-sided realism out of our mouths?
The saddening part of this rising cult of non-idealizationists is
that behind them lies more conviction. When they write us morbid,
introspective, and materialistic books, it is because they themselves
are morbid, introspective, and materialistic. There are no hypocrisies
for the makers of books. As an author is drab or colorful, sordid or
gay, so will his book be. If he does not feel, the emotion in his book
reveals itself spurious. If his view of life be jaundiced, the book
will be jaundiced, and more than that, may turn a multitude liverish
over night. If he sees, in the group he is depicting, only their
frailties, their miseries, only their frustrations, it is because he
himself is frail, miserable, and frustrated.
There is no such thing as the complete detachment of an author from
his work. His subconscious mind is stronger than his will.
Possibly this is a phase that will pass. Certainly we have no survival
of non-idealistic literature from the past. Men do not preserve their
failures, but they do preserve their dreams. And the great dream of the
world is the movement toward perfection. The reach of the human hand
and soul toward something above and beyond it is the only progress.
Any cynical theory of life which teaches that this reach is futile and
absurd is pernicious. And any theory of life which does not show that
this reach may fail its object and yet have gained by its aspiration,
is a denial of fact.
Any attempt to depict life by things, to emphasize the material at the
expense of the spiritual, any conception of the human soul which sees
it only groveling and not aspiring, may be two-dimensional truth. A
part of the truth. But it is not life, and it is not necessarily art.
There is one hope, however. Cynicism is a fault of youth. Here we have
a young school, and young writers. When what Hugh Walpole calls the
Gloomy Clever Ones have mellowed with experience; when they have lived
and suffered; when they have found that they may write life from a
materialistic angle but that they cannot live it without ideals, nor
help others to live it; when they have learned that a dead cat in an
alley is not only a stench but is also a pitiful thing; when they have
discovered that every man has moments when he ceases to be the thing he
has made himself and becomes the man God made him--then we shall have a
school of great realists.
_Hildegarde Hawthorne_
Mrs. John Oskison (Hildegarde Hawthorne) is a daughter of Julian, a
granddaughter of Nathaniel Hawthorne. She is a brisk woman, with a
deep throaty quick laugh and snapping eyes. She knows personally most
of the successful writers of America and regards them with friendly
if somewhat seeing eyes. She seems to be a woman without poses and
with few prejudices. She has been a book reviewer for many years, and
she has published volumes of travel and occasional essays. She is
conservative in her estimates of books; but she has long watched the
psychology of the reading public and she understands it about as well
as any human being can. Her clever analysis of Harold Bell Wright’s
place among American writers is proof of this. She carries on the New
England tradition without wearing it hung from her bosom by a chain. A
woman worth knowing, she is, whose judgment on what’s good to read is
not to be neglected.
THE WRIGHT AMERICAN
In the canteen I ran in France there was a bookshelf containing some
twenty or thirty volumes, a haphazard collection made up of the
leavings of units passing through, of a small boxful obtained with
difficulty from Y headquarters, and of occasional wandering volumes
arriving from across the seas. The boys patronized the shelf eagerly
enough, and most of the time it was almost empty, volumes of religious
advice being the sole survivors of the demands made upon it. But though
practically everything in the nature of a novel or story went well, I
soon came to know that ten out of a dozen of the boys who asked for a
book would say first:
“Got anything by Harold Bell Wright?”
If I had, they took it. If I had not, they took anything else. It was
Harold Bell Wright against the field, with Wright winning every time.
There were only four of his books in my library, and they were on the
go unceasingly.
Now, I had never read one of them. Neither had anyone I knew--knew, at
least, in that old life which seemed so far away and long ago during
the war. Practically everyone in that literary past had told me how bad
they were, how fearful was the English in which they were written,
how false, vapid, and sentimental were their contents. And I wondered
at the passionate longing for the things displayed by the American
doughboy in his thousands. And not only the doughboy--the officers,
when they dropped in to see if there was something to read, usually
made the same request.
“They may be darned good fighters”, was my thought, “but they certainly
have a mighty poor taste in literature.”
There, of course, was where I made my mistake. They had no taste at all
for literature. Literature was not what they were after. They were not
even seeking a just estimate of human nature or of life. Probably none
of them had so much as a streak of the artist in him, and to appreciate
literature there must be a trace of that creature in your makeup. As
to their fellow men and life as they met it, they doubtless sized up
both in a manner satisfactory to themselves. What they wanted when they
read--well, was what they found in Harold Bell Wright.
What did they find, what are they finding, in his work?
One morning I asked one of the boys, a lad from a small town in
Pennsylvania who had brought back the last of the four, having read the
rest one after the other, why he liked Harold Bell Wright so much. He
was not used to expressing his critical convictions, but finally he
came out with:
“I don’t know as it’s the story so much, but you see, he kind of gets
at what I’ve tried to think about, and writes it so’s I can get hold of
it. And he sure does know a lot of nice American girls!”
At the time I thought no more of the problem of Harold Bell Wright and
his vast public. There were other matters to be attended to.
Yet there is something interesting here. Something it seems worth while
to pursue. The war is long over, the doughboys scattered. But all over
America Wright’s latest book is being read by hundreds of thousands of
copies. Remembering my experience as a librarian in a Y hut in France,
I feel sure that a large proportion of this public is young men--young
men who don’t care very much about reading any other books.
Wondering on the subject, I read this latest book myself. It was the
first one of Wright’s books that I had read, and judgment on an author
should not be passed on the authority of a single volume. But I am not
seeking to pass judgment; what I want to do is to get an explanation. I
think this one book will suffice for that. The book is not a book for
me. It doesn’t hold what I seek in a book. But it is not addressed to
me. It is, however, addressed to America; and America takes it to her
heart with enthusiasm.
In reading the story I found that the criticisms passed on Wright by
people who had never read him were inaccurate. The English he uses
is good English. Good, clear, strong English, with no taint of fine
writing. Nor was the book false or vapid, though it did not escape
sentimentality. But the sentimentality had nothing of the gross or
maudlin. It reminded me of the sentimentality I have met in small town
people who have had no wide contacts with life, and who accept face
values as realities--a mother is to them something inherently noble and
selfless, for instance, and even the fact that they have personally
known bad and selfish mothers will not modify this preconceived stand.
Such persons are shrewd and alert enough in the affairs of daily life,
but they have a certain number of rubber stamps passing as beliefs,
and become beliefs for them. There is a great deal of this sort of
sentimentality in America, and possibly elsewhere.
It is not this that makes Mr. Wright so popular in his country,
however. There are plenty of books written that are ten times as
sentimental as his, and which have no vogue at all; books that tell
more thrilling stories than he tells, too. For it is not the story they
tell that makes them to be demanded. These matters help, but are not
_it_. No. As I read, I remembered what the Pennsylvania boy had said.
He had found thoughts which he had tried to put into words himself,
tried to get clear in his mind, doubtless, expressed by his author,
expressed so that they became his own, expressed as he would like to
have expressed them himself.
The average American is not a thinker. He does not reflect upon life.
Books that are written for those who do think, who do reflect, plays
that are produced for such, do not interest him. They are not in his
field. Now, Wright is not a literary man. He does not wish to be one.
But he does reflect upon life, upon the obvious life with which the
public comes into contact. It is not individual experience he seeks to
express, it is not the growth of character in conflict with life as it
is found in this or that man or woman. Mr. Wright is a preacher. What
he wants to do, and does do, is to expound basic problems of right
and wrong in a manner that will reach the greatest possible number
of persons. He works toward this with the utmost sincerity and in
the clutch of an immense conviction. He has a theme to teach. And he
believes to a passionate degree in America and the American, believes
that if only certain things can be set right, then our ship of state,
our nation, will make the port of the millennium or something almost as
good. There is a moving quality in a belief like this, a beauty; it is
certainly one of the causes of Mr. Wright’s tremendous popularity.
Let there be no mistake as to Mr. Wright’s quality as a workman.
There is nothing ill considered or sloppy in his methods. When he
has finished a book he has put into it the best work of which he is
capable, and taken an infinite amount of pains. He gets his basic
theme first, as clear as possible in his mind, and hangs on to this
until it begins to call for exploitation. Thereupon he sets to work
at his foundations, making a pattern of his idea, with its darks and
lights, its good and bad, its conflict and outcome. He chooses a symbol
that shall express the main thought of the book. In “Helen of the Old
House”, for instance, he wished to make clear that coöperation between
the men who work and the men who think is necessary in this world. So
he has for his leading character a man who is a helpless cripple but
who is wise, full of love and justice. Associated with this man is his
friend and servant, a creature strong physically, but mentally weak and
undeveloped. Between them they work out a satisfactory existence, and
influence the entire book. In this way Mr. Wright plans out his sermon,
presents his lesson. His characters are chosen to exploit his theme
and he selects them, not for their human value, but for their value in
putting into story form the theme in his mind. Last, he proceeds to
write his book in a manner that will appeal to the largest possible
public. He wants the shopgirl and the clerk, the factory hand and the
traction man, the cowboy and the village postmistress to read it, and
he writes it in the way he believes they will like best--he writes it
to meet the popular taste.
You may say that this is not the way of an artist. To this Mr. Wright
retorts that a man who succeeds in his aim, who puts his idea into a
form that will appeal to the public for whom he writes, even though
that public is numbered by the millions, is still an artist. He is
attacking problems that beset his readers, putting them into words
that they have not for themselves, thinking for them the thoughts they
want to but do not know how to think. He is a preacher of democracy
speaking to a public obsessed by bread and butter problems because it
has to be, and trying to show the best road to the solution of the
difficulties of these problems; he is speaking to a public that prefers
types to individuals, and that wants in a book the kind of story that
it wishes for itself. If this writer is criticized by another public
for not proceeding in a manner which would alienate this special, this
large audience, the criticism is based on a misconception of the entire
affair.
Wright’s solutions are sane, sound, and kindly. The guidance he
offers is safe. He has horse sense and his appeal is to horse sense,
perhaps slightly sublimated. If the young American is reading him, he
is reading what will help to clarify and steady himself. Also, it is
to be remembered that many of those who read him are not readers at
all, in the broad sense. If he did not write they would read nothing.
But reading him, they begin to form the habit of reading, and in time
they will take another book than his when one of his is not to be had.
In fact, he is training readers in a nation which, in spite of our
multiplicity of papers and magazines, is emphatically not a nation of
readers.
He is making thinkers too. Don’t be too ready to laugh at that. He may
not make you think, but you are a mere fraction of America. If you want
to know America in the bulk read one of Wright’s books, and try to get
back of it to the men and women who ask for him in their millions, who
want him because he expresses what they need to have expressed. Wright
understands them, and he may help you to understand them. They have
nothing to do with literature and its standards, but they have a whole
lot to do with America and her standards. Wright’s creative energy is
directed toward them, and the book he writes is a mere instrument to
his end, shaped to fit it to its use. That is why he is so popular: not
because he cannot give a literary public what it cries for, but because
he can give his own public what it really needs.
_Arthur Bartlett Maurice_
With a memory for literary facts that is overpowering, Arthur Bartlett
Maurice has long been known to the book loving public for his
“Chronicle and Comment.” This was famous in +The Bookman+ years past,
and now appears in the literary supplement of the New York “Herald”,
which Mr. Maurice is editing. It is his wont to remember obscure
facts about the authors of a generation past, though he, himself, is
a youngish man. He has written books of such reminiscings as “The New
York of the Novelist”, “The London of the Novelists”, etc., etc. For
sixteen years he was connected with +The Bookman+, for nine of those
he was its editor. His contact with writers was constant and broad.
He brought to the magazine at a time when the United States had not
awakened vividly to an understanding of its own writers, the charm of
enthusiasm and personality. Mr. Maurice is an indefatigable worker.
He pursues a literary fact with eagerness and purpose. Usually he
downs it. He has an exceptional editorial sense. From a journalistic
standpoint his supplement is the liveliest in the country. Maurice is
a Princeton man, and a loyal one. He spends much time there. He was,
in fact, born as well as educated in New Jersey and has lived for some
years in East Orange. Mr. Maurice is an able editor and journalist, a
rapid and engaging conversationalist, a companion of rare wit and charm.
A LANDMARK PASSES
The Pension Vauquer is no more! Till yesterday, the structure which
Henry James felicitously described as “the most portentous setting of
the scene in all the literature of fiction” had, for a full hundred
years, remained substantially true to the picture that Honoré de Balzac
drew in the pages of “Père Goriot”. The house and the garden with its
well and graveled walk were there for the contemplation of the literary
pilgrim. Over all there was the brooding silence of ten decades. But
that was yesterday. There is little silence there to-day. For where
Trompe-la-Mort whispered his cunning temptations in the ear of Eugène
de Rastignac; where Goriot, the Lear of French fiction, wept over the
ingratitude of his daughters; where, of an eventful evening, there
came the tramping of feet, the clang of muskets against the pavement,
and the ominous command: “In the name of the King and the Law!” now
honks, not the horn of regal Renault or pompous Panhard, but the horn
of the ubiquitous Ford, or of its French equivalent, the Citroen. The
“most portentous setting of the scene in all the literature of fiction”
has become an auto-service station.
“Mme. Vauquer (_née_ de Conflams) is an elderly person, who
for the past forty years has kept a lodging house in the Rue
Neuve-Sainte-Genevieve in the district that lies between the Latin
Quarter and the Faubourg Saint-Marcel”. These are the opening words
of the novel that posterity seems to have accepted as Balzac’s
masterpiece, the most glorious stone of that vast edifice which is
the Comédie Humaine. The house stood at the lower end of the Rue
Neuve-Sainte-Genevieve, just where the street begins to slope down
to the Rue de l’Arbalète. Balzac, in his day, found the quarter the
ugliest and the least known of all the quarters of Paris. Ugly and
unknown it remained all through the nineteenth century and the first
two decades of the twentieth. To find it to-day is like finding
one’s way to the heart of a maze. That remoteness had the virtue of
preserving it till the last from the invasion of the modern Hun, the
apartment constructing architect. Ugly as it is, it possesses an
amazing fascination. With the dirt and squalor and gloom the glamour
of the dark old world is there. Here is no Haussmannized Paris, but a
vestige of the ancient Lutetia that knew the Valois. The shades of the
Villon of history and of the Quasimodo of Hugo’s fantastic imagination,
lurk in such streets as the Rue Saint-Médard and the Rue Mouffetard.
Balzac identified the Pension Vauquer as being in the Rue
Sainte-Genevieve. But the names of Paris streets are subject to
frequent changes, and long ago the Rue Sainte-Genevieve became the
Rue Tournefort. The actual number of what was till yesterday, by
reason of its unchanged state, its romantic appearance, and its vivid
associations, the show place among all the shrines of French fiction,
was 24. From that doorway Eugène de Rastignac went forth in the night
to make his way to the heights of the cemetery of Père Lachaise, and
from its eminence to shake his fist at the city spread out beneath him
with the ringing cry of defiance: “A nous deux maintenant!”
_Arthur E. Bostwick_
One of the best known librarians in America, Arthur E. Bostwick, is
also editor, encyclopedist and author. White-haired, tall, powerful,
kindly, he has a sense of humor that is dry, keen and tempered by
years of wise study of life. Is there any better way to study life
than through mankind’s approach to books? Dr. Bostwick was born in
Litchfield, Connecticut. He spends his summers there now. He was
graduated from Yale University, where he was also a post-graduate
student, an instructor and a proctor. In his editorial capacity he has
been associated with “The Forum”, “The Literary Digest” and various
dictionaries. He is now chief of the St. Louis Public Library. His
books are numerous. I have seen him address a large group of his fellow
librarians, and he has the courage to tell stories on them as well as
about them. He has been active in his interest in politics, religion
and the public efforts of various communities. A serious-minded citizen
whose interest in books is abiding, and whose knowledge of them is
profound.
THE CHURCH AND THE LIBRARY
There was a time when to be literary was to be ecclesiastical. Ability
to read was sufficient proof of exemption from the jurisdiction of the
civil courts; collections of books were exclusively housed in buildings
subject to ecclesiastical control--churches, monasteries, colleges.
Literature owes its preservation to the church of the Middle Ages, and
the church, in its turn, drew much of its vitality and influence from
its connection with letters.
This state of things no longer exists. Literacy is not for the clergy
alone, but for the citizen. The state teaches us to read, and it
assembles and distributes books. Schools and libraries are still
maintained by religious bodies, but we are agreed as never before that
everybody must be able to read and that illiteracy is a disgrace to the
community where it exists.
Thus the public library has become a lay concern. It has little to do
with the church, and the church, with some exceptions, does not heed
it. It is the great neutral public institution, storing and making
accessible recorded opinions but favoring none. And the odd thing is
that in so far as it ignores the church the library is nullifying in
one place its latest step in advance, which is to work with, in, and
for groups within the community; while by turning a cold shoulder to
the public library the church is refusing to make use of one of the
most powerful aids that could be offered her for the fulfilment of her
mission.
The modern library began to work with groups when it began its work
with children. Since that day, quite within the memory of most of us,
it has taken on teachers, the foreign born, the industries, business
men, hospitals, the military service, and many others. Group service
has been rapidly and successfully extended until it forms a network
over the whole field of the community.
Contact with groups has been facilitated both by the feeling that
initiative in service could properly be assumed by the library, and by
the discovery that library service by no means ends with the provision
of books or even of material in print, that it is a matter of social
contact. Many librarians have become so thoroughly adjusted to the
social contact of the library with groups that they are almost ready
to throw overboard the old name of library altogether, and consider
that they are conducting community clubs, whose chief aim must be to
encourage mental contacts and reactions, and to store and distribute
what must always be the chief tools through which these contacts and
reactions are made effective--namely, books.
The purely experimental manner in which this group service has
developed is evident from the fact that no comprehensive plan of it
has ever been made. The group closest in contact, and therefore the
one that was pressing hardest, has always been the one to receive
attention--to be given room, supplies, and service. The groups that
were already fairly well able to take care of themselves did not need,
of course, to exert this pressure, hence service was extended to them
later, or it still remains to be extended. Now the churches have always
been among our best organized groups, and they have themselves felt,
equally and at the same time with the library, the impulse toward
socialization. The institutional church is the response--it is an
American response, just as that of the library is. The older heads are
as much scandalized to see dancing and eating, and community singing
and politico-social discussion going on in the churches, as they were
to witness the same things in libraries. It is because the church and
the library have thus moved on parallel lines, that they have been so
long in coming into contact. A denominational body, however, is limited
on all sides in this social effort, in a way that can never be felt by
a public institution like the library. In the last analysis every man
has his own religion, just as he has his own philosophy--his mind is
an isolated point in the field of belief. Churches are groups of these
points so near each other as to feel sympathetic attraction. Some day
we may have this sympathetic nearness throughout the whole field. Until
it exists, we must rely on other means to get minds and spirits into
universal contact, and this means the public library is now furnishing
to a greater extent than either churchmen or non-churchmen yet realize.
There is one valuable piece of work that can be done by church and
library together, and that is to labor for Christian unity. I do
not mean by this a state of things where all Christian bodies think
alike or do alike, much less an organic union, but a condition of
affiliation, acknowledged or not, where they are willing to work side
by side. There are not wanting plenty of practical evidences that
this kind of unity is already here in some degree, and that more of
it is on its way. There is the University of Toronto, an aggregation
of denominational colleges--Roman Catholic, Episcopalian, Baptist,
Methodist--each a residential and teaching institution, while the
university itself gives all the degrees and instructs in purely
non-religious subjects such as mathematics or logic. There are the
religious houses going up in connection with many of our western
universities. Originally social in their nature, a combination of
dormitory and club house, these are beginning to assume also teaching
functions, with the consent and approval of the universities. For
example, Wesley House at Urbana, Illinois, an admirable and beautiful
collegiate structure, is about to offer religious or semi-religious
courses, for which the University of Illinois will give credits. The
war drives, in which Catholic and Protestant bodies took part jointly,
will occur to all. The library cannot afford to be left behind in such
a movement, and indeed it has itself been a pioneer in some localities.
The New York Public Library has several branches that originated as
church libraries--both Catholic and Protestant--and sensibly no effort
has been made to remove the religious element. Why should we not
cater to strong regional church groups as well as to regional groups
of industrials or scholars? In St. Louis one of our sub-branches is
the Catholic Free Library, given over to our care by the Archbishop
himself. I see no reason why branches should not specialize in
Methodist or Unitarian literature. They do in Jewish literature,
through the accident that the Jews are a racial and to some extent a
linguistic as well as a religious group. One cannot well purchase a
Hebrew collection without buying works on Jewish faith and practice.
This is to a lesser extent true of other linguistic groups in which
the overwhelming majority are of one faith, as with the Greeks, the
Russians, the Italians, or the Spanish.
The odd, the almost unbelievable thing is, that most religious groups
in this country seem to be as unaware of the public library as we
are of them. I will make but two exceptions--the Roman Catholic and
the Christian Scientists. The Roman Catholics have been active in
public library matters ever since I have known anything about public
libraries. They have operated public libraries of their own and they
have not hesitated to affiliate with tax-supported libraries, or to
become merged in them. There are Roman Catholics who shun the public
library or who look askance at it, but of those who seek it and work
with it, as I have known them, I must say that their attitude has been
liberal. They object to violent or scurrilous attacks on their faith,
and ask to have books containing these removed from the shelves. I do
not blame them. But they do not want a purely religious collection.
The Christian Scientists apprehend the library intensively in limited
directions. They have committees whose business it is to see that
all libraries are well supplied with “Science and Health”, and they
encourage the purchase of some other books. I have never known them
to protest against the presence in a library of attacks on their
faith, although there are some pretty stiff ones. But they are very
persistent in their objections to the classification of such attacks
under Christian Science. There is something to be said in favor of
such a view, but so long as we put critiques of Comte under positivism
and agnostic treatises under religion, we shall have to treat all
controversial books in the same way. Occasionally a high-church
Episcopalian will object to our use of the word “Catholic”, or to our
treating pre-Reformation liturgical material as if it belonged only to
the Roman branch of the church.
Outside of these evidences of religious interest, I have never known,
from my library contacts with readers, whether they were Baptists or
Mohammedans, Buddhists or Methodists. I account this a fault of my
own. It is strange that the religious group is the only body that the
librarian has not gone out to seek with some activity. We long ago
ceased to blame plumbers, or manufacturers of textiles, or Hungarians,
or business men, if they did not use the library. We are recognizing
that such failure is our failure. It may be theirs too; but we can mend
our own ways rather more quickly than other people’s, and so we soon
learned to go out after these gentry and to return with more or less
willing bunches of them. But who ever heard of a librarian going out
after a Methodist, or a United Presbyterian, or a Congregationalist?
The very suggestion makes one smile; and yet some of these are quite as
good game as engineers, or aviators, or students of Gaelic.
Here I may anticipate an interruption: “How about the Sunday Schools?”
We have long been treating Sunday Schools as groups, but not as
religious groups. The old Sunday School library was a joke. In my
boyhood, “Sunday School book” meant unreadable, mock-pious stuff
of the variety turned out by the ton from the mills of the Society
for the Promotion of Christian Knowledge in London, and from other
similar ones in our own fair land. This type of library is not yet
extinct--more’s the pity--but it has been altered or greatly modified,
largely, I believe, by the influence of the public library. In some
cases the part of the library devoted to general reading has been
abandoned, the children being sent to the public library. In others,
the type of book distributed has been improved. So far, however,
the influence of the public library has been away from religious
instruction rather than in aid of it. I see no reason why the Sunday
School group should not be given the aid that is not withheld from
other groups, and why a branch library should not contain a small
collection of instructional religious works. These would include
general titles and also books for the special use of the denominations
whose churches are in the immediate vicinity. This might well form part
of a general effort to supply more books on denominational subjects.
Our libraries are generally deficient in religious reference books.
We buy lists of English peers and of American dealers in plumbing
supplies, but we neglect the official clergy lists of our churches.
Every library of good size should include what I may call the official
literature of each church--its yearbook with a list of its clergy,
its fundamental law, whatever that may be termed in each case, its
statement of doctrine, its liturgy if it has any, and its authorized
book or books of hymns. If extended to all the principal denominations
this collection alone would constitute a very respectable library; its
limits, of course, will be determined by the necessities of the case.
Most of it may be bought once for all; the annuals should be purchased
as they appear. To these should also be added, however, considerable
unofficial material: the history of the denomination, the lives and
chief works of its principal divines, plans and descriptions of some of
its noteworthy church buildings, and so on.
Much of this will introduce the librarian to men, doctrines, and
events that he never heard of before, although probably they are no
more remote from his ordinary life than the contents of Maxwell’s
“Electricity” or a grammar of the Gaelic tongue. We buy these, not
because we know and appreciate them ourselves, but because somebody
else does. When we think that the religious groups are worth attracting
and attaching as well as the electricians and the philologists, we
shall at least divide our attention.
All these things will be parts of the library’s contribution toward
Christian unity, as I understand that much abused term and as I am
using it here. The first thing that we need, here as elsewhere,
is a survey of faith and order; and with all the work done toward
unification of Christianity, I cannot see that this has ever been
touched, perhaps not even sensed as a necessary element. Yet how can we
reconcile Presbyterian and Baptist, Protestant and Catholic--nay, look
abroad and ask how we can bring together Buddhist and Mohammedan, Tao
and Shinto, unless we know what now separates them? Much of this is on
record, but it is nowhere assembled. What Christian bodies believe in
justification by faith? Which have more than one order in the ministry?
Which are Congregational in government? Which have bishops? Which
believe in the apostolic succession? Do all accept the Apostles’ Creed
exactly as most of us recite it? I need not go on. The fact is that no
one Christian body knows exactly how near or how far it is from others.
It fails to recognize its closest neighbor.
The first step toward a general, intelligent recognition of points of
agreement and difference is the assemblage of material, and it is such
an assemblage that the library would be making, if it should proceed
as I advise. I do not advise for this purpose filling the shelves
with controversy, and buying works intended to convert Protestants to
Catholicism and Unitarians to Methodism; but I do think that we ought
to have the facts. It is a fact that a body of persons believe in a
stated thing, whether that thing is true or not; and for purposes of
record, of survey, these facts we must and should have somewhere.
Of the inspirational literature of religion, I need scarcely speak.
We are less derelict in our duty here, probably, than in any other
branch of the subject. Much of it is not denominational--it is merely
Christian. It is in the realm of feeling rather than in that of reason
that men first get together. Here we have already the Christian
unity of the spirit. “The Imitation of Christ”, “The Pilgrim’s
Progress”--these and a hundred other religious classics we have on our
shelves already. Yes; and what do we do with them? Will the librarian
who recommends to a reader the “Journal of John Woolman”, of which
she herself never heard until we knew that dear old President Eliot
liked it, recommend also “De Imitatione Christi”? If not, why not? Did
any librarian ever urge anyone to read the Bible? Must we not force
ourselves to realize that religion is qualified to bear a larger
part in the lives of most of our readers than even the Theory of
Groups or the fate of the Lost Digamma? Even Mr. Wells, who thinks the
American Civil War of only sufficient world significance to warrant the
expenditure of a paragraph, and Abraham Lincoln as not worth mention,
spends many a page on Buddha, and Mohammed, and even on Jesus Christ.
No, religion is still a world force! Librarians cannot be the universal
educators--the union of social forces--that they aspire to be, without
working with it and toward it. If there is
One far-off divine event
To which the whole creation moves,
the library must perforce move with it.
_Aline Kilmer_
In “The Bookman Anthology of Poetry” I wrote the following of Aline
Kilmer:
“The first night that I met Aline Kilmer was at her house in Larchmont,
just before the children, Michael, Deborah and Christopher, went to
bed. Kenton was away at school. It was these unusual children who moved
with quaint grace through her early poems. Fair-haired, wide-eyed,
with the movements of an elf and the shyness of a faun, little Michael
is like a cherub stolen for an earthly visit. I had only just met the
father, Joyce Kilmer, shortly before he entered the army, and had
just missed seeing him again in France shortly before he was killed
in action. The children have inherited their mother’s gentleness and
wistfulness, and their father’s dreaming eyes. It is a family over
which there seems to fall the beauty, mysticism and faith of the Roman
church, with an especial benediction.”
This worried her. She likes to be considered more practical than I have
made her seem to be. She is. A good housewife, and a hard working one,
too, an earnest student, a whimsical essayist, and, in the main, not a
dreamer. However, any sketch of Aline Kilmer must include a description
of that very unusual manner of hers, that quite undeniable charm,
whether she likes it or no.
ON WORKS OF REFERENCE
Lalage, who lives with me, is occasionally moved to bitter
lamentations. Anyone who lived with me would lament bitterly
on occasion. As a philosopher I can realize this without undue
heartburning. But I claim that Lalage is unreasonable in doing this,
because she does not lament those things that are really lamentable.
Her chief cause of complaint is that my library contains no works of
reference. In vain I tell her that I have a dictionary, the finest
of all dictionaries. She only asks me coldly to produce it, and I--I
cannot. And she will not accept my unsupported word. I am unable to
produce the evidence because of all my books that dictionary is the
most butterfly-like. It settles now here, now there, and remains so
short a time in each place that Lalage, who has lived with me for eight
months, claims with apparent sincerity that she has never seen it. When
I have seen it myself I cannot say that I have paid much attention to
it except to experience a pleasantly possessive thrill. I never consult
it. I never need to. Usually I can grasp the meaning of an unfamiliar
word by the context and as for spelling--well, I am a good speller.
On those rare occasions when I really need to look up a word, my
dictionary being so much the will-o’-the-wisp, I have a better and more
informative way of looking it up. I take some book that I feel sure
will somewhere or other contain the word and I read through it until
my search is rewarded. In this way I refresh my memory of books that I
have read and even sometimes read books that otherwise I never should
have read.
Recently I have been informed that this practice of mine is one of the
many admirable methods of the Chinese. To find the proper use of a word
they search the classics. If that word does not appear in the classics,
so much the worse for the word. It dies.
From the actual use I have made of my dictionary I have got little but
sorrow. Many excellent words are ruined by too definite a knowledge
of their meaning. There is the tragic case of “hectic”. I had always
considered it a highly expressive word. I had used it joyously for
years to mean a convenient combination of “nervous”, “excitable”,
“feverish”. One ill-starred day I looked it up and I have never been
able to use it since. Its actual meaning is so far removed from its
meaning as used by me and the vulgar generally that I cannot even
remember what it was. No one could be expected to remember it. It
simply has nothing to do with the case.
But it is not only a dictionary that Lalage would have me possess. She
thinks I should have an encyclopædia. Now this is really the height of
folly. She knows that I have not sufficient room for those books that
I already own. An encyclopædia is ugly and cumbersome. Also it is an
expensive thing.
And to an encyclopædia there is the same serious objection that applies
to most works of reference. It is too practical and too detailed. What
information the average human mind might conceivably be able to grasp
is smothered under a mass of technicalities and so lost.
I have, for instance, read the article on navigation in an
encyclopædia. It was, doubtless, sound and, as such articles go, well
constructed. Far be it from me to offer any impertinent, half baked
criticism upon it. But the fact remains that not one shred of it clung
in my mind. What knowledge I have of seamanship, and it is ample for
my needs, I got from “The Hunting of the Snark”. From a work like that
you learn indelibly. You learn with the Bellman. In company with that
intelligent but untrained gentleman, I never knew whether an east wind
blew from the east or to the east. It is not a thing one can easily
inquire about. One might safely guess at it if it were not for the
technical terms. The phrase “due east” is certainly confusing if not
deliberately misleading. But after one reading of “The Hunting of the
Snark” the truth is fixed in your mind.
I do not think I am peculiar in this. Is there anyone who has not
learned more history from historical romances than from the pages of
histories themselves? I believe not.
It might be possible, with a little research, to draw up a list of
such substitutes to fill the places of all dull reference books on
library shelves. Dozens of delectable ones flash into my mind. But I
hold my hand because if I presented this list I should then be in the
despicable position of having perpetrated a work of reference. This I
have vowed I shall never do.
So I claim that Lalage is unreasonable. But I think privately that
it is better so. Unreason never annoys me. I have with it unfailing
patience. If Lalage came to me and complained that my housekeeping
compared unfavorably with that of Mrs. Jellyby--if in these benighted
days there are many who do not recognize Mrs. Jellyby I am glad of
that, because they won’t know what I mean--if she pointed out that I
begin a thousand things that I never finish, if she showed me that
though I am potentially a capable person I never accomplish anything,
she would be perfectly right. Reason would be all on her side. But then
I should be very angry.
_Floyd Dell_
Floyd Dell was born in Barry, Illinois; but literary Chicago claims
him as her own. He is a slight, shy, sensitive man, essentially the
poet in temperament; but turned irrevocably novelist. His education,
which was never formal after early high school days, is broad, and
in some respects, deep. A voracious reader, he has taught himself
what many academicians do not know how to teach: the ability to think
constructively. His training as a writer began with reporting days in
Davenport, Iowa. Later, in Chicago, he became associate, then editor of
the Literary Page of the Chicago “Evening Post.” Since then he has been
connected in one way or another with “The Masses” and “The Liberator”
but he likes to feel that his active editorial days are past, and that
practically all of his time can now be devoted to work on his novels.
His critical viewpoint is well shown by the essay I use here. As a
novelist he is more emotional. Any one of his three stories displays
that. He is a conservative by nature, I believe, but intellectually
a radical. He believes, however, that “politics have nothing to do
with letters”. For that reason he has turned his political ideas into
channels of literary criticism. Dell is keen, fearless and just. For a
time he was somewhat biased by his great interest in psychoanalysis;
but even this is wearing off and he has again become the thoroughly
tolerant and wise young man. He is a born parent, and though he has his
own son to instruct, he still enjoys the rôle of preceptor. To this
position, however, he does not elect himself, and those who seek his
advice are fortunate.
CRITICISM AND BAD MANNERS
When I was twenty-two years old, and had just become the associate
literary editor of a Chicago newspaper, I had a painful experience.
The year was 1909, and in that year Hamilton Mabie, Richard Watson
Gilder, and Henry van Dyke still set the standards to which American
literary culture conformed; Dreiser had been suppressed and was, by
all but a few, forgotten; Mencken was just beginning to be heard of as
the writer of a caustic column in the Baltimore “Sun”; Sinclair Lewis
had just graduated from Yale and got a job as a reporter somewhere;
and Sherwood Anderson was an advertising man who dreamed of writing a
novel. In those days Winston Churchill represented the sober dignity
of literature to the American public. And in poetry--well, nobody
paid much attention to poetry anyway, in those days; there were real
poets, such as Vaughn Moody and Anna Hempstead Branch, but they were
overshadowed by the colossal fame of James Whitcomb Riley. The voices
of Vachel Lindsay, Louis Untermeyer, Ezra Pound, Edgar Lee Masters,
Carl Sandburg, Edna St. Vincent Millay, were yet to be heard. And it
was in connection with poetry that the painful incident I am about to
tell happened to me.
There was an American poet--and I hope he will forgive me for telling
the story--who shared the universal neglect accorded to poetry at
that time, and yet, or so it was said among those who knew, was an
authentically great poet. He had been acclaimed abroad. Foreign praise
has always weighed heavily in the American scale of critical opinion;
it weighed with me. It happened that I had not read any of this great
poet’s works; but I was prepared to be his American discoverer.
At this point, through a friend, the poet himself heard of my interest
in him, and sent me a complete set of his works, each volume being
inscribed: “From an older to a younger poet.” Here I must confess that
the poet had been shown some of my youthful verses, and was reported
to have praised them; and perhaps it was his good opinion of my poetry
which made me so ready to have a good opinion of his.
Then--alas--I read his works. They represented, to my mind, the banal
old; and, whether or not they were as banal as I thought, they were
certainly unlike what I wanted American poetry to be. And I found
myself in a painful situation. If I wrote what I thought about this
poet, it would be bad manners; if I refrained from writing anything
at all, that would be cowardly; and if I wrote anything less than the
truth, I would be in league with error.
The result was that, with a feeling of desperate heroism, I wrote the
whole truth, as I saw it--mercilessly, and at considerable length; two
columns of damnation, as bitter and incisive as only a young critic in
a virtuous mood could make it. I hate to think how the poet must have
felt, reading that review without any preliminary warning!
I can find many excuses for my young cruelty; but they amount to a
plea of ignorance. Not that I think I was wrong about the poet; at
least, the younger generation of critics agreed with me, and among us
we blazed a way for the new American poetry. I do not go back on my
youthful opinions; but I do regret my youthful manners, and I make in
my behalf the plea of ignorance.
I did not know how it hurts to be criticized like that, for one thing.
I have learned since then. Furthermore, I did not know how great an
advantage a reviewer has over an author. The young reviewer feels--at
least I did--that he is St. George attacking the Dragon. But that is
scarcely the case. The Dragon of Error is usually a well meaning old
Dragon; and St. George is not merely, as he thinks of himself, a boy
from the provinces who must needs exert all his powers--he has, in his
newspaper, a modern machine of efficient destruction, and he is really
firing from a battleship upon helpless villages. The authors haven’t
newspapers to fight back in; and besides, it is not their business to
fight back.
I did not realize, then, that it is no crime against truth and beauty
to write bad poetry or bad fiction. Goodness knows, the bad writers,
no less than the good ones, are usually dedicated to truth and beauty,
as sincerely as any young critic. They are doing the best they can.
Who--including Harold Bell Wright--would not be glad to write a book
which the young critics would place in the pantheon of literature? And
who--including the late Henry James--would not have been glad to be
able to write a best seller? One writes what one can.
This is not an argument for the abolition of criticism, nor for a false
and sickly tolerance of bad writing. Sincerity in criticism helps to
produce sincerity in creative art, and I flatter myself that my own
young critical brutalities, of which I have given an instance, have had
their share in the bringing to birth of a new and more sincere American
literature. At the same time, I think that all criticism is motivated
by jealousy and envy: the critic is a critic, usually, because he has
not yet had the opportunity to do creative work himself; and he is able
to be generous to creative artists only when he recognizes in their
work something akin to what he wants to do himself, so that he can
feel in such a writer an ally and not an enemy in his own prospective
campaign. These motives are, of course, hidden deep below the level
of consciousness; but they are there--and they have their origin in
fear. The established writer fears the emergence of a new taste which
will reject his work and leave him without an audience; he fears the
younger generation that comes knocking at the door, and, with honorable
exceptions, he sneers at the younger generation’s queer and different
literary beginnings. But in precisely the same way, the younger
generation fears the older--fears that the public taste will never
change, that its own talents will never be recognized and rewarded, and
that the Old Gods will reign forever; hence, in every organ of opinion
which it can initiate or capture, it sneers at the older generation,
and calls the productions of that generation by every bad name in the
critical vocabulary.
It is human nature to be afraid; I am not complaining of that; but what
I object to is the “rationalizing” of these fears, their elaborate
justification by critical theory. It would be much better if we
admitted the fact, and proceeded to deal with it as we deal with other
fears, by social methods which tend to mitigate them. These social
processes all fall into the general category of manners.
It is desirable, in the first place, that writers should, to some
extent, know each other personally. It is sometimes objected that
personal acquaintance makes honest criticism impossible. That is not
true; it merely makes ill mannered criticism more unlikely. One
cannot recklessly impute all sorts of vicious motives to a writer
with whom one may presently have lunch; one is, in fact, required to
criticize, and not merely malign, his works. It is my opinion that
honest criticism, of the most unfavorable sort, is consistent with a
degree of courtesy which would not interfere with agreeable personal
relations between author and critic. Every writer has the experience of
finding that some of his best friends do not like what he writes; but
their friendship usually remains unimpaired, because the traditions of
friendly intercourse require that this dislike shall be expressed in
a friendly way. Your friend, in giving you his opinion in private, is
under no obligation--as the unknown newspaper critic seems to be--to
make you out a complete ass or an utter scoundrel. As a matter of fact,
you are neither, and the friendly criticism is usually far more to the
point than the newspaper denunciation.
The generations move swiftly in these days, and I, who am still a
member of a younger generation which has just begun to get a foothold
in the citadel of public taste, find myself denounced by a still
younger generation as one of that gang of tyrants and oppressors whose
authority must be destroyed if literature in America is ever to come
into its own. I dare say I have incurred some of these denunciations by
my critical airs of owning, together with my gang, the earth and the
fulness thereof; but these airs were merely intended to impress a still
older gang whom I had been in the habit of regarding as tyrants and
oppressors. It is also true, doubtless, that I have sneered at some of
these younger writers; certainly they have annoyed me by their tricks,
especially by what seems to me a wilful unintelligibility; but even so,
I ought not to have sneered. That is simply a bad critical habit which,
once acquired, it is hard to get over.
In the pages of +The Bookman+ recently I was guilty of sneering at
two writers of a “generation” younger than my own. I did not realize
that I had done so until one of them called my attention to it in a
letter. “Why”, he asked, “did you say that I had no point of view?” I
apologized to him warmly, remarking that when critics said that about
my own novels it always made me angry. An author, of course, always has
a point of view, and it is absurd, as well as ill mannered, to assert
that he is such a fool as to think that he can write a novel without
one. He may fail to convey to his readers, or to some of them, what
that point of view is; and the critic is perfectly within his rights
in saying as much. But the critic has no right to assume that a novel
which seems to him an inchoate collection of materials is anything
worse than a failure on the part of the author, who certainly believed
that he was presenting the public with an orderly and significant work
of art. Moreover, it is honorable to fail in such an attempt; and it is
the critic’s business, rather than to assume that the author has been
too lazy to try to write a good novel, to discover why he has failed.
It is merely easier for the critic to believe the worst; and it is
generally the critic who is lazy, and not the novelist.
It is, of course, an imposition upon a poor devil who wants to write
novels of his own to put him at a desk before a pile of other people’s
novels and ask him to criticize them. No wonder he is often impatient;
and no wonder, either, that lacking as yet the opportunity to make
himself known to the public by novels of his own, he should seize the
occasion to shine at the expense of the authors whom he is supposed
to be criticizing. I have done that often enough myself to have no
hesitation in attributing it as a natural impulse to other reviewers.
And when I read one of those reviews of one of my own novels, I address
the reviewer in imagination thus: “Young man, you have my sympathy.
It is a shame that you should have to spend your precious hours, which
should be dedicated to your own first novel, upon a book of mine in
which you are obviously not interested in the least. This is a hard
world for beginning novelists. But have patience--remember that some
of us have gone through the same mill. And besides--I am really not to
blame for your predicament. _I_ did not ask you to review my novel. And
it is not quite fair of you to punish me for it. I do not want to keep
you from writing your novels; all I want is the privilege of writing
my own--a privilege which you seem to wish to take away from me. All
right--you’ll get a taste of your own medicine some day! Who do you
think is going to review that great book of yours when you do write
it? Several dozen young men who want to write their own books, and who
will consider your novel merely one more affliction to be impatiently
suffered. Then you’ll see how it feels!”
The reviewing of books, regardless of the quality of the books, is
likely to be for the young critic an agony that, to be endured, must be
mitigated by some opportunity for presenting _himself_ to the public.
That’s all right: if the book is not, in some sense, about himself,
he has no business to be reading it; and if it _is_ about himself--as
the most interesting novels are--he is quite right in saying so. The
most entertaining, if not always the most informative, reviews are
accounts of “the adventures of a soul among masterpieces”. But accounts
of the misadventures of a soul among books that are not felt to be
masterpieces can be very dreary and very offensive reading. If a book
makes the critic angry, that is something; but if it merely bores him,
why should he trouble to tell us so? A history of a critic’s boredom
is itself a bore; and the critic who is bored by almost everything in
the world lacks the essential ingredient of the critical faculty--a
sensitiveness so acute that the critic can become excited over things
which other people are too dull to notice for themselves. A habitual
falling back upon the critic’s own experiences may or may not be a sign
of æsthetic boredom; it all depends on whether the “I” thus placed
in the foreground is relevant to the literary topic nominally under
discussion. Every young newspaper man has tried the trick of handing
the city editor a story of his failure to get an interview, instead of
the interview. But no newspaper man has yet had the nerve to hand in
a story of how he preferred to sit in the park and watch the pigeons
rather than talk to the man he was sent to interview. A good deal of
“brilliant” “young” “criticism” is like that.
But while there are many excuses to be made for bad manners in the
young critic to whom book reviewing is an unwelcome chore, these
excuses scarcely apply to the established novelist, who is presumably
not reviewing books to keep the wolf from the door. The only good
reason for one novelist’s reviewing a book by another is a genuine
desire to say something about it. And he is dealing here with an equal
whom he is under every obligation of civilized human intercourse to
treat with courtesy.
I have already given an instance of my own failure to behave according
to these standards, so I shall take the liberty of mentioning a similar
failure on the part of another. One would not need to look far for
instances. But as a most glaring example, I post up for consideration
some excerpts from a review by a prominent American woman novelist,
whom I prefer not to name here; though for purposes of incredulous
reference I don’t mind stating that the review appeared in the initial
number of “The Literary Digest International Book Review.”
I have always found ---- peculiarly interesting, for the reason
that she is one of the few women writers of fiction with intellect
as well as talent; and it has diverted me to speculate on what
she would have been if she had married and had a brood of
flesh-and-blood children, or if she had elected to study life and
men at first hand after the manner of Georges Sand and other gifted
ladies rather more discreet but no less thorough....
As I have intimated before, I have often wondered how Miss ----
would have treated sex, if, instead of being a woman of impeccable
virtue, she had chosen to be a _dame gallante_. Writers of
first-hand experience with the vital, but nevertheless commonplace,
facts of life, generally avoid erotic scenes, partly because a
suggestion and an appeal to the reader’s imagination is more
esthetic, partly because, their own curiosity satisfied, they have
no repressions or inhibitions to gratify in the act of writing.
The creative faculty takes a wider range. Sex plays its part in
their work as in Life. It is a mighty force, but it is not the
whole thing. Therefore, I do not hesitate to believe that if Miss
---- were as adventurous personally as she is imaginatively, her
striking talent would have a freer sweep....
Enough!
I see that I am a member of the older generation after all. But not
in my wildest youthful days as a critic would I have considered it
decent to taunt a woman novelist with her presumed virginity--or a man
novelist, either, for that matter! When criticism opens its gates
to such personal gossip as this about living writers, anything is
possible--all standards of critical propriety are destroyed--there is
no longer any protection for writers from the vulgar curiosity of a
public less interested in literature than in “life”. And what will it
all lead to, I ask, but red ruin and the breaking up of homes?
There are, as I can call to mind, a number of quaint facts alleged
about the private lives of certain prominent contemporary writers,
American as well as English; and speculations as to whether, if these
facts had been otherwise, the prose or the poetry of these writers
would be better or worse--such speculations would doubtless be more
interesting to the general reader, trained in Sunday Supplement taste,
than what has heretofore passed for criticism. Are we to expect this
sort of thing? I hope not!
_Zona Gale_
As a person, Zona Gale is thoroughly entertaining in two distinct
moods. At one moment she speaks with the accents of “Pollyanna”, the
next with those of her own “Grandma Bett”. She is slight, delicate,
pretty, shy but firm. She is quiet in her gestures and her voice
is soft. She will allow herself the great pleasure of an emotional
experience such as helping a crippled boy to write, and finding in
him something which is, presumably, quite beyond his actual talents.
Yet she has a dry, detached manner of viewing life. While she has
forced herself to believe that life is sweet and beautiful, her work
often shows that she knows better than that. She was born in Portage,
Wisconsin, and she has lived there most of her life, except while she
was at the University of Wisconsin, and in New York City working on a
newspaper. She is eager, ambitious, sympathetic. She has the ability to
dramatize the optimistic side of events. She is the type that champions
pacifism avidly and has principles about kindness to animals. She
worked night and day in New York until she had succeeded in gaining
the attention of various editors for her poems and short stories.
She then returned to Wisconsin, where she remains. Occasionally she
arrives suddenly in town, sees her friends, produces a play (there
are two waiting in the Broadway offing now), indulges in a round
of gaieties, then turns again to the native state and her charming
mother. Her earlier books betrayed her most sentimental mood. “Miss
Lulu Bett” and “Birth” show her at her truest. Perhaps she has been
too cloistered ever to go beyond mild cynicism and surface realism.
When she characterizes, she rings true, but when her characters
require great emotional experience she finds herself at a loss. A
writer of distinction, she has yet reached no stable ground. She is
an artist only in part. Perhaps she is too much the woman to be the
uncompromising craftsman.
THE NEW WORD IN PLAY PRODUCING
Producing a play seems to me, as I have recently watched it, to be
partly the art of dealing with people. And the new word in dealing with
people is to deal with them, not to direct them.
Watching Mr. Brock Pemberton staging my play, I used to think that if
one of the oldtime producers were to enter the theatre, he would say:
“But this man is not doing anything. He just sits there.” It was true
that he seemed just to sit there, hour after hour. The director of my
fears, he who stood tense or wild in the midst of the players and cried
that fire from heaven had fallen on such and such a reading, or bit of
business, or tempo--he was not in the theatre. Soon he will not be in
any theatre. Or in any other creative work. Which means almost all work.
Instead there was, in this case, a man who sat in the house, halfway
back, and who at first said principally: “From the beginning, please.”
Or, “Once more, that scene.” And very often: “Come now. Let’s all
help.” There also was I who in those first days kept saying to him:
“Don’t you think that should be read so and so?” or “That oughn’t to
be done so, just there” or “That isn’t the right reading.” And the
invariable reply would be: “Let’s let them get the lines first.” “Let’s
see if they won’t come to that in a day or two.” In the first weeks of
rehearsal I must have said these things literal scores of times and
always to that same reply, delivered without impatience and without a
shadow of turning.
Gradually, in instance after instance, it was clear that the suggestion
which I had been so eager to make was either finding its way into
the reading by the feeling of the actors, or was being supplanted
by something of their own creation that was better. When I spoke
of this--“It means so much more when they find out a thing for
themselves,” the producer said.
After a time, at the close of a rehearsal, he would go down to the
front row and say: “I have a few notations--will you take them down?”
He would make innumerable suggestions, and the company would note them
on their parts. When a member of the company asked how a line should
be read the first reply from the producer was usually: “How do you
feel that line--what do you feel is the most natural reading?” Again
and again he asked them for suggestions. If a line needed something
and I could not make the suggestion, he would ask the one to whom it
belonged to try to think of the thing he would like to say in such a
situation. Some of the least unsatisfactory lines, therefore, came from
the company themselves.
Often it seemed to me that the producer thought of himself as one of
the company. And as if industrial difficulties might be solved if only
all the coöperators in industry could recognize themselves in this
way. That which Walter Hampden welcomes as “industrial and artistic
coöperation” was assuredly here. It is the new word in industry as in
art--the third word, the human factor. Yet in the end this play was
shot through from first to last with the ideal of naturalism which all
along had been the ideal of the producer--but he had developed it, he
had not stamped it on from without.
This attitude cannot be unique. There must be others of the modern
stage who are producing in this way, but it is not the old way, and it
is not the way in which the public generally thinks of a production
being made. Nearly everyone has said: “Isn’t it a terribly difficult
experience, having a play put on? Isn’t it nervous work? Don’t you have
to fight for your own interpretation?” But it was not difficult. There
was nothing “nervous” about it--excepting that one couldn’t engage all
the actors who applied for the parts. And so for my own interpretation,
my fear was that they were sometimes reading a line in my way to please
me when they knew it would be better some other way. I have always
believed stage people to be the most likable people alive, and now I
know it.
There is far more reason why play producing should be nervous work than
that routine work should be so; because, first, there is no routine to
follow and, second, everybody involved is in some degree a creative
artist--who carries his own authority. By reason of the daily intimacy
and the swift work and the high pressure and the risk for everybody,
it is true that irony or arbitrary authority or lack of sympathy could
make of play producing about as uncomfortable an association as any
other association dominated by “nerves”. Perhaps, as Dr. Joseph Jastrow
once suggested, all these things are not alone in the domain of art
and of ethics but of manners. Or perhaps it is merely that theatrical
producers, in common with all other business men, are eliminating
waste--waste nerves along with the rest. The roots of art are fed and
watered by undivined agencies. In this case I believe that the work
ran smoothly because the producer was more intent on getting out of
every creative worker his creative bit than in remembering that he was
the director and that his way was best. He was not only directing a
play--he was dealing with people. The final art.
_William Lyon Phelps_
Few professors of English literature have inspired the undergraduate at
large as has William Lyon Phelps of Yale University. Professor Phelps
humanizes literature, understands the ordinary human being’s approach
to it, loves a good joke and is a constant but a master punster. As a
lecturer he is known from coast to coast. His word on books is gospel
to librarians and club women. This is due partly to his keen sense of
the dramatic. If you could sit under him at Yale you would understand
what I mean. Thoroughly of Connecticut is Professor Phelps. He was
born in Hartford and educated at Yale, where he has lived ever since
except for summers in Michigan and a sojourn for post-graduate work at
Harvard. His published volumes are innumerable, as are his interests
and activities. Alive to every movement in the theatre, exceedingly
fond of music, interested in young people and their efforts, he is as
definite a personality in American educational and literary life as I
know. His library at New Haven, with its crackling fire, the Browning
chair, Rufus the dog, and Mrs. Phelps, the always cordial hostess, is
filled with undergraduates on any winter Sunday afternoon. Probably
no man now living has created a love of books in so great a number of
souls as has William Lyon Phelps. This is a task worth the greatest
effort. It is one which needs must be prompted by enthusiasm which is a
quality Professor Phelps has in the highest degree.
THE WHY OF THE BEST SELLER
There is no formula to fit the best seller. The Bible and Shakespeare
are best sellers, and among authors of our time, such kindred souls
as Henry Adams and Harold Bell Wright are emphatically in this class,
though Wright somewhat more emphatically than Adams. The novel, “Main
Street”, which included among its targets people who buy best sellers,
is itself a best seller. The inhabitants of Main Street would seem
to have a counter-weight in a balancing number of those who laugh at
them. Thus, at all events, the country is safe. Complacency finds its
complement in ridicule.
I admire both “Main Street” and its author; I rejoice in his success;
but the cyclonic popularity of the book--if foreseen--might
conceivably have tempered its zeal. To prove that people need it as
much as they apparently want it, it should circulate only among the
élite and be either vaguely irritating or downright incomprehensible
to the general. Instead of being caviar, it is shredded wheat. The
other alternative is that there are two million five hundred thousand
élite in America, allowing conservatively five readers to every copy,
and remembering that the sale has considerably increased since I began
to write this article. Now to believe that there are millions of the
élite in America is to believe that this is indeed God’s country; such
a belief would put the believer forever on Main Street. The publishers
do not regret the popularity of the book; and I hope Mr. Lewis has no
qualms. He now has leisure to write even a better one, which he is
certainly capable of doing.
Although Emerson’s squirrel did not envy the mountain, that was because
he was Emerson’s squirrel, not a real one. Nearly everything small
would like to be big. Many of the German dramatists who scorn Sudermann
have unsuccessfully tried to copy his methods--so I read in the work of
a German critic. There is no doubt that Henry James would have rejoiced
in an enormous public, though in his art he followed the Rehoboam
method. The small colleges have their distinct and inimitable merits;
of which most of them are quietly and justly proud; but a few of them
advertise the benefits of smallness so energetically that if it always
paid to advertise, they would lose the quality advertised, as Professor
Briggs has said in his own way.
Almost every great poet, dramatist, and novelist has been famous and
popular in his own lifetime. Exceptions are only apparent; either the
author has died young or his best work has appeared posthumously. Let
no sour author trust in posterity. Posterity is far more cruel than the
contemporary public; contemporaries abuse, but posterity forgets. When
an author is really great, posterity ratifies contemporary opinion.
Unfortunately, however, the fact that greatness is popular does not
mean that popularity is a true indication of greatness. Where a once
popular author is gone but not forgotten, I mean, when he is damned by
posterity, there were dissenters while he was yet alive. Remember the
exalted position of Southey and remember what Byron said of him.
Leaving out the rare appearances of genius, there is always I think
a discernible reason why a poem, novel, or play is popular. When
somebody frowns and says, “I cannot understand why Harold Bell Wright
should sell by the million,” he is simply saying that he does not
understand human nature. Although many individuals are cruel and
selfish, the average person can be easily touched by an imaginary hero
or villain--David was instantly stirred by the story of the ewe lamb,
yet perhaps at that moment Bathsheba was in the room with her knitting.
No critic believes that “Lightnin’” is as good a play as “Riders to the
Sea”, but “Lightnin’”, which I am sorry to say bored me, is exactly
the kind of thing that we call sure fire. It hit the centre of the
bull’s eye, and, as in most plays and stories, the impelling force was
a luscious mixture of sweetness and melodrama. It was what people call
“wholesome”, which depends perhaps somewhat on the stomach. The vogue
of “Lightnin’” is more interesting than the play; I mean we can learn
more from it.
The two novelists whose books enjoy the biggest sales in America are
Gene Stratton-Porter and Harold Bell Wright. In part they owe their
circulation to the invincible sentimentality in the human breast.
America has no monopoly of this emotion. These two authors are surely
not inferior to the beknighted Hall Caine, Marie Corelli, and the late
Mrs. Barclay in England, to the late Georges Ohnet in France, to a
hundred sloppy novelists in Germany. Every human heart has a percentage
of slush. Why should we be surprised at the vogue of Harold Bell Wright
when we remember the Dempsey-Carpentier fight? What must Tex Rickard
really think of the intelligence of the public? Nothing like this had
been seen since the days of Barnum--the expectation of millions whipped
to just the right froth, so that whether the fighters were in condition
or not, the public was precisely ripe for picking. It was a shame not
to take the money. And how fortunate that Dempsey won, as I fervently
hoped he would! If he had lost, the world would have wallowed in a
trough of sentimentality. In France, the home of art and intelligence,
in Paris, the home of intellectual cynicism and mockery, Carpentier
would have eclipsed not only Marshal Foch, but all the poets and
dramatists. He might have had any decoration. His wife and child would
have come to America; it is terrifying to think of the sentimental gush
that would have been slobbered on this excellent family. Carpentier
is undoubtedly a good fellow and an attractive personality, and I
understand that Dempsey is not popular. But for one thing we should
all be grateful to Jack Dempsey--he saved us from ourselves.
I am informed on good authority that one of our motion picture
actresses--not _the_ one--receives weekly five hundred sentimental
letters from American men. The private irregularities of a millionaire
apparently interest more newspaper readers than disarmament or the
League of Nations. Therefore let no one wonder at the vogue of Harold
Bell Wright, and let no one waste any ammunition on it. His books are
certainly better reading than the sensations just mentioned. Any one of
his novels costs less than a ticket to a musical comedy, and gives more
in return.
A word of encouragement to public librarians. Along with ministers of
the gospel and teachers in the grade schools, public librarians form
the finest class of people in America, because they do the most good.
Their opportunities for helpfulness come every day, and most of them
are eager to take advantage of the chance. Now their bugbear is Harold
Bell Wright. Every time a boy or girl asks for Harold, they vainly try
to give him something else. And their souls are filled with distress
when the child walks off with Harold under his arm.
I believe it is better that the infant, whether in or out of his teens,
should read Harold Bell Wright than not read at all. And surely his
elders, who inhale sentimentality in other forms, cannot justly cast a
stone. Wright knows how to tell a story adapted to an elementary grade
of intelligence; the reader discovers that books are a permanent source
of happiness; with them at any moment he may change his environment
and his companions, and live in a world of excitement. After a time,
he will in many instances proceed to better and more subtle books,
and find happiness of a finer kind. He is in the garden of printed
pages; let him not forget that the one who led him through the gates
was Harold Bell Wright. My pity goes out to the boy or girl who is not
brought up with books; who grows up without any insurance against life.
Personally, I have had enough of Harold Bell Wright. I have read every
word of two of his books--“When a Man’s a Man”, and “Helen of the
Old House”. This “Helen of the Old House” has the ingredients nicely
mixed. It is filled with dripping sentiment. There is not a single real
character, no one who resembles a complex human being. Each person
is put there to support the thesis--which is, that the only way out
of labor troubles is for employer and employé to work harmoniously
together. An employé who strikes without good reason is every whit as
bad as a German imperialist, says Harold Bell Wright; and an employer
who is only a profiteer is bad in just the same way. Granted. Let us
then organize against both offenders--against the corrupt capitalist
and against Bolshevism. Here Harold is undoubtedly Wright.
Whatever may be this book’s offenses against literary art--and I saw
enough without looking for them--it is really a sermon preached on
the labor question. And as his solution is correct, true statement
being usually unoriginal, it is possible that many of his readers
will profit by his discourse, skilfully adapted as it is to their
comprehension. I believe his motive is excellent; he wishes to use his
prodigious popularity to help his country and humanity. He knows well
enough that the shortest cut to the ordinary intelligence is by the
sentimental route, and like a spellbinder, his muzzle velocity is very
high. The difficulty is that if the world could be saved by sentimental
melodrama, we should have been saved long ago. Nearly all sentimental
melodramas are on the side of virtue; as were the novels of Oliver
Optic and Horatio Alger, Jr.
I have no particular desire to join the army of those who satirize
virtue. As between virtue and vice, even in this ridiculous world,
virtue actually seems to me less absurd than vice.
The case of Gene Stratton-Porter is not quite so easy as that of her
running mate. The publishers tell us that nine million copies of her
books have been sold. With five readers to each copy, this means a
circulation of forty-five million. She is a public institution, like
Yellowstone Park, and I should not think she would care any more than
a mountain for adverse criticism. She does, though. Wise men know
that more than half the things that appear in print are not true, and
yet many have such a superstitious reverence for type that an attack
or a misrepresentation fills them with real agony. Even those whose
position seems immovable--Pope, Tennyson, Henry James--suffered torture
when they read an adverse criticism printed in an ephemeral paper,
and written by a nobody. One of Yale’s greatest presidents, in the
eighteenth century, saw an unfavorable criticism of his book in an
English journal, and he immediately fainted away.
Gene Stratton-Porter lives in a swamp, arrays herself in man’s clothes,
and sallies forth in all weathers to study the secrets of nature. I
believe she knows every bug, bird, and beast in the woods. I believe
she recognizes every sound in a forest, and can tell you what caused
it. She is primarily a naturalist, one of the foremost in America, and
has published a number of books on flora and fauna, illustrated with
photographs of her own taking. These books--which are closest to her
heart--have only a moderate sale. Thus she hit upon the plan of writing
sentimental novels, in which her observation of nature is brought to
the attention of America. I have no doubt that she has led millions
of boys and girls into the study of natural objects; that she has
accomplished in this way much permanent good.
She is as full of energy as Roosevelt, and as hearty an American. She
could have retired on a fortune long ago, but she will never retire
until the day of her death, which I hope may be long distant. She is
eaten up with ambition, and with the joy of life; few have more fun
in their daily existence than she. I have no doubt that if the public
could see some of the letters which she receives by the cartload, they
would share her belief that she has not lived in vain.
I have read three of her novels--“A Girl of the Limberlost”, “A
Daughter of the Land”, and the one just published, “Her Father’s
Daughter”. The first of these with all its nature lore, was rather
too sentimental for me, and the third impossible; but I defy any
unprejudiced person to read “A Daughter of the Land” to the end,
without enthusiasm for the story. The style is so crude that one must
determine not to be stopped by it; one must not quit. Apart from the
lack of stylistic art, one will find an admirable story, with a real
plot and real characters; nothing is shirked or softened in the course
of the novel, and the heroine is a girl that holds one’s attention, not
merely by what happens to her, but by what she is. There is a certain
grandeur in the conception of the tale, like a great architectural
idea disguised by bad drawing. Furthermore, just now, when everybody
thinks everybody else ought to be a farmer, this epic of the farm has
a particular importance. Here was a girl who really loved the country;
loved living on a farm; loved all kinds of agricultural work; loved to
make and see things grow. And, as presented in the novel, this love is
understandable and intelligible. There are not many such girls. But it
would be well if there were more.
Living all her life in daily contact with nature, there is an
elemental force in Gene Stratton-Porter which partly accounts for the
hitting power of her novels. But in her latest story, “Her Father’s
Daughter”, her passion for the California mountains and deserts has
made her neglect not only the graces of style but the reality of
her supposedly human beings. Linda, the high school wonder, is an
impossible person; and the contrast between her, as a child of nature,
and her supposititious sister, Eileen, stands out too grossly. By far
the best things in this book are the cooking receipts and the intimate
facts about the desert. Here the reader feels like a child in the
author’s hands.
In addition to the literary shortcomings of this novel, it is sadly
marred by anti-Japanese propaganda. Somebody in California has been
stuffing our novelist, who is more gullible in international politics
than in the study of nature. The villain of the story is a Japanese,
who, enraged at losing his place at the head of his class in the high
school, attempts to murder the boy who outpaced him, and is himself
done to death by Katherine O’Donovan, the Strong Cook, otherwise the
best character in the novel.
Despite my disappointment in “Her Father’s Daughter”, I shall read Gene
Stratton-Porter’s next novel. If she is not a literary artist, she is
anyhow a wonderful woman. No one lives closer to nature than she; and
her undoubted vigor comes partly from this contact.
But if one wishes to see the difference between girls that are made
to fit a purpose, and a real girl--the difference between puppets and
humanity--let one, after reading “Helen of the Old House”, and “Her
Father’s Daughter”, study with attention Booth Tarkington’s “Alice
Adams”.
_Kenneth Macgowan_
Of all of our American dramatic critics, Kenneth Macgowan is probably
the best known in England. This is partly because in his books he
has chosen to discuss the drama as a whole, its development and its
experiments, rather than to confine his efforts entirely to current
reviewing. Also, he has allied himself with such experimenters
as Robert Edmond Jones, the scene designer, and Eugene O’Neill.
Macgowan is of Scotch-New England descent. He was born in Winthrop,
Massachusetts, and was graduated from Harvard. He gravitated to New
York City journalism via the Boston “Transcript” and the Philadelphia
“Public Ledger”. Macgowan is slight, forceful, capable of great
enthusiasm and of violent prejudice. He has always been an apostle
of the new, of the slightly bizarre. His “Continental Stagecraft”
is a book which challenges the American producer. His “The Theatre
of Tomorrow” was a sort of glorified modern footnote to Craig and
Moderwell. A young man much interested in trends and ideas, his
influence has already been marked in the development of the American
theatre.
RELIGION AND THE THEATER
For twenty years now there has been a great fuss going on about
something called the new movement in the theatre. Craig, Appia,
Reinhardt; Bakst, Urban, Jones; simplicity, suggestion, synthesis;
_Drehbühne_, _pointillage_, _régisseur_; art theatre, little theatre,
circus theatre--in spite of the confusion of such catchwords, it is
hard to escape the belief that this ferment in the theatre means
something. Something for life and from life; something for art and from
art. Something immensely important to the sense of godhead in man which
is life and art together, life and art fecundating one another.
It seems peculiarly clear that the new forces in the theatre have been
working toward a spiritual change far more novel, far more interesting,
and naturally far more important than any of the technical changes
which they have brought about.
The technical changes have been confusing. First this business of
scenic designers and revolving stages and all manner of show and
mechanism; and now the “naked stage”, the permanent setting, abdication
of the artist, scrapping of the machines, the actor alone on a podium
or in a circus ring. All in the name of drama.
There is only one explanation. These changes have come as part of an
attempt to restore the theatre to its old functions. They are two very
extraordinary functions. One may be debauched into titillation, or
may rise to that fulness of vitality, that excitation, upon which the
second function of the theater is based--the function of exaltation.
Between the old theatre, in which these functions worked as potently
as they worked seldom, and the theatre in which they may work again,
lay the theatre of realism. It was the product of a tremendous force, a
force for evil as well as good--twentieth century science. Science made
the theatre realistic and realism made the drama scientific. It ceased
to be a show. It became a photograph. The drama was made “truer”, but
only in the sense that a photograph may be truer to fact than a drawing
by Picasso. It achieved resemblance to life. And then it ceased to
have excitement or exaltation, because excitement, in the vivid sense
in which I use it here, is a most uncommon thing in modern life, and
because exaltation is rare and hidden, showing seldom in outward
relations. Both are too exceptional for realism.
The restoration of excitement to the theatre may appear to degrade it
from the exact and austere report of life which realism demanded. But
the thrill of movement and event is the element in the theatre which
lifts our spirits to the point where exaltation is possible. The power
of the theatre lies in just this ability to raise us to ecstasy through
the love of vitality which is the commonest sign of divinity in life.
And when the theatre gives us ecstasy, what becomes of science? And who
cares?
The new forces in the theatre have struggled more or less blindly
toward this end. They have tried beauty, richness, novelty to win
back excitement. They have only just begun to see that the liveliest
excitation in the playhouse may come from the art of the actor and the
art of the _régisseur_ when they are stripped to the task of providing
exaltation. Present the actor as an actor and the background as an
honest material background, and you are ready for what glories the
playwright and the peculiar genius of the theatre can provide. The
drama is free again for its eternal task--the showing of the soul of
life.
Just how much this may mean is perhaps the test of your belief in the
theatre. It is the conviction of some of us that there has resided in
the theatre--and our hope that there may reside once more--something
akin to the religious spirit. A definition of this spirit is difficult.
It is certainly not religion. It goes behind religion. It is the
exaltation of which formal creeds are a product. It is the vitality
which informs life, and begets art. Out of the intensity of spiritual
feeling which rises from the eternal processes of the universe, and
in turn becomes conscious of them, the thing is born which made Greek
tragedy noble, and which called drama back to life in the Middle Ages.
Then it was the spirit of religion. To-day we might call it the spirit
of life.
Both consciously and unconsciously men of the theatre have sought to
win back this exaltation. The latest attempt is in some ways the most
daring and the most interesting. Max Reinhardt, leaving the playhouse
altogether, has tried to find it in a wedding of the drama and the
church. Before this is in print Reinhardt will have produced Calderon’s
mystic drama, “The Theatre of the World”, under the high altar of the
Collegien Kirche in Salzburg. It is impossible now to speak of how far
he has been able to effect an æsthetic union between the handsome
rococo edifice and the platform for his players; it is only possible to
speculate on the spiritual feeling which spectators may gain through
looking up at the actors from a flat floor instead of looking down
upon them. I cannot speak of the actual presence of exaltation in the
audience, but we can speculate together on the possibilities of winning
back spiritual vitality for the drama by union with the church.
First of all, there comes the disquieting thought that the theatre
presents the spectacle these days of a bird that lays eggs in other
birds’ nests. It isn’t content with the one it has used for some
centuries. It must go snooping about looking for a new haven for the
drama. It tries the circus. It tries the ballroom. It shows us the
Grosses Schauspielhaus in Berlin, and the Redoutensaal in the palace
of Marie Theresa in Vienna. It even seems to have got a notion of
laying its eggs on the fourth wall. As this wall was the only thing
not thoroughly real in the realistic theatre, the result--the motion
picture--is a bit of a scramble. And now the cuckoo theatre has its eye
on the church.
A truer charge might be that the human animal has a perverse liking
for novelty, but even that could be countered with the assertion that
out of the stimulation of novelty, as out of almost any stimulation,
man can make art--if he has it in him. As to that strange bird, the
theatre, it has never had good homekeeping habits. It laid its eggs
on Greek altars, and in mangers of Christian chapels. It nested in
inn yards in England, and in tennis courts in France. The fact that
the theatre has a habit of roaming is worth about as much in this
discussion of its chance in the modern church, as the fact that it
once found ecstasy by the Greek altar and never produced anything
approaching dramatic literature while it was in the Christian church.
In the relation of the church and the theatre there seems to be a
problem for Europe and a problem for America. The possibility of the
two uniting appears much greater in Europe. Europe--particularly
central and southern Europe, where Catholicism flourishes--holds far
more of genuine religious spirit than does America. Moreover, the
church there has the strength of tradition and of art behind it. The
æsthetic-emotional grip of the churches themselves, their architecture,
their atmosphere, the sense of continuity that lives in them, grips
men and women whose minds reject or ignore the authority of dogma.
Even an American, cut off from the traditional side of this life,
would feel a thrill in a drama in the Collegien Kirche in Salzburg or
in the Cathedral of Chartres that no performance in a theatre could
give him. The beauty of the ages would bless the drama in almost any
European building except a theatre. But come to America and try to
imagine “Everyman” in Trinity Church at the head of Wall Street, or
“The Theatre of the World” in the Cathedral of St. John the Divine,
not to bring it down to the level of a Methodist meeting house. The
theatre can always make religion more dramatic; witness the experiments
of the Reverend William Norman Guthrie and Claude Bragdon with lighting
and dance in St. Mark’s in the Bouwerie. But I do not think that any
American church short of some Spanish Indian mission in the southwest
can make the drama more religious.
For America--and, I suspect, for Europe, too--the problem is to find a
way to the spirit independent of the church. It is not a question of
producing plays in cathedrals but of producing the spirit of life in
plays. It is not: Can religion make itself theatrical? but: Can the
theatre make itself--in a new sense--religious?
If modern life, particularly the life of America, were spiritual in
any degree, all this would be simple. Church and theatre would both
minister--as neither of them does now--to the life of the spirit.
America has no art and no religion which can make drama religious.
America doesn’t believe, in any deep sense. Science has shattered
dogma, and formal religion has not been able to absorb an artistic or a
philosophic spirit great enough to recreate the religious spirit in men.
The thing is still more difficult because there is nowhere in this
country--unless, again, it is in the southwest--a sense of the age-long
processes of life which are part of the soil and which leave their mark
in men and women through the physical things that have always cradled
them. In Europe even the cities hold this ancient and natural thing;
they are shaped by man and time even as the fields and the hills are
shaped by time and man. These cities bask and lie easy. There is a
sense of long, slow growth in the very stones. In America, it is not
only that our cities are new and brash. Our countryside is the same.
Even our farmhouses stick out of the land like square boxes. As simple
a house in Europe has a width that reconciles it with the sweep of the
fields. The American farmhouse is a symbol of our separation from the
soil. We are out of touch with the earthy vitality of life which might
bring us at least a little sense of the eternal.
If the man of the theatre gives up the American church as a path to the
spirit of life, and if he finds no religion in modernity from which to
bring religion to the stage, what can he do? Is it possible that he
can create spiritual affirmation in the people by creating it in the
theatre? Can he see the vision himself, and if he sees it and embodies
it, can it make over the people?
Clive Bell, writing in “Art”, has described how such artists as
William Blake and a very few others have reached the spiritual reality
of existence--the thing we should call religion--directly, by pure
intuition: “Some artists seem to have come at it by sheer force of
imagination, unaided by anything without them; they have needed no
material ladder to help them out of matter. They have spoken with
reality as mind to mind.”
Vision of this sort is so inordinately rare that it seems as though
some other way must be found to open spiritual truth to the artist of
the theatre. The only other way is through the deepest understanding
of life itself. What can the artist find in American life to bring
the vision? Nothing, surely, on the surface. Our architects have
reached a more noteworthy expression than perhaps any of our painters,
because they have somehow managed to identify themselves with a spirit
of affirmation behind those industrial forms that our commercial
imperialism presents to view in our men of position like Morgan and
Ford, our periodicals like “The American Magazine” and “The Saturday
Evening Post”, our subways, our cigarette ads, our patent medicines,
and our Kuppenheimer clothes.
The artist of the theatre who is to create ecstasy by finding it, must
see deeper than the architects behind the sham of American life. He
must grasp the Spirit of America in a meaning so extraordinary that
the use we ordinarily make of that phrase will seem impossibly and
blasphemously cheap. We have hints of what the artist must see and
understand in Sandburg’s sense of Chicago, in Vachel Lindsay’s sense of
the middle west, in Waldo Frank’s sense of New Mexico.
When theatrical genius has grasped the truth of America, it must be his
business to make of himself and his theatre a magnifying glass for the
rest of his fellows. What he has been able to seize by sheer intuition,
he must put in such form that it can seize all America. It is the hope
of the theatre that it can make the vision of one man become the vision
of many.
There is no reason why a man of the theatre should not have the vision;
it has come to other artists. They have been able to transfer some
share of it to the sensitive, the developed, the intellectual. The
artist of the theatre can perhaps transfer it to millions, to the
uneducated and the dull as well as to the receptive. In the theatre he
has a very extraordinary instrument. It is the art nearest to life;
its material is almost life itself. This physical identity which it
has with our very existence is the thing that can enable the artist to
visualize with amazing intensity a religious spirit of which he has
sensed only the faintest indications in life. He can create a world
which shines with exaltation and which seems--as it indeed is--a world
of reality. He can give the religious spirit the pervading presence
in the theatre which it once had in the life of the Greeks and of the
people of the Middle Ages. And when men and women see eternal spirit in
such a form, who can say that they will not take it to them?
_Robert Cortes Holliday_
Not long ago Robert Cortes Holliday admitted to me that his favorite
writer was Laurence Sterne. This is important. There is much about
them that is similar. There is the same whimsical, care-free, genial
attitude toward events. I’m sure that if Laurence Sterne carried a
walking stick he balanced it as nicely and at the same angle as does
Bob. Holliday loves people, and he loves talk. So did Sterne. Holliday
tempers his sentimentality by shafts of wit and real tenderness. So did
Sterne. They are both good fellows, anyway, though two centuries apart.
Holliday is of the Indianapolis group of writers. His great fondness
for Booth Tarkington is a result of this, as well as the deep drawl of
his voice. He is large, slow-moving, solemn of visage, with eyes that
twinkle constantly behind very thick spectacles. His first advance
toward life was as an artist. He was then bookseller, librarian,
publisher’s reader and editor. As editor of +The Bookman+, and as
“Contributing Editor” he has won a wide following for his rambling
essays written under the pseudonym of “Murray Hill”. His love of books,
his wide reading, his curiosity and explorative sense, make him either,
through his books or his person, a peculiarly warm hearted, friendly
human being.
MURRAY HILL’S RECOLLECTIONS OF JAMES HUNEKER
There is a rather frisky looking apartment house there now, a pastry
shop and tea room occupying the ground floor--behind it, the other
side of a venerable brick wall, a tiny, ancient burying ground. But in
days of yesteryear here stood a tavern of renown, the Old Grape Vine,
which on this site, Sixth Avenue at Eleventh Street, had given cheer
since Sixth Avenue was little more than a country road. A sagging,
soiled-white, two-story frame structure, with great iron grill lamps
before the door. Within, the main room was somewhat reminiscent of
London’s Olde Cheshire Cheese.
The proprietor was a canny Scot, one MacClellan. (“Old Mac”! Whither
has he gone?) I was coming along by there the other day, and I asked a
man with whom I chanced to walk if he remembered the Old Grape Vine.
“Ah! yes,” he said; “they had mutton pies there.” They did. And
excellent ale, also, served in battered pewter mugs. “They” had here,
too (some fifteen years ago), excellent society beneath the dingy
light. Roaring, roistering George Luks (as he was then) very much to
the fore. At the rickety mahogany table where Frans-Halsian George
held forth frequently was to be found the painter William J. Glackens,
and his brother “Lew”, humorous draughtsman for “Puck”. Ernest Lawson
sometimes came in. A Mr. Zinzig, a very pleasant soul and an excellent
pianist and teacher of the piano, often was of the company. A Mr.
Fitzgerald, art critic in those days of the “Sun”, occasionally “sat
in”. And a delightful old cock, Mr. Stephenson, art critic then of
the “Evening Post”. There was a man of the sea who continuously told
stories of Japan. (After eleven he was somewhat given to singing.)
There was an illustrator for a twopenny magazine, who (so as to seem
to be a large staff) signed a variety of names to his work. From the
land of R. L. S., he. One time while in a doze (somewhere else) he was
robbed. His comment upon his misfortune became a classic line. It was:
“By heaven! As long as whisky is sold to lose ten dollars is enough to
drive a Scot mad!” (This was long before anybody had even heard of the
illustrious Mr. Volstead.) And many more there were. Oh me! ah me! How
the picture has changed!
Well, the point of all this (if it have any point) is that it was in
the Old Grape Vine (of tender memory) that I first saw James Gibbons
Huneker. I think that, in his promenades as an impressionist, he was
there but seldom. Though we know that high among the Seven Arts he
rated the fine art of drinking Pilsner. The old places of Martin’s and
Lüchow’s (headquarters on a time for the musical cognoscenti) were
ports of call on his rounds, and he moved freely, I believe, among the
places of refreshment along the foreign quarter of lower Fourth Avenue.
At the Grape Vine, I understand, he was an especial friend of Luks, and
probably of Glackens and Lawson. And, though he was a very famous man,
he seemed to like the motley company.
Ten or twelve years ago I was earning a living more honestly than
perhaps I have been making one since. I was a clerk in a book
store--the retail department, it happened, of the house which publishes
Mr. Huneker’s books. And there, from my position “on the floor”, I
frequently saw him moving in and out. Moving rather slowly, with the
dignity of bulk. A distinguished figure, quietly but quite neatly
dressed, very erect in carriage, head held well back, supporting his
portliness with that physical pride of portly men, a physiognomy of
Rodinesque modeling--his cane a trim touch to the ensemble. He was,
I distinctly remember, held decidedly in regard by the retail staff
because he was (what, by a long shot, a good many “authors” were not)
exceedingly affable in manner to us clerks.
The moment I have particularly in mind was when Samuel Butler’s
volume “The Way of All Flesh” first appeared in an American edition.
We all know all about Butler now. But, looking back, it certainly is
astonishing how innocent most all of us then were of any knowledge
of the great author of “Erewhon”. Even so searching a student of
literature as W. C. Brownell was practically unacquainted with Butler.
He was taking home a copy of “The Way of All Flesh” to read. Mr.
Huneker was standing by. In some comment on the book, he remarked that
Butler had been a painter. “A painter!” exclaimed Mr. Brownell, in a
manner as though wondering how it came about he knew so little of the
man. “But this”, said Mr. Huneker, referring to the novel, “is not
his best stuff. That is in his note books.” Brownell: “And where are
they?” Huneker: “In the British Museum.” Mr. Brownell made a fluttering
gesture (as though to express that he “gave up”) toward Mr. Huneker.
“He knows everything!” he ejaculated.
We should, of course, be surprised now that anybody _did not_ know that
Butler had been a painter. When, just a short time ago, W. Somerset
Maugham adapted for the purposes of his sensational novel “The Moon
and Sixpence” the character and career of Paul Gauguin, it was in the
pages of Huneker that many first looked for, and found, intelligence
concerning the master of the Pont Aven school of painting. Well,
Gauguin is now an old story. And Ibsen, Tolstoy, Wagner, Nietzsche,
Meredith, Henry James, William James, Bergson, Anatole France,
Lemaître, Faguet, Shaw, Wilde, George Moore, Yeats, Synge, Schnitzler,
Rodin, Matisse, Picasso, Van Gogh, George Luks--they all are old
stories, too ... now. But it was our Steeplejack, James Huneker, who
was our pioneer watcher of the skies. And what in the large sweep
of his vision of the whole field of the world’s beauty he saw, he
reported with infinite gusto. “Gusto”, as H. L. Mencken in the Huneker
article of his “Book of Prefaces” says, “unquenchable, contagious,
inflammatory.”
The extent of the personal contact which Mr. Huneker enjoyed and
maintained with the first-rate literary men of the world, was amazing.
While I was with the bookshop I speak of, “presentation copies” of each
new book of his, to be sent out “with the compliments of the author”,
were piled up for forwarding literally several feet high. They went
to all the great in letters, in every country, that you could think
of. Anatole France, Joseph Conrad, Georg Brandes, Edmund Gosse, George
Moore--people like that.
Vast was the incoming stream of books to him: presentation copies,
review copies, publicity copies; so great a flood that it was necessary
for him periodically to call in an old book man to clear his shelves
by carting away a wagonload or two of genuine treasure. A catalogue I
one time saw of such volumes “from the library of James Huneker” was
sufficient in riches to have been the catalogue of the entire stock of
a very fair shop dealing in “association” volumes, first editions, and
so forth. And a survey of the books themselves made it quite apparent
that a reader who has read every word that Huneker ever printed (and
that would be a person who has read a good deal) may yet (very likely)
be a reader who has not read some of the best of Huneker. I refer to
“Jimmie’s” humorous, pungent marginalia.
Mr. Huneker’s close friends have taken occasion since his death to
speak warmly of his kindness toward obscure, struggling talent. There
was a side to him, akin to this, which I have not seen commented upon.
Huneker’s fame as a critic had been for years accepted throughout
Europe. When his “New Cosmopolis” was published (a book I did not
myself think so highly of) Joyce Kilmer, then newly come to journalism,
reviewed it for the New York “Times”, very eulogistically. Mr. Huneker
went to the trouble of looking up Kilmer to thank him very simply for
his praise.
Mr. Huneker was a loyal and disinterested servant of good literature
wherever he found it, and his happily was the power to be an ambassador
to success--as in the case of William McFee’s “Casuals of the Sea”.
Through my connection with the matter of “Casuals” I suppose it was,
that a correspondence came about between Mr. Huneker and me. And in all
my days I have never seen so energetic a correspondent. It seems to me
that I got a letter from him about every other morning. I dropped out
of the publishing business and went to Indiana for a time. I let him
know when I got there, my motive in this being mainly to notify him
that I _was_ out of the publishing business and so was no longer in a
position to give any business attention to letters relating to books.
But letters from him continued to reach me with the same regularity.
While, I hardly need say, I enjoyed this correspondence enormously, I
was decidedly embarrassed by it, as I could not but keenly feel that
I was taking up his time to no purpose. Still, of course, I felt that
I should answer each letter of his without an impolite delay, and no
sooner did he get my reply than he answered back again. Gradually,
however, we got the thing slowed down.
His letters were prodigal of witty things. I am afraid I have not kept
them; if I have, I do not know where they are--I move about a good
deal. One neat play of words I remember. I do not know whether or not
he himself ever used it elsewhere. I did use it in a book, giving due
credit to Mr. Huneker. I had told him that I was going in for writing
on my own. His comment was: “He that lives by the pen shall perish
by the pen.” Some of his letters, I recall, were signed, “Jim, the
Penman.”
And it was no simple trick to read them. He used a pale ink. The
handwriting was small, curious, and to me almost illegible. Why
compositors did not mob him I do not know. He wrote everything by hand;
never would learn to use a typewriter, and declared that he could not
acquire the faculty of dictation.
This leads me to the story of one of the articles he contributed to
+The Bookman+. When, upon my return to New York, I became (for a time)
editor of this magazine I pursued him for contributions. Yes, later on
he would send us something, but always it was later on, later on. I had
about given up hope of ever getting anything from him when a bulky wad
of closely-written “copy” on yellow paper arrived. Expecting that it
would take me a couple of days to decipher the manuscript, I joyously
acknowledged receipt of it at once, without a thought of questioning
the nature of the article. When I tried to read the article, after I
had held the first page sidewise, next upside down, then examined it
in a mirror, I “passed the buck” and sent the copy straight on to the
printers. If printers had read him before printers ought to be able
to again. I advertised the article to appear in the next number of
the magazine. When I got the article back in galley proofs--I got a
jolt. It wasn’t “+Bookman+ stuff” at all--all about a couple of “old
rounders”, as Mr. Huneker called them, taking a stroll.
I do not think that Mr. Huneker has as yet since his death, to the
time these rambling remarks are being written, received anything
like adequate recognition in the press. The “obituary” articles in
the newspapers have carried the air that he was hardly more than an
excellent “newspaper man”--somewhat older, but something like (dare
I say?) Heywood Broun or Alexander Woollcott. Ah! no; James Huneker
was a critic and an artist, and a figure, too, in our national life.
Though he was all his days until almost his last breath a hard-working
journalist with an immediate “copy date” before him. And though he most
naturally thought of himself, with common-sense pride in his calling,
as a journalist. I remember his one time speaking of Arnold Bennett as
“a hard-working journalist as well as a novel writer”. Indicating his
great esteem for the character of journalist. And he used to speak too,
with fraternal pride and affection in inflection, of young men who had
written good books as being among “our men”, meaning associated with
the same paper as himself.
At the remarkable funeral service held in the new Town Hall in New
York high and touching honor was done his memory by the stage and the
musical profession, but literature seemed to be officially represented
by the person of Richard LeGallienne alone, and painting and sculpture
not at all. The articles by Mr. Huneker’s colleagues among music
critics have seemed very largely to claim him as quite their own. True,
no doubt, his most penetrating writing was done in the field of musical
criticism. But, also, Huneker was an evangel who belongs to the Seven
Arts.
One thing should be added. It is a sad thing, but it is of the nature
of life. A good editorial in the current number of “The New Republic”
begins: “James Huneker named one of his best books ‘The Pathos of
Distance’. In a single day his own figure is invested with the memorial
gentleness there described.” No, not altogether in a single day. He
had already begun, and more than begun, to recede into the pathos of
distance. His flair was for the championship and interpretation of the
“new” men. And, for the most part, his new men had become old men. His
stoutest admirer must admit that Mr. Huneker’s work was “dated”.
But where (and this is sadder still) is his like to-day?
+Murray Hill+
_Alexander Woollcott_
Mr. Woollcott’s person is engaging enough to have jumped bodily from
the pages of Charles Dickens, an author whom, by the way, he greatly
admires. The first time I ever saw him was in Heywood Broun’s Paris
studio, on New Year’s Eve, 1917-18. He was, there, a private in the
United States Medical Corps, and his O. D.’s, I must say, made him
seem more Bairnsfather than Dickens. He was lounged on a large low
divan, peering solemnly at the company, a somewhat motley throng. Mr.
Woollcott is short, rotund, jovial, given to elaborate and biting
statements, punctuated by gestures which are often as grotesque
as they are incisive. He was born in Phalanx, New Jersey, and was
graduated from Hamilton College. Are not these facts, in themselves,
Dickensonian? Woollcott, to me, is the most interesting of our dramatic
critics; for he not only seems to have a knowledge of the theatre
but he occasionally permits himself rare and unreasoning enthusiasms
off the track of popular approval. His reputation was established
as critic of the New York “Times”. He is now critic and colyumist of
the “Herald”. It was his enthusiasm for Dickens which gave birth to a
delightful volume, “Mr. Dickens Goes to the Play”. His enthusiasm for
the army occasioned “The Command is Forward”. His enthusiasm for Mrs.
Fiske prompted, “Mrs. Fiske ... Her Views on Acting, Actors and the
Problems of the Stage”. More recently his essays have been collected
in “Shouts and Murmurs”. The story he tells here is, he says, no essay
at all. Maybe so. At any rate, it’s an interesting piece of literary
history even if it does not do Mr. Woollcott justice in displaying him
as the essayist of whimsicality and penetrating irony, which he is.
O. HENRY, PLAYWRIGHT
When, if ever, they call for a new editor of that amiable biography
of O. Henry by C. Alphonso Smith, there should be added a chapter
about his adventures as a playwright. To be sure, in the final stretch
of this official history of Sydney Porter, the recording professor
does say parenthetically: “Plans for a novel and a play were also
much in his mind at this time, but no progress was made in actual
construction.” Nothing, however, is vouchsafed as to what that play
was, how it got into the aforesaid mind in the first place, and why it
never came out. It never did come out, for as a playwright O. Henry
was a little brother to that forlorn fellow who figures in Augustus
Thomas’s reminiscences and whose successive lodgings in New York were
always traceable by stray bits of manuscript which had never progressed
beyond the brave beginning: “Act One, Scene One: A Ruined Garden.” To
that family of dramatists O. Henry belonged. It was a large family. It
still is.
This is really George Tyler’s story. He is one of those managers who
are ever and always exploring for playwrights and players where no one
else has looked. His ardor has always been addressed to the task of
growing a dramatist where only a novelist grew before. He and Kipling,
for instance, have spent unchronicled hours in conference over a
Mulvaney play. But that is another story. Tyler would, I think, derive
more heart-warming satisfaction out of extracting four acts from some
reluctant teller of tales, than out of any contract he could sign with
the most tested and chronically successful dramatist of the day. And
just as the late Charles Frohman, by an incorrigible and disarming
doggedness, finally badgered the bewildered Barrie into writing for
the theatre, so Tyler hoped to make a playwright of O. Henry. He never
encountered him on a street corner or dropped him a note about one of
his stories without nagging him to try his hand at a play.
Every O. Henry story naturally prompted such a hope. Every one of them
fairly tingled with the stuff of which plays are made; and much of
that stuff, rented or borrowed or blandly stolen, has since found its
way into theatres all over the world. But it was so much easier to
write a story, and for a while the Tyler blandishments had no visible
effect. The drowsy dramatist that is probably in all of us and that
was certainly in O. Henry, stirred uneasily in response to the Tyler
proddings, but never really wakened.
O. Henry’s connection with the theatre had been slight and
discouraging. He had, in a needy moment, written the libretto of a
musical comedy called “Lo”, for which Franklin P. Adams ingenuously
fashioned the lyrics and A. Baldwin Sloane the music--a promising but
impractical triumvirate whose first and only effort started boldly out
from Chicago, wandered erratically around the middle west for fourteen
weeks, and then died somewhere, alone, neglected, and unsung. New York
never saw it and neither, for that matter, did O. Henry.
Then, in a sudden fit of industry, he drew up a scenario for a comedy,
perhaps with the solemn intention of writing it, but more probably in
the hope that it would impress the importunate Tyler and lead to a
small advance of cash. Indeed, there is still in existence the back
of an envelope which served as a ledger wherein were noted the sums,
amounting in all to more than $1,200, that were doled out to O. Henry
to keep his spirits up and in the faint hope that he might actually get
around some day to writing that comedy.
The stories O. Henry wrote, their abundance and their spasmodic
unevenness, can never be understood by one who does not keep in mind
the fact that he was chronically penniless and forever dashing off
pieces either to quiet some editor who had lent him money or to extract
himself from pawn at some hotel. This continuous pauperism is usually
explained in one of two ways, either that he tossed largess right
and left like some latter day Robin Hood or that his pockets were
continuously drained by blackmailers whose silence was necessary to
his peace. But really no explanation is urgent, for O. Henry earned
comparatively little money even in his most successful years and the
great sums which his works eventually brought did not begin to stream
in until after his death.
It was from such a fellow that Tyler received at last the somewhat
cloudy scenario of a comedy to be based on “The World and the Door”, a
story which appears now as the first one in the posthumous collection
called “Whirligigs”. The story has as its setting one of those little
lazy colonies of expatriates in South America--the wistful colonies of
which every member has a good legal reason for not returning to the
United States. O. Henry had seen them at close range in the unhappy
years when he and the Jennings brothers were themselves fugitives from
justice. “The World and the Door” spins a romance between a New Yorker
who had shot down a fellow roisterer in a drunken brawl and a lovely
woman who had given aconite to her husband and left hurriedly for
foreign parts. The tale reaches its acute crisis when the two fugitives
discover that neither victim has died and that both of them are free
to abandon romance and return to civilization. From that story the
scenario was made and set aside to simmer.
Then one Sunday morning, at a time when H. B. Warner, a Tyler star,
was involved in a moribund entertainment that was sinking rapidly out
in Chicago, in walked Tyler’s father all aglow over a new volume of
O. Henry stories. It contained the yarn which every one knows as “A
Retrieved Reformation”. I find that when, from time to time, polls are
solemnly opened to decide which was the best of all he wrote, the vote
goes either to that fragment, so Dickensy in its flavor, “An Unfinished
Story”, or to that rarer and more delicate work, “A Municipal Report”.
(My own choice would always be for “The Skylight Room”.) But I
suppose there is no doubt that “A Retrieved Reformation” is the most
widely known of all the tales O. Henry told. It is the story of Jimmy
Valentine, ex-convict and retired safe cracker, who, having reformed
and settled down as a bank cashier, has so artfully builded his alias
that the pursuing detective cannot prove the identity. Just in the
moment when he is turning away, baffled, panic word is rushed in that
a child has been locked by accident in the bank’s new vault, a child
sure to die of suffocation unless, by some miracle, there can be found
in time one of the half dozen men in the world so expert in safe
cracking that, with eyes blindfolded and fingers sensitized, they can
decipher any combination. Of course the heroic Valentine must volunteer
his buried talent and, by his success at it, confess the suspected
identity. And of course, since O. Henry was a spinner of fairy tales,
the detective does not laugh cynically and arrest the lad, but bursts
instead into affecting tears and goes pensively away forever.
Tyler read that story, shut the book with a snap and began telegraphing
hotly in every direction. Out in Chicago was Warner needing a new play
as a drooping flower needs water. Then one wire went to O. Henry,
offering $500 for the dramatic rights. The offer was accepted with
pathetic promptitude, first by wire and then by the following letter:
Asheville, N. C., _October_ 23, 1909.
Mr. George C. Tyler
Liebler & Co.
N. Y. City.
+My dear Mr. Tyler+: I hereby transfer to you the entire dramatic
rights of the story you write me about--the title is “A Retrieved
Reformation.” I am glad to be able to hand you over anything that
you might be able to use.
But I want you to let the $500 that I owe you still remain owing,
for I am going to write that play yet and soon. I’ve been in
bad shape for a long time, both as to writing and refunding. I’m
wrestling with a bad case of neurasthenia (so the doctor says),
but I’m getting back into good shape again. I am living about six
miles out of Asheville and spend most of the time climbing hills
and living out-of-doors. I have knocked off 20 pounds weight. I eat
like a drayman and don’t know what booze tastes like. In fact, I’ll
be better than ever in another week or two.
I got out the scenario of “The World and the Door” some days ago
and began to plan out the acts and scenes. I’ll surprise you with
it as soon as I get down to hard work.
I deeply appreciate your leniency and kindness and intend to “come
up to scratch” yet with the goods.
So, the dramatic rights of the “Retrieved Reformation” are yours
and if you strike another story you like take it too.
In the meantime, I owe you $500, am going to pay it and remain
Sincerely yours
+Sydney Porter+.
P. S. If you want a more formal assignment of the rights of the
story, send on the papers and I will sign ’em.
Tyler then sent for Paul Armstrong, a wise old artisan of the theatre,
who could be counted on to turn the story into a play without spilling
anything, and who could also be expected to do it quickly, as he too
was probably without funds. Armstrong read the story, agreed to try his
hand at it, and vanished. It turned out later that he had been locked
up in a room at the Hotel Algonquin, but for a week there was no signal
from him and it was upon an impresario fuming with impatience and
uneasiness that he sauntered nonchalantly in at the end of that week.
Tyler launched at once on a burning speech in which he gave his opinion
of Broadway as a habitat for men who thought they were playwrights,
his opinion of the faithless and the irresponsible denizens of that
territory, and his opinion of his own bitter and thankless job, which
he said, he was minded to forsake then and there in favor of farming.
Which oration Armstrong interrupted by producing from his ulster the
completed four act manuscript of a melodrama, the first of the crook
plays, “Alias Jimmy Valentine”. The next day they were all on their
way to Chicago and eleven days later the piece was produced there.
Within three weeks, therefore, after Tyler first read “A Retrieved
Reformation”, its dramatization began a run which was to make
reputations for some people and fortunes for others; which was to tweak
and tantalize playgoers all over America, England, France, Spain and
South Africa; and which was to breed a very epidemic of plays in which
no self-respecting protagonist would think of approaching the first
act without a neat murder or at least a bank robbery to his credit.
I often think how much it adds to a playgoer’s interest in a piece to
know something of the manner in which it came to be written, something
of the source of its incident and its viewpoint, something, that is,
of its own biography. Consider those first nighters in Chicago who
encountered Jimmy Valentine in the Sing Sing scene, met with him the
sorry procession of prison types and finally followed him in his
precarious flight into respectability. How they would have gaped had
they known (and probably not more than one or two of them even guessed)
that this, in a sense, was O. Henry’s own story, that he too had been
a convicted felon, that he had come to know the original of Jimmy
Valentine when they were both in prison together in Ohio, and that at
that very time he, like Jimmy, was building with his own hands a new
identity in a new world.
If this missing chapter ever does find its way into the O. Henry
biography, there ought, I suppose, to be a footnote about the actress
picked up out of space to play the leading feminine rôle. For “Alias
Jimmy Valentine”, that company of Warner’s out in Chicago would do well
enough. But the cast of the play required a new leading woman. Someone
mentioned casually that there was a promising newcomer to be seen
that very afternoon in a special matinée somewhere on Broadway. Tyler
dropped in, took one look, and engaged her forthwith--a lovely, droll,
wide eyed young actress who had just come in out of the provinces and
who was already footsore from her weary rounds of the managers’ offices
in an effort to persuade someone that she knew how to act. Her name was
Laurette Taylor.
But that is a footnote. And “Alias Jimmy Valentine” itself is important
in the story of O. Henry as a playwright only because it yielded Paul
Armstrong something like $100,000 while it yielded O. Henry, whose
idea it had been, nothing like that at all. He made just $500 out of
it. This painful discrepancy was something which the guileful Tyler
meant that O. Henry should not be allowed to forget. Every week, when
the official copy of the box office statement went through the mails
to Armstrong as a matter of routine, a duplicate copy was mailed to
O. Henry. It was, of course, a lean time in which Armstrong did not
receive each week more for writing the play than O. Henry received all
told for having invented it. After a little succession of such weekly
reminders, the wear and tear upon O. Henry’s spirits became visible.
Witness this letter which arrived in New York early in 1910:
Asheville, N. C.
Monday
+My dear Mr. Tyler+,
I had expected to be in N. Y. before this but I am not. I have been
putting in all my time getting in good shape for future campaigns,
and doing practically no work at all. Have entirely recovered my
health and feel fine and fit. I have done barely enough writing
to keep the possum from the door since I’ve been down here, but I
think I have gained greatly thereby.
Got a little proposition to make to you.
If you’ll advance me $500, I’ll come at once to N. Y., establish
myself in some quiet rural spot of the metropolis known only to
yourself and your emissaries and get to work and finish a play. I
will not let my whereabouts or even the fact that I am in the city
be known to anyone but you; and I will give all my time and energy
to the play.
As collateral, I can only make over to you the dramatic rights of
all my stories until the work is done. The new play “Alias J. V.”
has inspired me to believe I can do something for both of us.
If you will do this, let me know immediately and I will come.
Of course if you don’t care to do it, it won’t affect our future
relations. But I want to get in the game, and I’ll stick to you
_exclusively_ until we try it out.
Yours as ever
+Sydney Porter+.
c/o Jas. S. Coleman.
The answer to this seems to have been cautious and conditional, for
further explanations soon started north as follows:
Asheville, N. C., 1/25 ’10.
+My dear Mr. Tyler+:
I will be brief. Why I want the money in a lump sum is to make a
getaway quick. Your proposition is better than mine, but it lacks
the hastiness and expedition necessary to a big theatrical success.
As I told you I have been busy down here for about four months
getting rid of cirrhosis of the liver, fatty degeneration of the
heart and neurasthenia--none of which troubles I have ever had. But
I was about as nervous and reflex-actiony as the hind-leg of a frog
as shown in the magazine-section of almost any Sunday newspaper.
The country and the mountains have been worth more to me than
money--I am almost as strong and tough as a suffragette.
But I have (by order of the Old Doctor) avoided work gladly and
cheerfully. Consequently I have as much money on hand as was left
lying around the box office at the last performance of “Lo.”
Now, suppose we have a few moments conversation as heart-to-heart
as an editorial on chicken-salad in the Ladies’ Home Journal by
Edward Everett Hale.
I owe something in the neighborhood of $500 down here that should
and shall be paid before the obsequious porter of the So. Ry. Co.
can have the opportunity of brushing the soot off the window sill
of Mr. Pullman’s car onto the left knee of my new trousers. I’m not
after money now--it’s transportation, transposition and a chance
that I want. I can work the proposition out in the short story
line; but it’s slow, Colonel, slow. I want to get into the real
game, and I’ll stake my reputation as the best short story writer
within a radius of Asheville that we can pull it off.
Here’s what I need in order to start things going.
I’ve got to pay up everything here and leave a small bunch of
collateral with my long-suffering family to enable them to purchase
the usual cuisine of persimmons and rabbits for a while.
I will do this.
If you will send me the necessary sinews, I will start for N.
Y. on Wednesday or Thursday of next week. I will, on arrival,
secure a room or two with privilege of bath 3 flights above, and
’phone you the next morning. Thenceforth I am yours and Mr. Ford’s
until results have been accomplished. I will place all my time at
your disposal until the play is finished. My proposition is not
unselfish--I expect to make it profitable to myself as well as to
you.
Proviso--
Don’t give it away to any magazine, or anybody else, that I am
there. I will be in retirement and working for you as long as
may be necessary. My mail will be sent here as it has been, and
forwarded there. My family will remain here during the Summer. They
seem to like the idea of my returning to N. Y., although I have
been reasonably kind to them.
Now, listen.
You know how much “front” counts. I’m not afraid of N. Y. police
or editors: but if I arrive there in a linen suit, pith helmet and
tennis shoes what would Big Bill Edwards do to me but shovel me
into a cart and dump me into East River?
So get busy with your telegraph blanks. Send me $750 _by wire_ when
you get this and I’ll strike N. Y. Thursday at the latest. I’ve got
to have some margin, and you’ll get my exclusive services thereby.
Take another chance. You can’t lose.
I am enclosing as a rather poor collateral the rights to my stories.
I hate to make any new dickers with the magazine people and that’s
why I put the matter so strenuously up to you. I know now how much
better (financially) the stage business is:--thanks to you.
Tell Oom Paul Armstrong that I hope he’ll crack the safe for all
it’s worth in “Alias Jimmy”. I got the press notices that you had
sent me.
I’m awfully sorry to have to come back to town and write a better
play than Mr. Armstrong has--but I need the money--he won’t mind.
With best regards
+Sydney Porter+
c/o Jas. S. Coleman.
P. S. To summarize--$750--by--wire--not by an A. D.
T.--satisfaction guaranteed or money refunded.
This appears to have been followed breathlessly by a telegram which
read thus:
LIKE TO HAVE FUNDS DO WIRE TODAY WILL POSITIVELY BE THERE ON TIME
HAVE CUT OUT SPENDING AND CHIANTI S. P.
Tyler seems to have thought it wisest to send only a part of the sum
demanded and to do that by mail. By the end of February this glowing
message came up from Asheville:
WILL ARRIVE AT NOON MONDAY IF YOUR HUNDRED WIRED TODAY EXCLUSIVE
WORK GUARANTEED UNTIL SATISFACTORY RESULTS
SYDNEY PORTER
And this was followed by one even more urgent:
WIRE BALANCE AM WAITING AT THE DEPOT
PORTER
So Tyler wired the balance, but the promised phone message from the
modest and secluded lodgings never came. The first tidings came from a
hospital, to which O. Henry had been taken mortally ill with pneumonia.
He had received the money, retained the margin, and started north.
But once he had found himself at the gates of Bagdad, he had stood
wide eyed for a moment and then drifted happily off among the bazaars,
stumbling on some old cronies, and given himself over to celebration
of his return from exile. Tyler never saw him again. And the great
American play--“The World and the Door”, a comedy in three acts by the
author of “The Four Million”--was never written.
_Mary Austin_
In “_The Bookman Anthology of Verse_” I wrote of Mrs. Austin as follows:
“Few people in America understand native rhythms as does Mary Austin.
Born in Illinois, she has divided her life between the Far West and
the East, making it her special effort to understand the country as a
whole. She has written plays, essays, novels and studies of American
life. Her work among the Indians has given her not only an unusual
mastery of subtle cadences in prose and poetry; but a certain mystic
sense of the trend of national feeling that approaches the visionary.
A commanding presence, an intuitive understanding and a discriminating
tolerance make Mrs. Austin a truly vital force in American life and
literature.”
This, I think, did not do justice to her extraordinary vitality, her
knowledge of the Indians and the desert, her command of folklore and of
language. Her platform manner, her control of an audience, makes her
one of the best lecturers I know. An unusual person, Mary Austin. She
likes to be called Chisera, or “The Witch Woman”. She seems almost
that.
WOMEN AS AUDIENCE
Among the most resented attitudes to which women have been reduced by
our androcentric culture, is that of passive spectator to the male
performance. The whole feminist movement, in fact, is energized by
our resistance to that rôle, and our determination to participate
in constructive movement by contact. It is disconcerting then, to
discover, after the removal of the political bar, that in everything
but the personal accomplishment we are still in a state of practical
nullity toward our national culture, owing to our never having learned,
as women, the business of being audience. All that we have learned,
it now appears, is the art of sitting still in more or less becoming
attitudes.
It is a humiliating admission for so confirmed a feminist as myself to
make, but a survey of what is actually transacting among the organized
and federated groups of women from whom creative social reaction might
have been expected, shows them, in respect to literature, art, and
education, very much in the state of those conscientious attendants at
concerts who have to wait until the conductor turns around to know when
to applaud the orchestra. Any public performer who is clever enough
to make the applausive gesture at suitable intervals can be sure of a
sufficient feminine claque to keep him circulating in the Big Time of
platform attention without any particular deserts.
Consider in this connection, the fate of recent European candidates
for the American claque as they have enfiladed across our lecture
field. Whenever they have been of sufficient prominence to attract
mixed audiences of men and women, those who had nothing to say found
themselves swiftly and emphatically curtailed in their opportunities of
saying it. Few laurels of alien growth have ever sprouted vigorously
enough in the atmosphere of self-conscious democracy, to conceal the
want of pertinence in the wearer of them. But when the lecturer is of
the type whose access to the American pocketbook is chiefly by way of
the stereotyped women’s organizations, the shadow of a leaf upon his
brow--less, the mere poise of that brow as if it wore the wreath--is
enough to insure his thrift campaign against frost. After a few months
of circulation among women’s club audiences he will be in a position
to command the top price from the New York magazines for telling the
American public the low opinion he has formed of its native culture.
Not that I would deny to, say, W. L. George, such confirmation of his
estimate of the inferior intelligence of women as he derives from
those who can be brought together to hear him express it. What I am
here to affirm is that neither the ease with which American women
can be intellectually imposed upon, nor their failure to function
creatively as audience to our bourgeoning literature and art, is to be
taken as indicative of any lack of capacity critically to appreciate,
or individually to produce their share of it. It has to do with the
general inexperience of women in collective reaction, and is about as
indicative as the movements of a waltzing horse of what could normally
be expected.
Let me illustrate from the women’s magazines, which are theoretically
created in response to what the editors, assisted by the advertisers,
really know of what women want. Actually, in addition to their function
as trade journals, which they admirably fill, women’s magazines
represent what the men editors think it desirable for women to read,
modified by the erroneous conviction of advertisers that the spread
of advanced ideas among women lessens the consumption of bottled
mincemeat, colored insert breakfast food, and full-page flour. There
was “The Ladies’ Home Journal” which, under Mr. Bok, built up an
unprecedented standard of magazine popularity. At the same time it
failed to retard in the slightest degree the successful development of
all the ideas it opposed,--suffrage, women’s clubs, family limitation
and the like,--which went on progressively among the very women on
whose living room tables the “Journal” was periodically displayed.
It is this curious lack of causality between what women unprotestingly
take in, and what they can be counted on to do, that inhibits the free
expression of woman-mindedness in our literature and art. There is no
more sequential relation between what they listen to and what they
think, than there is between their morals and the things they can be
induced to sit through in the moving picture houses.
The photodrama provides us with one of the most illuminating side
lights on the failure of women to function representatively as
audience, in their neglect of the quality of “form” in cultural
expression. The criterions of women are interior. What was meant,
what was subjectively felt by the protagonists, determines for them
the affectuality of the action. High ground for this interior standard
being established by convention, an audience of women can not only
be made to accept, but can be induced to applaud offenses against
essential decency. Let it be clearly understood that the boudoir scene
is an incident in a proper honeymoon, and details which every man in
the audience knows were introduced with libidinous intent, will “get
by” with the women. On the same general level this is true of books. In
the second rank of popular magazines, one feels certain, we are saved
from a great deal of potential indecency only by the circumstance of
their being read largely by men.
I have lectured many times before women audiences, on the social
significance of literature, and I have made a habit of setting down
immediately afterward the significant questions asked with the result
that, turning them over just now, I find not one indicative of the
desire, or the sense of obligation on the part of the reader, to enter
into the creative struggle. What they do seem to want is suggestions
for obtaining creative _results_ for themselves, or items by which they
may participate effectively in the _talk_ about creative work. Or they
will be satisfied with mere entertainment.
Much of this detachment is, I suspect, the residue of woman’s century
old habit of thinking of books, magazines, plays, and painting as the
sort of thing Daddy brings home from his hunting, toward which she has
conceived her duty to be an uncritical disposition to make the best of
what is offered. Thus there is always a tendency on the part of women
to measure art by the ensuing fatness of their personal reactions,
rather than by the social significance of the creative act; to be
appreciative of the artist as a man rather than as a representative of
the tribe of mankind. It may be that the slight touch of the exotic
attaching to the foreign poet and novelist, which favors this feminine
attitude of superior detachment from the sweat of achieving, has
something to do with their preferential hearing. For the rest we have
no evidence that Xantippe thought any more highly of the “Dialogues”
than Carol Kennicott thought of the symposium at the drug store.
If it were not for the circumstance that few women’s clubs can be
induced to pay to women artists the terms and attention that are
conceded to men, the track to effective participation might be beaten
out for them by women who have already trodden it for themselves. No
doubt much of the collective ineffectiveness of women in this field
is due to their never having acquired free movement of themselves as
impersonal, unemphasized items of society.
An incident of constant recurrence in the life of every woman who
has attained a reasonable literary expression of herself, is to be
importuned by other women to write about this, to protest against that,
or to write more often on matters concerning which it is her consuming
desire to be permitted to write. When she responds with an impatient,
“For heaven’s sake, if you like my stuff, don’t waste time telling me,
tell the editor!” the most usual retort is a startled, “But he wouldn’t
pay any attention to me, I’m no critic.” This is something more than
an excessive estimate of the part critics play in the establishment
of literary reputations. It is both evidence and result of woman’s
inexperience in functioning as a particle of the democratic whole.
Accustomed immemorially to presenting herself as an individual issue,
as maiden, wife, mother, at the lowest as female, she tends still to
approach the cultural poll in some specialized capacity. It is news
to her that as paying member of the audience she has acquired both
privilege and obligation in respect to the quality of the performance.
Some day it will come to her, together with the horrid thought that she
has been excluded this long time from cultural effectiveness, not by
man’s wish to exclude her, but because she has never learned the game.
It must be failure of method. Nobody could accuse the women’s clubs of
any failure of intention to do their whole duty by the literature of
their native land. Have they not every one of them a book committee,
and the habit of inviting visiting celebrities to sit on the platform
whole afternoons at the price of saying a few words at the end of
the regular program? Has not every author in America had one or more
letters stating that the writer’s club has assigned that particular
author to her for author’s day, and she has never read any of his
works; will he not kindly send her a review of his life and works to
read? Do not thousands of dollars pass annually by way of their lecture
committees to the pockets of authors of whom nobody can say with
certainty where, in the scheme of American values, they belong?
It would be unfair to attribute the failure of one of the most
remarkable organizations ever created in any society, to produce an
appreciable effect on our literature, to the four million women of the
finer strain who make up its membership. Is not the whole situation
a reflection of our common national disposition to regard all art as
a performance, some kind of “show”? Whereas the artist himself knows
it is a way of life, of which the book or the picture is the evidence
rather than the object of pursuit. It is not likely that men, just as
men, would do any better. But because women have rather definitely
assumed the rôle of patrons of culture, because they have made a
stagger at fulfilling it, they must come in for a certain amount of
question. It is women who have already accepted the responsibility for
social conditions in which mature men and women divide themselves, for
purposes of culture, according to sex. So when we wish to talk about
organized effort to produce a representative culture, we have nothing
else to talk about but the women’s clubs.
European observers are disposed to credit this state of things to
a want of sex power in our women; that is, to a feebleness in the
whole delicate complex of vital responses which women make to men.
It is interesting to note that Sinclair Lewis, whether deliberately
or by one of those divine accidents to which the sincere artist
is liable, related these two impotencies in the heroine of “Main
Street”. But such an explanation proceeds primarily from the old view
that men produce and women appreciate; a state of things which our
whole American experiment is organized to deny. The most we can say
of American women is that they have rejected the traditional mode of
response to intellectual creativeness, without having taught themselves
any more efficacious measures.
What women have to learn to be audience to, is not the book after it
is written, nor the personality of the author who writes it, but the
process by which a really vital book gets itself produced out of our
communal experience. What they must assist at is not the adumbration
of praise for work that is done, so much as the selection and emphasis
of social conditions that have power over a book while it is doing. In
this connection an Author’s League as much interested in what of the
author is going into the book, as in what is coming back to him in the
way of royalties, might be helpful.
It is a realization of the need of women to rehearse the rôle of
audience in the collective key, that has led to the organization
of the Women’s News Service, by which, through the medium of their
local press, women will be enabled to practice, along lines already
familiar, the rapid intake and response indispensable to their success
as coefficients of a democratic culture. But the Women’s News Service
aims only at establishing this rapport about what women are doing.
What is needed is a realization that in the indigenous literature of
America, there already exists a competent news service about life as it
is living. The true approach to it from women is neither as women nor
as critics, but as participators in the collective experience, of which
the particular mode of poetry or fiction is the individual expression.
Such an approach is neither instinctive in women, nor part of their
social inheritance. It cannot, however, be assumed that men sitting
together as an organized body to hear any available author read from
or talk about his work, will produce any sort of result which will be
found competent to support a creditable national literature, and to be
of constructive value in the great age of American literature, must
begin to be operative shortly. Otherwise it might be suspected that the
rôle to which men assigned women, of sitting still and saying nothing
except what is pleasant, is the one to which they are intrinsically
best adapted.
_Burton Rascoe_
Burton Rascoe, I suppose, is one of the most nervous men who ever
lived. He is never still. He talks in stammering rushes. He moves about
the room as he talks. He is slender, sleek, with high cheek bones,
prominent lips, and eyes that are intense, and arresting. As violent
in his opinions as in his person, he is a critic and a colyumist who
is constantly provoking his public to disagreement and comment. In
other words, he is an excellent journalist. He was born in Sulton,
Kentucky. His family moved when he was quite young, however, to
Shawnee, Oklahoma, where he lived until the time when he went to the
University of Chicago. His first writing was done for a Shawnee paper.
Later, he was literary critic for the Chicago “Tribune”. In New York,
his “Bookman’s Day Book” for the New York “Tribune” caused a sensation
by its rather breathless revealments. His first book, which has been
years in preparation, is to be a collection of his critical essays. A
voracious reader, a student of French, a young gentleman of violent
opinions, he is always stimulating and often annoying.
GEORGE SANTAYANA’S “LIFE OF REASON”
George Santayana is a gifted Spaniard who succeeded to a chair of
philosophy at Harvard, began to write when he was forty, got fed up
with the Harvard atmosphere, and fled to Paris where he is now writing
what are certainly the finest contributions, from the point of view of
style and ideas, to philosophic thought since Remy de Gourmont’s death.
To say that Santayana is the Emerson of his era is far from flattering
to Santayana who is a logical, clear thinking psychologist, dissociator
of ideas, and æsthetician as against Emerson’s confused and impalpable
transcendentalism, Unitarian freedom of spirit, minor parish breath of
vision, and suburban æsthetics; but Santayana occupies or is beginning
to occupy with his generation in America a position analogous to that
of Emerson in his. By fleeing to Europe he has been able to perform a
pedagogical service of vaster importance than was permitted him when he
was irked by the formalism of collegiate education, the petty academic
fussing and narrowness of his colleagues, and the discouraging
stupidity prevalent among students seeking mass instruction. He is
now the one spar to which educated youths are able to cling amid the
perpetual flux. He is the only remaining philosopher writing in English
who is not a specialist in something or other--psychiatry, education,
single tax, Manchester labor, Chinese history, or what not; hence he
is the only one who can see things in the round, criticize freely with
an unbiased and open mind, and offer ideas and suggestions not tinged
with Utopian pink or parti pris. He is a free spirit, with all that
that felicitous French phrase connotes. Philosophically he is a man of
the world; spiritually, scientifically, literarily he knows his way
about; he is nobody’s fool, not Lenin’s, Balfour’s, Freud’s, Cézanne’s,
Rolland’s, Shaw’s, Morgan’s, or God’s. What is rarest among his coevals
in his clan, he has taken the trouble to learn how to write.
You will not get the finest flavor of his style in the books listed
here, of which, in a new edition, these remarks are apropos. When
he wrote “The Life of Reason”, Santayana was still struggling with
his technique of expression in a language alien to him by birth and
temperament. He was still occasionally mixing his tenses, achieving
an uneasy idiom with a foreign accent, and escaping only with the
greatest difficulty from the jargon of the professional philosophers.
It is not that he is difficult to read in his earlier work, but that
it is sometimes quaint reading, as if he were overwhelmed by the
importance of what he had to say and was taking infinite pains to say
it slowly, deliberately, distinctly. With “Winds of Doctrine” he had
become at ease with his medium and familiar with his ideas; when he
wrote “Soliloquies in England”, he had perfected the most charming
address imaginable in English--subtle, smiling, cultured, allusive,
witty, cadenced and nuanced. All traces of the old constraint had gone;
his fancy was liberated to dance gaily and in rhythm with his thought;
the data of his experience and the residuum of his reading had lost the
blighting touch of the treatise and become the materials of an amiable
and exquisite discourse.
But, nevertheless, it is important for the reader who is charmed
and stimulated by Santayana’s later essays to know something of the
foundation upon which this charm is builded. He will get that in “The
Life of Reason”, wherein Santayana applies the intelligence test to
the aspects of human progress observable in society, religion, art,
science, and common sense. What he attempted to do, and succeeded in
a great measure in doing, was to examine the concepts involved in
those terms and pick away from them all the fallacious excrescences
which have grown up and surrounded them. He sought the reasonable, the
intelligent idea expressed by those terms. He pursued the Socratic
method of elimination of the false by question and answer. He applied
the rule of common sense to matters of belief, doctrine, theoretical
ethics, personal conduct, artistic expression, and social theory--and
by common sense he means an understanding arrived at by intelligent
analysis, free from myth, illusion, and messianic hope.
One has the feeling that Santayana wrote “The Life of Reason” in
order to discover himself, to give order and form to the impressions,
conclusions, and intimations about life he had gained from experience
and meditation. That is, of course, what all artists, philosophers,
poets, and theologians do; but I believe there was in Santayana more
than the usual serious self-communion. One finds in him no trace
of vanity, of cocking an eye to a possible audience of influential
but closed minds, of posturing for posterity, or impressing by
erudition and long words. On the other hand, there is an intellectual
self-reliance discoverable in almost no other thinker or essayist: he
writes without footnotes and bibliographies; he almost never uses a
quotation from another writer. He does not bolster up his ideas and
opinions with pilferings from the accumulations of libraries. He is, in
brief, independent, honest, and courageous.
Now, let us see what are some of his ideas. It is an ironic paradox
that Santayana, who first built up a philosophy of reason in five
volumes, has now come pretty much to distrust reason as an effective
agent in the governance of human affairs. What he would now term a
reasonable attitude toward life is one which holds that every man must
forge his own philosophy. As for one George Santayana he has found
it advantageous to sit like patience on a monument smiling at grief,
checking his passions that he may savor and conserve--not waste--them,
do unto his neighbor as he would wish to be done by, forego possessions
and attachments as a check upon his freedom, and enjoy life as a
spectacle (to write about) rather than submerge himself in the business
of living. To arrive at this he has examined the possible other courses
and has found what he conceives to be the factors of satisfaction and
happiness in each.
But it would be wrong to assume that “The Life of Reason” is in the
nature of a preachment or an exhortation. It becomes a moral philosophy
only by its implications as a history of human ideas. Santayana is a
naturalist of the mind, a questioner, a tester, a sceptic, and he has
written: “Scepticism is a moral force, a tendency to sincerity, economy
and fine adjustment of life and mind to experience.” The calibre of his
reasoning, the light he throws upon human institutions, is seen to good
advantage in his elucidation of the conflict between Catholicism and
Protestantism in “Reason in Religion”:
This underlying Teuton religion, which we must call Protestantism
for lack of a better name, is anterior to Christianity and can
survive it. To identify it with the Gospel may have seemed possible
so long as, in opposition to pagan Christianity, the Teutonic
spirit could appeal to the Gospel for support. The Gospel has
indeed nothing pagan about it, but it has also nothing Teutonic;
and the momentary alliance of two such disparate forces must
naturally cease with the removal of the common enemy which alone
united them. The Gospel is unworldly, disenchanted, ascetic; it
treats ecclesiastical establishments with tolerant contempt,
conforming to them with indifference; it regards prosperity as a
danger, earthly ties as a burden, Sabbaths as a superstition;
it revels in miracles; it is democratic and antinomian; it loves
contemplation, poverty, and solitude; it meets sinners with
sympathy and heartfelt forgiveness, but Pharisees and Puritans
with biting scorn. In a word, it is a product of the Orient,
where all things are old and equal and a profound indifference to
the business of earth breeds a silent dignity and high sadness
of spirit. Protestantism is the exact opposite of all this.
It is convinced of the importance of success and prosperity;
it abominates what is disreputable; contemplation seems to it
idleness, solitude selfishness, and poverty a sort of dishonorable
punishment. It is constrained and punctilious in righteousness;
it regards a married and industrious life as typically godly,
and there is a sacredness to it, as of a vacant Sabbath, in the
unoccupied higher spaces which such an existence leaves for the
soul. It is sentimental, its ritual is meagre and unctuous, it
expects no miracles, it thinks optimism akin to piety, and regards
profitable enterprise and practical ambition as a sort of moral
vocation. Its Evangelicalism lacks the notes so prominent in the
Gospel, of disillusion, humility, and speculative detachment. Its
benevolence is optimistic and aims at raising men to a conventional
well-being; it thus misses the inner appeal of Christian charity
which, being merely remedial in physical matters, begins by
renunciation and looks to spiritual freedom and peace.
You will see from this that the dominant spirit of the United States,
as it is of England and Germany, is Protestantism. Protestantism is
a religious spirit best suited to a raw, new, energetic people. It
becomes, as Santayana points out, unpleasantly materialistic by the
very excess of its own virtues as an inspiration to progress and
achievement. For himself, Santayana is steeped in the Catholic spirit
and we find in his poetry no less than in his later essays the passive
attitude toward life, the attitude of good-humored resignation; but he
is never blind to the merits of Protestantism. England and the English
fascinate him; he admires the Englishman’s bland ability to get on in
the world, his self-control, his self-isolation, his manners, and his
enterprise.
There is perhaps in no European literature a more illuminating and
intelligent discussion of love, family life, industry, aristocracy,
democracy and patriotism than is to be found in “Reason in Society”;
there is no saner short history of religions than is to be found in
“Reason in Religion”; there is no more provocative upsetting of petty
complaisances than is to be found in “Reason in Common Sense”. In
“Reason in Art”, Santayana pursues the dialectical method perhaps too
far; but in this book he does away with a vast amount of lumber and
gets at the essentials of great art and of the artist’s relation to
society, about which relation he has none of the common or artistic
sentimentalism. Best to illuminate Santayana’s attitude one should
recall his answers to a critic who used the phrase, “one has a right
to--”; to which Santayana replied that “right” does not exist in the
abstract, that no one possesses “rights” except those which have
been granted him or he has been able to exact. Santayana is not a
sentimentalist or a mystic praying to the moon.
His poems are chill and formal, as they would be from his habit of
checking his impulses or laughing at them. He has too much of the
comic spirit in him to be a good poet; he is too much a man of cities
to paint poetic landscapes; and he is too much a sceptic to put much
fervor in meditative poetic sighs and grief at the tears of things. But
in his poetry you will get, condensed, much of his philosophy, as in
his essays, particularly his later ones, you will find him much of a
poet.
_Dorothy Canfield Fisher_
Dorothy Canfield Fisher was born at Lawrence, Kansas; but in my
mind she belongs firmly with her ancestors in the hills of Vermont.
Perhaps the addition of middle-western practicality to New England
imagination is one secret of her really great power as a novelist and
her determination as a student. In her house at Arlington, Vermont, not
so far from Robert Frost at South Shaftsbury, she is an eager mother
and wife, a swift, active, almost bird-like little woman. When I last
saw her she was busy on the proofs of her translation of Papini’s
“Life of Christ”. It is a rare thing for an author of such scope and
imagination to be also a student of language, of French, of Italian,
even of Old English, an earnest interpreter of Madame Montessori. Her
understanding of American life and of French character has made her
novels unique in contemporary fiction. They have a quality of wholesome
regard for social standards as well as a brave facing of fact. This
creed she gives us in the “Nietzschean Pilgrim Fathers”. She travels
much in Europe; but her keen interest in the people of Vermont and
their community affairs brings her back often to the Green Mountains.
NIETZSCHEAN PILGRIM FATHERS
When I first spelled my way through my history primer’s account of
the Pilgrim Fathers, the threadbare, too familiar story was all new
to me and came fresh-coined from the mint of glory. Swinging my feet
and chewing my tongue as I read, I glowed with sympathy for their
intrepid resistance to a tyranny which tried hideously to lay hands on
the sacred freedom of thought. I was hurrahing inwardly for them as
they fought their way across the hostile Atlantic, as they endured the
heartbreaking difficulties of their first winter, and I nearly shed
tears of admiration when they gloriously refused to go back on the ship
that would have set them back where men had the monstrous pretension to
dictate to other men what they should or should not believe. Swimming
in a golden haze of hero worship I rolled under my tongue the quotation
from Mrs. Hemans which ended the chapter:
Ay, call it holy ground,
The soil where first they trod!
They left unstained what there they found--
Freedom to worship God.
And all unsuspecting, I turned over the page for the next lesson.
Roger Williams and the Quakers were in the next lesson.
I strained my poor nine year old eyes hotly over the unbelievable
story. Two hundred and sixty years divided me from the actors of
those times, but that afternoon I went off into the woods and shouted
excitedly at the top of my voice back across the centuries, to my
forefathers, “But looky-here, looky-here! You’re doing just what you
left England so people wouldn’t do it to you. Stop it! Stop it! Stop
it! Oh, _please_ don’t!”
My forefathers returning no answer to my heartbroken appeal, I tried
the generation immediately before mine, and shyly put a brief question
to my father on the subject. My father’s carelessly cynical answer
brought a club down on what was left of my cracked and tottering ideal.
“Oh, shucks, the Pilgrim Fathers wanted the same sort of ‘freedom of
thought’ that everybody wants ... freedom to bully everybody else into
thinking as they do.”
Of course the elasticity of childhood and youth being invincible, I did
not keep this disillusion in the centre of my consciousness. I poked it
down into the darkest corner of my mind and thought I had forgotten
it. I grew up to be nineteen and twenty, and as automatically as I put
up my hair and learned how to dance, I plunged into the other natural
accompaniment of being nineteen and twenty, and became a radical. “Down
with the tyranny of the past” resounds recurrently with healthy vigor
as each generation advances toward its later teens, and I sallied
forth with others of my age, a red flag in one hand and a bomb in the
other. I cannot now remember just what we attacked but I suppose,
from the dates, that we waged war on such moth-eaten old formulæ as,
“Woman’s sphere is the home”: “My father’s God is good enough for me”:
“Impressionism is all poppycock, paint pots thrown in the face of the
public”: “Organized Labor is flying in the face of the immutable law of
supply and demand”, etc., etc. I do remember that any adverse criticism
of Ibsen made us froth at the mouth, and that we were prepared to shed
our heart’s blood for the right of women to wear rainy day skirts as
high as their shoe tops. “Liberty, sacred liberty!” we shouted as we
charged.
When did I begin to notice a certain deadly likeness to our Puritan
forebears? When did the recollection of Roger Williams and the Quakers
begin to seep coldly into my mind? I don’t know when. With advancing
years, I suppose, and with that recognition of the vast, incalculable
diversity of human nature which can only come after a considerable
first-hand contact with all kinds of people.
Perhaps it was the too great vogue of our campaign for emancipating
women from domestic slavery that made me first wonder whether it was
such an uphill battle for liberty we were fighting, and whether it was
really liberty we were getting. We had repudiated at the tops of our
voices the ridiculously sweeping generalization that every woman is
happier bringing up children than in any other occupation. Things began
to go our way; the writers on our side began to be in fashion, to be
considered the knowing and sophisticated ones. The other side hung its
sentimental head in defeated silence.
And then--oh, bother, take it! It seemed to me I began to see Roger
Williams and the Quakers approaching. The sound, much needed axiom
“Every woman is not a natural mother” seemed insensibly to have become
“No woman is a natural mother”. After all there are women, just as
there are men, who prefer children and home life to anything else. In
the generation of our grandmothers no girl “in our set” had ventured
to say she wanted anything in life but to marry and bring up children.
After we had said our say, no girl “in our set” ventured to say that
she _did_ want to marry and bring up children.
All that we had done, apparently, was to vary the kind of intimidation,
from the kind that had not suited our tastes to the kind that did.
We had summoned people to free themselves from the tyrannical dicta
of preachers in the pulpits, and had clapped upon them the other
tyranny of the radical magazines. Were they getting any more chance
to be themselves? Weren’t they being bullied into believing what
radical thinkers told them to believe, rather than what they really
did believe? Were people with a mystical, poetic, religious turn of
mind getting any fairer show now than people with a logical, clean cut
turn of mind had when we were twenty? When we said “self-expression”
did we mean the expression of Bernard Shaw’s self? Did we not yell
“sentimental hypocrite” at people who ventured to express other
personalities than the brisk, clear eyed, level headed, disillusioned
type which happened to suit our fancy?
My early fierce outraged scorn for the Puritan Fathers began to be
tempered with humility. It wasn’t such an easy trick to turn ... to
leave people free to believe what you _knew_ was all nonsense.
And yet, with every year that revolved before my eyes the kaleidoscope
of the infinitely various differences between human beings, there was
forced upon me the intolerable conviction that perhaps what we knew was
all nonsense might not be all nonsense for everybody.
One’s first conception of that idea is a terrible moment in life. I
suppose it is the beginning of old age--certainly of middle age. It is
as devastating as an earthquake to the exhilarating cocksureness which
has hitherto been the solid ground under one’s feet. Forever afterward
one advances with craven caution, one tries to modify sweeping
generalizations by those qualifying clauses which normal human beings
instinctively detest. It is unpopular enough business to temper any
sweeping generalization whatever--people are uneasy when historians try
to qualify to greater truthfulness even such dead issues as opinions
on the causes of the Civil War, or what sort of man George Washington
really was. But when anyone tries to limit with qualifying phrases the
generalizations actually in fashion, then indeed do people cast him
out of the righteous ranks of orthodox Plymouth and drive him off to
live with the Indians.
Somewhat aloofly then--my natural inheritance of human intolerance
inhibited by the certainty that there is much to be said on both
sides--and considerably ashamed of my aloofness, I look on at the old
struggle being fought as fiercely today as it was twenty years ago.
One of the sweeping generalizations in fashion now is that the late war
was caused solely by capitalists and fought either by men naturally
brutes, or by finer specimens forced against their will into the ranks
by brutalized public opinion. Everybody knows in his heart that this is
not a complete statement of the truth, but no one in the ranks of the
sophisticated may be permitted to qualify the statement. The tyranny
of what is “the thing” to think is as absolute in one direction now as
it was during the war when no one was permitted to qualify the equally
outrageous statement that the war was caused solely by sympathy for
ravaged Belgium and was fought by snowy souled Crusaders.
Another sweeping generalization just now settling itself in the saddle
is that middle western American life starves and cramps all souls
submitting to it--starves and cramps, that is, more than any other
organized human society puts the screws on originality and personality
anywhere else. Nobody must qualify that statement under pain of
a sentence of exile, passed by the new Pilgrim Fathers, battling
gloriously for universal freedom to think as they do.
Another more intimate and personal conviction is that self-control
is synonymous with self-mutilation, that self-abnegation is always
perverse morbidity.
Another one states that ethics based on enlightened self-interest
should and will take the place of religion in human life and that any
form of “religion” which involves a mystical sense of communion with a
power greater than ourselves, is as out of date in the human mind as
the appendix in the human body.
These, since they happen to arouse no personal passion of mine, I
can consider calmly. But the Old Adam is not dead in me. Let anyone
maintain that the principle of authority _qua_ authority is needed in
human life, and every atom of me rises up aflame in denial. I cannot
conceive it calmly, cannot put my mind on it impartially as I do on
other matters. Any mention of it in my presence is like dropping a
lighted match into a keg of gunpowder. I go off with a shattering
bang. It is my flaming conviction that _nobody_ should pretend to tell
_any_body how to run his life. This conviction seems so axiomatic to me
that it was like turning all my brain cells inside out, to get a faint,
distant glimpse of the possibility that perhaps, occasionally in some
cases, once in a while, the principle of authority might be necessary
for the stiffening into shape of certain especially jelly-like
temperaments. I don’t believe it! Heavens, no! I can never _believe_
it! But as from time to time I encounter, among the maddeningly diverse
specimens of human nature which surround me, a specimen especially
inchoate, born without the necessary structure of moral bones, I
_almost_ perceive the possibility that even my own pet sweeping
generalization may need occasional qualification.
This perception, faint and passing as it is, makes me so dizzy and
sick that I am sure I could never act on it. I am not even sure that I
could refrain from attacking someone else trying to act on it. I try
to be flexible minded and tolerant but I stiffen and flame when that
conviction is touched. This makes me understand how other people feel
about their special generalizations, how the woman who has fought
her way out of a hideous, hide bound, joy killing creed, stiffens and
flames at any suggestion that some people need a mystical religion:
how a man who has lived with an exasperatingly “devoted mother” flares
up ragingly at the idea that self-sacrifice may be commendable. I
understand that there is no help for us, that we are none of us
battling for freedom of thought. We are battling to set up our dogmatic
convictions just as our fathers did, and as we despised them for doing.
Our convictions are different from theirs. That is all. We are ready
to fight to force on others what Samuel Butler has told us to believe,
instead of what Tennyson told our fathers to believe. We don’t intend
to allow any variation from our standards if we can help it, any more
than they did.
For a time I was greatly cast down over the discovery of this
invincible intolerance in all our hearts. Apparently we were no better
than anyone else. Had any good come at all of our fine ideas of
liberalism and freedom? Had we helped the younger generation in the
least?
I began to look around me at the younger generation, the really younger
ones, those under adolescence, the ones who have been brought up in the
best modern manner, unrepressed by stale old restrictions, unhampered
by stale old beliefs. And I began to think that I saw two things:
first, that the beliefs from which we revolted are not stale and old
to them at all, but gleaming bright with novelty; and second, as to
these beliefs of ours which we have tried to force on them, they are
preparing a revolt from us, as they advance toward their later teens.
One of my modern acquaintances told me the other day, “What do you
think? My Jeannette is just crazy about babies. She’ll leave a bunch
of her twelve year old playmates _any_ day to fool around the whole
afternoon with our neighbor’s eight months old little girl. And she
says when she grows up and marries, she wants to have seven children,
and _not belong to a single club_! Where does she get such ideas? It’s
nothing _I’ve_ taught her; nothing she’s picked up at home!”
It occurs to me that the great saints and heroes of mysticism never
come from religious families, but out of a free thinking, materialistic
milieu. There comes to me with a clap, what every old woman knows,
that rigidly neat housekeepers always have careless, slack daughters
and that the daughters of careless, slack housekeepers always react
violently into violent tidiness.
I begin to wonder, just wonder speculatively, how Christian ideals
will seem to young people who have the intimate excitement and triumph
of discovering them under protest, rather than having them crammed down
their throats. It occurs to me that perhaps all we have been doing, as
we impetuously emptied the baby out of the bath, was to enhance the
value of babies. Will not the youngest generation have a perfectly
fresh, spontaneous joy in rushing to rescue what we have thrown away?
Isn’t it possible that in a generation brought up to ruthless logic _à
la_ Shaw, there may be individuals with spiritual and mystical minds,
who will revolt against ruthless logic as hotly as we against dogmas,
and who, reveling in all the inimitable joys of martyrdom, will fight,
bleed, and die for the right to believe in what they believe--even if
it is in a religion of faith? Among children brought up to believe
that self-development is the highest duty of man, may there not even
now be growing up here and there some whose brain cells are different
from those of the majority, who will stumble some day by accident into
a self-abnegating deed, recognize in the sweetness of the pleasure it
gives them their own rightful inheritance, and fleeing the intolerance
of the latter day Nietzschean Pilgrim Fathers, betake themselves off to
live the life they were meant for? We will persecute them I dare say,
and call them reactionary, and hold them up as horrible examples of
sentimental self-deception. And all that we will really accomplish, as
far as they are concerned, will be to tear from the pure gold of their
ideals the disfiguring rags of outgrown dogma, which we mistook for the
thing itself.
On the whole, as I think it over, it seems to me that if we do that, we
will have done about all that can be expected of any generation. Human
progress is slow and spiral. Perhaps, although it is certainly not in
the least what we meant to do, that will be counted as our sufficient
contribution.
_Oliver Herford_
A slight, white-haired, indefinite, hilariously entertaining gentleman
is Oliver Herford. His caricatures, his drawings, his verses, his
fables, his essays have long delighted American audiences. He is almost
as well known an illustrator as he is a humorist. In a triple capacity,
therefore, he is associated with “Life”, for he is also on its staff
of editors. He was born in England; but his father who was a preacher
brought him in his youth to Boston. He was educated, curiously enough,
at Antioch College, Ohio. From this curious background he emerged
radiating a sense of humor. He is known as a _farceur_, as a player
of practical jokes, as a _bon vivant_. Popular wherever he goes, one
hears that since his last trip to England he has become thoroughly
American--he no longer wears a monocle.
THE HUNDREDTH AMENDMENT
_A Chapter from The Outline of Posterity_
After the passage of the Ninety-eighth Amendment making it a
misdemeanor to “_manufacture, sell, own, possess, purchase, nurse,
dandle or otherwise caress or display that effigy of the infant form
commonly known as a Doll_” ... the abolition of that feathered symbol
of vicarious maternity, the Stork, followed as a matter of course.
The passage of the Anti-Stork Bill or, to be more accurate, the
Ninety-ninth Amendment, thanks to the tenacity and tact of President
John Quincy Epstein, was the most expeditious piece of legislation put
through by the hundred and fifth Congress.
It must not be forgotten, however, that the introduction of lectures on
obstetrics into the curriculum of the kindergartens had done much to
educate the child vote and that at the time the fate of the Stork was
hanging in the balance, that once esteemed Bird of Prurient Evasion was
already becoming unpopular and well on its way to join the Dodo.
And now the department of government devoted to the cause of Infant
Uplift, having abolished the Mock-Offspring and settled the fate of the
Bird of Nativity, cast about for some new Field of Endeavor.
And what more fitting than that they should light upon that hoary old
impostor masquerading under the several aliases Santa Claus, Saint
Nicholas, Kris Kringle, and Father Christmas?
At once the Propaganda was started.
Press agents were engaged, lecture tours arranged, magazines subsidized.
No matter what it might cost, this “Vulture gnawing at the Palladium of
Infant Emancipation” must be destroyed!!
Santa Claus, once, in the memory of living men and women, adored
by children and winked at by their parents, was now branded as an
impostor, a mountebank, a public nuisance, and a perverter of infant
intelligence.
Santa Claus was an outlaw from the Commonwealth of Reason.
It was “thumbs down” for Santa!
It may be well to explain right here (since none of the events
chronicled in this History has yet happened) that the movement for the
Emancipation and Self-Determination of Infants, which has now taken
such great strides, had its initiation in the presidential term of
Miles Standish Sovietski when Congress extended the franchise to every
child over five years of age who had made any serious contribution to
literature or higher mathematics.
It was in the same year that President Sovietski signed the
Sixty-fourth Amendment to the Federal Constitution, prohibiting
the publication of fairy tales, and Congress suspended the
Limitation-of-Search Act in order that private libraries and nurseries
might be raided without warning and all copies of the forbidden works
summarily seized and destroyed.
Simultaneously with the federal enactment, the states of Washington,
Illinois, Nevada, and Oregon, ever in the advance of any great
intellectual movement, passed laws prohibiting “_the personification
or representation, public or private, in theatre, music hall, club
house, lodge, church fair, schoolhouse, or private residence, of any
supernatural fairy, or otherwise mythical person or persons or fraction
thereof_”.
The passing of a Constitutional Amendment was now an almost everyday
occurrence. Indeed, since the ratification of the Forty-fourth
Amendment prohibiting the use of sarsaparilla as a beverage (coffee
and tea had been legislated out of existence five years earlier)
the enactment of a new Amendment excited little or no comment. Even
the Seventy-ninth Amendment forbidding “_the use of caviar, club
sandwiches, and buttonhole bouquets, except for medicinal purposes_”,
received only casual notice in the Metropolitan Dailies.
The twentieth century was rapidly nearing its close and the political
apathy that for fifty years had been gradually benumbing the Public
morale now threatened to paralyze completely what little still remained
of courage and initiative.
Even the latest work of Bernard Shaw, “A Bird’s-Eye View of the
Infinite”, published (with a five volume preface) on Mr. Shaw’s
hundred and fortieth birthday, aroused so little resentment that his
projected visit to the United States had to be abandoned, in spite of
the fact that “Bean and Soup o’Bean”, written only a week earlier,
was acknowledged to have contributed largely to the triumph of the
Seventy-ninth Amendment, making Vegetarianism compulsory in the United
States.
The Hundredth Amendment passed quickly through the earlier stages of
routine and perfunctory debate without any appreciable sign of anything
approaching popular protest.
Here and there a guarded expression such as “Poor old Santa! I’m sorry
he’s got to go!” was voiced, in the privacy of a club, by some elderly
gentleman. Nothing more.
Somewhere, behind Somebody, was a Power that directed and
guided,--perhaps threatened. Nobody knew who or what or where it was
or in what manner it worked, but work it did and to such purpose that,
after a scant week of cut and dried speech-making that deceived no one,
the Amendment was submitted unanimously by both houses of Congress and
the foregone conclusion of ratification was all that remained to make
the abolition of Santa Claus an accomplished fact.
Then, inevitably as fish follows soup, followed the ratification.
The Hundredth Amendment to the Constitution of the United States,
prohibiting Santa Claus, slipped through the ratification process like
an oil prospectus in a mail chute. There was only one hitch, Rhode
Island, but since Rhode Island had refused to ratify a single one of
the last Seventy-nine Amendments, her action was accepted as part of
the program and a proof of unanimity.
So Santa Claus was abolished?
Not so fast please!--Who’s writing this History anyway?
’Twas the night before Christmas
And in the White House
Not a creature was stirring
Not even a *****
For the benefit of the clever reader who may have guessed the word
left out in the last line of the above quatrain, I will explain that
the asterisks are used in obedience to a clause of the Ninety-first
Amendment prohibiting, both in speech and print, the use of the word
***** which, as the political emblem of the Free People’s Party
(now happily defunct), came into such contempt that it was made a
misdemeanor “_to print, publish, own, sell, purchase, or consult any
book, pamphlet, catalogue, circular, or dictionary containing the word_
*****”. It has been estimated that over eighty million dollars’ worth
of Century and Standard dictionaries were destroyed in the first year
of this Amendment’s operation. The loss in Nursery Rhymes, children’s
books, and Natural Histories is beyond computation.
But to return to the White House.
President John Quincy Epstein had retired to his study on the second
floor shortly before midnight, taking with him the engrossed copy
of the Hundredth Amendment which now only required his Spencerian
signature to expunge the name of Santa Claus forever from the American
speech and language as utterly and irrevocably as the forbidden word
*****.
The hours passed in a perfectly orderly manner, like school children
at a fire drill--_one, two, three, four_--without pushing or
jostling--_five, six, seven, eight_--(don’t you think history is much
more interesting in the form of a simple “Outline” like this than
spun out in the common manner?)--_nine, ten--!_ At eleven o’clock the
door of the President’s study was burst open by the order of the Vice
President, Rebecca Crabtree, now, by a sudden and mysterious stroke of
Fate, herself become the President of the United States.
For John Quincy Epstein was dead.
How or just when he died will never be known. Always a cold, forbidding
(not to say prohibiting) man, his body when found was still cold--if
anything colder; his watch which should have marked the exact moment
of his demise, was ticking merrily, so the exact moment will forever
remain unrecorded.
But Santa Claus still lives and will live forever!
On the massive gold-inlaid-with-ivory desk (a Christmas gift from the
United Department Stores of America), lay a paper, inscribed, and
signed in the President’s handwriting, and sealed with his official
seal.
It was the presidential veto of the Hundredth Amendment; and by virtue
of a clause in Amendment Thirty-three “_no Constitutional Amendment
vetoed by the President shall ever be resubmitted to the country nor
any fraction thereof_--”
Santa Claus will live forever! Hurray for Santa Claus!
_Benjamin Brawley_
The Negro question in America has become a peculiarly delicate one. I
have never met Benjamin Brawley; but he is one of the most respected
members of his race in America. He is said to be a preacher of ability
and an earnest and able student of letters. He was born in Columbia,
South Carolina, and was educated at Morehouse College, the University
of Chicago and Harvard. He is now pastor of a Baptist church in
Brockton, Massachusetts. His books vary from discussions of the Negro
to works on the drama. I asked him as one of the intellectual leaders
among the Negroes to express frankly his opinions of the Negro problem
in American writing. This he did, and I have published here, as in
+The Bookman+, this strong statement without editorial excision. As
representing a viewpoint, I believe it to be exceedingly enlightening.
THE NEGRO IN AMERICAN LITERATURE
I have often wondered why someone has not written as a supplement to
Lowell an essay entitled “On a Certain Condescension in Americans”.
Such an effort, in some small measure at least, might serve to give us
a clearer estimate of ourselves.
When the drums beat we are not likely to recall that we are the most
inconsistent people in the world. We pride ourselves on spending
millions for education, but the draft showed us where we stood,
and we have recently been informed that we are merely a nation of
sixth-graders. We still value buildings more than brains, and if
you will ask the average college student to read aloud a page of
Newman or Pater you will see how literate we are. We are aghast at
Armenia--naturally, for in Texas we lynch ten men in twice as many days.
We have been accused of intolerance, and a finger has been pointed at
the Puritan. As a matter of fact we are exceedingly long suffering.
We tolerate everything from sixteen dollar coal to our most recent
Congress. We tolerate the Ku Klux Klan. A score of men were killed in
Herrin in cold blood, and the authorities are paralyzed. For a sensible
liberty loving people we are the most easily browbeaten and bamboozled
on this planet, and no one knows this better than the politician.
Our powerlessness, our utter futility in the face of a concrete
situation is sometimes amazing. We intend well, but either we
ourselves or our machinery are at fault. In our courts the conviction
of a man of means does not necessarily imply a real conviction but
simply a new trial. We are torn by industrial and social unrest, and
for a whole session our statesmen discuss the bonus and ship subsidy
with an eye to the next election. Sometimes our national honor is
involved. If occasion demands we can send a million men to Europe, but
not until we have been trampled upon and our rights flouted for months.
Is it any wonder that our flag is not always respected abroad?
Sometimes in our leisurely democracy we develop kindliness at an
astonishing rate. Nothing can surpass our real generosity and charity.
A few months ago, however, we read that the President of the United
States and the Governor of Pennsylvania both interceded for the life of
a dog that had been condemned to death. Dick, it appeared, was owned
by an alien contrary to law. I could not help wondering about this
animal that was able to call forth such remarkable weight of executive
clemency. Was it white or black or brown? Did its ancestors come over
in the “Mayflower”? Could its grandfather vote? Mark you this, however:
you have not for these many years heard of any president’s writing to
a governor about a citizen who was sliced or burned to death within
these United States.
Our inconsistency does not mean that as a nation we have lost sight
of our port. It does mean, however, that we wander needlessly at sea
before finding it. Democracy does not always move in a straight line,
and sometimes when far off its course it has to make a violent effort
to find its way. While moreover we talk about democracy, the fact is
that there are always with us those who want something else. In the
good old days Rhode Island was the most offensive little slave dealer
in the country, and we do not always stop to think that there was a
time when the students at Harvard were registered in the catalogue on
the basis of their social standing. Among the rockribbed families of
Boston there was ever a welcome for the courtly southerner with whom
trade was good and behind whom was the romance of plantations and
slaves. It is not an accident that in recent discussion of the Jew and
the Negro New England has again beckoned to the south. Sooner or later
in such a civilization the worm turns; the underdog wriggles out of our
grasp; and, the glory of democracy is that it gives him a chance to
work out his freedom--and live.
In the new day to which we have come it is necessary first of all
then that we keep our faith--faith in our country, in ourselves, in
humanity. Let us also as never before honor Truth--not propaganda,
not the flattery of a demagogue, and not the jaundice of a hectic
journalism, but simple, clear eyed Truth. This will mean that we
shall have to readjust many old values and beware of all outgrown
shibboleths. Our country is changing, and those persons who insist on
abiding by the opinions formed twenty years ago simply insist on living
in another age and another world.
With nothing shall we have to be more careful about hasty judgment
than with subjects relating to the Negro. Today there is no telling
what an individual Negro may or may not do. At the close of the Civil
War hardly more than one in ten could read; today illiteracy has been
reduced to nearly twenty per cent, and instead of his being your tenant
you may even find that the Negro you know is your landlord. The race is
increasingly complex, and in some matters of music and other forms of
art it is just now among the most “advanced” in the country. The Negro
is naturally such an artist and he has such an innate appreciation of
acting that, keeping his essential faith unchanged, he is likely to
take on a new form of worship quite as easily as a new garment. Just
now Bahaism is popular with the esoteric, and since the war cynicism
has been developed almost to a cult.
This, however, is only one phase of the matter. The other is that of
the strange prominence of the Negro throughout the whole course of
American history. In the colonial era it was the economic advantage of
slavery over servitude that caused it to displace this institution as
a system of labor. Two of the three compromises that entered into the
making of the Constitution were prompted by the presence of the Negro
in the country; the expansion of the southwest depended on his labor;
and the question or the excuse of fugitives was the real key to the
Seminole Wars. The Civil War was simply to determine the status of the
Negro in the Republic, and the legislation after the war determined for
a generation the history not only of the south but very largely of the
nation as well. The later disfranchising acts have had overwhelming
importance, the unfair system of national representation controlling
the election of 1916 and thus the attitude of America in the World War.
Here then are two great themes--that of the Negro’s aspiration and
striving, and that of his influence on the American body politic--that
might reasonably engage the attention of any writer who desires
seriously to base a contribution to American literature on this general
topic. The first would call for treatment primarily subjective, the
second for treatment largely objective; but in any case the work should
be sympathetic in the broadest sense. Such treatment I regret the
Negro has not had. With our bigotry and conceit on this subject as no
other we have been moved by the condescension of which I spoke in the
beginning. Two great fallacies still most frequently recur as major
premises. One is that the education of the Negro has been a failure,
and the other is that the integrity of the womanhood of the race is
always open to question. It makes no difference how much evidence there
may be to the contrary, any writer of the day is still likely to start
off with these two assumptions. The Negro himself moreover must be
either a brute or a villain; no rôle more flattering can be thought
of. “Othello” is not yet a popular play with American audiences, and
I cannot help recalling that some years ago a Shakespearian company
performing “The Merchant of Venice” in Atlanta found it advisable to
leave out even the Prince of Morocco, because of local conditions.
Literature is supposed to be the reflection of the national life.
Unfortunately much of our recent literature is not complimentary to
the country’s life. We have the best printers and publishers in the
world, but the books that they are asked to produce--tales of scandal
sicklied o’er with sentimentalism--should make the nation blush.
A generation ago people smiled at E. P. Roe; but Roe was at least
harmless. More recently we have arrived at Harold Bell Wright, but
even he has been out-Heroded. If we today go over the list of writers
of fiction--especially the women--and consider only those who are most
outstanding, the extent to which many will be found to have declined
from the ideals with which they started is astonishing. In all this
welter of commercialism and sensationalism the Negro’s one request of
literature so far as he is concerned, is that it be fearlessly and
absolutely honest. Let it portray life, realistically--just as it is,
idealistically--as it ought to be, but let it cease to exploit outworn
theories or be the vehicle merely of burlesque. A new age--a new
world--is upon us, with new men, new visions, new desires. As never
before patriotism demands that we see life clearly and see it whole.
It is now a little more than six years ago that I contributed to
“The Dial” (then in Chicago) a paper entitled “The Negro in American
Fiction”. In that discussion I endeavored to deal at some length with
the work of several authors--notably George W. Cable, Joel Chandler
Harris, Thomas Nelson Page, and Thomas Dixon--as well as with that of
representative short story writers of the day who had introduced Negro
characters into their work. In general I advanced the proposition that
in our literature as in our social life we were largely dominated by
the mob spirit. Much has happened within six years, and now that the
war is four years behind us and we are trying to find the “normalcy”
of which we have heard, we may not unreasonably ask if there has
been any advance. At once we come face to face with the stories and
sketches of E. K. Means and Octavus Roy Cohen, and these we find
to be burlesque. Five other works of fiction also come to mind,
however--“His Own Country” by Paul Kester, “The Shadow” by Mary White
Ovington, “Birthright” by T. S. Stribling, “White and Black” by H.
A. Shands, and “J. Poindexter, Colored” by Irvin S. Cobb. The last
three of these books, it is interesting to observe, have all appeared
within the present year, and practically every one of the five is,
if not the only book, at least the first novel by its author. Taken
together these books mark an advance, but one would hardly assert that
they give an adequate reflection of the Negro problem in a treatment
at once faithful, powerful, and tragic. “The Shadow” is honest in
purpose and method. “His Own Country” and “White and Black”, however,
while containing much of the machinery of tragedy, both fail to be
genuine epics. “Birthright”, brilliant in some of its details, begs
the whole question with which it undertakes to deal by its attitude
on fundamentals, and the treatment of its hero is especially open to
attack. J. Poindexter of Paducah, who awakens our interest and who is
so thoroughly equal to the wiles and pitfalls of New York, himself
advises us not to bother with the race problem. “I ain’t no problem,
I’s a pusson,” he says; “I craves to be so reguarded.” To that extent
he marks an advance.
As for the race itself, because of the pressing questions incident
to and resultant from the war, its literary energy has recently been
given mainly to journalistic work rather than to that more imaginative.
Within the last few years we have had W. E. Burghardt DuBois’s
collection of essays, “Darkwater”, and Claude McKay’s striking volume
of poems, “Harlem Shadows”, but in fiction nothing as poignant as
Paul Laurence Dunbar’s “The Sport of the Gods” has recently appeared.
Several capable writers are appearing on the horizon, however, and
within the next few years we may not unreasonably expect more than one
work of enduring quality.
It has well been said that to be as good as our fathers were we must
be better. As the heirs of the ages it ill becomes us to represent
anything but the highest standards of efficiency and the noblest
ideals of faith. Our patriotism is too much capitalized; “100 per cent
Americanism” too often becomes a specious cry to cover wrong. Has our
melting pot been boiling too fast? Very well; let it simmer. Let us
not, however, remove the ancient landmark. Let us not be so swept by
the fires of bigotry or even by the glamour of industrialism that we
fail to take note of men’s souls. Those who have been prosperous and
happy can never tell what divine gift may not be in the hands of those
who have yearned and suffered. The Negro and the Jew, the Italian and
the Pole--“inferior races”, “scum of the earth”--exalted and uplifted,
purified as we all must be, each brings something peculiar and eternal
to the making of our country.
But, say we, they have not culture. No, they have not; none of us have.
Those who think they have most are likely to be the most provincial in
their outlook. I think I remember hearing Professor Kittredge remark
some years ago that culture is a by-product. We tabulate a certain
number of facts, reflect upon a few ideas of our own, add a little
religion, and incidentally it may be that after a while we impress
those about us as--cultured. As a nation, however, we are still in the
making, and when we have all so far to go it ill becomes any of us to
scorn any man who is struggling toward the light.
Literature should be not only history but prophecy, not only the record
of our striving but also the mirror of our hopes and dreams. Let us
have the forward as well as the backward look. In England we speak of
the Liberalism of Lloyd George as distinct from the old Liberalism of
Gladstone. Some such distinction needs to be made in our own country.
The disfranchisement of any number or group of citizens, real or
attempted, in the United States of America in the third decade of the
twentieth century, is an anachronism. We may try to turn back the
clock, but the hands of Time move inexorably forward. Let us be worthy
of the new day.
The Negro himself as the irony of American civilization is the supreme
challenge to American literature. Like Banquo’s ghost he will not down.
All faith and hope, all love and longing, all rapture and despair, look
out from the eyes of this man who is ever with us and whom we never
understand. Gentle as a child, he has also the strength of Hercules.
The more we think we know him the more unfathomable he is. No wonder a
well known senator who maligned the Negro felt that he was paralyzed
because the race prayed that God might afflict him. No wonder is it
that, submerged and enthralled, the Negro still rises from the depths
to cast by his magic an irresistible spell over the American mind.
Transcriber’s Notes
New original cover art included with this eBook is granted to the
public domain.
Surrounding characters have been used to indicate _italics_
or +small caps+
Variant spellings of “column” have been retained
p. xiii removed period following “_H. L. Mencken_”
p. xiv added comma in “Peabody, Josephine”
p. xiv changed “Santayanna’s” to “Santayana’s”
p. 35 changed “I’lle” to “L’Ile”
p. 35 added apostrophe to “Island Nights’ Entertainments”
p. 40 changed “idefinite” to “indefinite”
p. 43 changed “Thackery” to “Thackeray”
p. 50 changed “pefectly” to “perfectly”
p. 60 added accent to “My Ántonia”
p. 74 hyphenated “Belle-Ile”
p. 82 added colon following “character”
p. 90 changed “Dicken’s” to “Dickens’s”
p. 90 corrected quotation marks in the block quote
p. 106 changed “or” to “of” in “I thought no more of”
p. 113 titles of books by Mr. Maurice have been left as-is.
p. 115 changed “Neuve-Sainte Genevieve” to “Neuve-Sainte-Genevieve”
in “in the Rue Neuve-Sainte-Genevieve”
p. 128 added apostrophe to “Apostles’ Creed”
p. 174 changed “function” to “functions” in “its old functions”
p. 179 added apostrophe to “St. Mark’s”
p. 189 added accent to “Lemaître”
p. 212 changed “guaranted” to “guaranteed”
p. 215 added “a” in “It is a humiliating admission”
p. 248 “_á_” changed to “_à_”
*** END OF THE PROJECT GUTENBERG EBOOK THE BOOKMAN ANTHOLOGY OF ESSAYS [1923] ***
Updated editions will replace the previous one—the old editions will
be renamed.
Creating the works from print editions not protected by U.S. copyright
law means that no one owns a United States copyright in these works,
so the Foundation (and you!) can copy and distribute it in the United
States without permission and without paying copyright
royalties. Special rules, set forth in the General Terms of Use part
of this license, apply to copying and distributing Project
Gutenberg™ electronic works to protect the PROJECT GUTENBERG™
concept and trademark. Project Gutenberg is a registered trademark,
and may not be used if you charge for an eBook, except by following
the terms of the trademark license, including paying royalties for use
of the Project Gutenberg trademark. If you do not charge anything for
copies of this eBook, complying with the trademark license is very
easy. You may use this eBook for nearly any purpose such as creation
of derivative works, reports, performances and research. Project
Gutenberg eBooks may be modified and printed and given away—you may
do practically ANYTHING in the United States with eBooks not protected
by U.S. copyright law. Redistribution is subject to the trademark
license, especially commercial redistribution.
START: FULL LICENSE
THE FULL PROJECT GUTENBERG™ LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg™ mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase “Project
Gutenberg”), you agree to comply with all the terms of the Full
Project Gutenberg License available with this file or online at
www.gutenberg.org/license.
Section 1. General Terms of Use and Redistributing Project Gutenberg
electronic works
1.A. By reading or using any part of this Project Gutenberg
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or
destroy all copies of Project Gutenberg electronic works in your
possession. If you paid a fee for obtaining a copy of or access to a
Project Gutenberg electronic work and you do not agree to be bound
by the terms of this agreement, you may obtain a refund from the person
or entity to whom you paid the fee as set forth in paragraph 1.E.8.
1.B. “Project Gutenberg” is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg electronic works
even without complying with the full terms of this agreement. See
paragraph 1.C below. There are a lot of things you can do with Project
Gutenberg electronic works if you follow the terms of this
agreement and help preserve free future access to Project Gutenberg
electronic works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation (“the
Foundation” or PGLAF), owns a compilation copyright in the collection
of Project Gutenberg electronic works. Nearly all the individual
works in the collection are in the public domain in the United
States. If an individual work is unprotected by copyright law in the
United States and you are located in the United States, we do not
claim a right to prevent you from copying, distributing, performing,
displaying or creating derivative works based on the work as long as
all references to Project Gutenberg are removed. Of course, we hope
that you will support the Project Gutenberg mission of promoting
free access to electronic works by freely sharing Project Gutenberg
works in compliance with the terms of this agreement for keeping the
Project Gutenberg name associated with the work. You can easily
comply with the terms of this agreement by keeping this work in the
same format with its attached full Project Gutenberg License when
you share it without charge with others.
1.D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are
in a constant state of change. If you are outside the United States,
check the laws of your country in addition to the terms of this
agreement before downloading, copying, displaying, performing,
distributing or creating derivative works based on this work or any
other Project Gutenberg work. The Foundation makes no
representations concerning the copyright status of any work in any
country other than the United States.
1.E. Unless you have removed all references to Project Gutenberg:
1.E.1. The following sentence, with active links to, or other
immediate access to, the full Project Gutenberg License must appear
prominently whenever any copy of a Project Gutenberg work (any work
on which the phrase “Project Gutenberg” appears, or with which the
phrase “Project Gutenberg” is associated) is accessed, displayed,
performed, viewed, copied or distributed:
This eBook is for the use of anyone anywhere in the United States and most
other parts of the world at no cost and with almost no restrictions
whatsoever. You may copy it, give it away or re-use it under the terms
of the Project Gutenberg™ License included with this eBook or online
at www.gutenberg.org. If you
are not located in the United States, you will have to check the laws
of the country where you are located before using this eBook.
1.E.2. If an individual Project Gutenberg electronic work is
derived from texts not protected by U.S. copyright law (does not
contain a notice indicating that it is posted with permission of the
copyright holder), the work can be copied and distributed to anyone in
the United States without paying any fees or charges. If you are
redistributing or providing access to a work with the phrase “Project
Gutenberg” associated with or appearing on the work, you must comply
either with the requirements of paragraphs 1.E.1 through 1.E.7 or
obtain permission for the use of the work and the Project Gutenberg
trademark as set forth in paragraphs 1.E.8 or 1.E.9.
1.E.3. If an individual Project Gutenberg electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any
additional terms imposed by the copyright holder. Additional terms
will be linked to the Project Gutenberg License for all works
posted with the permission of the copyright holder found at the
beginning of this work.
1.E.4. Do not unlink or detach or remove the full Project Gutenberg
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg.
1.E.5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg License.
1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including
any word processing or hypertext form. However, if you provide access
to or distribute copies of a Project Gutenberg work in a format
other than “Plain Vanilla ASCII” or other format used in the official
version posted on the official Project Gutenberg website
(www.gutenberg.org), you must, at no additional cost, fee or expense
to the user, provide a copy, a means of exporting a copy, or a means
of obtaining a copy upon request, of the work in its original “Plain
Vanilla ASCII” or other form. Any alternate format must include the
full Project Gutenberg License as specified in paragraph 1.E.1.
1.E.7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg works
unless you comply with paragraph 1.E.8 or 1.E.9.
1.E.8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg electronic works
provided that:
• You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg works calculated using the method
you already use to calculate your applicable taxes. The fee is owed
to the owner of the Project Gutenberg trademark, but he has
agreed to donate royalties under this paragraph to the Project
Gutenberg Literary Archive Foundation. Royalty payments must be paid
within 60 days following each date on which you prepare (or are
legally required to prepare) your periodic tax returns. Royalty
payments should be clearly marked as such and sent to the Project
Gutenberg Literary Archive Foundation at the address specified in
Section 4, “Information about donations to the Project Gutenberg
Literary Archive Foundation.”
• You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg™
License. You must require such a user to return or destroy all
copies of the works possessed in a physical medium and discontinue
all use of and all access to other copies of Project Gutenberg™
works.
• You provide, in accordance with paragraph 1.F.3, a full refund of
any money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days of
receipt of the work.
• You comply with all other terms of this agreement for free
distribution of Project Gutenberg™ works.
1.E.9. If you wish to charge a fee or distribute a Project
Gutenberg™ electronic work or group of works on different terms than
are set forth in this agreement, you must obtain permission in writing
from the Project Gutenberg Literary Archive Foundation, the manager of
the Project Gutenberg™ trademark. Contact the Foundation as set
forth in Section 3 below.
1.F.
1.F.1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
works not protected by U.S. copyright law in creating the Project
Gutenberg™ collection. Despite these efforts, Project Gutenberg™
electronic works, and the medium on which they may be stored, may
contain “Defects,” such as, but not limited to, incomplete, inaccurate
or corrupt data, transcription errors, a copyright or other
intellectual property infringement, a defective or damaged disk or
other medium, a computer virus, or computer codes that damage or
cannot be read by your equipment.
1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right
of Replacement or Refund” described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg™ trademark, and any other party distributing a Project
Gutenberg™ electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.
1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium
with your written explanation. The person or entity that provided you
with the defective work may elect to provide a replacement copy in
lieu of a refund. If you received the work electronically, the person
or entity providing it to you may choose to give you a second
opportunity to receive the work electronically in lieu of a refund. If
the second copy is also defective, you may demand a refund in writing
without further opportunities to fix the problem.
1.F.4. Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO
OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT
LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
1.F.5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of
damages. If any disclaimer or limitation set forth in this agreement
violates the law of the state applicable to this agreement, the
agreement shall be interpreted to make the maximum disclaimer or
limitation permitted by the applicable state law. The invalidity or
unenforceability of any provision of this agreement shall not void the
remaining provisions.
1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg™ electronic works in
accordance with this agreement, and any volunteers associated with the
production, promotion and distribution of Project Gutenberg™
electronic works, harmless from all liability, costs and expenses,
including legal fees, that arise directly or indirectly from any of
the following which you do or cause to occur: (a) distribution of this
or any Project Gutenberg work, (b) alteration, modification, or
additions or deletions to any Project Gutenberg work, and (c) any
Defect you cause.
Section 2. Information about the Mission of Project Gutenberg
Project Gutenberg is synonymous with the free distribution of
electronic works in formats readable by the widest variety of
computers including obsolete, old, middle-aged and new computers. It
exists because of the efforts of hundreds of volunteers and donations
from people in all walks of life.
Volunteers and financial support to provide volunteers with the
assistance they need are critical to reaching Project Gutenberg’s
goals and ensuring that the Project Gutenberg collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg and future
generations. To learn more about the Project Gutenberg Literary
Archive Foundation and how your efforts and donations can help, see
Sections 3 and 4 and the Foundation information page at www.gutenberg.org.
Section 3. Information about the Project Gutenberg Literary Archive Foundation
The Project Gutenberg Literary Archive Foundation is a non-profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation’s EIN or federal tax identification
number is 64-6221541. Contributions to the Project Gutenberg Literary
Archive Foundation are tax deductible to the full extent permitted by
U.S. federal laws and your state’s laws.
The Foundation’s business office is located at 41 Watchung Plaza #516,
Montclair NJ 07042, USA, +1 (862) 621-9288. Email contact links and up
to date contact information can be found at the Foundation’s website
and official page at www.gutenberg.org/contact
Section 4. Information about Donations to the Project Gutenberg
Literary Archive Foundation
Project Gutenberg™ depends upon and cannot survive without widespread
public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine-readable form accessible by the widest
array of equipment including outdated equipment. Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.
The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements. We do not solicit donations in locations
where we have not received written confirmation of compliance. To SEND
DONATIONS or determine the status of compliance for any particular state
visit www.gutenberg.org/donate.
While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.
International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.
Please check the Project Gutenberg web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including checks, online payments and credit card donations. To
donate, please visit: www.gutenberg.org/donate.
Section 5. General Information About Project Gutenberg electronic works
Professor Michael S. Hart was the originator of the Project
Gutenberg concept of a library of electronic works that could be
freely shared with anyone. For forty years, he produced and
distributed Project Gutenberg eBooks with only a loose network of
volunteer support.
Project Gutenberg eBooks are often created from several printed
editions, all of which are confirmed as not protected by copyright in
the U.S. unless a copyright notice is included. Thus, we do not
necessarily keep eBooks in compliance with any particular paper
edition.
Most people start at our website which has the main PG search
facility: www.gutenberg.org.
This website includes information about Project Gutenberg,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.
