LuciferatLarge 10856142

L U C I F E R A T L AR G E
(3 .
j O H N M cc O L E
F o r m er ly
the i m aginati o n created saints f o r
"
its l egends toda y i t m ak es devi l s f o r i ts no ve l s
, .
S t M a rc G irardi n
.
E ssa y I nde x Re p ri nt S e r i e s
BO O K S F O R L I B RA RI E S P RE S S
F RE E P O RT NE W Y O RK
,
C O N T EN T S
C H AP TE R
O N FA L L I N G O F F TH E FL O OR
T H E O D O RE D R E I S E R A ND T H E R I SE OF A M E R I CA N
N A T U RA L I S M
S T E PH E N C RA N E ,
F RA N K N O RR I S ,
L O N D ON , A ND O T H E RS
S O M E TH I N G M O RE A B O UT CA B E L L
F R E UD I S M A ND T H E S T RE A MCO N SC I O US N E SS
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O F -
JA M E S J O Y C E W A LD O F RAN K J O H N O H ARA
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K AY B OY LE F L O Y D D E L L VA RD I S F I S H E R
, , ,
CO N RA D A I K E N W I L B UR D A N I E L ST E E L E A N D
, ,
O T HE RS
S H E R WO O D A N DE RS O N : CO N GE N I TA L F RE U D I AN
E R N E ST H E M I N GW A Y : S PO K E SM A N FOR H IS
G E N E RA T I O N
J OHN D O S P A SS O S A N D TH E M O D E RN D I STE M PE R
W I L L I A M FA U L K N E R : C RE T I N S CO F F I N W O R M S ,
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,
A N D C R U E LT Y
E V E L Y N S C O T T K A Y B O Y L E W I L L I A M M A RC H
, , .
,
A N D O T H E RS
T H O MA S W O LF E E M B RA C E S L I F E
X . T H A T D ARI N G Y O U N G M A N M R SA R O Y A N
, .
A F O O T NO T E ON JA ME S T F A RR E L L
.
T O W ARD TH E C E N TR E O F TH E ST R E A M
MA RGA R E T M ITCH E LL , J O SE PH I N E J O H N S O N ,
AND O T H E RS
A C K N O W L E D GM E N T S AND R E F E RE N C E S
I N DE x
C H AP T E R I
ON F A LL I N G O FF TH E FL O O R
the m ere fact that a writer t o a chieve tru ly me ritori o us

w o r k m ust e x press hi m se l f in n o w a y invo l ves the de d u cti o n
,
that be cau se he i s e x pre ssi ng hi mse l f h i s w o r k must have v a l ue .
Yet so s o m e o f o u r prese n t d a y criti cs wo u l d seem to wish us t o

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be l ieve In their e y es se l f reve l a t i o n s the thi ng and the d is

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cl o sure o f n o matter What pa l tr y phi l o s o phies i ll i cit desires a nd

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u ndis cip l i ned passi o ns i s worth y o f a respe ctfu l hearing mere ly

,
because it i s a re cord o f sel f W e sub m it that an y su ch co n t en

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ti o n a s this is the veriest bu nk — that there are purl ieus o f the

m ind a nd s o u l that n o m anner o f l iterar y s k i ll in presenting the m
ca n ever re n d er o ther than waste l ands ; that se l f e x pressi o n that
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tra n s l ates into wo rds e x perien ce eith er so co mm onp l a ce or so

inti m ate a s t o deserve the tribute o f reti ce n ce is mere ly ego tism
run ri o t a nd that criti cis m that fa i l s t o gra de its interest b y the
,
ca l iber o f the s o u l that i s e x pressin g itse l f i s criti cis m n o t w o rth
i t s sa l t
. A m y L o ve m an in the N ew Y or k E v e n i ng P os t
, ,
Au gust 1 8 ,
C H AP T E R I
ON F AL LI N G O FF TH E F L O O R
A C R IT I C i s an ass gnawin g at vine s S O S hensto ne th o u ght . .
A cr i t i c I s a b utcher T hus s p o ke S a m uel B utler

. illu s tratin g
his o wn c o nte m pt f o r the craft b y a s surin g us that he hi m self
wr o te o nly that he m i ght ha v e s om ethin g t o r ead in his Old
e
a
g .
T o B urn s critic s were b andit s and cut thro at s ; t o D ryden

,
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,
they were han gm en B en J o ns o n th o u ght the m tinkers w h o

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caused m o re dam a g e than they c o uld repair S wift co nsid .
ered the m rats d o gs and dro ne s T o S ir H enry W o tt o n

, ,
.
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they were se r v ile fo o ls w ho b rushed the cl o thes O f n o b le m en .
A n d t o W a s hin g t o n I r v m g they were free b o o ters pilla g in g

,
in the repu b li c Of literature .
W ith s o m e few hi g hly interestin g excepti o n s w e are t o ,
day inclined t o b e s o m ewha t le ss ra b id i n assail in g o u r criti cs .
A n d yet t o a certain extent I fir m ly b elie v e w e ha v e a j ust

, ,
quarre l with s o m e o f the m W e m i gh t wi sh that certain .
critics w o uld no t try quit e so hard to o u t d o o n e an o ther in
a m assin g s uperlative s (I n o n.e re cent twel v e m o nth peri o d -
o u r attenti o n was called t o o ver o n e hundred and thirty
n o v el s ; and we were t o ld that ea ch was the b e st n o v el Of

that year ! ) A nd we m i ght wish that s o m e few o f the m
w o uld no t straddle so m any literary fen ce s : that th ey w o ul d
b e les s co m pr o m isin g an d le ss I ncli ned t o relinquish certain
,
standards .
O n the w h o l e h o we v er I a m inclined t o think that t he

, ,
pro fe s si o n o f critici s m in Am erica ha s m ade g en uine ad v ance s

in th e l a s t f ew year s I t s ee ms t o m e t hat o u r critics a r e
.
do in g wor k a t pr e s en t tha t i s charact eri z ed b y an independ

3
4 LU C IFER AT L AR G E
en ce O f j ud gm ent an intelle ctual co ura ge and h o nesty that
, ,
w a s al m o st rare seven o r ei ght y ears a go I as k readers w ho .
m a y dis a g ree w ith m e t o fo ll o w svs te m a ti ca llv f o r a ti m e , ,
the reviews i n o u r prin ci pal papers li terar y supple m ents , ,
a n d m a azine b o o k depart m ents

g I a m co nvin c ed that
. s u ch
readers will fi nd the m se l ves a bit surprise d T hey will d is .
co ver criti cs — a n o t n e li ible nu m ber O f the m — w h o d o

g g
n o t always straddle fen ces T he y will co m e up o n reviewers
.
w ho are s o m eti m es d o in g a s m any a s fo ur o r fi v e b o o k s a

Week and w ho a r e neverthe l ess turnin g o u t rather surpris
,
i n g ly p o inted and co m petent w o rk .
B y and lar g e h o wever the s o undest criti cis m o f o u r day has

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b een that d o ne b y o u r H u m anists T hey at least never si t .

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o n a fen ce tr y in g a greeabl y t o dan gl e o n e l e g o n ea ch side

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T hey d o n o t co m pr o m ise with N atura l is m m o n o pti c rea l ,
ism d efeatis m m o rbid cruelt y o r any O f the o ther tenden cie s

, , ,
whi ch I deal with in m y inquiries T hey write m o re o ver .

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with o ut leavin g t o o m u ch Of their se n t ence str u ct u r e t o G o d .
A n d m ere literary m edi o crity they d o n o t i mm ediatel y hai l

o rs like M iss K enned y s F ann y
’
a s literary enius Y o un auth

g g.
B a i nes w h o write n o t be cause they kn o w h o w t o write but

’
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be cause they feel that a husband and a l o ver and a tr i p t o

P aris sh o uld no t b e wasted — su ch y o un g auth o rs d o no t ge t
past m an y literar y bases with H u m anists up o n the m .
B u t H u m anis m when spe lled with a cap i ta l H is s o m e

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ti m es a co ld creed As Mr Y v o r W inters says o ne s O b je c

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ti o n 15 n o t to the H u m anists hu m anis m b ut t o their la ck O f

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i t — t o their spiritual ban k rupt cy T heir cred o fi nds itself .
t oo div o r ced fr o m real spiritual san cti o ns t o be either as e f
f e ct i v e o r a s war m l y satisf y in g a s it m i ght be .
Mr P aul E l m er M o re f o r exa m ple quarreled with th o se

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o f o u r y o un m de m s h n lude that there are abs l utely

J
g o w o co c o
n o standards m er ely b e cause the y have dis co vered n o a b so

,
lute standards B u t Mr M o re hi m self failed t o assure us

. .
that it is a b s o lutely i mpo s s i b le t o ha v e any a bs olute stand

ON FA LLI N G O FF T H E FL O O R 5
ards unless o ne ha s that o f the Ab s o lute H u manism d o e s . .
no t per m it us t o fo r g et that m a n is hu m an I t o u gh t als o .
t o r em ind us that he i s whether we l i k e the w o rd o r n o t at

, ,
leas t s o m ewhat divine .
L e t me be m o re spe cifi c S o m e twen ty years a go S tuart

.
S her m an distin g uished between the an i m al o r naturalist i c , ,
i m pul s es in m a n and h is hu m an i m pulses b y tellin g us that

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while it i s the nature o f t h e an i m a l t o l o o k o nly t o the

preserv ati o n o f its o w n li fe and the repr o du cti o n o f its k ind ,
it is the nature o f the hu m an ani m al t o sacri fi ce his life if ,
need b e f o r his great gr andfather and t o c o ntro l hi s instin cts

,
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t o ward an indis cri m inate repr o ducti o n o u t o f a co n s iderat i o n

f o r his grands o n I n o ther w o rds the hu m an ani m al has
.
, ,
a m o n g o ther distin guishin g chara cteristics an i m pulse t o ,

“
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refrain .
T his i m pulse say what yo u w ill d o e s no t w o rk if it i s

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m ade entirely dependent up o n hu m an relat i o n s hip s And .
the pr o o f o f thi s lie s in c o mm o n experience W e sh o uld all .
o f us b e g i n at o n ce a wh o le ser i es o f ind i s cr i m i nate repr o
d ct o n s if we had no thin g m o re t o deter us than the fear

u i —
o f dullin s o m ewhat the m e m o ries o f o u r r eat randfathers

g g g
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O u r re co lle ct i o ns indeed m ust go further ba ck than thi s

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”
t o ac co unt f or the i m pulse t o refrain
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O u r rec o llecti o n s .
m u s t go b a ck t o the A bs o l ute .
My study l e t i t b e s aid at the o utset d o es n o t purp ort t o

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Offer a co m plete sur vey o f co nte mp orary literature Instead

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it ai m s at tra cin g a f ew o f the li terary currents that be gan

x ,
l et us sa y j ust befo re the fi n d e s ié cle gathered m om entu m

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in the early y ears o f o u r centur y and finally entered int o ,
the w o rk o f su ch wri ters as th o se I dis cuss in m y b o o k O u r .
critics ha v e n o t I feel pla ced en o u gh e m phasi s up o n these

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tenden cie s o r up o n the v i tiatin g in fl u en ces whi ch they ha v e

6 LU C IFER AT LA R G E
Often had up o n o u r c o nte m p o rary literature B u t let . me
su ggest a few o f the currents that I have in m ind .
M o v in g D a y f o r the A b so lu t e T h e first o f the m r esulted ,
in part fr o m t h e n ew s cience o f the nineteenth century

,
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no t f r o m the g enuine s cien ce o f co urse

, but fr o m what,
Carlyle called the R ush li ghts and S u l phur m at ches that

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s o m e m ista k e f o r the m o re genuine T o r ch S pen cer m a y .
ha v e had a littl e t o d o with it and so m i ght have H uxley

, ,
a n d the g entle D ar w m wi th wh o se e xperi m ent s h i s wife f o und
fault b ecause they put G o d further o ff An d T yndall m a y

“
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have helped a b it wi th hi s i nsistence that all the o lder

reli gi o us co s m o go nies m ust ab s o lutely su b m it t o the c o ntr o l
“
”
o f s cience an d S ci entist s no t fo rg et that in Matter lies the
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real pro m ise and p o tency o f life
“
.
B u t it w a s E rn st H ae ckel w h o did the b i gg est part o f the
j b o f fo re cl o sin h m rt a e the universe G d nly “

o g t e o g g o n o o .
,
a gase o us vertebrate at b est had t o mo ve o u t T he R i d d le

, .
of t h e U n iv e r se
(translated int o E n g lish in 1 900
) pr o v ed “
that H e had no pla ce whats o ever as a del i b erate archite ct “
in the sche m e o f thin gs .
E L Y o u mans J o hn F iske J o s iah R o y ce W illia m Ja m es

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, , , ,
W i l lia m C o wper B rann Ro bert In gers o ll J o hn D ewey

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B ertrand R ussell — the dis ciples in phil o s o phy o f the new

ev o luti o n and pr a gm atis m were quick t o ta k e up the idea .
A n d m any o f o u r A m erican n o velists s o o n fo ll o wed In .
B u tter fi e ld 8 — t o g i v e b ut o n e later exa m ple — M r O H a r a

’
has Gl o ria Wandr o us refle ct : W hat a b o ut G o d “

P Sh e
hadn t th o u ght a b o ut G o d f o r a l o n g ti m e
’
N a t u r e M oves I n W ith G od o u t o f the universe H aeckel

. ,
and his disciples had to find a n ewtenant N ature s ee m ed .
a pr o m isin gly dependa b le o ne : at least sh e b o re letter s o f

rec o m m endati o n that dated a s far b a ck a s R o usseau .
—
H aeckel asked her t o m o v e i n and put the pla ce in o rder
a b i t with what he called her eternal ir o n laws , .
ON FA LLI N G O FF T H E F L O O R 7
N ature mo v ed to o k full p o ss e s si on o f ev erythin g
in . S he
includin g ma n who was supp o sed anyway t o b e h er handi
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wo rk . Man was to ld that h e had to s u b m it t o her dic tates ,
‘
tha t he mu s t s urrender t o her unchan gea b le rule s and s eek
his fel i c i ty o nly in her m andate s I n o ther w o rd s she t o ld .
,
hi m to tru s t the in s tincts whi ch she had g i v en h im S it

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d own b efore fact a s a little child said H uxley fol , .
lo w hu m b ly and t o what ev er a b y s se s N ature lead s o r yo u ,
”
s hall l earn n o thin g .
I t wa s all rather hard at fir s t f o r m a n had b een a b it u s ed ,
t o fo ll o win g — n o t N ature and h is ow n in s tincts — b ut ideas ,
prin ciple s law s g i v en h im b y the Abs o lute B u t gr adually

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he b e gan to l earn t o a ccept N ature instead Gradually he .

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learned al s o that when he wr o te a b o ut life it was a goo d

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thin g to writ e as the G o nco u r ts put it with d o cu m ents

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narrated or c o pied fr o m natur e .
T he co mm o n f co pp e m f or t
n da
g e B u t w ri
o tina ca u da l a
g .
”
“
wi th d oc u m en ts narrated or c o pied fr o m nature wa s al s o
s om ewhat di sc o n certin g at first I t wa s a little d iffi cult .
,
espec i ally t o b e m ade t o st o p writin g a b o ut Man

,
H ow p oor how ri ch ho w abj e ct how au gust

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H ow co m p l i cate h o w wo nderfu l is
, man , .
5
I t was di ffi cult that i s until N ature s h o wed h im what a

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pitiful thin g he really w a s F o r when she go t thr o u gh with .
h im he n o l o n ger s ee m ed rich o r au g u s t c o m plicate o r w o n

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der f u l H e see m ed o nly a b j ect H ae ckel s m o n o ph y letic

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ev o luti o n tra ced h i m t o gether with the o ther ani m als f r o m

, ,
“
a sin gle c o mmo n m a mm alian parent fo r m I t called h i m a .
m
placental a mm al — and this after a while did mana g e to , ,
s ee m m o re pleasin gly scientific than S ir T h o m as B r o wne s ’
”
n o b le ani mal or Milt o n s T w o o f far n o b ler s hape erect
“ ’ “
”
and tall .
Mark T wain a mo n g o ther writer s e m b raced the n ew

, ,
the o ry wi th ala crity tellin g u s that m a n is o nly a m useu m,
o f di s ea s es wh o b e g in s his life in dirt and depart s it with a

sten ch U lti mately it b eca me the fashi o n t o co m p are ma n
.
even unfav o rably with t he r e st o f the ani m al kin gd o m ; and '
by no w o u r n o velists go so far as t o deride us b e caus e we

,
are m erely apes reft o f o u r tails In the w o rds o f Mr

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Ca b ell w e la ck even the c o mm o n co m fo rt o f a caudal

,
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A n d as Mr W esc o tt says o f o n e o f his char

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appenda g e .
6
, .
a ct er s the o nly d i ff e r en ce b e t w ee n o urselves and the o ther

'
ani m als is that w e re m e m b er m ore and w orry m o re “

.
B y and lar g e the sa m e p o int o f view is enc o ura ged b y o u r

,
critics L e t m e m enti o n j ust a few repr esentative o pini o ns

. .
D o gs s ays Mr H a z litt n o t o nly have a keener sen s e o f s m ell

, .
,
than m a n b ut Sh o w their gratitude m o re intensely A n d he

, :
”
adds that what we call the i m pulse t o refrain is m o st ce r “
t a i n ly n o t co mm o n t o m a n al o ne H is pr o o f o f this ? T h e
“
phen o m en o n o f h o use trainin g Mr Cha mb erlain w o n -
. .
ders W h a t earthly di ff eren ce d o es it make

“
whether
m a n di ff ers in kind or de gree fro m the ani m als — even the
l o wer a ni mals ? Mr G rattan insists that the H u manisti c .
distin cti on o f free will in m a n is b u t a fi gm ent o f the i m a g i “
”
nati o n A n d Mr K rut ch su gg ests the new attitude t o ward
.
7
.
ma n b y sayin g that he is
of a ll l ivi ng creatures t h e o n e to wh o m the earth is the l east

sati sfa ct or y H e h as arri ved at a p o int where he ca n n o
.
l o nger del ude h i mse l f a s t o the e x tent o f his pred i ca ment ,
a n d s h o u l d he ei t her be co m e mo di fi ed o r disa p pear t h e
earth w o u l d co ntinue t o Spi n a nd the grass to gro w a s it

has a l wa y s do ne O f the th o usands o f l iving Spe cies the
.
vast m aj orit y wo u l d be a s unaware o f his passing a s the y are

n o w unaware o f h i s presen ce and he wo u l d g o as a s h ad ow ,
g o es 8
B ig
fi fi W hen N
s h ea t ature m o li tt le
ved in as the new sh .
t enant o f the universe she did m u ch t o place m a n in a de ,
ter m inistic w o rld S he m ade hi s destiny see m b lind pur

.
,
ON FA LLI N G O FF T H E FL O O R 9
o seless, futile A n d sh e t o ld h i m that his chief chan ce f o r

p . .
surv ivi n g lay in his a b and o nin g hi m self t o the predat o ry

instin cts she herself had g iven h im T o b orro w an illustra .
ti o n fro m a c o nte m p o rar y n o vel he w a s t o survive lik e the ,
l o b ster b y feedin g up o n hu m an squids

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.
”
E very dr o p o f water i s a b attlefield said S pen gler in his
“
M a n a n d T e chn i cs and we who h a v e t he land b attle so

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co nstantly befo re o u r eyes that it is taken f o r granted o r
even fo rgo tten shudder t o se e ho w the fantasti c fo r ms o f the

,
”
deep sea carry o n the life o f killin g and b ein g killed .
9
B u t all this sh o uld n o t keep us fr o m re m e m b erin g that the

ta cti cs o f m an s livin g are in a si m ilar m anner th o se o f a
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splendid beast o f prey bra v e crafty cruel H e lives b y

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”
atta ck in g and destr o yin g .
1°
T h e b ird expl o its the w o rm the ti g er the gazelle the

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”
hu m an bein g the ti g er endlessly says Mr F isher s
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,
11
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Vr i d a r H unter L ivin g is
. a ga m e o f b ig fi sh e a t little
“
fish and little fi sh m ust still learn t o swall o w littler fi s hes

,
”
ever t o gro w lar g e hi m self o b serves o n e o f th e m e n in
12
,
P aul Green s p o werfully wri tten Th is B o dy the E a r t h

’
S lav e M or a li ty I n s uch a kind o f l o b ster w o rld m o ral ity

.
,
tends t o have a rather s m all chan g e valu e T h e squids are -

.
eaten up m u ch t o o qui ck ly t o ge t any lar ge a m o unt o f co m

fo rt fr o m i t ; and the l o b sters d o n o t need i t a n yw a y
‘
T his is N ietzs cheis m with a ven g ean ce F o r it will b e .
re called that the Germ an phil o s o pher divided all ethics int o
t wo classes : what he called S lave M o rality and Master M o
r a li t
y .T h e f o r m er what m o s t o f u s understand b y m o rality
exi sts f or squids al o ne f o r the weak T h e latter Master .
o —
M rality co n sist s we m i ght say in d o in g away with m o
, ,
r a li t
y .T h e b i g fi sh i s a law unt o hi m self : he need t o be ,
m o ral o nly t o c o ntinue t o b e a b ig fish

, .
L et the weak die said N ietzsch e , w e will even help .
the m t o peri s h T h e B l o nd B ea s t has n o altrui s tic co n

.
“
i o LU C IFER AT LA R G E
siderati o n s and we ca n hardly c o n ceive o f an o rderly un iverse
,
in whi ch the o wl sh o uld g i v e hi m s elf up to the servi ce o f

”
the m o use .
13
F r o m su ch a p o int o f v ie w mo rali ty b e co m e s at b est o nly , , ,
a utili tarian c o n cern an ar b i trary m atter s o m ethin g that

, ,
can ne v er b e m easured b y any o bj e cti v e standard .
B o tt les f o flu i d dy nWa m

ith
i t
o b
e j ective ethi cal values
.
thus ni cely put away in the cl o s et N ature s et up her new ,
h o usekeepin g wi th a hand b o o k o f b i o che m istry Man ca m e .
t o b e th o u ght o f lar g ely as a creature o f che m ical co m
pulsi o n s .
A n exa m ple m i ght m ake this new p o int o f view t o ward

m a n s o m ewhat m o re clear A cco rdin g t o the che m ical co m
.
pulsi o n the o ry if Mr X o n his way t o w o rk in the m ornin g

, .
, ,
happens to see Mrs Y waterin g her fl o wer garden b ec o mes

.
,
ena m o ured o f her physi cal char ms and arran g es then and , ,
there an ardent c o urtsh ip whi ch is co nsu mm ated in an el o p e

,
m ent b efo re ni g htfall he d o es so o nly b e cause a certain ,
m ixt ure o f che m i cal s in Mrs Y have b r o u ght the msel v es .
dan ger o usly cl o se t o a certain m ixture o f che m icals in h im

self I f Mr D reiser s A ileen wishes t o b ec o m e C o w per w o o d s
. .
’ ’
m istress and leave Mrs C o w per w o o d at h o m e t o han g pictures

.
o n th e wall all b y herself — that is the fault o f te m pera “
m ent a nd the fault o f te m pera m ent al o ne

, .
T h e P o siti v ist will tell yo u o f co urse that Mr X sh o uld , , .
hav e had a m o re due co ncern f o r Mrs Y s husb and T he .

’
P ra gm atist m i g ht say that perhaps Mrs Y sh o uld have b een .
less i m petu o us b e cause later she m i ght herself re gret the step
,
sh e has take n T h e N i e t z sch e a n w o uld pr o bably in s ist that

.
i f Mrs Y s husband was su ch a squid he d eser v e d t o l o se t o

’
.
,
the l o b steri s h Mr X An d the H u m anist I s upp o se w o uld

. .
, ,
assure yo u that Mr X did no t have the pr o per re gard f o r

.
—
his great grands o n o r that he had n o t read h is P lato very
-
attentively that m o rnin g .

no t nly m ix like tw o b o ttles o f che m i cal s that have an
o
affi nity f or ea ch o ther b ut are I think j ust a b o ut as interest

, , ,
”
ing . Mr F arrell pa cks a rape int o his pa ges with a sci e n
.
t i fi c and m athe m ati cal re g ularity Mr S ar o yan has redu ced . .
his p o rtrayal o f f o r instance b r o thel s cenes t o exa ctly that

, ,
d e co lle t e ph o t o graphy o f pleasure

’ ’
that the G o n co u r t s
sp o ke o f Mr D o s P as s o s chara cters lead lives that ca n be
. .
’
fo ll o wed and an ti cipated with a k ind o f cli n ica l chart

, , , .
A n d t o g ive but o n e further i llustrati o n Mr Ca l dwell has

, , .
his puppets a ct always with this co nvicti o n su ggested by ,
o n e o f the m G o d put us in the b o dies o f an i m als and tried

”
t o m ake u s a ct like pe o ple .
1“
like pe o ple
a ct D ealin g as h e d o es with a w o rld
.
,
that is re presentative o f life it see m s o nly fair t o ask that ,

’
the n o v elist let his chara cters act li k e pe o ple F o r m erly the
“
.
i m a g inati o n created saints f o r its le gends t o day i t m ake s ,
”
devils f o r its n o vels said S t Marc G irardin O n e d o es n o t
, . .
ask no r d o es o n e want the n o velist t o create very m any

, ,
”
saints f o r his fi cti o n N either d o es o n e m ind h o w m any
.
devils he creates — if he creates t he ri ght kind .
A fallen an g el is a splendid thin g ; a fallen si m ian is n o t .
T h e o n e can t o pple fr o m hi gh heaven ; the o ther o nly fr o m ,
a tree .
L e t m en and w o m en o f ficti o n fall t o any depths but let ,
the m fall as m e n and w o m en F o r a s I say t o fall very far .

, , ,
characters ha v e t o b e hu m an and even s o m ewhat divine

— .
O therwise i t is rather di ffi cult t o think o f the m a s havin g any

,
pla ce t o fall fr o m : t o use the fi gure whi ch Mr Galsw o rthy .
o n c e applied t o s o m e o f his o w n creature s they see m t o be ,
chara cters w ho are o nly fallin g o ff the fl o o r .
T his i s o n e o f the criti cal co nvi cti o ns whi ch pr o m pts m e

t o wr i te this b o o k A ls o there a r e o thers
. I believe that , .
ON FALLI N G O FF T H E FL O O R 1 3
the writer who repudiates all resp o n s i b ility t o ward his readers
t o tally i gn o res the m o ral nature o f m a n and the pattern o f
s ociety itself I h o ld that m en live b y a defini t e sys te m o f
.
va l ues and that these values are a b s o lute and o b je ctive

, .
I d o n o t b elieve therefo re in what i s po pularly under

, ,
st o o d b y art f or art s sake

“
- -
I a gree with Mr B ell oc that
’
-
. .
a writer w ho ca n ev o ke o nly reali ty is no t a great writer

N o o n e susta i ns the cu l ture o f m ankind o r b equeaths i t a ,
g reat thin g b e cause he m erely re g isters an e m o ti o n o r m erely

” 17
pr o v o k es o ne . F inally I reiterate m y b elief that m a n is
,
m o re than a m ass o f pr o t o pla s m and that hi s in s tin ct s and

appetit es are n o t entirely th o se o f the ani m al .
I n all o f whi ch I a m at o n e with the H u manist I to o .

, ,
find N aturalis m the m a terialis m o f J o hn D ewey the m e cha

, ,
nis m o f J ulian H uxley the E instein denial o f free will the

, ,
N ietzs chean will t o p o wer deter m inis m and d epr essio n ism
, ,
I t o o find all o f these una ccepta b le B u t I go further I

, , .
,
th ink than d o es the H u m anist : in the l o n g r o ad thr o u gh

,
what is co mm o n t o u s b o th I part c o m pany wi th him o nly ,
when at ti m es he ca n g ive m e no satisfyin g reas o n f o r s o m e

, ,
o f the si g n s al o n g the way .

C H AP T E R I I
TH E O D O RE D R EI SE R A N D TH E RI SE OF
AM E RI CAN N A T UR A L I SM
We d o a ll ever y b oo k that m o ves u s hu m an S o me see m

no t c .
written with know l edge o f the b l ack art se t o u r base passi o ns

,
a fl a me dis cl o se m o tives at whi ch w e shudder

, the more be cause
w e fee l th eir rea l ity a nd p o wer ; a nd w e k no w that this is o f the
devi l and no t the fruitage o f an y q ua l it y that d istinguishes us a s
,
m en . W e are distinguished a s m en b y the q ual ities that m ar k

u s di fferent fro m the beasts . W hen we call a thing human w e
have a spiritua l idea l in m i nd It m a y no t be an idea l o f that
.
whi ch i s perfe ct but it m o ves at l east up o n an up l and l eve l

,
where the air is sweet ; i t h o l ds an i m age o f m a n erect and co n

stant go ing abro ad with undaunt ed steps l o ok ing with fran k
, ,
a nd o pen
g aze up o n a ll the f o rtunes o f h i s da y . Fr om O n
“
B ei n g H u m an b y W o odrow YVi lso n in T he A tla n tic M on thly

V
, , ,
f o r S epte mber ,
C H AP T E R I I
TH E O D O R E D R E I SE R AN D TH E R I SE OF
A M E R I CA N N A T U R A L I SM 2
IT IS the year seventeen hundred and fo rty and in o n e o f

L o nd o n s parks there walks a plu m p and lively li ttl e E n g
’
lish m an dressed all in bla ck with o n e hand in the b o s o m

, ,
o f his c o at the o ther leanin g heavily up o n a cane as he casts

, ,
his eyes a b o ut in the h o pe o f seein g s o m e l o vely lady t o ta lk

to. A few days b efo re he had b een o nly a m o derately su c
ce ssf u l printer ; t o day he is the li o n o f E n glish letters and
s o ciety H e has published his P a m e la ; he is prepared t o

.
bask in the war m p o pularity the b o o k pr o m ises him and he

co n gratulates hi m self that h i s te e th are n o t yet failin g
“
that the ladies will enj o y t h e co v ert glan ces and the s m iles
he intends t o b est o w up o n the m .
S a m uel R i chards o n d o es n o t kn o w it but the ladies are ,
already there hidin g behind the shrubbery t o wat ch hi m

,
pass : o ver a m b iti o us m a m m as w ho are seein g in him the

-
a n sw er t o all their prayers f o r their m arria g ea b le dau g hters

w
ser vant girls w ho ha v e listened tearfully t o install m ent s o f

-
P a m e la read t o the m b ehind pantry d o o rs y o un g w o m en o f

fashi o n w h o have b een so m o ved b y the m o re pat h eti c pas
sa ges o f the n o vel that they hav e had t o retire t o their bed
r o o m s at peri o di c intervals t o have their cr y o u t A n d
, , .
eve n the m en have been payin g tri b ute F r o m their pulpits .
cler y m en have b een praisin this s m u and dapper li ttle

g g g
auth o r ; H o ra ce W alp o le tells us that his b o o k has b e co m e
“
”
indeed the universal and o nly the m e o f all co nversati o n
,
“
and co rresp o nden ce ; and o n e cri ti c is t o hail R i chards o n

as a m o dern H o m er and S o ph o cles A cr o wd o f m en w h o .
had gathered in a s m ithy t o hear p o rti o ns o f the n o vel read ,
have b e co m e indeed so enthusiasti c a b o ut P a m ela that they

, ,
1 7
1 8 LU C IFER AT LA R G E
hav e hunted up a sext o n and m ade h im rin g his church b ell s
t o Sho w their o y !
j
H o w s enti m ental pe o ple were in th o se days and ho w ex ,
t r a va ga n t they were in praisin g their m o re p o pular auth o r s !
T han k H ea v en I a m a b o ut t o s ay thank H eaven o u r j ud g

, , ,
m ent s are t o day a little m o re criti cal ! B u t — are they ?

T ake T he o d o re D reiser as an exa m ple O u r cri tic s ha v e
.
n o t o nly run g b ells f o r h i m b u t they ha v e al m o st t o rn d o wn

the steeple in the pr oces s .
T hus even S tuart S her m an m o dified his early esti m ate s o f

,
T he o d o re D r e iser suffi ciently t o o b serve that A n A m er ica n

Tr ag e dy m ade the b o o ks o f all ri v al auth o rs
“
l o o k like
caperin g a cco m plish m ent s o f ra bb its and squirrels O ne .
o f o u r m o st c o nser v ative m a g azines h a s de clared that the sa m e
n o v el is co m para b le in p o wer and understandin g t o 7 u d c

“
”
t h e O b sc u r e o r T h e B r o t h e r s K a r a m a z o v
, A fell o w n o v el .
-
i st has as s ured u s that D reiser is the m o st i m p o rtant A m eri

“
”
can n ow writin g wh en the N o b el P rize was re cently
b est o wed o n E u gen e O N e ill he wa s qu o ted as sayin g he
’
th o u ght D rei s er m o re entitled to it ; and a well kn own critic -
has c om pared h im t o Z o la o nly t o have his v o ice m uted b y

,
a se co nd cri ti c w h o i m m ediately added : C o m para b le t o “
Z o la ? ”
W hy D reiser is a greater realist than Z o la
,
“ ”
A nd .
so the ra ce has o ne until b y this ti m e m o st o f u s are ready

g ,
t o b elieve (wi th Mr reiser s f r m er pu b lishers that

’
D . o
)
T he o d o re D reiser is the r o ck o n whi ch the future o f A m eri
“
ca n letter s m ust b e raised .
In his a chieve m ents T he o d o re D reiser d o es represent s om e

thin g co l o ssal ; there is an intense h o nesty a b o ut h i s w ork ,
and n o s m all de gree o f c o m pellin g p o wer and he is capable

o f hu m anitarian i m pulse s that g ive war m th t o m any o f his
pa ges B u t alth o u g h he has all o f these qual itie s t o r eco m

.
,
m end him t o us and m any m o re I d o u b t very m u ch i f the

endurin g v alue s whi ch I a m co nfident o u r literature is ca
pa hle o f findin g are go in g t o sprin g o u t o f t ha t b a r r e n r ock
,
f or any plenary co nsiderati o n o f D reiser s o w n p o int o f v iew ’
.
F o r o n e thin g the N aturalist n o velist tends t o e m phasize

,
the ani m al i m pulses in m a n T here i s a st o ry t o l d t o the

.
e ff e ct that Z o la had co nstru cted a lar ge gallery in his sta b les ,
and that he used t o walk ar o und this se cretly w a t chin g the ,
st ock bel o w In his o w n n o vel s Z o la hi m self tended t o treat

. ,
m en — their inti m ate relati o nships physi cal lives and , ,
m o tives — fr o m the p o int o f view o f an o bserver wat chin g

h o rses and rabbit s in his b a r n s
B u t the N aturalist n o velist as Z o la ar g ue d in his L e

,
R o m a n ex per im e n ta l is m u ch m o r e t h a n an Observer He
"
'
.
,
is also an experi m enter Men and w o m en b e co m e his h or ses

.
and his ra bb its and his g uinea pi gs n o t o nly that he m i ght ,
o b serve the m but that he m i g ht expl o re the ani m alisti c b e

,
havi o r o f ea ch with a clini cal co n cern A ls o he is likely t o .

,
ch o o se his chara cters fr o m the l o west Stratu m o f s ociety t o be ,
lar g el y interested in i m b e ciles idi o ts de g enerate s and

, , ,
m ania cs t o find in su ch types the m o st a b s o r b in g m aterial

,
f o r his experi m entati o n t o think o f hi m self as an anat o m ist

,
and an analyst .
I n o n e o f his prefa ces f or exa m ple Z o la ad m itted that he

, ,
had had b ut o n e a im in d o in g a certain series o f his n o vel s

”
t o i m a g ine a str o n g m a n and an unbridled w o m an t o “
g ether , that he m i g ht carefully n o te their every sensati o n and
rea cti o n O n e o f the Z o la n o vels is a clini cal study o f a m ania c

.
with a desire t o m urder all the w o m en h e m eet s ; an o ther

co n cerns a deran ged physi cian w h o o ffers a repulsi v e ac
c o unt o f his o w n disease up t o the very m om en t o f his death

and still an o ther is a p o rtrait o f a co urtesan treated in the
m ann er su ggested b y C laud e B ernard when he insisted that
the n o velist take m e n fr o m the hands o f the physi o l o gist
“
s o lely
T h e Z o la te chnique was in clined o f co urse t o push t o the
, ,
extre m e th o se be g innin gs o f N aturalis m whi ch ca n b e dis

cerned in su ch o ther F ren ch writers as B alzac the G o nco u r t s , ,
T H E O D O RE D REI SER 21
and F laubert I t tended to establish a m i lie u that cann o t

.
p o ssi b ly be entirely representative o f real life ; it fo cused a t

tenti o n up o n hu m an rab b its — m any o f the m b adly diseased
it p o rtrayed m a n a s a creature with o u t fre e will and stru g
g lin g ga ainst insupera b le o dds in a w o rld o f g r i m hardships
and irresistible physi cal co m pulsi o ns I t pi ctured m a n a s a .
h o rse tied in h is stable and chewin g up on hi s hed o ni sti c o ats

, .
L e t us n o t fo r g et said Meredith that N ature when she is

, , ,
at her best rea ches t o the fo o tst o o l o f the H i ghest

,
“
But .
the N aturalist seld o m re co gnizes N ature at her best M o st .
Often as Meredith warned us he sees the h o g in nature and

, ,
“
”
takes natur e f o r the ho g M o st o ften he b e co m es the
.
3
type o f realist R o bert F r o st m ust have had in m ind when

he sp o k e o f the writer w ho o ff ers a go o d deal o f dirt with
“
his p o tat o t o sh o w that i t is a real o ne .
T he seeds o f F ren ch N aturalis m spread rapidly t o A m erica

in the latter part o f the nineteenth century and fo und r e
ce t i v e g r o und in the w o rk o f su ch wr i ters a s H enry B F u l
p .
ler H ar o ld F rederi c F rank N o rris S tephen C ran e and Ja ck

, , , ,
L o nd o n .A s a s o rt o f pr o test a gainst the bland and o ver

enteel realisti m eth o d o f W illia m D ean H o we lls N atu
g c ,
r a l i sm see m ed at that ti m e tre m end o usly e ff ec tive I t to o k .
the lank N ew E n gland skelet o n o f S ilas La pha m and put real

flesh up o n i t O r as o thers th o u ght a g o o d deal o f raw m eat
— , , .
F o r th e de cade that enj o yed su ch b o o k s as Mary J o hnst o n s

’
To H a v e a n d T o H o ld and Charles M aj o r s Whe n K n ig h t

’
ho o d Wa s i n F lo w e r w a s at fi rst s o m ewhat fastidi o us ab o ut

,
the new m eth o d N evertheless the tenden cy was fir m ly e n

.
,
tren ched in o u r literature even b efo re the turn o f the cen

tury L e t m e su ggest j ust a few o f the b etter exa m ples
. .
B lo sso m i n g in a mud p u d d le . Crane s ’
Al a gg i e : A G ir l of
t he S t r e e ts (1 8 9 3 ) is o n e o f o u r first exa m ples o f N aturalist
fi cti o n T his n o vel is the sto ry o f Ma gg i e J o hns o n w ho
.
m ana g es s o m eh o w to b l o s s o m in the m u d pud dle o f the

B o wery i s sedu ced b y a b ar tender and after havin g b een
,
-
,
a b and o ned b y h im and tryin g unsu ccessfully t o b e co m e a

pr o sti tute c o m m its sui cide T he her o ine herself sh o uld b e
, .
co m pared wi th the later o nes o f D reiser and the wh o le ba ck

g r o und O f the b o o k studied f o r the way it anti cipates the
realisti c at m o s pheres o f n o vels b y su ch m o dern wri ters as

D os P ass o s and F arrell
T h e d o o rways o f the slu m s in whi ch Ma gg ie lives g ive up
l o ads o f b a b ies t o the street and the g utter H er tene m ent .
”
creaks f r o m the hu m an ity stam pin g a b o ut in i ts b o wel s .
T h e b ar tender P ete sh o ws h i s l o r dly nature b y the way in

-
, ,
whi ch he spits ; and refuses t o b elie v e hi m self resp o nsi b le

f o r Ma gg ie s d o wnfall : I f h e had th o u ght that her s o ul
’
co uld never s m ile a ain he w o uld have b elie v ed the m o ther

g ,
and b r o ther resp o nsi b le f or i t “

J i mm ie Ma g g ie s
.
,
’
b ro th er curse s until his b o dy wri thes

, s m all y o un gsters
“
swear in b ar b ar i c tre b les

“
Ma gg ie is pi ctured a s a will
.
less creature b etrayed b y cruel envir o n m en t and heredi ty .
W hen her m o ther hears o f her sui cide sh e cal m ly finishes

drinkin g her c o ffee b efo re sh e be g ins t o weep ; J i mm ie fall
int o his father s ha b its o f drinkin g and stu m b les up the
’
Stairs as his father had d o n e b efo re h i m An d th o u g h .
Ma ggie s m o ther realizes that her dau ghter i s g ettin t he a

’ ’ ’
re g lar devil sh e d o es n o thin g ab o u t i t except t o use the

’
st o ry in c o urt so o ften b y way o f co nd o nin g her o w n faults

, , ,
that t he m a g istrate finally re m inds her that the re cor ds Sh o w

her the m o ther o f fo rty t wo ruined dau ghter s ! -
A n im a ls t osse d f o r a d ea t h s tr u gg le in t o a da r k pi t
Crane s s e co nd n o vel T he R e d B a dg e of C o u r a g e
’
”
tells o f h o w H enry F le m in g crazed by th e ir o n law s o f war
, ,
and fleein g fr om i t s h o rro r s wanders b ack o f the lines wher e

, .
he m eets the w o unded and dyin g and is a s ham ed that he , ,
t o o cann o t b o ast o f a w o und

,
a red bad g e o f co ura ge H e .
tries t o co nd o ne his co wardi ce b y tellin g hi m self that after ,
all t he first law o f N ature i s self preservati o n H e thr o ws

,
-
.
a pine co ne at a squirrel sees that the ani m al flees instead o f,
b arin g hi s furry b elly t o the m issile and finds in this i n ,
e ident a co nfir m ati o n o f his ar g u m en t : N ature herself was

”
o f his m ind o n the questi o n o f self pre s er v ati o n An d so -
.
F le m in g res o l v e s n o t t o b e b ad g ered o f his life like a ki t

“
”
ten chased b y b o y s L ater h o we v er he thr o w s hi m s elf
.
, ,
recklessly int o the great m a chine o f war survi v es like o n e ,
o f D arwin s fittest and finds hi m self di s tin g uished f o r

’
b ravery .
T h e e m phasis thr o u gh o u t t he b oo k is u p o n m a n cau gh t

inextrica b ly in the net o f a relentlessly cruel N ature T h e .
s o ldiers re s e m b led an i m als t o s sed f or a death s tru ggle int o

“
”
a dark pit F le m in g w e a r e t o ld was an ani m al b listered
5
, ,
”
and sweatin g in the heat and pain o f war ; the b attle i s an
i mm ense and terri b le m achine pr o ducin g co rpses o u t o f
”
the m eth o dical idi o ts and m a chin e like fo o ls sucked int o
“
-
”
its co gs N ature driv e s m a n int o a final co rner
. i t is b e
cau s e o f this tha t he cann o t help de v e lo pin teeth and claw s
g .
“
A kin d o f Crane s st o ries illu s trates
a n a dv e r b . N on e of
’
hi s c o n cepti o n o f m an s helples s ness in a determ inistic w o rld

’
mo re than T he B lue H o tel T h e tal e des cri b es a S wede

“
.
m urdered in a N e b raska sal o o n a s a re s ult o f a series o f

ev e nt s ar i si ng o u t o f his o w n b elief that he was fa t e d t o be
i
killed D andled o n the lap o f M o the r N ature the S wede

.
,
co uld n o t help it if in a m o m ent o f caprice s he thr o ttled

, ,
h im .
He was n o t re s p o nsi b le i t i s hinted f or his o w n death

, ,
and the gam bler who c o m m its the m urder i s ex cul pa ted b y
the s e w o rds o f o ne o f the o ther character s : T h e p oo r “
”
m b s v H s v b
’
g a ler i n t e en a n o un e i a kind o f an ad er . .
6
He was si m ply th e apex o f a hu m an m o ve m ent whi ch N a
ture had o rdained T his st o ry sh o uld b e com pared with
.
H e m in gway s T h e K iller s
’ “
.
o ld he r i n t e n t i o n
’
An he n w ho kn o ws Crane s ir o ni c
no t .
T h e O pen B o at des cri b es fo u r m e n w h o ha v e b een ship

wre cked ; and who have m ade their way t o a coast i n an ,
o pen b o at o nly t o find su ch di ffi culty in landin g that o n e o f

,
the m is dr o wned al m o st up o n the sh o re T hat o ld ninny .

“
”
w o m an F ate co uld d o n o b etter than thi s f o r the m ! N a
,
ture i s serenely sy m b o lized b y a great wind m ill o n the sh o re

”
standin g with its ba ck t o the pli ght o f the ants N ature
“
7
.
with her ir o n laws cruelly indi ff erent t o po o r i nsigni fi

“
, ,
cant m a n !
T he n a ke d ma n f o u rs W hile at the un iv ers i ty F rank

o n a ll .
,
N o rr i s always carried a Z o la n o v el ar o und with h i m H is .
o w n Va n d o v e r a n d t he B r u t e a first n o v el th o u h n o t pu b
g , ,
l i sh ed until 1 9 1 4 pi ctures in the Z o la m anner a y o un g m a n

, , ,
w ho b y a series o f s o rdid dissipati o ns finally reverts t o his ,
an i m al instincts and be co m es a ly canthr o pe crawlin g up and ,
d o wn his r o o m o n all fo urs ! Vand o ver sees life as a gr eat

”
fo rce that dri v es b efo re it the infin i te herd o f hu m anity ;
he thinks o f i t in a m anner su gg esti v e o f D arwin and N iet z
,
s che as crushin g th o se who la g b ehind o r fall f ro m e x ha u s

,
ti o n G o d if H e exists is p o werless t o stay the inex o rable

.
, ,
”
law o f nature w h o is herself m erel y an en g ine hurlin g u s
‘ “ ”
into the unbr o ken bla ckness o f an eternal ni ght .
8
T he f o u l s t r e a m of her e d i t a r y ev il li ke a s e w er N o rris
,
.
’
M c T ea g u e (1 8 9 9 ) is the st o r y o f a Sa n F ran cis co dentist w ho ,
in a drunken spell m urders his wife P ursued by a sheri ff s

, .
’
p o sse a cr o ss a desert he is o vertaken b y hi s wi fe s co usin

,
’
Mar cu s Sch o uler M cT e a gu e kills Sch o uler ; b ut befo re t h e

.
v i cti m dies he m ana g es t o handcu ff hi m self t o th e m urderer

T H E O D O RE D REI S ER 25
and thus trap him M cT ea gu e is a N ietzs chean super m an

. ,
with his brute instin cts alway s cl o se t o the surface N o te .
s o m e o f the phrases used t o des cribe h im

“
str o n g and
” ”
brut al , crude
“
untut o red b rute fo r ce
, irresistible virile ,
“
” ”
p o wer , O bs cure brute instin ct
“
H e ca n cra ck walnut s
.
9
between the m us cles o f his ar m s kill a heifer wi th the fist s ,
’
he uses al so t o crash int o his wife s fa ce .
N o rris sa y s o f M cT ea gu e : B el o w the fine fa b ri c o f all

that w a s go o d in him ran the fo ul strea m o f heredi tary evil ,
like a sewer T h e vi ces and sins o f his father t o the third

.
,
and fo urth and fi v e hundredth generati o n tainted h im , .
T h e evil o f an entire ra ce fl o wed in his v eins W hy sh o uld .
it be ? H e did n o t desire it W a s he t o b la m e ? .
”
N o te 1°
carefull y the e m phasis up o n ani m al i m pulses and the atti ,
tude t o ward m a n as a puppet a m ere pr o du ct o f heredity

, .
A w h o le g co n e r i es o I n his
f f tril
o r o gy entitled T he
ces .
O ct o p u s The P i t and T he Wo lf (the last

v o lu m e o nly pr oje cted) N o rris planned an e pi c o f the pr o
du cti o n distri b uti o n and co nsu m pti o n o f wheat T h e first
, , .
n o vel deals with the ri ch fields o f the Sa n J o aquin valley int o

whi ch co rrupt railr o ad co rp o rati o ns stret ch their vast tenta
cles t o seize the helpless ran chers m er e ephe m erides that
“
”
fluttered and fell a s they fo und the m selve s sei zed in thi s cruel
g r asp
. T h e pi c ture o f B ehr m ann ch o ked t o death i n the
h o ld o f the ship under the m o untains o f hi s o w n grain is a ,
” 11
sym b o l o f this co n ge ries o f for ces
“
that kill m en as the rail
r o ad killed th e herd o f sheep .
In T he P i t C urtis Jadwin i s ru i ned b y the w o l ves o f the

g rain m arket ; and L aura his wife refle ctin g up o n the w a y
, ,
i n whi ch the wheat had killed Cressler and ru ined her hus
band w o nders up o n all o f these irresistible fo rces o f life

,
°
the W heat that had intervened lik e a great t o rrent t o dra g

her husband fro m her side and dr o wn hi m in the ro arin g
v o rti ces o f the P i t like a vast T i tanic fl o o d leav
i ng D eath and R uin in its wake L ike the can v a s
o f N atur e herself N o rris n o vels are epi cal sweep i n g i n
’
, , ,
cl u si ve indi scri m inate

, .
Ther e m u s t b e m o les and d wa r fs to

Jack s er v e the n i m b le .
L o nd o n w h o dipped the b ea m o f o u r s cales o f fi cti o nal v alue s

,
b y pilin g o n m o re red m eat than any o ther early A m eri can

n o velist w a s a great ad m irer o f H ae ckel N ietzsche S pen cer
, , , ,
H uxley T yndall and their s ch o o l

,
In T he S e a Wo lf (1 9 0 4 )
, .
-
he created o n e o f the b est exa m ples O f N ietzschean super m en

in o u r fi cti o n O n a ferry trip t o visit his friend Charl ey
.
,
F r u se t
a h — w h o reads N ietzs che and S ch o penhau er f o r r e
laxat i o n — H u m phrey Va n W eyden is to ssed o ver b o ard i n a
c o llisi o n and is pi cked up and pressed i nt o ser v i ce b y the
crew o f the sealin g ship G hos t wh o se captain W o lf L ar s en , , ,
h
”
!
is a b east w i t h a ll the stren g th o f the pri m itive and o u r

“
tree dwellin g pr o t o types

Va n W eyden sees L arsen f o r the first ti m
-
.
e as the latter is
cur si n g a c o rpse b ecause the m a n had th o u ghtlessly died and

left the crew sh ort ; a few m o m ents later L arsen crashes hi s
fist into t h e pit o f the ca b in b o y s st o m a ch and thus o pens a -
’
series o f ni ghtm ar e b rutali ties and co ld bl oo ded cruelties -
a m o n g the m ch o kin g Va n Weyden int o un co ns c i o usness

(
j ust t o pr o v e his the o ry o f the s urvival o f the fittest) wh i ch
last f o r the rest o f the v o ya ge until Va n W ey den and his
m ate w o m an Maud B rewster find a r o m anti c refu ge o n a
“
, ,
desert isle N O o r d inary b rute is L arsen : he has read

.
N i etzs che P r o ct o r D arwin ; and he even enj o ys

, , Caliban
”
U o p n S ete b o s — when that p o e m i s explained t o h im .
H e de clares that life i s o nly a fer m ent and a m ess with the ,
b i g pie c es o f y east co nsu m in g the little o nes Cruelty he .

,
b elieves is o nly like seasi ckness : s o m e m en are a ffe cted by

,
it ; while o thers are n o t H u m an life is as cheap as that o f .
f o w l Or fish An d L arsen has als o read his S pen cer f o r he ha s

'
learned that F ir s t a m a n m ust a ct f o

“
r h i s o w
,
n b e n e fi t — to
28 L U C I F ER AT L AR G E
v o lu m es as A Tr a v e le r at F o r ty A H o os ier H o li da y
T w e lv e M e n H ey R u b -
a -
D u b Du b -
N e wsp a p er D a ys — fo r m erly al l ed A B o o k A b o u t M yse lf

c
and D a wn (1 9 3 1 ) he has fo rtunatel y t o ld u s en o u gh , ,
ab o u t hi m self t o per m i t the co llati on o f su ch fa cts as m a y be

ne cessary f o r this ba ck gr o und W i th the publi cati o n o f .
D a w n w e were t o ld als o that he was pr o j e ctin g a wh o le new

, ,
s e r i es of aut o bi o graphies T hin k o f the p o ssibi l ities !

.
D a w n S u n r ise L u n ch T i m e T e a T i m e D u s k T w i lig h t
, , , , , ,
D a r kn ess — b o und in calf with g i l t t o ps and aut o graphed

, , ,
what ad m irable co lle ct o rs i te m s these will be !

’
T he o d o re D reiser w a s b o rn in T erre H aute Indiana in , ,
18 1
7, o n e o f a fa m ily o f thirteen children lar g ely under the ,
d o m inati o n o f their father — a C ath o l i c and a bi go t “

I .
never knew a narr o w er m o re hideb o und re l i g i o nist n o r o n e

,
” 16
m o re tender and l o vin g in his narr o w wa y t h e so n was ,
later t o sa y o f h im P o vert y haun ted the fa m ily al w ays ;

.
when fire destr o yed their s m all w o o len m ills thi s p o vert y was ,
a ggravated al m o st unbeara b ly I re call bein g sent t o the

.
“
distant m ill t o buy fifteen cents w o rth o f co rn m ea l be cause ’
”
it w a s cheaper there and o n e go t m o re o f i t sa y s D reiser ,
.
In W arsaw and E vansvil l e (Indiana ) t o whi ch his m o ther ,
m o ved the fa m ily D reiser attended e l e m entar y s ch o o ls

,
But .
he re m ained a drea m in g s o m ewhat lazy and e go isti c y o uth

,
w ho w a s later t o de cl are that he had never been g iven a real

o pp o rtuni ty t o learn the m ental A B a b s o f life and t o
lay m u ch o f the bla m e f o r his stifled drea m s up o n the nar
r o w c ulture o f his h o m e : a h o m e in whi ch o nly oo d boo ks
g
were supp o sed t o b e read — D i ck ens Sco tt Irvin g H a w , , ,
th o rne G o lds m ith K in gsley Ma caula y f o r exa m ple and

, , ,
—
,
a h o m e in whi ch pi ctures o f nude w o m en were pr o hibited .
A fter su ch a disadvanta g e o us h o m e l ife and a m idst o ther

co nstri c ti o ns o f culture whi ch were n o d o ubt m o re j ust l y t o , ,
be co nd o ned — h e fo und hi s w a y int o Chi ca go a lad o f six ,
teen fo r ced t o wash dishes w o r k f o r a hardware co n cern

, , ,
paint s cenes and w o r k at any o ther jo b that w o uld ena b le

,
h im t o k eep his fo o t o n the b o tt o m run g o f the ladder A .
year at Indiana U niversity o nly served t o m ake h im realize

“
the h o pelessnes s o f a co lle g e career ; he returned t o Chi ca go

t o drive a laundry wa g o n and be co m e an install m ent c o lle e
t o r f o r a furniture fi r m E u g ene F ield s newspaper co lu m n

’
inspired him h o wever t o seek a po st in j o urnalis m ; and

, ,
T he o d o re D reiser spent the next weeks like a h o m el ess ca t

o n a d o o rste
p as,he says — han in
g g a b o ut newspaper Offi ces ,
l o st in the seethin g m ae lstr o m o f the newspaper w o rld

“
while h e waited f o r a jo b H e landed o n e finally o n the

.
, ,
Chi ca go D a i ly G lo b e at fi fteen d o llars a week ; and was sen t

,
o u t t o co ver the h o tels f o r co nventi o n news an assi gn m ent

whi ch refle cted that th o r o u ghness zest and insatia b le thirst , ,
f o r the co l o rful whi ch i t m ust b e co n ceded he h a s always

, ,
p o ssessed .
I t is true that he m ade the unfo r g ivable re po rt o rial m is

take o f d o in g it o n b o th sides o f the paper ; and that he pur
sued S enat o r T ill m an until the latter da m ned t h e G lo b e and
t o ld the y o un g rep o rter he insisted at least when he w a s go ,
i n g o u t f o r his laundry u p o n his ri ght t o priva cy !

, Max
well b a ck in the G lo b e o ffice h o we v er praised D reiser
, , ,
th o u gh he m o dified his prais e b y callin g hi m o n e o f the

“
da m nedest cra ck b rai ned l o o ns he had e v er s een B u t he
-
”
.
res o lved t o keep his thu m b o n hi s y o un g ch ar ge and so he ,
g o t h i m O ff o n the ri g ht f o o t wi th a bit o f sa g e advi ce t o the

effe ct that life is n o thin g m o re than a G o d da m ned stinkin g “
-
,
trea cher o us ga m e and nin e hundred and n inety nine m en

,
-
”
o u t o f every th o u sand are b astards T he o d o re D reiser .
17
was laun ched o n his career .
T his career w a s t o in clude j o b s o n the S t L o uis G lo b e .
D e m o cr a t and R e p u b li c o n the Cleveland L ea d e r and fi

, ,
nally o n the P ittsbur gh D isp a t ch where the final sta ges in

Mr D reiser s i nt erestin g li b erati o n w ere t o b e e ff ect e d
’
. .
H ithert o he had b een a s o m ewhat wistful y o un g m a n wh o s e

,
ur g e f o r phil o s o phizin g ha d n o t led h im m u ch b ey o nd
a va g ue feelin g that so m ewhere ther e was a s crew l o o se
“
‘
in th e F atherh o o d o f Man — B r o therh o o d o f G o d m a ’
”
chinery
18
.
I n P i tts b ur gh he del v ed m o re deeply h o wever into the , ,
writin gs o f T yndall H uxley and S pen cer and fo und a new

, , ,
co n cept i o n o f the un iverse that blew m e intelle ctually t o , ,
bits . B efo re readin g H uxley s o m e lin g erin g fi la m ents o f

”
Cath o li cism had still trailed ab o ut h i m : he had believed ,
f o r instan ce in the existen ce o f Christ in the m o ral tea ch

, ,
-
1
in g s o f Christ i an i ty and in the br o therh o o d o f m en B u t

, .
H uxley and S pen cer left h i m co nv i n ced that b o th the O ld

and N ew T esta m ents are n o m o re than m ere re cords o f er
r o n eo u s reli i o us experien ces and that m a n m o ve s o nly un
g
co ns ci o usly as a n at o m that is b l o wn a b o ut the w o rld b y
fo r ces w e are p o werles s t o understand .
D reiser ca m e o n t o N ew Y o rk in 1 8 9 4 H e s erved a s E di t o r .
Of E v e r y M o n t h fr o m 1 8 9 5 t o 1 8 9 8 ; held edit o rial p o siti o ns

o n the C e n t u r y C osm o p o li t a n and M c C lu r e s ; and finally
’
, , ,
ser v ed as edit o r in chief o f th e B u tt er i ck P u b li cati o ns fr o m

- -
t U p n the re o m m endati o n o f F rank N o rri s

1 90
7 o 1 9 10 .o c ,
his S is t e r C a r r i e had b een published in 1 9 0 0 and i ssued pri ,
v a t e ly t o the cr i ti cs bef o re i t s publi c release ; but up o n the
i m m ediate disappr o val whi ch fo ll o wed the b o o k wa s b uried ,
in i t s publisher s cellars ’
H is next three n o vels — 7 e nn i e G er ha r d t T he

F i n a n ci e r and T he T ta n (1 9 1 4 ) m et with o nly a
i —
m o di cu m o f su ccess ; b ut the cens o rship i m p o sed up o n T he

G e n i us (1 9 1 5) did m u ch t o pa v e the way f o r his su b sequent
“
career as the bed r o ck o f A m eri can li teratur e durin g the

-
’
twent i es — b esides establishin g the traditi o n so well m ain ,
t a i n e d thr o u gh o u t the de cade o f a b rush with the cens o r as

,
”
the inevita b le si gn o f a new g enius H is m o st artisti c
.
19
n o vel A n A m e r i ca n Tr a g e dy appeared in 1 9 2 5 t o b e f o l
, , ,
l o wed b y M o o ds Ca d en ce d a n d D e cla im e d
,
C ha ins
T H E O D O RE D REI S ER 3 1
D r e iser L o o ks at R ussia A G a ller y o f

Wo m en D a wn and Tr a g i c A m er ica
S O m u ch f or hi s life A n d o f hi s pers o nality and appear
.
ance ? T hi s m a n with the larg e and l o o s e fra m e thick ,
cheeks and lip s o verhan g in g eye b r o w s

, starin g l o o k u m , ,
g ainly and Sha m b lin g walk and seri o us m assive face — this ,
m a n refuses t o b e classified M i ss D udley in her F or g o tt en

.
,
F r o n t i e r s D r e iser a n d the L a n d o f th e F r e e tells u s

that there are really three D rei s ers : t he b rusque D reiser ;
the c o m pani o nabl e D reiser o f the Greenwi ch Villa g e and
F l o yd D ell days ; and t h e s o litary o r o ri g inal D reiser P er , , .
haps thi s i s as cl o se as o n e ca n co m e t o su ggestin g the v ari o us

fa cet s o f h i s pers o nality .
B efo re the pu b li cati o n o f A n A m e r ica n Tr a g e dy he seld o m

ca m e int o hi s pu b lisher s o ffi ce ; b ut hi s i m pre ss i v e b ulk di s
’
putin g o ver r o yalties and co m m is s i o ns and inve s t m ents w a s , ,
after 1 9 2 5 t o b e co m e a m o re fam iliar fi g ur e t o his a ss o ci

,
ates W e ha v e pi cture s o f h im in the L iveri ght o ff i ces talk

.
,
i n g a b o ut st o cks and b o nds ; o r pr i m i n g hi m self with a drink

b efo re enterin g into dis cussi o n with Mr P ell th e L iveri ght .
,
treasurer A s Mr P ell did n o t drink and D reiser did n o t

. .
“
like t o drink al o ne s o m e o ne had t o b e su mm o ned f r o m

.
upstairs to t o ss o ff in silen ce a glass with D reiser and then

, , ,
m ar ch o u t carefully Shuttin g the d o o r

, .
Mr B urt o n R a s co e had an o ther p o rtrait o f the m a n in hi s

.
N ew Y o rk T r i b u n e B o o k m an s D a y B o o k
’
D reiser k ept ro ll ing up h is hand kerchief and l etting it unfur l

ag ain tr ying ver y hard now and then with s o m e gibe t o ge t
,
M en ck en s go at and a l to gether havin g m u ch m o re fun than I

’
have ever seen hi m hav e before M en ck en a ll o wed that S a y

“
.
what yo u w i ll fe ll o ws the greatest l iving po et is K ip l ing and

, , ,
D reiser chi m ed in A n d he wasn t su ch a s l o b as a sh ort sto r y

“ ’
-
,
writer W hat abo ut his Indian stories and what ab o ut K im ?

.
,
Where d o yo u fi nd fi cti o n a n y b e t te r ? ”
Fiel ds entertained
u s wi th ane cd o tes unti l tears o f l au hter stream ed d o wn D reiser s
’
g
chee k s
21
.
A n d S herw oo d A nders o n
’
s p o rtrait in the fo rew o rd to
H o r s es and M en is well kn o wn
-
T he o d o re D re i ser very very o ld I d o no t know

i s o ld —h e i s , .
h o w m an y y ears he h a s l ived perhaps fo rt y perhaps fi ft y but he

, , ,
is ver y o ld S o m ethi n g gra y a nd b l ea k a n d hurtfu l that has

.
,
been in the wo rl d perhaps fo rever i s pers o ni fi ed in him ,
L o ng a go when he w a s the edit o r o f the D e lin ea to r D reiser

, ,
went o n e da y with a wo m an f rien d to visit an o rphan as yl u m

, ,
.
T h e w o m an o n ce t o l d m e the st o r y o f that after n o o n in the b i g ,
u g ly gra y bui l d i n g with D rei ser,l o o k i n g heav y a n d l u m p y a n d

,
o ld sitti n o n a p l atfo r m fo l d i n a n d re f o l d i n his p o k et ha n d

, g g , g c
kerchief a n d wat chi ng the chi ldren a ll i n their uniform s tro o p ,
in in
g .
tears ran d own his cheek s and he sho o k h is head the

T he ,
wo m an said a n d that i s a rea l pi cture o f T he o d o re D reiser H e

,
.
i s o ld i n spirit a nd he d o es n o t k n o w what t o d o with l ife so ,
he te ll s ab o ut it a s he sees it si m p ly a n d h o nest ly T h e te a rs
, .
run d o wn hi s chee k s and he fo l ds and refo l d s hi s p o cket hand

ker chief and sha kes h i s hea d .
22
W e have p o rtraits o f him I sa y B ut f o r the m o st part , .

, ,
he still retain s as a m a n m an y o f the co ntradi cti o ns and

, ,
m u ch o f the dar k ins crutabili ty whi ch he hi m se l f has fo und

in the w o rld .
w o rld whi ch Mr D re i ser refle cts in th e m o re than a

T he .
s co re o f b o o k s whi ch he has written is a w o rld let m e r e , ,
peat whi ch he has seen lar g ely thr o u g h th e W i nd o ws o f city

,
r o o m s a cr o ss co py desks and in th o se assi gn m ents whi ch oc

, ,
cu pi e d h i m as a newspaper m a n I t is n o w ti m e that o u r .
stu dy first exa m i n e this w o rld a little m o re cl o sely and then ,
see ho w I t i s refle cted in the m eth o d and m aterial o f the

n o vels the m selves .
”
T he ha r p ton i dly s t r u mm e d her m e lo d i es
w h ich na ur e .
23
At the o utset i t sh o uld be n o ted that T he o d o re D reiser has

T H EO D O RE D REI S ER 33
an h o nest and co m prehensive sy m pathy f o r m an k ind and a

nature so g ener o usly sensitive t o the i ll s o f hu m an ity that
w e o u g ht in all fairness t o m a k e a seri o us atte m pt at under
, ,
standin g the reas o ns f o r h is bitterly s k epti cal attitude t o ward

life.
F r o m the early da y s in whi ch he and his br o thers were

fo r ced by p o verty t o pi ck up co al a l o n g the railr o ad tra cks ,
”
and all thr o u gh his experien ces in the seethin g m ae l str o m “
o f his newspaper days the V i s i o n o f l ife presen ted t o D reiser

,
was chiefly that o f great sufferin g a w o r l d o f ran k fav o ritism

in whi ch the str o n g always prevai l ed and the wea k su ff ered .
H e tells u s hi m self that he su ff ers f o r thin gs whi ch w o uld n o t

cause an o ther pers o n a sin l e a che o r pain : that he is as
g
sensi tive as a harp On whi ch nature id l y stru m s her m el o dies
I wa s fill ed with an intense sy m path y f or t h e wo es o f
O thers l ife in a ll i t s he l p l e ss de radati o n and p o vert y t h e u n sa t
,
g ,
i sfi ed drea m s o f pe o p l e t h eir sweat y l ab o rs the t hi n g s the y were

, ,
co m pe ll ed t o endure — n a m e l ess i m p o siti o ns curses bruta l ities, ,
the thi ngs t he y w o u l d n ever have their hu ngers thirsts hal f

, , ,
form ed d rea m s o f p l easure their gibberi n g i nsanities a n d beaten

,
resi gnati o n s at the end I have s o bbed dr y s o bs l o o k i ng into

.
what I dee med t o be bro k en fa ces a nd the e yes o f hu m an fai l ures .
A shabb y tu m b l e d own d istri ct o r d o o rw a y a drunk en w o m an

-
,
being arrai g n ed before a m agistrate a chi l d d y i ng in a h o spital

, ,
a m a n o r w an i j ured i n an a ccide n t the ti m e s u nbi dd e n

o m n —
tears have l eaped i nto m y e yes a n d m y thro at has be co m e

parched a nd p ainfu l over s cenes o f the streets the h o spita l s the , ,
j ai l s l
24
He sa w ar o und him
as he went ab o ut his dut i es as a
,
j o urnalist m e n lo w br o wed ill clad r u m s o a k ed b o dy

“
- - -
, , , ,
ra ck ed ! Mere b a gs o f b o nes m any o f them blue n o sed

, ,
-
,
s carlet spl o t ched diseased

-
, A n d when h e was n o t
o u t o n o n e o f h is assi n m en ts
g his fav o rite pasti
, m e was t o
walk ab o ut c ity s treets vi ewin g the lives o f o thers and p o ur

, ,
in g o u t his s y m pathy f o r the p oo r E verythin g h e sa w was

.
a re m inder o f sufferin g — even the but cher sh o p at every

34 LU C IFER AT LAR G E
c o rner : Y o u d o n o t se e the abatt o irs s cattered thr o u gh o ut
the w o rld b ut h o urly they serve yo u by m urder e v en
, , ,
th o u gh yo u dres s in silks sni ff b o uquets and perfu m e y o ur

, ,
”
hand s .
26
L if e is i n t en d e d to t ing a n d hu r t D espite the m isery o f

s .
life i ts s pecta cle filled D reiser with the greate st w o nder and
,
with what he calls the stin g o f existence A ttracted always .
b y the specta cularly wild and h o rrible and str o n g he has ,
never failed in his willin gness t o testify t o the aesthetic per “
”
fe cti o n o f livin g — t o the fa ct that the w o rl d is str o n ger ,
wilder m o re h o rri b le and m o re b eautiful than anythin g w e

,
can k no w T hi s stin g o f existen ce D reiser b elieves ser v es

.
, ,
”
as a s o rt o f b ai t t o dra g m a n int o the interne cin e c o ntest “
o f life A n d in this co ntest quarter is neither taken n o r

.
i v en : f o r i t is o nly when w e are m o re o r les s succes s ful that

g
w e are likely t o feel war m hearted t o w ard the b ri ganda ge o f
-
the w o rld T hus spake Zarathust ra !

.
T he ta p es t ry of life t u r n e d o n the wr o ng si de a n d s ho w ing

n o p a tt e r n D reiser s w o rld is o n e o f denials rather than
’
.
a fli r m a t i o n s H e has pushed N aturalis m t o the p o int o f

.
N ihilis m T h e w o rld he sees m a y b e co l o rful ; he m a y a d

.
m i t that pe o ple s u ff er ; b ut n o thin g in h i s w o rk presents t o ,
use N ew man s idea either a hist o ry o r a pr o m ise

’
, .
L ife is a g o o d Sh o w ; i ts luna cies illusi o n s and a n a chr o , ,
n i sm s m ake it h o wever o n ly a sh o w
, A n d e v en befo re the
, .
fin a l curtain ha s fallen we w o nder what i t i s all a b o ut

, .
” 27
I do no t under s tand li fe alth o u gh I like it D reiser
, ,
tell s us and up o n an o th e r o cca s i o n he re m arks that the b est

we ca n d o is t o h o bb le al o n gresp o ndin g t o o u r drea m s and
lus ts and makin g the m o st o f the m H o w is it p o ssi b le he .
,
wants t o kn o w that any s o rt o f D eity co uld perm i t a w o rld

,
in whi ch b o th s ain ts and devils goo d and ev il are t o lerated , ,
at the s a m e ti m e ?
Mr D reiser a s a m atter o f fact hasn t the faintest n o ti o n
.
, ,
’ “
3 6 LU C IFER AT LAR G E
P resu m in g H i m even m o deratel y intel l i gent ho w uni m ,
p o rtant H is litt l e m annikins m ust be to the u l ti m ate s che m e

o f thin g s the
g iant ,f o r c es thr o u g h w hi ch H e m anifests H i m
”
self and whi ch grind helplessl y create helplessly co ntr o l , , .
3 °
S u ch a G o d w o uld n o m o re thin k o f listenin g t o the pr o tests

Of m a n than m a n hi m self w o uld think o f ta k in g advi ce fr o m
a g in g ersnap he had ba k ed ! A n d s o m e day perhaps m a n , ,
”
hi m self wi l l be ab l e t o inven t craw l in g and win g ed thin g s “
whi ch will serve h im a s he hi m self n o w serves a hi gher p o wer .
F o r G o d uses m a n o nly a s a painter w o uld hi s brush a ,
carpenter hi s t o o l s ,A n avatar o r a devil is si m ply d o

.
i n g i ts will with u s W e cann o t tell whether the visi o n G o d

.
has f o r u s is go o d o r n o t : all o f us are crazy and H e is “
crazy G o d s perfo r m an ce f o r all we k n o w m a y be a s bad

’
.
, ,
as that o f a cheap vaudevillist cl o wnin g it b efo re a h o o dlu m

audien ce A n d Christ H i m self was o n l y a hu m an itarian
“
.
, ,
p o et S u ch are s o m e o f Mr D reiser s feelin g s t o ward reli

’
. .
g i on .
Wa t e r y b u lb o u s sp e w i n g p u lin g m a n L i fe is a brillian t
, , ,
.
la m p su ckin g in t o its aut o gen eti c fla m e the m o ths that w e

m ista k enly call m e n H u m an ity itse l f i s b ut an.a cco m
panyin g welter o f ani m als and inse cts bees i n a great hive , ,
co gs in a m a chine .
H ow u l d there p o s sib ly be su ccess f o r a watery bu l b o us hi gh ly

co , ,
l i m ited a nd specia lly f u n cti o ned crea tu r e l a cki ng (in the case ,
of man f o r i n sta n ce ) m a n y o f t he su peri o r attributes o f o ther

, ,
an i ma l s wi ng s a se n se o f d ir e cti o n f o re k n o w l e d ge a n d the l i k e
—
, ,
— and m a n u fa cture d ever y fo rt y e a rs b y hu n d reds o f m i ll i o n s

y
m a d e a ppa re n t ly n o t i n t h e i m a ge a n d l i k e ne ss o f a n y thi n g
superi o r t o h i m se l f but i n t hat o f a n acci d e n t a lly co m pe ll ed pat
tern d u e t o a n a cci d e n ta l arra nge m e n t o f che m i cal s his ever y
, ,
m o v e a n d aspirati o n anti cipated a nd a cco unted f o r b y a fo rm u l a

and a n a ccide n tally evo l ved s yste m l o ng befo re he arrives a nd ,
he hi m se l f b o r n pu l i ng co m pa ct o f vai n i ll usi o n s i n regard t o

,
hi msel f h is m issi o n h is d o m inant re l ati o n t o the enormo us

,
“
,
s ch e m es o f N ature a n d en d i ng if l ife endures
, ,
so l o ng , in
t oo th l ess seni l it y and water y d e ca y disso l uti o n ,
. .
3 1
We are m erely inse ct s with an app o inted task F urther .
m o re we resp o nd t o sti m uli m e chani cally ; o u r co ndu ct is

,
li m ited b y o u r senses b y bi o l o gi cal i m pulses and che m i cal

, ,
ne cessities T h e sti m uli o f sex fo r m the basi c reas o ns f o r a

.
dispr o p o rti o nately lar ge part o f hu m an a ctivi ty A n d m a n .
cann o t resist these sti m uli .
Some a s i n in e m o r a lis t
p r ep a r es to r is e Mr D reiser is ex . .
t r em e ly bitter a g ainst any criti c w h o b e co m es an asinin e “
mo ralist and a gainst that fro zen perv erted reli gi o s i ty

, ,
whi ch w o uld m ake a sin o f sex W e are — o r o u ght t o b e .
o nly healthy ani m als S in ce self i m m o lati o n has co m e t o be -
co nsidered a v irtue he refle cts thin k o f the m isery t o rture

, , , ,
and pain whi ch we have had t o su ff er !

A s a b o y D reiser sear ched thr o u g h o ld b o o ks t o find the
,
”
pa ssa ges dealin g with sex My b o dy he co nfe sses was
.
, ,
b lazin g wi th sex M o st o f th e b o dies o f D reiser s

.
’
chara cters burn with the sa m e fire and their creat o r usually
sees t o i t that they d o n o t su ff er the t o rture o f b l azin g very
l o n g T h e aspe cts o f life in whi ch he is m o st interested are
.
w
pri m arily physi cal and bi oche m i cal : h is chara cters res o lve
the m se l ves int o du cts glands and che m i cal tissues whi ch in
, , ,
the w o rds o f Car l yle are th o r o u ghly pr o bed disse cted dis
,
“
, ,
ti l led desi ccated and s cienti fi cally de co m p o sed

, , W e are .
”
“
b o ttles Of fluid dyna m ite a l ways ready t o expl o de !
M an t a d d a s ing le cu b i t to h is s t a t u r e I f Christ H im
ca n n o .
self had lived u p t o H is o wn utteran ce o n the questi o n o f

addin g cubits t o o u r stature Mr D reiser tells us that H e , .
w o uld have seen h ow ill o g i cal are b o th the S er m o n o n the

M o un t and the B eatitudes F o r co ns cien ce is little m o re.
“
” 3 3
than a b ui l t u p net o f s o cial a cceptan ces and a gree m ents
-
.
I f the fo rtuit o us fo r ces o f life will o therwise who can po s ,

3s LU C IFER AT LAR G E
si b ly advan ce hi m sel f with m ere h o nesty s o briety and , , in
d u st r y ?
M o ral pr o gress is thus entirel y i m p o ssi b le L ife i s ab o ve .
these petty rules h o wever essen tial they m a y be t o the str o n g

,
in rulin g the weak o r t o a state o r nati o n in the task o f

,
”
k eepin g itself in o rder S l ave m o rality and Master .
3 4
m o rality .
3
T here is always in l i fe m o re o ver an inexpli ca b le co nflict , ,
between instin ct and reas o n between o u r i m pulses and the ,
co nventi o ns B u t i t is the co nventi o ns whi ch are wr o n g

.
nei ther co nventi o n n or law neither the m o ral co de n o r reli ,
g i o n m ust
, ulti m ately prevail up o n the m a n o f su cc essful ex
p er i e n ce F o r the . vari o us state m ents co n c ernin g ri g ht ,
truth j usti ce m er cy are palaver m erely

, , s m all chan g e -
na m es f o r a thin g o r thin g s o f whi ch we have n o t yet cau ght

”
the m eanin g .
3 5
R e lig i o n is a ga m e of che cke rs

with all its a b . T o g ether
str a ct i o n s and the o riesre l i g i o n ca n at best divert o u r m inds
,
and at its w o rst narr o w o u r visi o n I t ca n serve perhaps

, , .
, ,
as a m ake Shift a shield a gainst the avidity and treachery o f

-
,
life ; b u t this shield i s so full o f h o les as t o b e n o real g uar

ant f safety — real safety is insured o n l y by the pra g m ati c
y o
fa ct that o u r fell o w m o rtal s d a r e n o t d o u n t o u s f or f ea r of

-
w ha t w e w i ll d o to t he m .
Mr D reiser has alway s had a vi o lent antipathy f o r all

.
fo r m s o f o r g anized reli g i o n : he co n gratulates hi m self f or

“
havin g escaped the co ns tri ctin g p o ints o f view whi ch i t im

p o ses up o n o n e ; and l o o k s ba ck wi th gr eat re gr et up o n the
ti m e when his mind a l th o u gh lar g ely freed o f Cath o li c and
,
“
r eli g i o us d o gm a g enera l ly and the b elief in the w o r k ability
o f the Christian ideal s as laid d o wn in the S er m o n o n the
M o unt w a s still swashin g ar o und a m o n g the idealist m axi m s

,
o f Christ and the reli g i o nists and m o ra l ist s

3 6
.
T H EO D O RE D REI S ER 39
In 1 9 2 7 Mr D reiser m ade an o ffi cial v isi t t o R ussia ; sin ce

.
then h is interest in that co untry has influen ced his writin g

in m any ways bu t perhaps in n o thin g m o re than in h i s b elief
”
that R ussia did wisely t o rip o u t r o o t and b ran ch the ser
pentine o r ganizati o n o f the Chur ch .
B u t w hy sh o uld Mr D reiser so selfishly refuse t o co n cede

.
any pe o ple their har m less ga m e o f che ckers ?
T he r ea l rub i n H ey R u b A D u b D u b
- -
v o lu m e o f
-
. T he
phil o s o phi cal essays and phantas m a go ria whi ch is entitled
H ey R u b A D u b D u b sh o uld be read by every careful s tu
- - -
den t o f D reiser f or i ts indi cati o n o f the m ystery and terr o r

”
and w o nder whi ch its auth o r finds in life ; and f o r the way
i t reveals the li m itati o ns w hi ch s o m eh o w have b een i m p o sed
o n h i s u n d e rs ta n di n o f li fe B a ck in the o ff i ce o f the D a i l
g .
y
G lo b e Maxwell had re m inded h is stru gglin g y o un g rep o rter
that o v er in the Tr i b u n e they had a s i gn whi ch read
WHO OR W H AT ? HO W ? WH EN ? W H ERE ?
Tr i b u n e rep o rters were t o see t o it that their st o ries g ave
the answer t o ea ch o f these quest i o ns .
T he o d o r e D reiser learned the value o f these fi v e interest

i n g little pr o n o uns ; and in co l o r new s v alue and interest , ,
al m o st all that he ha s writt e n pr o v es that he learned that

value well B u t o n e still m o r e interestin g — and i m p o rtant
.
—pr o n o un w a s n o t ab o ve the Tr i b u n e d o o r : the pr o n o un
W H Y A n d o n e o f Mr D reiser s greatest defi cien cies lies in

. .
’
the fa ct that all the ri ch m aterial he has abs o r b ed has failed

f o r h i m t o res o lve i tself int o any s o rt o f pattern an d has left
hi m m erely sur l y and dis m ayed H e has n o t been a b le t o
.
Strip the welter o f life t o any kind o f fo rm T hu s he tells

“
us that f ro m a dai l y readin g o f the papers t o be g uile m

y
l neliness
o — h e n o ti ces certain i te m s :
()
1 A g r o up of N ewp ort m i ll i o nairesses g ive a l avish dinner
f or their d o gs .
4 0 LU C IFE R AT LA R G E
()
2 A p o l iti cian ere cts a fi f t een -
tho usand d oll ar -
mo nu ment to
a h o rse .
(3 ) ne
A g r o ir o ni c a lly free z es t o death after he h a s m ade his
Wa y n o rth o n the ro d s o f a P u ll m a n .
(4 ) A w ea l th y S tate n I sl a n d brewer dies o f heart disease

bro u ght o n b y n e w s that he h a s bee n a pp o inte d s n are dru m mer
i n a Shri n ers l o d e
’
g .
(5) S ever a l pe o p l e die in a l i n e whi l e t he y are waiti n

g for cast
o ff cl o thi n g .
6
() M r F o rd ann o un ces that he ca n refo r m an y cri m i n a l b y
.
g ivi n
g hi m h ea l t h y a nd
pr o m isi n
g w o rk i n
g co n d iti o ns .
(7 ) M r B e l m o n t a n d M r M or a n
.
g J r de
. cide up o n n o ti n
,
g the
.
, ,
preceding ite m that t he y ca n no t h e l p a n y o n e

, .
()
8 A n attendant in an o l d f o lk s h o m e ch l o ro fo rm s a ll his
’
p atients .
(9 ) A N e w Y o r k m urderer i s se n t e n ced t o o n ly o n e y ear whi l e ,
a So uthern f a m i ly o f co l o red pe o p l e i s stru n g up a n d ri dd l e d

with bu ll ets be ca u se o n e o f the m h a d fo ught with a sheri ff .
( )
10 A fter twe n t y y ears o f i m pris o n m ent a m a n is f o und t o ta lly
inno cent o f the cri m e f o r whi ch h e had been i mpris o ned .

3 7
W here Mr D reiser wants t o kn o w ca n we l o cate i n all o f

, .
,
this any eviden ce o f D ivine Mi nd L i ght W isd o m

,
“
, , ,
T ruth J usti c e Mer cy ?

, T he W H O ? W H AT ? H O W ?
,
W H EN W H E R E ? are ea ch ab o ve the d oo r ; the W H Y he

d o es n o t se e th o u gh it is pr o bably written in l ar g er letters
,
than any o f th e o thers ! A t least a l l gr eatest writers have

fo und it there .
Letus n o w turn t o the n o vels D espite their s o le cis m s . ,
ex cessive detail and at ti m es s o m ewhat tedi o us use o f aut o

,
bi o graphi ca l m aterial the y nevertheless l o o m si gni fi can tly

,
l ar ge o n o u r literary h o riz o n f o r their verve co l o r r o bust , ,
ness g i ganti c chara cter drawin g and intense eff o rt at assi m i

, ,
~
latin g their m ateria l F o r the m o st part they have a co m .
m o n th e m e : the stru g gle o f a m a n o r w o m an w h o is

T H EO D O RE D REI S ER 4 1
pro m pted b y the desiderata o f sex p o wer fa m e o r m o ne y , , ,
t o fi g ht a g ainst cruel and tra g i c fo r ces whi ch pr o ve insuper
a b le .
I n S is t e r Ca r r i e C ar o line Meeber b o ards the C hi ca go train
,
at C o lu m bia C ity with her s m al l trunk cheap i m itati o n

, ,
satchel lun ch b o x and y ell o w purse t o be co m e the first o f

, , ,
the her o ines — the fi r st b o ttl e o f fluid d y na m ite that Mr .
D reiser interestin gly upsets S ister Carrie arr i ves i n C h i

.
ca go tires o f her Va n B uren S treet relatives and see k in g

, ,
co ns o lati o n I n the Open ar m s o f a dru mm er wh o m sh e had
m e t o n the train finds that he h a s n o t o nly his ar m s o pen

,
f o r her b ut als o an apart m ent

, .
A fter sh e has tired o f D r o uet sh e surrenders t o a b ar

,
m ana ger b y the na m e o f H u rstw o o d w ho s o o n inv o lves h im

,
self i n a theft t o g e t m o ney he needs f o r her C arrie be co m es .
su ccessful as an a ctress but while sh e i s a chievin g that su c

c ess ,H urstw o o d pr o ves t o b e a fai l ure ; and after detai l in g
h is m o ral disinte grati o n in several chapters that are co n spi c
n o us b o th f o r their m asterful awareness o f pers o nality and
f o r their u se o f in cidents fr o m D reiser s o w n l i fe (the street

’
ca r strike f o r exa m ple Mr reiser let s his her o quietly

,
) D , .
g o
t o a cheap h o tel ta k e o ff h is sh o es and s o ck s and turn o n the

, ,
gas .
Jenni e G erhardt w ho i s Mr D reiser s pet her o ine and

.
’
w ho g ives the tit l e t o the next n o ve l is sedu ced by a S enat o r

,
b efo re he di es leavin g her with chi l d and ready t o be co m e

, ,
the m istress o f the sci o n o f a wea l thy m anufa cturer s fa m ily ’

.
T his l o ver in turn is persuaded by J ennie herself t o aban

, ,
d o n her in fav o r o f a w o m an o f his o w n class .
T h e a m o urs o f E u gene W i t la in T h e G e n i u s are m ultiple

his in fi d e li t i e s are chr o ni cl ed with the a ccura cy o f a clini cal
rep o rt ; when he fi nally m arries A n gela he d o es so chiefly t o
prevent her fro m k illin g herself ; and in the end after a ,
ner v o u s b reak d o wn and a phen o m enal interlude a s dire ct o r

-
of a rpo rati o n at twenty fi v e th o usand d o llars a year W i tla
co -
,
finds hi m self sear chin g in H er b ert S pen cer f o r the answe r

t o i t all !
In T he F ina n ci er and in T he T i t a n a m b iti o usly pr o j e cted

,
v o lu m es a b o ut the life o f C harles T Y er k e s the street rail .

,
-
way ty co o n D reiser atte m pted a wider canvas F ran k C o w

, .
er wo o d h e chief pr o ta go nist is a chara cter o f al m o st

‘
p , t ,
B alza cian pr o p o rti o ns a m a n o f dyna m i c purp o se and u n scr u

,
u lo u s m eth o ds wh o se every linea m ent and wh o se career are

p ,
sketched fr o m the co unt l ess n ewspaper ite m s ab o ut Y er k es

whi ch D reiser had di gested in the libraries o f P hilade l phia
and Chi ca go .
T h e so n o f a P hila d e l phia ban k er (he re m inds o n e o f the

central chara cter in Z o la s L A r e n t e r w o o d h a s little
) C
’ ’
g O W p ,
t o re co m m end h i m ex cept an inb o rn capa city f o r finan ce and
a deter m ined desire t o b e co m e a ffluent E ven at the a ge o f .
thirteen C o w per w o o d en ga g es in a s o ap transa cti o n with h is

,
nei gh b o rh o o d gr o cer whi ch nets h i m a pr o fi t o f thirty d o l

lars f or an h o ur s w o r k B y the ti m e he is thirty fo ur h is
’
.
-
m ete o ri c su ccess has b r o u ght h im a b usiness o f al m o st tw o

m illi o n d o llars !
C o w per w o o d i s o n e o f N ietzs che s b lo nd beasts he is
’
the best i l lustrati o n that D reiser has yet g iven us o f his b e

lief that the w o r l d i s m ade up o f a n u m ber o f str o n g m en
w h o survive by pre y in g up o n the wea k N o t far fr o m C o w
.
e r w o o d s h o m e there w a s a lar e fi sh m ar k et with a

’
p g g reat
tank o f fi sh i t w a s here that y o un g C o w per w o o d sp ent m any
o f his h o urs wat chin
g the sea life in that tan k :
O n e d a y h e sa w a sq ui d a n d a l o b ster put in the ta n k a n d in ,
co n n e ct i o n w i t h t h e m w a s w it n e ss t o a tra g e d y w h i ch sta y e d w ith
hi m all h i s l ife a n d cl eared thi n g s up co nsiderab ly i n te ll e ctua lly .
T h e l o b ster it ap peare d f r o m t he ta lk o f the id l e b y sta nders

, ,
w a s o ff ere d n o fo o d as the s q uid w a s co nsidere d h i s ri ghtfu l pre y

,
.
H e l a y at t he b o tt o m o f the cl ear g l a ss t a n k o n the ye ll o w sa nd ,
ap pare n t ly seei n g n o thi n g — yo u co u l d n o t te ll in whi ch w a y hi s

—
bead y b l a ck butt o n s o f e yes were l o o k i g but apparent ly the y
n
,
have sp o ke n a m ore path eti c pro m ise o n e t hat co n cern ed ho pe ,
a nd fai l ure T o have a n d n o t t o h ave !

. All the see m i n g a nd ,
y et t h e sorr o w o f n o t h avi n g ! B ri ll ian t s o cie ty th at sho ne i n a

m irag e y et l o ck ed i t s d o o rs l o ve that e l ude d a s a Wi ll O f the W I S P
’
- -
,
a n d died i n t h e d ar k H ai l t o yo u Fra n k C O W per w o o d m a ster

“
.
, ,
a n d n o m a ster pri n ce o f a w orl d o f d rea m s wh o se re a l i t y w as

,
d i si ll usi o n ! S o m i ght t h e wit ch e s h a ve ca ll e d t h e b o w l have ,
d a n ced with fi gures t h e f u m es wit h visi o n a n d it w o u l d h ave

, ,
bee n true W h at wise m a n m i ght n o t read fro m su ch a begin

.
n i n g su ch a n e nd ?
,
3 9
I d o n o t wish t o underesti m ate the m an y m erits whi ch an

unbiased reader m ust n o ti ce in T h e F in a n ci er A s I have .
a l ready o bserved the p o rtrai t o f t h e brawny an d gener o us

!
B utler indi cates o n Mr D reiser s part a c o nsu mm ate m astery

’
o f at least certain as e c ts o f the Irish chara cter — a m astery

p
further su gg ested in A G a ller y o f Wo m e n F urther in th o se .
,
l o n g s cenes in whi ch B utler plans f o r his fa m ily and pleads

with h i s dau ghter there i s an undeniab l e co m m in glin g o f
ri ch and ferven t e m o ti o ns ; in the s co pe and breadth o f the
narrative there i s an e ff e ct o f great cu m ulative p o wer ; and
in the weavin g o f co untless in cidents carefully culled f ro m ,
newspapers there is eviden ce o f an indefati gable m astery o f

,
detail A ll this and m u ch m o re I grant

.
— — .
B u t I d o wish t o ca l l attenti o n t o the fa ct th a t the wh o le

b o o k m i ght have been cu t in ha l f with o ut l o sin g m u ch o f
i t s e ff e ct that b o rin g dis c ussi o ns o f st oc k m arket pr o cedures ,
ban k in g m eth o ds and the descr i pt i o ns o f C o w per w o o d s

,
’
h o m es m i ght have b een o m itted with o ut l o ss t o a l l readers

e x cept th o se w h o wish a n o vel t o be a m anual o f the st o ck
m ar k et o r interi o r de co ratin g I t m ust indeed have been
.
, ,
this n o vel whi ch Miss C ather had in m i nd when in T h e “
”
N o vel D é m eubl é — that di scernin g essa y later reprinted in
N o t U n d e r F o r ty (1 9 3 6 ) — sh e as k ed if the st o r y o f a ban k er
“
w h o i s unfai thfu l t o h is wi fe and w ho ruins hi m se l f b y spe cu

”
l ati o n ca n be reinfo r ced m ere l y b y l o n g dis cussi o n s o f the
“
S t o ck E x chan g e and o u r syste m o f bankin g I sh o uld like .

t o a sk the reader t o n o ti ce ho w pitiabl y thin T he F in a n cie r

w o uld o ften see m w ere i t n o t f o r these reinfo r ce m ents o f
literal detai l .
A n d I sh o uld a l s o li k e t o a sk the reader t o n o ti ce h o w i n

adequate D reiser s the o ries o f che m i ca l co m pulsi o n are in
’
exp l ain i n g the co ndu ct o f the chara cters in this n o ve l O n e .
b o ttle o f fluid d y n a m ite upset up o n the shelf o f hu m an

,
life is x e r y interestin g ; and m any hu m an b ein g s d o have the

,
exp l o sive qua l ities o f dyna m ite .
S ti ll t o m a k e a l l hu m an co m pu l si o ns che m i c o nes ; t o se t
,
all pe o p l e int o neat r o ws o f expl o sive b o ttles and then let ,
the m t o pp l e o ver co nse cutively — m a y whi l e bein g g o o d ,
en o u gh p y r o te chni cs als o be rather hard o n the fra m ew o r k

,
o f the h o use — o n the effe c t o f a n o vel I t m a y li k e wise .
easi ly be co m e m ere burlesque A n d the interestin g ser ies .
o f e x pl o si o ns whi ch we are o ffered in T he F i n a n ci e r are

o ften j ust this — n o thin
g m o re than b urlesques m ere par o ,
dies o f the m selves .

40
I believe I ca n m a k e this fa ct clear b y askin g m y readers t o

co m pare certain o f C o w e r w o o d s o w n a m o urs with the f o l
’
p
l o win g lines in whi ch C o rey F o rd par o dies T he o d o re D reiser
”
in a ga m e o f p o st o ffice “
-
I co u l d o n ly su ggest the perturbati o n o f spiri t whi ch seized

up o n m e therefore a s in the co urse o f this sensua l pasti m e I saw
, ,
G ussie m y drea m g ir l enter t he r o o m

,
-
W hat d o ubts assai l ed m e
,
‘
a s I waited with the rest tre mb l in a l i k e l est sh e ca ll m na m e

g , y
and l est she pass m e b y f o r ano ther B u t at l ast t o m y terror .
,
m ingl ed with a strang e thri ll o f anti cipati o n I heard m y na m e ,
ca ll ed S o m ethin g f o r T he o Ridde ll ! i l ed the l itt l e ir l

“
.
g gg g
nex t m e I ro se b l ushing a nd entere d the dark ened r o om
. .
W ithin the d o o r I sa w her m eat y fo rm o utl ined a g ainst the

”
shado w and the ne x t m o m ent with a Th e o de ar ! sh e put her
,
“
arms aro und m e and l ed m e t o a so fa In the dark she l eaned .

,
her head o n m y sho u l der I l i cked m y l ips nervo us ly . .
W h — what i s it G ussie I m anage d t o i n quire at l eng th

, .
A sta mp
No m ur mure d her chee k against m ine ; and sh e com
, sh e ,
m e nce d t o stro k e m y a r m ge n t ly .
W ell t he n I said tre mb l ing a l itt l e with eagerness i s i t

“ ”
, , , ,
”
a p o st card ? 3
No m urm ure d G us sie a s sh e s l id i n to m y l ap H er breath

“
, ,
.
w a s h o t a gai n st m y cheek a n d I l o o se n e d m y co ll ar as I put ,
t h e fi na l q u e s t i o n .
IS it a l etter ?
B y w a y o f a n sw e r G u ssie l et d o w n her hair a ll o ver m e a n d ,
l o o se ned a si lk e n sh o u l d er str a p a s She pressed h er l ips cl o se t o

mine .NO T heo sh e w hi s ere d
p p as si o n a t e ly .
W e ll I sai d si t t i ng up indi g n a n t ly a nd re m o vi ng h e r ar m s
“
, , ,
if it i sn t a s t a m p a nd it i sn t a po st card a nd i t i sn t a l et t er
’
,
’
,
’
G ussie I d o n t se e w h y yo u co u l d h ave p o ssib ly br ou gh t m e i n t o

’
”
this darke ne d ro o m A nd I r o se d isapp o inte d a n d strai ghte n e d
.
m y tie whi l e G us sie put up her h air a g ai n weari ly a n d that w a s

,
t h e fi rst a n d l a st ti m e that I ever p l a y e d o st o fli ce T

“
p h e -
.
m e a ni ng ? t o o e y T h e a n swer t o it ? L o r d y W h o ca n te ll ?
.
,
N o t m y se l f t h at s a ci n ch
’
41
, .
As an illustrati o n o f the way in whi ch m echanis m and b io

che m istry are m ade t o assu m e the full resp o nsibility f o r the
a cti o ns o f the D reiser chara cters we m i ght re call the m anner ,
in whi ch this n o velist j usti fi es A ileen s career a s C o wper ’
w o o d s m istress W e are t o ld that A ileen did n o t go o utside

’
o f her te m pera m en t t o d o wr o n g : sh e had m ere ly been
p o ured int o a m o ld shaped b ey o nd her co ntr o l by ti m e , ,

“
”
m o o ds and nati o n m o o ds and cli m ate m o o ds !
, A n d this ,
e m phasis up o n te m pera m ent and i nst i n ct is further br o u ght

o u t in an o ther au ct o rial c o mm ent up o n C O W pe r w o o d s lia i
’
so ns
shall w e e x p l ain these subt l eties o f te m pera m ent a nd

H ow
desire ? Life has to dea l with the m at ever y turn T he y wi ll .
n o t d o wn a n d the l arge p l a ci d m o ve m e n t s o f n ature o utside o f

, ,
m an s l itt l e org anis m s w o u l d i ndi cate that She i s n o t gre a t ly co n

’
cer n ed W e see m u ch punish m e n t i n the fo rm o f j ai l s diseases

. , ,
fai l ures a nd wre cks but w e a l so see that the o ld t e nd e n cy i s n o t

,
visib ly l esse ned I s there n o la w o utsi d e o f t h e subt l e wi ll a nd

.
p ower o f the individua l to a chieve ? If no t it i s sure ly hi gh ,

ti me that we k W e m i ght then agree t o d o
new i t
O n e and all — ‘
as w e d o but there wo u l d be no si lly i ll usi o n a s t o div i ne regu l a

ti o n Vo x p op u li v o x D e i
.
,
.
‘
C o w per w o o d had heard a go o d deal ab o u t h o n o r b ut he

preferred t o think o f i t o nly as a fi gm ent o f the brain a ,
quality allied perhaps with te m pera m ent b ut in n o way a s s o

ci a t e d wi th co ndu ct T h e palaver ab o ut the san ctity o f the
.
”
h o m e he disre garded entirely An d lest we b e b etrayed .
,
int o thinkin g that D reiser hi m self d o e s n o t s hare his her o s ’
o pini o ns listen t o o u r auth o r s o w n pr o n o un ce m ent o n the

’
m atter :
I t i s a curi o us fa ct that b y s o m e subtl et y o f l ogi c in the C hris

tian w orl d it h a s co me to be be l ieved that there ca n be n o l o ve
,
o utside the co nventi o na l pro cess o f co urtship a nd m arriage .
O n e l ife o n e l o ve i s the C hristian idea and into this s l ui ce o r

, , ,
m o l d it h a s been endeavo ring t o com press the who l e wor l d .
P ag a n th o u ght he l d n o su ch be l ief A writing o f divo rce f o r.
trivia l causes w a s the the or y o f the e l ders ; and in the pri m eva l
worl d nature apparent ly ho l ds n o s chem e f or the unit y o f two
be yo nd the te mp orar y care o f the yo ung T hat the mo dern .
h o m e is the m o st beautiful o f s che m es whe n base d up o n m utua l ,
s ym p a th y a n d understanding between tw o need n o t be ques

t i o ne d
. A nd y et this fa ct sh o u l d n o t ne cessari ly carry with it a
co nde m nati o n o f a ll l o ve n o t so fo rtunate a s t o fi nd so happ y a
déno ue ment Life cann o t be put int o an y mo l d and the atte mpt
.
,
m i g ht a s we ll be aband o n ed at o n ce T h o se so fo rtunate a s t o .
fi nd harm o ni o us co mpani o nship f or l ife sho u l d con gratu l ate

the mse l ves and strive t o be w o r thy o f it T ho se no t so b l essed
‘
.
,
th o ugh the y be written do w n as pariahs have yet so me ju sti fi ca ,
ti o n A nd besides whether w e wi ll o r n o t theory or no theo r y

.
, , , ,
the basi c fa cts o f che m istr y and ph ysi cs rem ain L i ke i s drawn .
‘
to l i k e . C han ges in te m pera ment bring changes in re l ati o n
T he a m o urs and ad v entures o f F rank C O W per w o o d are

co ntinued in T he T i t a n where w e tra ce his fo rt unes in
,
Chi ca go see h im still th e tyco o n o f a finan cial w o rld livin g

, ,
with his m istress and finally m arryin g her after hi s wi fe had

,
4 s LU C IFER AT LAR G E
div o rced him H e is the N ietzs ch ean super m an a b ri b er o f
.
,
g o vern o rs and c o un c ils nevertheless he is ulti m ately crushed

in the wre ck o f a cit y ele cti o n whi ch go es co ntrary t o his
plans Call it destiny o r fate call i t the resu l t o f hi s stran ge
.
co nstituti o nal te m pera m ent ; call it what will C wper

y o u o _ .
w o o d w a s d e t e r m in e d by everythin g t o ward that parti cular

and de fi nit e end :
It i s o n e o f t h e spl e n d i d y et si n i ster f a sci n ati o n s o f l i f e that
there i s n o traci n g t o their u l ti m ate s o urces a ll the wi n ds o f i n
fl u e n ce that p l a y up o n a g iven barq ue a ll the breaths o f change
that fill o r desert o u r be ll ied or o u r sagging sai l s W e p l an a nd .
p l an but wh o b y tak ing th o u ght ca n a dd a cubit to h i s stature ?

,
W h o ca n o verco m e o r even assist the P ro vidence that shapes o u r

e nd s r ou gh hew the m a s w e m a y ?
,
44
T he T i ta n an easy b oo k t o read
is no t repetiti o n o f — a
m u ch gr o und o f the previ o us b o o k i t g r o ws s o m ewhat tedi

,
C o w pe r w o o d s a m o urs as detailed in T he F i n a n ci er
’
ous .
are at least n o vel ; but by the ti m e the sequel has b een

rea ched C o w per w o o d ha s b e co m e a r o b o t A ssu m in g f o r .
the m o m ent that m an s te chni c is that o f the m e chanist it

’
still re m ains an in co ntr o verti b le fact that a m e chani cal m ade

si n is n o t even a very interestin g sin : n o thin g co uld b e
mo re dull f o r exa m ple than an au t o m at o n cau ght in

, ,
adultery o r a rape co mm itted by a r o b o t .
In T he T i t a n there are as a co nsequenc e t o b e fo un d

, ,
al m o st n o ne o f the m erits whi ch the pre cedin g n o vel po s

sesses C o w pe r w o o d h a s be co m e a m a chine ; the te chnique
.
used t o des cri b e h im is that su ggested by the di ct o graph ;

and b y a m a d s o rt o f parad o x th o u g h intended as a lar ge
, , ,
l o om in g fi g ure o n a great canvas he so fills that canvas with

,
the co l o rin g o f his chem i c co m pulsi o ns as t o leave n o r o o m

f o r any hu m a n fi g ure up o n it at all
“
W i th the pu b licati o n o f A n A m er ica n Tr ag e dy Mr D rei , .
s er b ro u g ht o u t what is certainly his b est n o vel T h e style .

,
i t is true is n o t m uch m o re su s tained than that o f the earlier

,
n o vels ; and the st o r y i s l en g thened dis pr o p o rti o nately into
t w o extre m e l y bu lky v o lu m es that at ti m es rese m b le a y early
news di g est B u t the b o o k has m erits whi ch Mr D reiser s

. .
’
pre cedin g b o o ks were co n spi cu o usl y la ckin g in an o b ject iv

ity ; a tre m end o usly intense a b s o rpti o n o n the part o f the
,
auth o r i n the truth o f wha t he has t o say ; and a pr o fo und

,
atm o sphere o f despair that at ti m es re m o tely su ggests the

s o m breness o f s o m e o f o u r greatest tra gedy
T h e b o o k tells the st o r y o f C lyde G ri ff iths the so n o f ,
evan g elist parents in a m idwestern t o wn w ho leaves h o m e ,
t o accept a jo b as a b ellh o p i n a city ; falls int o the l o o se
ha b its o f livin g o f his ass oc iates ; i m presses a wealthy un cle

and is g iven a jo b at L y cur g us in his un cle s fa ct o ry ; and ’
b e co m es so inv o lved with R o berta A lden o n e o f the em ,
l o ye es that when he learns sh e i s pre nant he willin l y lets

p ,
g g
,
her dr o wn and later is sent t o the ele ctri c chair t o pay f o r

the cri m e I n o utline therefo re and as I have already said
.
, , ,
in m o o d the st o ry h a s a b o u t it a l l the m a k in gs o f tra g i c

,
literature .
In the way h o wever in whi ch Mr D reiser has a gain fallen

, , .
under the li m i tat i o ns o f his m eth o ds as a N aturalist i t sh o uld ,
b e n o ted that t h e b o o k i s no t in the truest sense and despite ,
the ur ge n cy o f its the m e a true tra gedy at all W hen a m a n

, .
dies in the ele ctri c chair that i s a m atter o f tra g edy ; when
,
an inn o cen t g irl is cruell y sedu ced and b etrayed the co n se ,
q u e n ce s are tra i c
g B u t when. a b o ttle o f flu i d dyna m i te is
capped wi th an ele ctr o de and shattered there is o nly an ex,
pl o si o n and a great deal o f de b ris ; and when a m ere m o th

”
flutters a bit t o o near the aut o g eneti c fla m e o f life we ca n
hardly b e expe cted t o shed m any tears if i t is cris ped in that
’
fla m e .
D r R o b ert S hafer in his illu m inatin g and intelli g ent arti

.
cl e o n D reiser in H u m a n is m a n d A m e r i ca
( 93 )
1 0 puts th e
m atter q u i te ni cely by callin g attenti o n t o the fa ct that b e ,
ch em i c c o m pulsi o n
‘
cause o f the the o ry o f her co ndu ct ,

R o b erta Alden i s rendered so uni m p o rtant in the n ov el a s to
m ake her distress take o n under Mr D reiser s hand the ’
.
, ,
sa m e si gnifi can ce as the squir m in g o f an an gl e wo rm i m -

,
paled b y s om e m is chiev o us b o y — n o less b ut certainly n o ,
”
m o re A nd then b y a deft co m paris o n o f D rei s er and
.
45
,
f E schylu s D r S hafer f o cuses the klei g li ght o f his intelli g e nt

, .
l o g ic up o n the m o s t e gr e g i o us weakness in A n A mer i ca n

Tr a g e dy
But it is p l o ts n o r be cause he w a s we ll a cq uainted

no t f or hi s , ,
with M r D reiser s view o f l ife that Ai schylu s l ives o n sti ll

.
’
a m o ngst u s H i s dram as have a perennia l and deep va l ue f or

.
m an k ind be cause rej e cting the p l ausib l e n o ti o n o f che m i c co m

“
pu l si o n he stru ggl ed with pro found co nvi cti o n to co nve y a very

,
di fferent m eaning thro u gh their fo rm chara cters and a cti o n , ,

.
W itho ut evading an y o f i t s di ffi cu l t y he asser ted hi s faith that ,
M o ra l Law un co m pro m isi n gly go verns the l ife o f m a n m a k i n g ,
f o r an o rder whi ch i s divine in the fa ce o f a chao s intrinsi ca lly

,
evi l a nd that m en are fu lly if tragi ca lly resp o nsib l e f or the co n

, , ,
se q uences o f their a cts whatever their m o tives or co mpu l si o n s so

, ,
that i gno ran ce and se l f co n ceit are e q ually a s cri m ina l a s v i o

-
l ence .
M r D reiser s di ffi cu l t y is n o t that he has di fferent fa cts o f

’
.
e x perien ce t o i n terpret — h e h a s pre cise ly the sam e fa cts co n

cernin
g an essentia lly un chang e d hu m an nature H i s di ffi cu l t y .
i s that h i s m e chanisti c n atura l is m co m pe l s hi m so t o se l e ct a n d

m a n ipu l a t e fa cts o f ex perien ce a s t o de n y thr o u gh hi s n arrative , ,
that hu m an l ife h a s an y m eaning o r val ue T h e atte m pt i s su i .
ci d a l and the m o re co nsistent ly it i s carrie d o u t the m o re co m

,
l e t e ly i s M r D reiser f o r ce d t o divest h i s creatures and t heir

p .
acti o ns o f a n y disti n ctive ly hu m an qua l it y a nd m eaning T h e .
m o re su ccessfu l he is the m ore insi gni fi cant his wo r k b eco m e s fi6
S upp o se yo u go int o as tudi o t o hav e y o ur pi cture taken .
T h e ph o t o grapher m a yperhaps take o n e o f tw o kinds o f, ,
p o rtraits H e m a y snap an h onest th o u gh unflatterin g pic

.
, ,
ture o f yo u in all the u nd e fi le d si m pli ci ty o f y o ur p o ssible

52 LU C IFER AT L A R G E
ré cl am ent d u n o m de n atu r a l is m e je dirais q ue so n prin cipa l ,
défaut li t t er a ir e a été de m é co nn a i tr e l a réa l ité : je m o ntrerais

cc q u i l y a de co n tr a zr e a u x r e les d e l o b s e rv a t i o n e t d e l a si n
’ ’
g
t
ceri t e da n s le pr o cé d é q ui co n siste a me pei ndre de l h o mm e q ue

’ ’
l es i n st i n c t s a sup pri m er les am es a e x p l i quer le m o n d e m o ra l

, ,
a r l e s cau ses i n é a l es a u x e ff ets a m urer t o ute s le s fe n etres q ue

p g ,
l h o mm e a ccab l é ta n t q u o n le v o udra par l a m isere le trav a i l

’
,
’
, ,
l a m a l adie l i n fl u en ce d u m i l ieu co nti n ue e t co ntinuera d o u v r ir

,
’
,
’
a u cie l C ar i l y aura t o u j o urs de ce s f e n etres — l a par Ou l a

.
,
pri ere m o nte e t l espera n ce d es cend ’
J e tro uve
(d ans l oeu v r e .
’
n atura l iste u m parti pr i s d e d e n i r e m e n t v o isin de l o r u e i l u n e

)
’
g g , ,
m a n i ere dure de par l er d e l a m is ere u n e bru t al ité de t o u che dans ,
les p o rtrai t s d e s pauvre s g ens t o u j o urs représentés co mm e des ,
é tr e s d i n p u lsi o n esca lv e s d es i nsti n cts d es h er ed i t é s e t d es pa s

’
, , .
si o n s u n e ten d an ce a co nsidérer l o u vr i er co m m e une m a chine

,
’
a b o ire e t a f aire d es rév o l uti o ns q ui dérive n t d u n m epr i s f o n

’
cier d e l es ece hu m ain m o ins u i ls me rel event l a p l us cer

’ ’
p a q ,
tai n s d es co npr eh en si o n s .
“
Mr D reiser fail s to re co gnize that the hu m an ra ce has been

.
end o wed with refine m ents and sensib il i t i es and wi th a cer ,
tain m o ral nature whi ch distin guish i t fr o m the rest o f the

,
an i m al creati o n H e is a hu m a n i t a r ia n w ho ha s i n co nsis t
.
en t l r e t a i n e d a n u n hu m a n p o i n t o f v i e w H e pr o fesses a
y
-
.
reat sy m pathy f o r us as hu m an bein g s w h o suffer ; and then

g
he pr o ceeds t o tell us that w e are n o t hu m an b ein gs at all !
W h y sy m pathize with a m ere m o th flutterin g ab o ut the
“
”
aut o g eneti c fla m e o f m iser y ? S u ch so li citud e is w o rse than
that o f the m a n w ho t o l d his wi fe : B e carefu l darlin g o r , ,
y o u ll slip and brea k y o ur da m ned ne ck

’
N o r is Mr D reiser I a m s o rry t o sa y a very l o g i cal o r a

.
, ,
ver y penetratin g thinker in certain o ther m atters I f as he .

,
h o lds m e n are t o o m inute and t o o b rief t o be dis cussed

,
w h y sh o uld he ta k e the tr o uble as I have previ o usl y su g ,
g ested t o , dis cuss his fel l o w m e n in l o n g n o vels and m o re -

,
espe cially hi s o w n life in su ch un co nsci o nably l o n g aut o

,
bi o gr aphies ?
W e ar e told h ow ev er tha t h e i s a p o werful wri ter and
, ,
that he is bey o nd co ntradi cti o n very earnest and very sin
, ,
cere B u t d o these q uali ties al o n e m ake a g reat o r an endur

.
i n g writer ?
A mni n earnest when he is try ing t o catch a train sincere

a is ,
when he asserts that he detests spinach painsta k ing whe n he ,
m anufa ctures a p o werfu l m o t o rcar f ee l s deep ly when hi s wife ,
dies co m m uni cates e re c ti o n when he waves a fl a g m akes us

, ,
thi nk whe n he d e m o n st r ate s a the o re m in ge o m etr y m a kes us ,
l au gh wh e n h e cl o w ns m a k es us pra yerf u l (perh aps) when he,
prea ches a ser m o n Yet i n d o i ng a n y o ne o f these things or all

.
o f the m he d o es n o t n e cessari ly create a w o r k o f l iterat u re .
T h e writer great o r s m a ll w h o pr o du ces a wo r k o f art fo ll o ws

, ,
H edda G ab l er s advi ce D o it beautifu lly

’
W e have n o l itera
,
“
.
t ure whe r e there i s n o beaut y Y o u a n d I argue ab o ut what .
co nstitutes beaut y w e m a y di ff er as t o whether a g iven o bj e ct i s

,
beautifu l o r n o t w e m a y a nd sho u l d fi n d that o u r co n cepti o n

,
o f what co n stitutes beaut y widens and deepens with o u r ex p er i
ence o f bo o k s a n d l ife ; but w e k n ow that certai n thi ngs certain ,
m o m ents certain events appea l t o us be cause in s o m e w a y o r

,
o ther the y evo k e o u r appre ci at i o n o f the beautifu l that the y ,
p l ease us be cause the y gratify o u r hunger f o r beaut y T hi s is .
a m atter o f co mm o n know l ed ge whi ch phi l os o p h ers m a y rati o n ,
a l ize whi ch s cie n tists m a y a na lyz e and ab o ut whi ch teachers a nd

,
criti cs m a d o g m atize
48
y .
In A H o osie r H o li da y Mr D reiser descri b es o n e o f his

w
,
.
o ld s ch o o l tea chers w h o s o m eti m es k ept h i m after s ch o o l t o

-
help h im W i th his gra mm ar — a pr o fo und m ystery whi ch “
he ad m its he co uld never m aster T h e s ch oo l tea cher her .

-
se l f m ust have finally realized this f o r o n e d a y she pin ched ,

t
his chee k and said : W e l l d o n t w o rry ; yo u ca n g e t al o n g ,

’
with ou t gra m m ar f o r awhile y et .
Mr D reiser never ha s w o rried ab o ut his gr a m m ar A s a

. .
m atter o f fa ct he writes so ver y badly that n o t l o n g a go the

,
—
edit o rial co lu m ns o f o n e o f o u r bi ggest new spapers su g

g ested us i n g his lu m berin g c lu m sy un g ra mm ati cal senten ces , ,
as drill exer cises t o tea ch cl asses j ust ho w badl y the K in g s ’
E n glish ca n be written H i s sty l e i t sh o u l d be O bserved .

, ,
54 L U C IF E R AT LAR G E
is far b el o w the Standard se t by o u r better new s paper m en
w h o despite h is o wn l o n g years o f newspaper w o r k co uld
, ,
tea ch h im m u ch a b o ut effe ctive writin g.
O f this defe cti o n M r D reiser m ust hi m self be aware f o r

.
,
he has re m arked : I did no t think I co uld write anythin g

bey o nd newspaper news i te m s and with this co n clusi o n m any
,
\ ” 49
will n o d o ubt be glad t o a gree with m e even unt o this day .
I h o pe indeed that m any pe o ple will

, , .
C H AP T E R I II
M O R E A B O U T CA B E LL
You are t o o fo nd o f j uggl ing phrases with n o better end in

view than to ge t p l easure fro m y o ur ow n dexterit y .
-
B ran ch
C abe ll in S tr a ws a n d P r a yer B o o ks p
,
-
, .
CHAPT ER III
S O M E TH I N G M O R E AB O U T CA B E L L
AND there he stands a fat lad o f ab o ut twenty t w o wi th thi ck

,
-
, ,
sleeked hair co at lapels fastened with a co at sprin g hi gh

, ,
co llar ,Asc o t tie sparklin g sw o rd hilt tie pin and flushed

,
-
,
with the su ccess o f j ust havin g s o ld three m a gazine st o ries

and his first n o vel T here stands the y o un g B ran ch Ca b ell
. .
H e is b ein g interv i ewed by the o lder Ca b ell — the C abell

who had wri tten 7 u r g e n ; and Mr Ca b ell s o w n a cco unt
’
o f the interview t o be fo und in T he R o u n d T a b le i n

,
P o ictesm e fi is indeed a deli ghtful o n e

, , T h e y o un g m a n .
asks his o lder self s advi ce ab o u t b e co m in g an auth or Ah

’
.
,
m uses the o lder m a n I ca n o nly say that t h e r e is a gr eat

’
deal t o b e said up o n b o th sides .
Y o u are b ut m a k in g fun o f m e says the y o un g er m a n , I .
kn o w it replies his o lder sel f B u t I cann o t resist d o in g so

, . .
F o r with o n e ex cepti o n yo u are the m o st ridi cul o us per so n

, ,
I have ever seen T hat o n e ex cepti o n I m ust tell yo u is

.
, ,
m yself !
B u t B ran ch Ca b ell is in n o sense a ridi cul o us pers o n I .
r ant that neither ti m e n o r the perse cuti o n o f h i s cri t i cs has

g
served t o i m pr o ve his te m per T hey have at ti m e s ru ffl ed
.
his urbani ty ; but they have s car cely distur b ed the hi gh e m i

n e nce o f his li terary a chieve m ents O n the co ntrary t o his .
,
l eadin g p o siti o n a m o n g o u r A m eri can r o m anti cists Cabell ,
b rin gs a style that is b rilliant and a crafts m anship that is

Well ni gh perfe ct
-
In a day when o u r lit e rary tastes are
.
g uided b y the g utturals o f T he o d o re D reiser o r the in ch o ate ,
phrases o f W illia m F au lk ner here is a crafts m an w ho co n

,
si st e n t ly refuses t o co m pr o m ise with the K in s E n lish ’
g g .
F urther ,here is a crafts m an w h o refuses t o rele gate writin g
57
5 s LU C IFER AT LAR G E
fr o m an art to a b usines s : a r o man ti cist who b y years o f
painstaki ng w o rk has m ana ged al mo st phen o m enally to b e
, ,
c o m e su ccessful in a peri o d o f crass real ism ; a class i ci st o f

culture and rare char m w o rkin g late int o a ni gh t that has
seen the a b and o n m ent o f literary fo r m .
Make n o m istake a b o ut it : B ran ch Ca b ell kn o ws h ow t o

wri te H i s apprenti cesh i p t o his craft has n o t b een o f
.
,
co urse with o ut i ts travails and tr o u b les

, H e co nfesses that
.
even with a m i cr o s co pe n o b o dy b ut hi m self can de cipher his

o w n calli graphy T hus he has had t o d o m o st o f his o w n
.
typin g B u t he has co ns o led hi m self b y refle ctin g up o n the

.
m o ney and pr o fanity he has s aved !

S o m e o f his trials have n o t b een so a m usin g T r y as he.
wil l h e assures us he get s the car b o n in his typewr iter

, ,
upside d o wn seven tenths o f the ti m e ! C o nsequently he

-
,
l o n g a go ga v e up m akin g car b o n co pies ; and o n o n e o r tw o

o ccasi o ns the results have b een al m o st disastr o us T here .
was the t i m e f o r exa m ple when h is m anus cript o f T he

, ,
S i lv er S t a lli o n fell o u t o f the t o rn m ail b a g and lay in the

di t ch b e s ide the railr o ad tra cks at D u m b art o n f or thirty six -
h o ur s befo re b ein g di s c o vered .
A n d there was the ti m e that the pre ci o u s b undle co ntain

i n g his typescript o f T he C er t a i n H o u r was l o st in the
charred wrecka g e o f a b urned d o wn expres s o ffi ce W eeks .
wen t b y ; th e expres s com pany finally n o tified Mr Ca b ell .
that they had fo und h i s pa cka ge B u t when I t was finally

.
sent o n t o hi m and when he o pened i t with relief he fo und

, ,
that the m anus cript whi ch had b een fo rwarded was no t his
at all — b ut an o ther p o o rly typed o n e b y s o m e e m b ry o ni c
,
n o velist and titled M y S e v e n H u s b a n ds

,
T h e Expres s co m pany failed t o u nderstand Mr Ca b ell s

’
further o b j e cti o ns H e had l o st a m anu s cri pt ; they had

.
deli v ered a m anu s cr i pt t o h i m And mo re o v er the o n e he

.
had wa s a b it thicker than hi s o wn W hat wa s he co m .
plainin g a b o ut ? T he expre s s c o mpany wa s no t interested

T he S ilv er S t a lli o n T he M u s i c fr o m B e hi n d
th e M oon S o m e t h ing A b o u t E v e T he Whi t e
Ro be The Wa y of E cb en S om e o f Us
T h ese R es t less H e a ds S p e cia l D e liv e r y L a d i es
a nd G e n t le m e n S m ir t Sm it h P r efa ce
t o t he P a s t and S m ir e Y o u sh o uld h o wever , ,
awake at th e end l o n g en o u gh at least t o m ake a th o r o u gh

study o f P r efa ce to the P a st f o r i t co ntain s s o m e interestin g
,
co m m en taries and n o tes o n C abe ll s o w n b o o k s and literar y

’
the o ries co m m ents whi ch f or the m o st part co m prise the

—
, ,
prefa ces t o the fa m o us S t o r ise n d e editi o n o f hi s b o o k s .
D ean C hu bb o f O hi o U niversi ty refers t o certain le ctures

, ,
as stirrin g s o o thin g and satisfy in g

“
, , stirrin g be cause ha l f ,
o f the class wa lk s o u t o f the le c ture hal l at o n ce ; s o o thin g ,
be cause the o ther ha l f fa ll s as l eep ; and satisfy in g be cause ,
the half that h a s wa lk ed o u t never co m es ba ck f o r m o re .
Y o u ll be te m pted unless yo u bel o n g t o a ver y ex clusive

’
co terie o f his ad m irers t o ta k e a wa lk o n Mr Cabell

, Y ou . .
will be te m pted t o d o so f o r the very si m ple reas o n that

o u w ill fi nd this auth o r in m an y ways really a r eat literary
y g
i m p o st o r : he p o ses a s a n o ve l ist yo u wil l s o o n dis co ver
, ,
when he is a ctual l y tr y in g his best t o be a phil o s o pher :

the i m a g es and pi ctures whi ch are the pr o vin ce o f the n o vel
i st and whi ch g ive t o the n o ve l i t s sustainin g quality o f
,
interest h e insists up o n ta gg in g with co n cepts and ideas

,
whi ch by ever y ri ght o f pri o r p o ssessi o n bel o n g t o the phi

lo so ph er A n d there ca n be n o thin g m o re ann o y in gly dull
.
—
than a co n cept that is when i t i s an ill o g i cal o n e and
,
when yo u m eet it fa ce t o fa ce o n every pa ge o f a n o vel in

whi ch yo u are tryin g with y o ur m o st dispassi o nate m i g ht
t o fi nd a st o ry o f s o m e k ind F requently in Mr Cabel l s
’
. .
,
w o r k yo u cann o t se e the forest be cause o f the trees Lo st .
in the w o o ds o f spe cu l ative th o u ght and bad phil o s o ph y ,
further m o re there are ti m es when yo u cann o t e v en see

,
the trees .
B RA N C H C A B ELL 61
W hen yo u go d o wn a dar k alley and co m e up o n s o m e

!
fi g ure hun ched in the dark ness wi th a stran ge st o ry t o tell

, ,
and s o m e curi o us adven ture t o lead yo u int o yo u d o n o t ,
m ind Y o u re in the co m pan y o f a r o m anti cist B u t when

’
. .
y o u g o d o wn a dar k alley and fi nd ther e the pr o verbial
m etaphysi cian huntin g with a dark lantern f o r the bla ck

ca t that isn t there u are li k ely t o be j ust a little bit
’
y o ,
ann o yed .
I n the fi nal analysis therefo re i t is neither B ran ch Ca b ell s

, ,
’
style n o r his crafts m anship whi ch will o n e day have dis

t in gu i sh e d h i m fr o m o u r m o re inn o cu o u s r o m anti cists r e
”
m e m b ered o nly f o r their pr o lixity T he m uzzy virtue s
“
.
o f fi cti o n h o ld little appeal f o r h i m W ritin g in S p ecia l

.
,
D e liv er y a whi m si cal and yet sharply ir o ni c reply t o a w o m an

,
”
w ho i s t o b e i m a g ined as havin g as k ed h im f o r a b lur b “
f o r o n e o f her n o v els he wishes the w o m an su cces s wi th her

,
edifyin g n o vel and go es S O far a s t o co n cede the sin cer i ty

whi ch g ives i t b irth H e even tells his co rresp o ndent that
.
,
th o u gh the s taleness o f her vir g inity is o n every pa g e o f her

b o o k he ca n fo r g ive her when he re m e m b ers that the d e
,
“
”
linquencies o f certain m en are res po nsible f o r it B u t the .
fi cti o n i t s elf ? H e will have n o ne o f i t !

R ath er d o es he prefer fi cti o n whi ch has a m essa g e and a
m ean i n g H e has li k e o n e o f his o w n chara cters ridden a
.
, ,
s il v er stalli o n t o the m o o n ; like his o w n F elix K en n a st o n

in T he Cr ea m of the 7 es t he has ga zed at certain silver si g ils
o f m a g ic ; and b y the stran g e ne cr o m ancy o f his i m a g inati o n
he has es caped with beautiful E t t a r es int o w o rlds o f wisd o m

bey o nd the rea ch o f m e n L ike F l o rian he ha s go ne with
.
char m in g prin cesses t o s o m e hi h pla ce t o dis co ver there a

g
sleepin g beauty whi ch n o m a n b ut hi m self ha s ever yet
beheld H e is a writer w ho has wandered ab o u t o n these
.
hi gh pla ces ; h e has co nv o ked O ly m pus enj o yed the ne ctar

,
un k n o wn t o m o rtals and put a piece o f th e cake in h is po cket

,
f o r th o se o f us n o t in v ited t o the part y .

Q u id li ce t
7 0v i, non W
li ce t b o v i
hat is per m itted t
. o
J o ve is n o t per m itted to the o x W hat it has b een per m itted

, .
t o Mr C abell t o se e has s o m eti m es b een deni ed t o us t o

.
,
understand .
A ls o his dia gn o ses o f the ills o f hu m ani ty are freque ntly

,
at o dds with co m m o n sense T h e little fi ct io n co ated pills

.
-
whi ch h e pres cribes are usually pleasan t l o o kin g en o u gh .
B u t they d o n o t always co ntain the ri ght dru g s : n o t o nly

are they o ften hard t o swall o w b u t t o o o ften they even ch o ke
in the thr o at o f a pers o n w ho is tryin g like m o st o f us t o be , ,
l o g i cal a b o ut this wh o le b usiness o f livin g W hat is wo rse .

,
b e cause the d oc t o r ha s b een pla gued so m u ch o f late b y his

cri ti cs , he i s be g innin g t o fo r ce th o se pills up o n us with a
surly gra ce A t least o n e pati ent ha s been led int o ex
clai m in g : su ch pueril e da m ned n o nsense with o ut hu m ility ,
and with o ut a s m ile co uld in the present year o f gra ce co m e

, , ,
”
o nly fr o m the ill te m pered and pri gg ish
- 4
.
B u t is he really pri gg ish ?

, Certainly o n e w o uld n o t g uess
as m u ch fr o m the fo ll o win g self p o rtra i t A m a n in his late -
.
fi f t i e s — j ust o ld en o u gh t o re m e m b er the ti m e when co w s

wandered ab o ut the streets o f R i ch m o nd E spe cially fo nd .
o f m ushr oo m s — when they are prepared in a certain way .
W ith n o preferen ce whats o ever re gardin g the co l o r o f his

arters N o likin f r o u td o o r exer cise in any f o r m N ever
g .
g o .
carries a wat ch and has never had t o pawn o n e T hrifty .
in the m atter o f savin g e v ery pie ce o f strin g and all wrappin g

paper fr o m the pa cka ges he re ceive s Very lo w b l o o d pre s .
sure and m eta b o l is m — lo w en o u gh as a m atter o f re co rd t o , ,
alar m any fa m ily physi cian .
H e ha s ne v er read U lyss es and pr o b a b ly never will read

,
U lyss es O n ce went so far h o wever as t o renew his su b

. , ,
s cripti o n t o Va n i ty F a ir P artial t o the o pera s o f Gil b ert

.
and S ullivan R efuses t o ar gu e with any o ne except up o n

.
the o c ca s i o ns o f his b ein g served pea ch ice crea m o r chipped

beef P refer s w o m en wh o are illi ter a te and like s s un s et s
. ,
china fi g urines g eneal og y and B enedictine W ears a turn

, , .
d o wn co llar even with his dinner co at .
D o es m o st o f his o wn t y pin g wi th his t w o f o r e fi n ger s .
S ince W o o dr o w W ils o n s death has fo und i t p o ssi b le t o hate

’
n o b o dy D readfully a f raid o f thunderst o r m s W ishes that

. .
he had written H e nr y E sm o n d F inds a great deal o f co m .
fo rt in wavin g his feet in the air while the dentist is drillin g

his teeth O wn s twen ty ei ght go ld fi sh — ea ch o f whi ch ha s
.
-
its o w n appr o priate na m e .
S urely the fo re go in g self po rtrai t — whi ch is I o u ght t o

,
-
,
add o n e tha t I paraphrase fr o m Mr Cabell s R uth U n i

, .
’
”
v ersal i n Sp ecia l D e liver y surely the fo re go in g self po rtrait ,
-
d o es no t pi cture Mr Ca b ell as b ein g ill te m pered and pri g

.
-
g ish . A s a m atter o f fa c t the p o rtrai t d o es n o t re,v eal Mr .
Ca b ell at all f or a co m plete and satisfyin g revelati o n o f the

m a n we shall have t o turn t o his b o o ks i n m o re careful
detail and t o the w o rld whi ch th o s e b o o k s refle ct
, .
As seen thr o u gh the Ca b ell lens the actual w o rld o f m a n ,
i s far fr o m satisfa ct o ry ; and so his in g en uity has prevailed

up o n h im to create o n e o f his o wn a fictiti o us w o rld o f his
i m a g inati o n in whi ch the artist and drea m er are n o t fo r ced
”
t o ru b their el b o ws a gainst th o se l o o se ends o f futility “ ’
and waste whi ch G o d in a n o ddin g m om ent , left han g in g

,
o n the frin g es o f o u r o w n sphere L ife in the a ctual w o rld .

,
Mr Ca b ell believes ca n never really en gr o s s the true

.
,
“
drea mer w ho m ust perfo rce find so m e n o b ler exercise f o r

, , ,
tho se faculties and i m p o tent yearnin gs whi ch this real w o rld

denies him T h e o nly thin g f o r s u ch a drea m er to d o is t o
.
create his o wn universe T his Mr Ca b ell pr o ceeded t o do

.
, .
early in his career as a writer .
T o be sure new w o rl ds have b een created in literature

,
b efo re A nato le Fran ce created o n e So to o did S pen s er

‘
. .
, , ,
and S a m uel B utler , and H o wel ls and a nu m b er o f o thers
, .
B u t Mr Ca b ell s i m a g inary w o rld — whi ch h e call s P o icte sm e

’
.
— is m o re clearly drawn than any o f the rest

He has even .
prepared a careful m a p o f i t t o sh o w us i ts exact l o cati o n !

F urther in an il l u m inatin g essay whi ch i s entitled A N o te
“
U p o n P o i ctes m e and whi ch i s t o be fo und in h i s P r efa ce

to t he P a s t he ha s g iven us an interestin g c o m m entary up o n
,
the ge o graphy o f this co untry and up o n the co nvenien ce

,
in n o t havin g t o b o ther at all ab o ut the s o m ewhat m o re

di fficult g e o graphy o f M o ther E arth .
H i s inventi o n o f P o i ctes m e stru ck h i m he says as b ein g a

, ,
parti cular co in ciden ce when he ca m e a f ew years a go t o

write a prefa ce f o r the new S t o r i sen d e editi o n o f T he S i lv er
S t a lli o n. W hile he w a s then co nte m platin g the illustrati o ns
b ein g d o ne f o r the editi o n b y Mr P a pé O f S t J o hn s R o ad
. .
’
i n T unbrid ge W ells E n gland he re called h o w b a ck in

‘
, ,
G a lla n t r y his o w n chara cters had landed in the sa m e T u n

b rid g e W ells fr o m whi ch Mr P ap e w a s n o w sendin g fo rth
.
his desi gns .
A n d what a ti m e Ca b ell re cal l ed had he n o t had with that

, ,
b o o k si m ply b e cause he had kn o wn so little ab o ut the

,
T un b rid ge W ells o f t w o centuries a go ! W hat were i ts

su b urbs ? I t s hills ? I t s inns ? F ive hun d red pr o ble m s had
presented the m selves when he had written G a lla n t r y ; and
he had sw o rn that never a gain in his au ct o rial career w o uld
he b o ther hi m self with any real s cene H e w o u l d m ake .
his o w n hills and co nstru ct his o w n inns fr o m that ti m e

fo rward H e w o uld be the de m iur ge t o sha pe his o w n w o rld
. .
T hus did Ca b ell invent P o i ctes m e In this co untry

.
whi ch gets its na m e fr o m a supp o sed uni o n o f P o i ct i e r s

(
and A ngo ul em e ) he built h is o w n B e ll e garde chateau ; he
raised the T a u n en f els ; he established t o wns ; and he set the
castle o f S t o r i se n d e in the m idst o f this r o llin g l and o f grain
,
and fo rests and strea m s t o werin g hi gh ab o ve the leaded r o o fs

,
o f the f o rtresse s b el o w I t s pe o ple were t o b e ab o v e all

.
, ,
hu man — with all the wea k nesses and passi o ns o f hu m ani ty .
F urther m o re the chara cters were t o fo l l o w the best tradi

,
ti o n o f fa er y literature : th o u gh the y were as C hestert o n ,
put i t t o be in the m idst o f a m a d fa ery w o rld they were

, ,
never t o go m a d the m selves T hey were never t o l o se the .
linea m ents o f m en T hus J ur gen as Men cken has o bserved

.
, ,
chases dra o ns in the way that a st o ckbr o ker w o uld

g pl ay
g o lf ; he is as real a s a R o tarian .
T o help o u r i m a g inati o ns then let us g e t this land o f , ,
P o i ctes m e clearly in m ind I t is a m edieval co untry occu

.
,
py gi n a tra c t o f land al o n g the Mediterranean between the ,
fictiti o us cities o f A i gues M o rte s and Cette I t s western

-
.
fr o ntier is the cit y o f N i m es and i t s eastern b o undary the

f
t o wn o Castres in an gued o c Int o this w o rld created as
L — .
a co n v enien ce but m o re espe cially i t is t o b e re m e m bered

, , ,
as an i m pr o ve m en t u po n the p oo r jo b that G o d did with

the earth Cabell has pla ced all o f the earlier chara cters
o f his b o o k s : chara c ters wh o se linea e i s first established
g
b y o n e D o m Manuel the C o unt o f P o i ctesm e and then
, ,
extended d o wn thr o u gh twenty thre e g enerati o ns t o L i ch -
fi e ld V ir g inia the h o m e o f D o m Manuel s des cendants

’
, , .
A s distin g uished f r o m su ch o f his co m m entarie s and

critiques as S p e cia l D e liv er y S m ir t S o m e o f Us T hes e R es t
, , ,
less H ea ds e t c we m i ght then n o te that Mr Cabell s n o vels

’
. .
, ,
co nstitute what he is pleased t o call the B i o raphy o f D o m

g
Manuel o f D o m Manuel s sixteen children a nd o f their v ery
,
’
nu m er o us pr o geny B u t lest the reader b e co m e t o o co n

.
fused b y this hi ghly r a m i fi e d geneal o gy in T he L i ne a g e of ,
L i chfi e ld we are g iven a v ery sturdy th o u gh n o t any t o o ,
help ful fa m ily tree o f their co m pli cated des cendan ce An d

,
.
in 1 9 2 9 the co l o ph o n t o T he Wa y of E c b e n ann o un ced

“ ”
.
that the auth o r had co m pleted t his life o f Manuel and the
M a nu eli t es t o m ark a distincti o n b etween the b i o grapher o f
Manuel and the later c o m m entat o r m o re o ver Mr Ca b ell , , .
chan ed his na m e f r o m Ja m es B ran ch Cabell t o the si m pler

g
B ran ch Ca b ell T h e surna m e is pr o n o un ced — I m enti o n
.
th is t o save y o ur wri tin g t o h im and gettin g b a ck o n e o f

th o se saucy letter s fr o m S p e cia l D e liv e r y — t o ri m e wi th
“
r a bb le
T h e auth o r l o o ks up o n B eyo n d L if e I o u ght further t o ,
add as a s o rt o f pr o l o gue t o th e B i o graphy and he c o nsiders

,
hi s S t r a ws a n d P r ay e r B o o ks its natural epil o gue i t m i ght

-
.
clari fy his wh o le randi o se co ncepti o n o f P o i ctes m e s o m e

g
what i f I m enti o n als o the fa ct that the B i o graphy taken as a
wh o le is m eant t o su ggest the three atti tudes t o ward life
whi ch are held b y the M a n u eli t es the chivalr o us the gallant , ,
and the p o eti c : o r in o ther w o rds a co n cepti o n o f l ife as a

,
Et i n g as a t o y o r as t h e raw m aterial f o r m an s
“ ’
te , ,
drea m s .
T he dau ghters o f Manuel illustrate thi s three f o ld co n - ~
ce t i o n (with whi ch I shall later b e at s o m e pains t o disa gree )

p
in a clear en o u gh way : E t t ar e is t o b e ass o ciated wi th the
p o eti c drea m ; D a m e Meli cent with the chivalr o u s attitude
,
and D o r o thy la D é sir é e wi th the gallant attitude — that

,
whi ch h o lds that all fine literature ha s a want o n as it s m o ther .
An d Manuel is hi m self supp o sed t o b e a type o f the m a n i n

a cti o n in co ntrast t o su ch chara cters as J ur gen w ho li v e
,
chiefly in the m ind F inally t o cut sh o rt m y already l o n g

.
,
b ut ne cessary re m arks o n the B i o graphy the wh o le series ,
o f these n o vels is in tended t o illustrate the o l d idea that
hu m ani ty is j ust a b o ut the sa m e wherever yo u find i t : that

L ichfi e ld and S t o r i sen d e are in the way they illustrate hu m an
,
nature a s m uch twin cities as are Minneap o lis and S t P aul

, . .
B e cause o f their hi g hly alle go rical and c o m plicated nature

it is i m p o ssi b le f o r me t o g i v e here a detailed su m m ary o f
m any o f Mr Cabell s n o v el s B u t as a preparati o n f o r o u r
’
. .
later incursi o n int o the real P o i ctes m e I wish t o s u ggest ,
at least the nature o f a few o f the m when they are s tripped

o f their sy m b o li cal si nifi can ce O n central the m e is m
g e . c o
m o n t o the m all : their chara cters alway s s et o u t in pur s uit

68 LU C IFER AT LARG E
f ro m the o ther Cabell ex cursi o ns ex cept in th o se m atters o f
an intenser er o ti cis m whi ch the ce n s o rs have a l read y O b
served A s a re w a rd f o r J ur gen s praise o f h im the devil
.
’
re w a rds h is d e v o t e e b y snat chi n g o ff J ur gen s ga rru l o us wi fe ’
D a m e L isa B u t J u r g e i i s co ns cien ce tr o ub les h i m : after

’
he h a s co nversed with the G o d o f his G rand m o ther tired o f ,
A na i tis and several o ther w o m en and m arried a ha m adryad

' '
, ,
he b a r gains with the great K o shche i and is per m itted t o

return t o his pawnsh o p a nd the garrulities o f his wife .
T h e q uest o f F lo ri a n de P u ysa n ge in T he H ig h P la ce , ,
l eads h i m t o d re a m fi rst O f m eetin g the beautiful Meli o r ;

and then t o p l an the k illin g o f his fo ur ear l ier wives that
he m i gh t m arr y h is fi fth M ade m o ise lle Lo uise de N er ac !
,
"
su t
J a n i co t t,h e d evi l dissuades , h i m fr o m this w o m an
a n d h e a ccepts M eli o r u n ti l in turn h e tires o f her

, .
L i k e his creat o r F e l ix K e n n a st o n o f T he C r ea m o f t he
,
7 es,t evades l ife b y drea m in g and wr i t i n g O n e da y he .
fi nds a g l itteri n g dis c in hi s garden ; and b y the m a gi c o f

this si g il he es ca pes with the a llurin g L a B e lle E t ta r e int o
a w o r l d o f dre a m s H e fi nds that he ca n su m m o n the drea m
.
a t wi ll b y h o ldin the dis c in h i s hand at ni g ht un ti l he fal l s

g
as l eep a s the candle b y h is bedstead sputters o u t B u t he .
i s never a ll o wed t o t o u ch E t t a r e : whenever he tries t o d o so ,
sh e disappears a n d he a w a k es fr o m the dre a m

, A n d at t h e .
end o f the b o o k K e n n a st o n s wife K ath l een thr o ws away the

,
’
, ,
si g i l and he l earns f o r t he fi rst ti m e that i t i s n o thin g m o re

than part o f the co ver t o a ja r o f his wife s co ld crea m Lik e
’
his co unterpart the chara cter H o r v e nd i le K e nn a st o n had

, ,
learned that in o ne s o w n co un tr y there is n o w o m a n wh o m

’
we ca n l o ve S u ch a w o m an m ust re m a i n a l wa y s in o u r
.
drea m s .
T h e real crea m o f the jest ? T hat even d rea m s cann o t

serve a s a satisfy in g es cape fr o m realit y N o m a n ca n ever .
t o u ch up o n t h is thin g ca lled reality : he cann o t trust hi s

five senses ; and his drea m s i t is j ust cruell y p o ssi b le m a y
, ,
be n o es cape ei ther B u t th o u gh he m a y b e d o o m ed t o
.
disapp o int m ent and th o u gh he m a y k n o w it the wise m a n ,
wi ll sti l l subs cribe t o the salutary e ffe ct o f drea m in g and ,
h o o dwin k hi m self int o be l ievin g that s o m e day h is drea m s

m a y co m e true .
S u ch in a very g eneral w a y is the w h o le phil o s o phy under

, ,
l yin g the inventi o n o i P o i ctes m e — the fi cti ti o us co untry t o

whi ch M r C abel l h a s fled be cause he h a s w ished t o es cape
.
fr o m that a ctual life whi ch he fee l s is so painf u l a o n e S u ch .
is the at m o sphere o f e go isti cal m ist in wh i ch Mr C abell h a s .
enshr o uded hi m se l f be cause he sees in thi s everyday existence

o nly tedi o u s r o utine and b o red o m : be cause he wishes t o
fi nd a m o uthpie ce t o tell us what is wr o n g with G o d s w o rld ’
and then he l p H im j ust a l i tt l e bit in i m pr o vin g i t .
C abell h a s i t is true e m phati cally refused t o ad m it that

, ,
the o pini o ns o f J o hn Charteris and certain o f his o ther char

a ct er s are ne cessarily his o w n B u t n o reader Sh o uld be
.
m is l ed b y this insisten ce T h e dizzyin g su ccessi o n o f

.
Manuels Mus graves K e n n a st o n s and o the r chara cters w ho

, , ,
parade befo re us in the co l o ssus o f the B i o graphy spea k f o r

their creat o r in un m ista k ab l e a ccents T hey utter n o t so .
,
m u ch their o w n Opini o ns as th o se o f B ran ch C abell

, .
F o r i t is t o be re m e m bered that here is a wri ter w ho

l o o k s at the w o rld with the eyes o f disi ll usi o n L ife he te ll s .
,
us has da m a ged h im s crat ched h im ban ged h i m and m au l ed

, , , ,
h im . I t has b o red h i m A n d he insists that th o u gh he

.
d o es no t like t o quarrel wi th livin g he d o es wish t o es cape

,
i
fro m it e ven if h is evasi o n m ust be fo und in drea m s S o it

, .
is that Cabell es capes t o P o i ctes m e — n o t quite so m u ch the

w o r l d o f the M a n u e li t e s as i t I s a w o r l d p o pulated b y the
puppet ideas the pr o geny o f C abell s o wn m ind
, ,
’
.
7 0 LU C IFER AT LARG E
Le t us now enter P o i ctes m e .
C he cki ng t m ho u se T o se cure a pass

co nsci e n ce a t t he cu s o .
p o rt t o this very interestin g co untry C abel l hi m self tells us ,
that it wi l l first be ne cessary t o g ive o u r co n sci e nces a half p
”
h o liday : t o che ck the m f o r the durati o n o f o u r visit at the
c ust o m h o use where w e m ust als o dep o sit whatever i m pedi
”
m enta ,
in the w a y o f altruis m ideals ethi cs s cruples o r , , , ,
reli g i o n that we have en cu m bered o urselves wi th

,
.
T here m a y be s o m e o f u s o f c o urse w ho will b e in clined

, ,
t o refle ct that co ns cience w hen o nce g iven a ha lf h o liday is

,
-
,
qui te l i k ely n o t o nl y t o w ant the rest o f the da y O ff b ut als o , ,

’
t o wish t o retire 0 11 s o m e per m anent pensi o n fund .
H o wever o u r visi t a m o n g the citizens o f P o i ctes m e is t o b e

,
so p l easant that w e m a y be willin t o ris k that dan er F o

g g r .
w e are there t o a ss o ciate with a pe o ple wh o se in co m es are n o t

li m ited and w h o are never b o thered b y the p o li ce XVe are .
h i d d e n o nly t o have a go o d ti m e ; and the g uide furnished

us f o r o u r j o urney i s a n i ce o ld fell o w trained in the ways o f ,
hed o nis m w h o will be quite satisfied i f we but have that

,
g o o d t i m e L e t it be clearly underst o o d
. h o wever that he , ,
wi l l t o lerate n o n o nsense in the nature o f m o ral restri cti o ns ;

and that he will l o o k with disfav o r up o n an y o ne w ho has [
m ana g ed t o snea k in with h is co ns cien ce sha m efull y hidden

ab o u t him F o r co ns cien ce as J ur gen hints b el o n gs o nly
.
, ,
t o the da m ned B esides what w e call evil is reall y i m po s

.
,
sible : in B eyo n d L ife d o es n o t J o hn Charteris tell us that

t h ere is n o su ch thin g as wi ck edness o utside literature ?
Vi ce b u t ty A kind o f insidi o us distin cti o n I

n o t v u lga r i .
,
hear yo u say ? B u t it prevails in P o i ctes m e where no fo r m ,
o f gr o ss v o luptu o usness is t o b e t o lerated but where refined
sensua li ty is t o be en cou ra ged in every w a y S u b tle i n .

B RA N C H C A B ELL 7 1
sinuati o ns o f a phalli c sym b o lis m are t o co n fr o nt us as si gn

p o sts al o n g the way ; p o litely w o rded perversi o ns are to
b e gu ile o u r j o urney .
W e are to read no writin gs s cri bb led o n latrine wall s ; b u t

we are to hear sp o ken the lan g ua ge o f F escen n ia as the
native t o n g ue o f the exhibiti o nists o n the hi gh r o ads o f -
fan cy leadin g thr o u gh the kin gd o m Mada m e E liza b eth .
Charl o tte d O r lea ns i s t o g ive us the key to this lan g ua g e

’
in su ch o f her re m arks as th o se in whi ch she hints that in

the R e gency m en n o t co mm o n n o l o n g er m ake l o v e t o
,
w o m en ; and in the t o wns thro u gh w hi ch w e pass w e are

t o g e t a re m inder o f certain fallen cities o f l o n g a go Fur .
t her m o r e the b o o ks that entertain us are t o j usti fy their

,
o w n m o ral s W e are t o be t o ld f o r exa m ple that if j u r g en

.
, ,
survives i t will pro ve i tself ex o nerated ; if it d o es no t sur

,
vive i t cann o t b e o bj e cted to f o r its o ff ensiveness An d we

, .
are t o hear a ll al o n g the r o ad o f the Cabell b o o k s a lar ge

, ,
nu m b er o f criti cs lendin g a s m i rkin g supp o rt t o this d octrine .
S i le n t fr o ze n clo d Christ and P a n are the tw o

na ke d .
”
”
—
scape go ats o f this c o untry the o n e the sa v i o r o f r e ,
lig io n ; and the o ther the savi o r o f art B u t i t is P a n

, .
”
who gaz es up o n the divine handiw o r k and sees at o n ce
that the w o rld in no way refle cts credi t up o n i ts Maker I t .
displays little har m o ny o r o rder ; the sphere s o f t he universe

'
fr o zen o r fla m in g as the case m a y be are go ver n ed b y chance ,
al o ne W ater and land are unfo rtunatel y no t b alan ced

.
, ,
up o n the earth m o untains are stu ck up o n i t li k e pi m ples

or
“
welts I t is a gr eat pris o n h o use o f l ittle i m p o rtan ce
. , ,
“ ”
and destined t o be o nly a silent naked fr o zen cl o d S u ch .
is the Ca b ella n attitude t o ward the earth .
H u x ley s C lo ck
’
re co gnize in the great ti m epiece
. Y o u w ill
that ti cks the m o men ts in P o ictes m e the fa m o us H uxley ,
Cl o ck T his illustrati o n yo u m a y recall H uxley u s ed t o

.
, ,
7 2 LU C IFER AT L AR G E
su ggest the in sign i fi ca n ce O i m e n A ll o win g all the m inutes
. .
o f the day t o stand f o r the years o f the earth H uxley su g ,
g ested that m a n d o es n o t appear up o n its surfa ce until a
few m inutes t o twelve H o w uni m p o rta n t m a n i s !

.
T he w e t p o ng e i ns i d e o u r sku lls F o r in ar guin g that the

s .
,
w o rld d o es n o t refle ct m u ch credit up o n i t s C reat o r Mr , .
Ca b ell all o ws su ch o f his chara cters a s J o hn C harteris t o

i m ply als o a great deal o f dissatisfa cti o n with the creatures
w h o inhabit that w o rld Man m a k es indeed a ver y s o rr y
.
, ,
bl o t ch up o n the epider m is o f the C a b e llia n earth H is brain .
is a w e t sp o n g e ; he hi m self see m s destined t o p l ay the part

, ,
o f the f o o l in the i
g g anti c co m edy o f life ; the m o st that he
ca n d o w e are t o ld is t o wear his m o tle y W i th s o m e Sh o w o f
, ,
,
b r a v er y .
H e i s an a pe reft o f hi s tail and gr o w n rust y at cli m b ,
”
in
g the
5
o pti m ist Mr C abe
,
l l assures u s wi ll ran k his k ind
.
,
as li ce th o u gh the pessi m ist wil l perhaps prefer the m o re

o eti c w a y o f putt i n g i t and call u s m a ts In either “
p ,gg o .
cas e h o wever
, there is little co ns o lati o n t o b e fo und in this
,
ani m al w h o pr e fi g u r e s hi m self a s the her o o f the universe

F o r i t w a s unp l ea sa ntly apparent t hat m a n did n o t ex ce l
“
in ph y si cal stren g th as se t a gainst the o ther creatures o f a

,
planet where o n m a y be en co untered ti g ers and elephants .
H i s senses were o f lo w deve lo p m ent a s co m pared with the ,
senses o f inse cts : and indeed senses p o ssessed b y s o me o f

, ,
these s m a ll co nte m p o raries m a n present ly f o und he did n o t

sh a re . T h e lu x ur y o f win gs and even the co m m o n co m ,
fo rt O f a caudal appenda g e w a s denied him H e wa lk ed , .
painfully with o ut h o o fs and created na k ed a s a shelled

a lm
, , ,
o nd with d ifli cu lt y o utlived a seas o n o f in cle m ent

,
weather P h ysi ca l ly he displa y ed in no t a s o l itar y trai t a

’
.
,
pr o du ct o f nature s m o re a m biti o us lab o r H e thus su r

’
.
, ,
passed the rest o f vi tal creati o n in n o thin g ex cept as w a s ,
be g innin g t o be ru m ored the p o wer t o reas o n and even so , ,

was apparently t o o m a gnani m o us t o avail hi mself o f the
‘
”
privile ge .
6
A n d what o f m an s a cco m plish m ents and inventi o ns ?

’
”
T his a m iable and shatter pated bein g w ho in his pr o gr ess
“
-
,
thr o u gh t h e pr o t o plas m i c fish batra chian reptilian and , , , ,
m a m m alian sta ges still re m ains unpr o p o rti o ned with his ,
viscera j u m b led his heart n o t in the center o f his b o dy his

, ,
”
—
brain n o t co rrespo ndin gly divided this m a ggo t a chieves
thin gs o nly by a ccident H e i s in sh o rt b ut o n e o f b illi o ns
.
, ,
”
o f parasi tes crawlin g ab o ut the b i g barren studi o o f the
“
w o r l d A n d n o A rtist has p l anned that studi o th o u gh H e

. ,
tries t o d o the b est H e can b y o ccupy i n g i t .
The ow l or th ea sy m b o l o f wisd o m therefo re

t
o s r ich ? As , ,
Mr Cabell insists that the o stri ch rather than the o w l is

.
, ,
the r a m a v is the rare b ird In his P r efa ce to the P as t he

, .
,
g ives illustrati o n t o this p o in t b y as k in g us t o n o te h o w

F l o rian de P u ysa n g e inevita b ly learned the sa m e less o n and
then settled d o wn co ntentedly t o be co m e a pattern o f the
best th o u ght o f vi ces instead o f try i n g t o fly a b o ve the earth
- -
.
S o t o o d o es the r o m anti cist co m e s o o ner o r later t o re gard

, ,
art a s alle go ri cal and fi cti o n as an anaesthesia an o piate f or ,
hu m anity s go ut T h e n o vel i st i n an atte m pt t o fo r get that

’
.
,
life is but the restlessness o f a pr o l o n ged de m ise can fi nd

“
h is o nly h o pe in divertin g hi m self and his fell o w m en -

.
Wr i t ing a s a ga m e : a té te a t e t e w i t h the typ e w r i t e r T o

‘
- -
.
carry o u t further this r o m an ti cist s the o ries o f evasi o n it ’
fo ll o ws that self diversi o n sh o uld b e the first m o tive o f the

-
wri ter ; and the artist w h o thinks o f anythin g but playin g

with his in k and paper o r w ho co nsiders hi m self respo nsi bl e
,
t o an y o ne is really o nly co m m ittin g an u n d ign i fi e d fo r m o f

sui cide !
Mr Ca b ell s styl e b o th suffers and gains fr o m this co nce p

.
’
ti o n o f art H e kn o ws his gam e ; and he plays it wi th the

.
skill and sua v e co n fi den ce o f a ma n certain o f the m o ves .
B u t his very pr o fi cien cy m akes h i m at ti m es a da m na b ly , ,
disa greeable player : when yo u kn o w all the advan ce mo ves

u are likely t o b e a bit i m patient while y o ur o pp o nent
y o
fi d g e t s with the chess m e n A n d yo u m a y n o t play the ga m e

-
.
with zest ; b ut rather l ike an o ld m a n w ho wai ts t o stale ma te

his grand dau ghter s k in g and a m uses hi m self m eanwhile
-
’
, , ,
wi th artifi cial m anneris m s and p o ses and with divertin g co m ,
m ent o n hi s rheu m atis m .
Mr Ca b ell talks with un invited garrulity ab o ut all hi s

.
a ches and pains ; he a m uses hi m self with m anneris m s su ch

a s the f o ll o win Meanwhile u wen t ab o ut the o n e thin g
“
g :
y o
n wadays knew h w t o do typin always typin in a

y o u, o , o g g
, , ,
co ntinu o us t ete a t ete wi th thi s indeter m inate ta pped o u t

- - -
”
tatt o o o f ti ckt ock in g t y pes and tinklin gs H e pla y s w ith .
7
su ch a cr o sti cs as th o se in the dedi cati o n to 7 u r g e n B eyo n d ,
L if e and T he S ilv e r S t a llio n

, .
H e m akes a cabala o f the co m m o nplace e m pl o yin g su ch ,
ana gra m s as Lytr e ia and the L and o f D er sa m instead o f s ay

”
i n g R eali ty and the Land o f D rea m s H e inven ts textual
“
.
references and h o o dwinks us int o believin g h im learned b y

creatin g auth o rs f o r these refer ences H e m yst ifi es and .
,
pr o ves tedi o us w i th m anneris m s o f senten ce structure co n

, ,
n e ct i v e s ellipsis e tc and his fo ndness f o r the o r o tund

, ,
clutters up his pa g es wi th su ch w o r d s a s i m au ms m u n d ic id i .
,
ous , m und i va gant b r u ice o r g ul o us si ccative a r i e t i n and

, , , , ,
epi go n i .
F urther in his experi m ents with co ntrapuntal pr o s e he

,
fo r gets t o preserve that m ain the m e which sh o uld unite all

stylisti c m el o dies in to s o m e sense In sh o rt he is a decadent .
, ,
representin g o ne o f the last hi gh n o tes o f b eauty whi ch o u r

sty l ists stru ck b efo re surrenderin g their v o i ces to the rau co us
v o i ces o f the new generati o n o f realists “
T here is n o .
“
po wer in his pr o se t o m o v e us t o anythin g b ut a vain re gret ,
pity that so m uch l ov eline s s sh o uld b e with o ut life and w i th

resu l t fr o m his rea l la ck o f s y m pathy f o r the m edieval te m per .
T h e turrets o f S t o r i se n d e ca st l e t h e m o o n o v e r i t t h e co l o r
, ,
ful sil k s o f the ladies o n i t s ba l co ny t h e d o ub lets an d jer k ins

,
o f the m e n up o n its wa ll s — a l l this see m s f a ithf u l en o u gh .
B u t when yo u enter the cast l e yo u i mm ediatel y stu m ble

a g ainst certain e m b o d im ents o f th o u ght that in their sharp
an g u l arit y bel o n g m o st certain ly t o the f u r n i t u r e \o f the
, ,
twen tieth centur y .
T h e m ediev a l ist k ept h i s g a r go yl es — h i s dist o rti o ns — o n

to o f the cast l e ; and even in fashi o nin the m k new that he
p ,
g ,
w a s n o t fashi o nin g a m a n .
T h e m edieva l ist k new when he went up o n a j o ur ne y j ust

, ,
w here he w a s go in g ; M r C abe l l s ch a ra cters f o ll o w their

’
. .
er o t i c aberr a ti o ns with o ut purp o se o r dire ct i o n .
T h e m edievalist sa w n o t o n l y the co l o r b u t w h a t i s m o re , ,
the pattern in life j ust as sure l y a s he re co gn i zed i t in the

, ,
tapestry o n his wal l s H e had a hi g h re gard f o r m a n wh o m

.
,
he sa w a s a Si gni fi cant part o f that pattern .
H e went at ti m es up o n a pi l gri m a g e ; and o ften h e k ne l t

, ,
in pra y er o r paused in si l en t ad m irati o n o f s o m e beaut y in

»
the r o l l in g and o rdered co untryside H e w o re cert a in co l o rs .
up o n his sleeves and w a s l o y al t o the m ; B ran ch Cabell ha s

f ew l o y alties o r co m pel l in g ad m irati o ns
T h e m ediev a list sa w the w o r l d a s g o o d : i t did n o t b o ther
h i m that water and land are unequa ll y divided o r that the ,
m o untains are pla ced l ike p i m ples up o n the earth I . .

A
w o nder if i t i s n o t si gn ifi cant perhaps that H o ward P y le

, ,
refused t o co ntinue t o il l ustrate M r C abell s b o o ks be cause .

’
he be l ieved the m true neithe r t o rea l fan cy n o r t o real

m edievalis m ?
Wo m e n g o to the d ev i l i n sea r ch o f co ng e n ia li t y .
B u t n o ne o f C abell s co n c epti o ns o f the m edieval te m per

’
’
o ff er quite the an o m aly that is t o b e f o und in his wh o le
attitude t o ward w o m an an attitude whi ch he refers t o as

,
B RAN C H C A B ELL 77
d o m nei , w o rship
or w o m an
C o n ceived as a w o rld
-
.
m o vi n g fo rce whi ch see m s b o th t o be m use o u r auth o r and

g ive hi m c ause f o r la m en tati o n this d o m n e i is the basis of ,
co nd u c t f o r m o st o f the M a n u e li t e s L i k e J ur gen they leave .
their pawnsh o ps o r like K e n n a st o n they p l ay w i th their

,
si g i l s always in an atte m pt t o pursu e the drea m o f s o m e

,
ina ccessib l e th o u gh tantalizin g w o m an and then they awa k e , ,
t o fi n d o u t j ust h o w evanes cent the drea m w a s — h o w futile
the w o rship o f w o m an see m s t o be .
I n A L i tt l e M o re A b o ut E v e
”
an essa y t o be f o und in
P r e fa ce to th e P as t — w e have a cy ni cal a cco un t o f the pr o g
ress o f m an s feelin g f o r w o m an as the auth o r sees it u p t o
’
, ,
m ediev a l ti m es : F irst sh e w a s m erel y a co nvenien ce useful

, ,
f o r h o use w o r k and co pu lati o n with the ev o luti o n o f the

co urtesan sh e ca m e t o be co nsidered a l uxur y ; and fi na ll y , ,
t h e m edieva l ists wi t h t heir d o m n e i m a de her a g o ddess

, ,
.
B u t we are assured the new w o rshi p o f w o m an a l wa y s ex

, ,
ist e d t o g et h er wi th t w o o ther attitudes : th a t whi ch l o o k ed

up o n h e r a s a l u st fu l an i m a l a n d th a t whi ch re garded her ,
a s the d evi l s s n a re
’
M r C a be l l I n eed n o t a dd h a s ch o s e n t o a d o pt t h e latter
. , ,
p o ints o f view and t o m ista k e the m f o r the re a l d o m n e i .
O n e o f h is cha r a c ters puts t h e m a tter r a ther crisp ly a s a

f
m atter o f fa ct w hen he te ll s us that K i n g Ja m es is b o l d

,
en o u gh t o v o i ce i t as a tr u is m that w o m en gO t o the devil ‘
” 9
in sear ch o f co n genia l it y .
T hus t h e w o rship o f the g en t ler se x b eco m es t o o m u ch

,
of a d thin be cause w o m an it w o u l d appear is indeed

g o o g , , , ,
t o o mu ch o f a bad thin g — a n o bservati o n whi ch fi nds b o th
a ffi r m ati o n and ex a m p l e in R ud o l ph Mus grave s ad m irati o n ’
f o r A nne W i ll o u ghb y u n ti l the ti m e when sh e perh a ps n o t

'
unreas o nab ly w ishes t o m arr y h im B u t t o m a r r y Mus grave

,
.
,
ar g ues s o unds t o o m u ch li k e bein g senten ced t o ea t ice

,
crea m ever y m o rnin f o r brea k fast ! O n this questi o n o f

g
m arria ge Mr C a b ell h a s until re cently been needlessly
.
, ,
7 s LU C IFER AT LA R G E
m o n o pti c assurin g us that o u r b etter n ov elists o f t o day co n
,
t e m n i t as str o n g l y as did S t P aul and that i t is b o und

.
anyway always to end in disillusi o n .
P ra gm atic m arria g es he co n cedes are all well en o u gh

, ,
they s o m eti m e s b rin g us mo ney ; they ge t o u r s o cks darned

re g ularly B u t little ca n b e s aid in fav o r o f the real l ov e
.
m at ch whi ch shatters the de m iur g e useful in per m i t f i ng the

,
hu m an race to perpetuate its m isery ; and whi ch all o ws o u r

illusi o ns to disappear at the we d d i n g brea k fast (T h e .
d o m n e i idea i s perhaps b est ill ustrated in D o m n e i o r in that

tril o gy wh i ch the auth o r calls The Wi t ch Wo m a n and whi ch -
,
co nsists o f T he M u s ic fr o m B e h in d t he M o o n T he Whi t e ,
R o b e and T he Wa y o f E c b e n )
, .
Mr C a b e ll s H u m o r No
critic ca n deny this n o vel ist s
’ ’
. .
tren chan t w it suave hu m o r o r p o sitive geni us in e m pl o yin g

, ,
the ri chest undert o n es o f ir o ny W hen he lashes o u t f or .

,
exa m ple at the insipid r o m anti cis m prevailin g t w o de cades

,
a o and represen ted b y the w h o le ll h i s h l “
g p o ya n e st e t c c o o
o f C aine Cha m bers W ri g ht e t a li i Mr Cabel l is divertin g

, , , , .
and genuine H e is the sa m e when he is talkin g a b o ut his

.
o w n stru g gles as an auth o r : su ch s cenes as th o se I n T he
C r ea m of t h e 7 es t wh erein K e nn a st o n o ff ers us par o dies o f

rej e cti o n letters o r talks o ver the pr o ble m s o f h is craft with
—
his rather unsy patheti c wife su ch s cenes are a m o n g the
m
b est that B ran ch Ca b e l l has written .
L e t m e g ive a few exa m ples K athleen K e n n a sto n never.
co uld b rin g herself t o read her husband s b o o ks ; there was

’
always so m u ch w o rk t o d o and always als o o f co urse en o u gh , ,
g o ssip t o k eep her bus y and per m i t her t o defer the readin
g
t o a su m m er whi ch never ca m e Is i t an y w o nder that .
K e nn a st o n planned sadly o n e m o rn in g at breakfast to write

, , ,
an essay o n T he L o st Ar t o f C o nversin g with O ne s W ife ’
I f there was an y m a gazine in A m eri ca that had no t r é

e ct e d s o m e o f th e tale s in T he C er t a i n H o u r s
j i t wa o nly ,
b ecau s e he co uld no t find that m a gaz ine s addres s Mr Ca b ell ’
, .
a ss ures u s ! H e ha b itually kept hi s re co rd s o f rej ecti o n s b y

placin g a se m ic o l o n after t he latest takin g i t so m uch f or ,
g ranted that an o ther w o uld fo ll o w ! H e wr o te a play o n ce
whi ch the cast so revised that he c o uld hardly re co gnize i t

as his o w n ! Gi v en a co ntra ct pr ovidin g that he wa s t o
re ceive r o yalti es after seven hundred and fifty c o p i es had
b een s o ld and then findin g that o nly s o m e six hundred had
,
b een printed he suspected s o m e sar cas m in the c o ntract !

,
“
An d when he went t o E n gland t o exa m ine a c o py o f a fa m ily

will he there had as m uch di fficulty in securin g acce ss to i t
,
a s if he were a cri m inal

O u r n o velist is at his best when he di v erts u s wi th s uch
enuinely hu m o r o us co m m ent o n hi ms elf instead f i n
g o ,
”
d u lg i n g i n cheap and clever cynicis m A ls o in j u s tice t o .
,
h im i t o u ght t o b e added that his m o re recent v o lu m es indi

cate a m arked i m pr o v e m ent in the directi o n and t o ne o f
his hu m o r .
Mr . C a b e ll s I think it m a y b e said that his w i t

’
H u mor .
i s b ein g sharpened wi th the year s B u t i t needs i t m u s t b e .

,
e m phasized m u ch cu ttin g l o o se fr o m the at mo sphere that

,
enshr o uds the vaude v illist : fr o m s elf c o ns ci o us p o sturin g -

,
fl i ppa ncy and pseud o cleverness

,
H e i s still t o o fo nd o f
-
.
b reakin g the lan ce o f his satire o ff with m er e jib in g W hen /

.
hi s usually alert i ntelli gence b e co m e s cl o uded with the m ist s

o f e go is m he can m istake fl i ppa ncy and e v en s currility f o r
, ,
hu mo r .
T hii s he ca n include in o n e o f hi s v o lu m e s an appendix

o f un fav o ra b l e reviews o f his b o o ks hi s e go m ania leads him
t o wri te in S p e cia l D e liv e r y a letter t o a y o un g g irl w ho
, ,
i s t o b e i m a g ined a s ha v in g g ener o usly o ff ered t o trade her
V i rg i ni ty f o r s o m e o f Mr Ca b ell s se crets a b o u t g ettin g b o o k s

.
’
pu b lished hi s invecti v e s a gainst th o se w ho persist in writin g

h im f or au t o graph s b ec o m e increasin gly b itter he can in
d u lg e in a vaudevillian spree w hi ch per m its h i m t o refer t o
H eaven a s a co nj e ctural k in g d o m paradise as fu ga ci o us
“ “
, ,
the st o r y o f C hrist as n o thin g m o re than Cinderella s st o r y ’
”
t o ld in m o re i m pressive ter m s and t a g days a s a kind o f
,
-
bri ganda ge and bla ck m ail whi ch g ives w o m en the stru m

“
pet s privile g e o f a cco stin g a m a n o n the street

’
F a ct versus t r u t h I have tried t o sh o w that C abell I S n o t

“
.
,
in the true sense o f the ter m a r o m anti cist at all N or i t

, .
,
ca n be ar ued is he a realist th u h he ar ues desperately

g , o
g
,
g
that h is co m p o site picture o f hu m an failin gs is a hist o ry o f
hu m ani ty .
T here is a differen ce between a fa c t and a truth h o wever , ,
whi ch he has never full y reali zed a differen ce whi ch I

—
m i ght su gg est with the fo ll o win g ane cd o te : A m ate o n b o ard

a sailin g vessel w a s o n e ni ght f o r the first ti m e in h is life
, ,
cau ht drunk b y the captain w h o in the in terests f truth

g , o ,
insisted up o n re co rdin g the dis gra ce in the da y s lo g O n ’
the next ni ght h o wever i t so chan ced that the duty o f fi llin g
, ,
in the lo g dev o lved up o n the m ate H e ended the re co rd .
with this si m ple state m ent : T h e Capta i n was s o ber t o

“
ni ght .
On p r o n o u n c i n g the w o r d a d u lt e r y in the p r ese nce of a la dy .
E llen G las go w des cribes o n e o f her chara cters by sayin g that

he w o uld rather co mm i t adulter y than pr o n o un ce the w o rd
in the presen ce o f a lad y . A n d M eredith sa y s o f the jo k es
whi ch A drian t ells in T he O r d ea l o f R icha r d F ev e r e l that
they were deli cately n o t de cent bu t so deli cate l y so that i t
, ,
” 10
w a s n o t de cent t o per ceive i t .
A s a final char g e whi ch I wish t o lay at Mr C abell s d o o r

’
.
,
I m enti o n what see m s t o be his never failin g deli ght in i n -
sistin g that inde cen cy is never t o be depl o red when it is

deli cately expressed W hen w e d o dep lo re i t in h im i t is
.
,
really we w ho are inde cent F o r we are t o re m e m ber that

.
B R A N C H C A B ELL 81
our auth o r h as alread y anti cipated a l l o bj e cti o ns t o his w o r k

that w e have failed si gnally in understandin g that w o r k if we
think i t o ften inde cent ; that it is really o nly a chara cter
rather than the au th o r w ho is d o in g the speakin g ; and that ,
anyway wh o ever d o es d o the spea k in g m ana g es a l wa y s t o d o

,
i t l i k e a gentle m an !
T h e inadequa cies and inde cen cies lie n o t with C abell o r
the C a b e llia n s the y l i e with us his readers N o auth o r we
,
.
,
are t o ld t o believe n o auth o r is t o b e b la m ed f o r his char

,
a ct e r s — and espe c ially when they m aintain the arist o crati c
pretense o f genti l ity and so capa b ly illustrate the ir o ny o f

life.
A n d so I ta k e leave o f Mr Cabell his style alert i n

.
, ,
t e lli g e n ce w i t ir o ny and the in co m parable p o siti o n whi ch

, , ,
he has in m o st respe cts quite deservedly a chieved as o n e o f

the m o st bril l iant o f present day writers
-
.
C H AP T E R IV
F R E UD I SM AN D TH E S T RE AM O F -
C O N S C I O US N E S S
T HE tall slender y o un g m a n with the steel blue eyes and

, ,
-
the ashplan t cane w a s be i n g intr o du ced t o W illia m B utler

,
Y eats . W e have m e t t oo late said Ja m es J o yce You , .

“
are t o o o ld t o b e in fluen ced b y m e .
But of J o y ce s influen ce up o n the present literary genera

’
ti o n there ca n b e n o d o ubt A E o n ce taunted him : I m “ ’
. . .
”
afraid yo u have n o t en o u gh cha o s in yo u t o m ake a w o rld .
3
T his w a s h o wever befo re the pu b li cati o n o f U lysses

, ,
T hat b o o k did m ake a w o rld — o r at least i t o pened up a
w o rld f o r o u r n o ve l ists that o f m an s sub l i m inal life

,
’
.
B y w hi ch I d o n o t m ean t o I m ply that Ja m es J o y ce was

the first n o velist t o co n cern hi m self with the su b co ns ci o us .
E ven S terne o ccasi o na ll y put o ne fo o t a cr o ss its thresh o ld

and Ge o r g e E li o t o f co urse was n o t unaware o f what l ies
, ,
bey o n d the d o o r o f m an s co ns ci o us th o u ght S till i t was

’
.
,
J o yce w ho first o pened that d o o r wide en o u gh t o attra ct co n

te m p o rary n o velists with the p o ssibi l ities o f usin g the strea m
o f co ns ci o usness as a valuable te chnique
-
.
F o r i t is a valuable te chniqu e I t has d u g a go o d Shaft

.
and i t has hi t s o m e ri ch dep o si ts : s o m e pay dirt that sh o uld -
b e m ined B u t unfo rtunately i t has als o hi t a go o d deal

.
, ,
o f what i s m erely — dirt A nu m b er o f o u r n o velists w ho

.
have been m inin g it have tended t o co n centrate t o o m u ch

on the di gg in g o n m ere experi m en tati o n T hey have
, .
b r o u ght up a go o d m any t o ns o f m u ck at ti m es f or the sa k e , ,
o f a ne g li g i b le quanti ty o f t h e m etal .
85
By way o f exa m inin g the uses to whi ch the te chni q u e has
b een put I pr o p o se in thi s chapter first a b rief co nsiderati o n
, , ,
o f U lyss es ; se co ndly a c o nsiderat i o n o f the spe c ial feature s

,
o f t h e s trea m o f c o ns ci o usness as they are refle cted in U l sses

y
- -
and in the w o rk o f o u r y o un ger A m eri can writers ; and ,
thirdly a review o f s o m e o f the b y pr o du cts o f the te chnique

,
-
when i t i s un ited in literary wedl o ck with F reudian psy

cho lo gy .
U lysses versu s the Un i t e d S t a t es C ir cu i t C o u r t of A pp ea ls .
T hat s f o lk f o r y o ur b o ok F ive lines o f text and

“ ’
ten pa ges o f n o tes a b o ut the fo lk and the fi sh go d s o f D u n -
dru m P rinted b y the weird sis ters in the year o f the b ig

.
wind . S o m e few o f the criti cs thin k that these w o rd s o f

J o yce s B u ck Mulli gan aptly des cri b e Ulysses : that it is a
’
t o u r d e fo r ce a co lle cti o n o f drivellin gs a b o ut stran g e fo lk

,
and fi sh go ds thr o wn o u t t o stuff an au ct o rial b all o t b o x

-
,
-
in the year o f s o m e pu b l isher s b ig wind ’
”
A s vul g ar as a bed pan
“
say s o n e su ch criti c addin g, ,
5
that the b oo k is a D e mo go r go n o f literature a n o vel whi ch ,
mo re than any o ther sin ce the inventi o n o f print i n g has

exer cised a baneful m ali gnant and pervertin g in fl u
“
en ce up o n o u r letters W ith whi ch p o int o f view I m ust

”
.
,
add in passin g I a m in full a cco rd : U lysses has a greater

,
cl o a cal co ntent I think than any o ther b o o k written in

, ,
E n glish .
B u t the U nited S tates C i r cu i t C o urt o f A ppeals d o es n o t

think so T rue i t is that J ud g e Mant o n when a test case
. ,
was m ade of the m atter in 1 9 3 4 said : W ho ca n d o ubt the

“
o b s ce nity o f this b o o k after a readin g o f the pa g es referred
to ,
whi ch are t o o inde cent t o add as a fo o tn o te t o this
Opin i o n ? I ts chara cterizati o n a s o b scene sh o uld b e quite
”
unan i m o us by a l l w ho read it .
6
S till J ud g e Mant o n s Opini o n was the dissentin g o n e

,
.
Judg es L and A u g ustu s N H and in the s a m e appeal co n

. .
, ,
FREU D I SM 87
c luded that Ulysses is a valid experi m ent in the strea m o f

c o nsci o usness m eth o d o f presentati o n i t i s fair t o say
‘
that i t is a S in cere p o rtrayal with skilful artistry o f the

‘
strea m o f co n s ci o usness o f its chara cters T h e net effe ct
’
.
e v en o f p o rti o ns m o st o pen to atta ck su ch as the cl o sin g

.
,
m o n o l o g ue o f the wife o f L e o p o ld B l o o m i s pi tiful and ,
tra g i c rather than lustful In the end o n e feels m o re .

,
than anythin g else pity and s o rr o w f o r the co nfusi o n m isery

, ,
”
and de gradati o n o f m ankind .
7
C er e b r a l H u d d le a result o f this m aj o rity o pini o n

. As ,
U lysses i s presu m a b ly here t o stay A n d whether i t s i n fl u .
ence has b een prep o nderantly b ad o r no t it cann o t b e denied ,
that i t is o n e o f th e m o st influential b o o ks o f o u r century .
L e t m e therefo re su ggest the nature o f t h e interi o r m o n o

l o gue whi ch i t e m pl o ys and the co nt e nts o f the b o o k itself
, , .
T h e father o f that literary devi ce kn o wn as t h e m o n o lo g u e

in t e r i e u r i s said t o b e E d o uard D uj ardin wh o s e L es L a u r i ers
’
so n t co u p es (1 8 8 6 ) antedated U lysses b y s o m e thirty year s

'
and t o wh o m J o y ce ad m it s a great de b t T h e n o v eli s t who .
m akes use o f the interi o r m o n o l o g ue atte m pts t o p o rtray

life and chara cter b y settin g d o wn everythin g that go es o n
in his hero s m ind ; n o ta b ly all th o se uni m p o rtant and
’
cha o ti c th o u ght s equen ces whi ch o c cupy o u r idle o r som

»
-
n o lent m o m en ts and t o whi ch in real li fe we pay o ur s el v e s

, , , , ,
”
little attenti o n .
8
T h e strea m o c o n s ci o usnes s te chn ique e mpl o ys i t will

f — -
,
b e n o ted an intensi v ely cr o wded can v as T hus we are t o ld

,
.
that J o yce s B u ck Mulli gan re m e m bers al m o st all ideas and

’ “
sen s ati o ns T h o m as W o lfe s E u g en e Gan t trie s t o re call

’
all o f his experien ces and s ensati o ns un til they have b e co m e

a part o f hi s wh o l e m e mory W hen F arrell s S tuds Lo ni .
’
g a n is dyin g he see s a phantas m a g o ria m ade up o f every o n e
D o s P ass o s chara cters

’
o f the fri ends he has ever kn o wn .
spend h o urs fo ll o win g o u t extre m ely detailed th o u ght

sequen ces that m o st o f us w o uld o rdinarily disre gard F aul k
ner uses the m o n o log u e in t er i e u r t o su ggest the m o st cha o ti c
’
m ental pr o cesses o f m o r o ns in R ex S t o ut s H o w L i ke a G o d
’
( 1 929
) the wh o le b o o k is used t o depi ct the refle c ti o n s o f a
m a n in but the sh o rt while it takes him t o walk up s everal
fli ghts o f stairs ; in the an o ny m o us ly written A M a n in A r m s
(9 ) m l i t i m
’
1
3 5 the o n o o
g u e n e r e u r is strate g i cally e p l o yed t o
p o rtray the ent i re fl o o d o f s cattered i m pressi o n s o f t he so l ‘
dier A b u r d o n while he is go in g under ether b efo r e an

, ,
Operati o n ; in F rit z F aulkner s Win d less S ky (1 9 3 7 ) the tech ’
nique is utilized t o i n t ensi f y h i ghly pers o nal experien ce s ; i
and in S M S teward s A ng e ls o n the B o u g h (1 9 3 6) it i s m ade

. .
’
t o se cure very detailed su b j ective effects .
Ulysses . J o yce n o v el i s h o wever a better and a mo re

T he , ,
fa m o us exa m pl e o f the te chnique co nsistently used than ,
any o f the b o o ks I have m enti o ned I t re co rds everythin g .
that fl o ws thr o u gh the m inds o f its t w o central chara cters ,
L e o p o ld B l oo m and S tephen D edalus durin g b ut o n e day ,
o f their lives : J un e 1 6 1 904 S tri ctly spea k in g the b o o k

, .
,
has n o pl o t B u t I shall su ggest its general nature

. .
A s the st o ry o pens ab o ut ei ght o cl o ck in the m o rnin g

’
, ,
in the Martell o T o wer near D u b lin B u ck M ulli gan finishes ,
his shavin g and then sits d o wn t o eat b reakfast with his tw o

friends : the E n glish m an H aines ; and the tut o r S tephen
, ,
D edalus S tephen s co ns cience i s b o therin g hi m be cause

’
b efo re his m o ther s re cen t death he had refused her request

’
t o pray f o r her s o ul T hese refle ct i o ns and his g eneral

.
reli g i o u s ap o stasy t o r m ent his co ns cien ce thr o u gh o ut the em

tire day whi ch t h e n o vel re co rds I think it i m p o rtant t o .
m en ti o n th is be cause his t o rtured cons cien ce explains m o st

o f hi s co ndu ct durin the day and lends a k ind o f unifyin
g g
m o t if t o the entire b o o k .
A fter b reakfast S tephen go es t o Mr D ea sy s s ch o o l where

’
.
he g i v es le s s o ns t o a gro up o f s ch oo l b o ys T h e B ull ock b e -

.
-
FREUD I S M 8g
friendin g b ard D easy pays his instru ct o r a n d a s ks h im t o

, ,
se cure f o r h im the pu b li cati o n o f an essay he has written o n

h o o f and m o uth disease F urther refle cti o ns o ccupy an o ther
- -
.
half h o ur o f S tephen s m ornin g while he walks by the se a ;

’
and in the m eanti m e we are intr o du ced t o the advertisin g

s o li cit o r B l o o m the ti m e b ein g flashed b a ck t o sh o w h im
, ,
g ettin g b reakfast f o r h i s wife and o therwise b e g innin g hi s

day .
A co m plete su m m ary o f U lysses w o uld b e a len g thy a i 9
fair S u fli ce it t o sa y that there are several g eneral divisi o ns

.
t o the b o o k : details o f h o w B l o o m spends h i s m o rnin g at
t he m arket at the publi c baths and at the funeral o f his

, ,
friend P atri ck D i gna m ; satires o n j o urnalese and the

,
m eth o ds o f j o urnalis m a pi cture o f D edalu s at the L i b rary ,
m edi tatin g up o n S hakespeare and o ther writers ; s cenes in

whi ch B l o o m and D edalus m eet durin g the day ; tren chan t
par o dies o f Mal o r y B un y an and o thers ; a des cri pti o n o f a
, ,
flirtati o n whi ch B l o o m is havin g with y o un g G erty M a c

D o w ell a series o f phantas m a go ria in a red li ght distri ct ; -
a final m eetin g between D edalus and B l o o m in whi ch the ,
fo r m er is drun k and is taken h o m e b y the latter ; and a l o n g

clo sin g m o n o l o g ue o f s o m e fo rty pa es in whi ch M r s B l o o m
,
g , .
,
b efo re fallin g asleep indul ge s in a series o f re m inis cen ces

, ,
chi e fl y s e x u a l and e x cre m ental

v
I n t he wh o le b o o k the in
.
ner lives o f the chief chara cters are revealed in full N o t h .
i n g is spared .
U lysses a ndM y husband is a great m a n in spite o f

U lysses .
”
“
his ne cessity t o write th o se b o o ks n o o n e ca n understand ,
1°
Mrs J o y ce te l ls u s E ven th o se criti cs who pr o fess a great

. .
ad m irati o n f o r U lysses frequently ad m i t they d o n o t under

stand the b o o k B u t in an atte m pt t o i n terpret it they
.
,
h ave f o r o ne thin g drawn o u r attenti o n t o an in tended

, ,
parallel whi ch i t b ears wi th th e U lysses (O dysseus) o f H o m er .
I n the J o y ce b o o k the char a cters wear i t will b e o bs erved , ,

certain psy ch o l o g i cal linea m ents o f the H o m eri c pe o ple
B l o o m rese m b les — after a fashi o n U lysses hi m self ; D eda
lus T ele m a chus ; Mari o n B l o o m P enel o pe ; G erty Mac
, ,
N ausi caa ; B ella C o hen

“
D o well , Cir ce ; the Citizen ,
.
,
P o lyphe m us D a n D aw s o n E o lu s e tc , , .
I su ggest this co m paris o n be cause it will ni cely serve I ,
think as a sprin g b o ard f or the plun ge int o m y m o re detailed

,
-
m f —
discussi o n o f the strea o co ns ci o usness T h e o ld er class i
-
.
ca l m eth o d whi ch prevailed in b o th o u r p o etry and o u r fi c

,
ti o n w a y up int o o u r o w n century w a s in sh o rt everythin g , , ,
that the strea m o f co nsci o usness is n o t In m enti o nin g this

- -
.
,
o f c o urse I intend n o der o gati o n o f the newer technique

,
when i t is used j udi ci o usly : I o nly want at this p o int in the ,
discussi o n a co nven ient b asis o f c o m paris o n

, .
I n th e first pla ce the o lder m eth o d e m pl o yed a lar g e can

,
v a s : thus even Tr is t r a m S ha n dy whi ch atte m pts in the

, ,
classi cal m a n ner s o m ewhat t o su gg est the inner life o f it s
her o e v en Tr is t r a m S ha n dy c o vers half a li fe ti m e I n the

— -
.
se co nd pla ce the o lder te chn i que related ideas whi ch find a

,
ready ass o ciati o n in the avera g e m ind depended chiefly up o n

easy and i m p o rtant th o u ght sequen ces ; fo cused i ts attenti o n
-
”
up o n a cti o n and what A rn o ld called o u r sense o f co ndu ct “
dealt with m e n and w o m en usually attuned t o the n o rm s

o f hu m an experien ce ; en co ura ed extr o vert chara cters w h o
g ,
dire cted their attenti o n t o their envir o n m ent rather than ,
the m selves and fo und expressi o n in co nventi o nal and hi ghly

co m m uni cative lan ua e
g g .
T h e strea m o f co ns ci o usness o n the o ther hand tends t o

- -
, ,
expl o i t the in co herent and t o intensify individuality t o focu s ,
its atten ti o n up o n psy ch o path o l o gi cal types t o e m phasize ,
feelin gs and sensati o ns rather than a cti o n t o expl o re the su b ,
li m inal t o en co ura g e intr o spe cti o n and t o seek f o r o vert o nes

, ,
b y e m pl o yin g a lan g ua ge that is frequently d ifli cu lt o r e v en

unin telli g i b le .
I n b rief the cla s si cal m anner c o nsidered m a n a s a per

,
f ect ly inte grated bundle o f m e m o ries sensati o ns and i m , ,
pu l ses that unless sternly co ntr o lled by s o m e d o m inatin g

,
m o tive i t i s li k e l y t o be at the m er cy o f every stray wind o f

”
su ggesti o n .
12
B u t s o m eti m es these winds o f su ggesti o n b l o w a bit t oo

str o n g ly as in these three passa ges fr o m U lysses
,
G od be co m es m a n be co m e s fi sh be co m es bar n a cl e go o se b e
co m es featherbed m o u n tai n D ead breaths I l ivi ng brea the
.
,
tread d ea d du st d evo ur a urino us o ff a l f ro m a ll d ea d H au l e d

, .
star k o ver t h e u nw a l e he br e a t he s u w ard the s te n ch o f his

g p
r ee n r ave h i s l epr o u s n o se h o l e sn o ri n the
’
1 3
g g ,
g t o su n .
W hat redu ced, heir si m p l est re cipro ca l f orm were B l o o m s

to t ,
’
t h o u g hts ab o ut S teph e n s th o u ghts ab o ut B l o o m a n d B l o o m s

’ ’
th o u gh t s ab o ut S te phe n s th o u ghts ab o ut B l o o m s th o u gh t s ab o ut
’ ’
S tep h en 14
wished that a ta l e o f a d eed sh o u l d be t o l d

He of a deed no t
b y h im sh o u l d b y h i m no t be to l d .
15
An d , the desi gn o f su ch n o vels

a gain , ca n be co m e so
e ch o m e t r ic a s t o per m i t the rever b erati o ns of this n o nsense
in the s a m e b o o k
S i nbad the S ai l o r a nd T inb a d the T ai l o r a nd
J inb ad the
J ai l er a nd W hi n b a d th e W ha l er a nd N inb a d the N ai l er a nd
F i nb a d the F a il er a nd B i n b a d th e B ai l er a nd P i nb a d the P a i le r
and M i nd b a d the M a i l er
H e n b a d th e H ai l er
and a nd R i nb a d
t h e R a i l er a n d D i n b a d the R a i l er a n d V i n b a d the Q u a i le r a n d
Li n b a d t he Y a i ler a n d X i n b a d t h e P h th a i l e r 16
.
Or it ca n en co ura g e a spe cies

,
of e ch o lalia like this sele cti o n
fro m J o hn D o s P ass o s 1 9 1 9
’
S unn y aftern oo n thr o u gh t h e fai n t after si ck o f m ust a r d -
a s I sm e ll t h e b o x t h e w hite r o se s a n d t h e w hi t e p h l o x w ith a
g
cri m s o n eye three b r o w n a n d w h i t e str i ped sn a i l s ha n g w ith
i n fi n ite del i ca cy fro m a h o n eysu ckl eb r a n ch o verhe a d u p i n the
b l u e a sausage ba ll o o n grazes dro wsi ly l i k e a t ethered co w
-
FREU D I S M 93
there are dru nk en wasps cl ing i n g to the t o o r i pe pears that fa ll
a n d s q ua sh w h e n ev er t h e n e a r g u n s spew their heav y she ll s th a t
g o o ff ru m b l i n g thr o u gh the sky

17
S a n dym o u n t s hor e t A hi ghly i mp r essi o n

a n d so ile d sh ir s .
is t i c la ng u a g e is usually an o ther feature o f the m o n o lo g u e

i n t er i e u r
’
In his T he T w e n t ie t h C e n t u r y N ov e l J o seph
.
,
W arren B ea ch co mm ents up o n a re l ati o nshi p between ex

e r i m e n t a l verse and the intensely i m pressi o nisti c co n cepts
p
o f the strea m o f co ns ci o usness
— -
T o illustrate f o r exa m ple
. , ,
h o w A m y L o well go t certain effe cts he qu o tes these lines ,
”
fr o m her T h e T axi
S treets co m i ng
fast ,
O n e after the o ther ,
W e dg e yo u awa y fro m me .
18
and calls attenti o n t o the w a y in whi ch Am y Lo well has

our
r e v e r se d t h e usual co n cepti o n o f the streets as bein g st a
t io n a r y I n s o m ewhat the sa m e m anner E rnest H e m in g

.
,
w a y th o u gh he d o es n o t e m pl o y the interi o r m o n o l o gue as

,
a rule th us i m pressi o nisti cally des cribes a cl o ud : I t ca m e

,
“
ver y fast and the su n went a du l l yell o w and then e v erythin g

was gray and the sky w a s co vered and the cl o ud ca m e o n
d o wn t he m o untain and sudden l y we were in it and i t w a s
v
” 19
sn o w .
T h e intense i m pressi o n i s m o f the interi o r m o n o l o g ue is

li k ely h o wever t o m ake a writer l o se sigh t o f all o b j e ctive
, ,
i
standards o f beauty A t o n e m o m ent J o y ce ca n write o f

.
the beautiful dark green o f the se a and in the next o f nasal ,
ex cre m ent o r green m o uld o n a putrefyin g co rpse ! H e ca n

write b eautifu l ly o f y o un g m en clean o f li m b swi mm in g , ,
in the su n li ghted se a ; and then indul g e i n the hi ghly i m

-
r e ssi o n i st i c pi cture o f B l o o m eatin with relish the inner “
p g
o r g ans o f beasts and f o wls
(Mr B l
. o o m w a s m erely f o nd
.
o f f ried kidne y s ! H e ca n aband o n hi m self t o the hi hl y

) g
expressi o nisti c spree o f tellin g us f o r exa m ple o f fi nger , ,
nails reddened b y the b l o o d o f squashed li ce fr o m the chil

“
”
drens shirts and g ive us this pi cture o f a m a n ru m inatin g
’
o n the w a
y h e be co m e s nauseated at the si g ht o f certain f o o d
H is e yes u n h u ngr i ly sa w she l ves o f tins sard ines g aud y l obster s , ,
’
cl aws A ll the o d d thing s pe o p l e pi ck up f or fo o d

. O u t of .
she ll s peri winkl es with a pin o ff trees snai l s o u t o f the gro u n d

, , ,
the Fre n ch eat o u t o f the se a with bait o n a h o o k S i lly fi sh

, .
l earn n o thing in a th o usan d y ears If yo u didn t know ris ky .

’
putti n g an y thing int o yo ur m o uth P o is o n o us berries J o hnn y . .
M a g o r i es R o undness yo u thi n k go o d G aud y co l o ur wa r n s

. .
y o u .O n e fe ll o w t o l d an o ther a n d so o n T r
y it o n the d o
g .
fi rst .Led o n b y t h e s me ll o r t h e l o o k T e mpting fruit I ce . .
co nes C rea m
. Insti n ct O r a n gegr o v es f o r instan ce N eed
. . .
arti fi cia l irri gati o n B leib tr eu str a sse Y es but what ab o ut o ys

. .
ters Unsi ght ly l i ke a cl o t o f ph l egm Fi l th y she ll s D evi l to

. . .
o pen the m t o o W h o fo und o u t ? G arbage sewag e the y feed

.
,
20
on . .
K a y B o yle in her Y e a r B efo r e L a s t

, tell s us that T he
”
m o untains were a s bare as b o nes knu cklin g the sky T hat .
21
m a y p o ssi b ly b e an i m a g inative fi g u r e — a j ustifiably i m

r e ssi o n i st i c t o uch B u t t h e sa m e cann o t b e said when she
p .
so dist o rts i m a g es as t o sa y that Charl o tte s li m o usine q u iv “ ’
ered under the p o rti co the ni ckel butt o ck o f the sp o t li ght

,
-
el o n gatin g t h e chau ff eur s m irr o red n o se until i t hun g

’
refle cted like a fresh sausa g e o r when She says that

22
the m ilk o f the cl o uds fl o wed steadily o u t o f the str o n g

”
teats o f the s o uthern wind .
23
W ald o F ran k s C i ty B lo ck (1 9 2 2 ) a ff o rds further illustra

’
ti o ns o f an effe ctive kind o f i m pressi o nis m H e sa w the .
sn o w swirl in blue skeins o utside his wind o w A ll the day .
B u t a g ain frequen tly in W ald o F ran k

”
was a pale pea ce .
24
, ,
the m o n o log u e in t er ie u r en co ura ges an e go centri c p o int o f

’
view — a failure o f the will t o d o m inate its i m pressi o n s

whi ch ca n ver g e o ff int o su ch an o ffensiveness as b rin g s the
reader t o a start in the co n cludin g lines o f the sele cti o n
fen ces s cri bb led full o f o bs cene w o rds A n d even the n or .
m a l sexual relati o nships o f m arria ge they tend t o dist o rt int o

“
c o m plexes inhibi ti o ns and neur o ses
,
“ ”
W hat so n is ,
“
.
wo rth anythin g unless h e ha s an (E di pu s c o m plex ? And

wh at is h o m e wi th o ut a frustrate m o ther ?
T h e m o st co nspicu o us exa m pl e o f su ch an o ver e m pha s is -
up o n sex o ccurs in the co ncludin g forty o dd pa g es wi th o ut -

,
a sin gle pun ctuati o n m ar k o f U lysses Mrs B lo o m i n this , . .

,
‘
se cti o n o f the b o o k lies in bed at ni ght and re calls the series

,
o f l o vers sh e has had t o g ether wi th a lar g e nu m b er o f o ther

,
m atters that I have already classified as ex cre m ental But .
J o hn O H a r a s A pp o i n t m e n t i n S a ma r r a
’ ’
a st o ry o f a
ban d o f C o ry b an tes wh o se sensuality is o ver em phasized -
a gainst a b a ck gr o und o f G i b bsville P ennsylvania o ffers a , ,
parallel with the J o y ce illustrati o n Car o line E glish has

n .
had a quarrel wi th her husband and lies in bed m usin g ,
up o n her li fe un til the m aid co m es in t o the r o o m :

,
Oh g uess , I I better g e t up T here s n o thin g t o be

g ai n ed
.
’
b y lyi ng here i n b ed a nd fee l ing s o rr y f or m y se l f I t s no thi ng .

’
n ew o r i n teresti ng o r n o ve l o r rare o r a n y t h i n g I m j ust a gir l

’
wh o fee l s l i k e d y i n g be cause the m a n I l o ve has d o n e m e wr o n g .
I m n o t even su ff ern m o re m o t eve n f ee l in

’ ’
an
y I n g an
y .
thi ng A t l east I d o n t thi n k I a m N o I m n o t I m no t f ee l

.
’
.
,
’
.
’
i ng an y thi ng I m j ust a g ir l na m ed C aro l ine W a lk er C ar o l i n e

’
.
,
W a lker E n gl ish C aro l ine W Engl ish M r s W a lker Eng l ish

, .
, . .
T hat s a ll I a m
’
T hirt y o n e y ears o ld
. W hite B orn H ei ght
-
. . . .
W ei ght B o rn ? Y es I a l w a y s thi n k that s fun n y a nd I a l w a ys

. .
’
wi ll I m s o rr y J u l ian but I j ust h a ppe n to th ink i t s fu n ny

.
’
, ,
’
and yo u used to thi n k so t o o ba ck i n t h e O ld d a ys wh e n I k n ew

o u in an Eat o n co ll ar and a W inds o r tie a n d I l o ved u then
y yo , ,
I l oved yo u then I l o ve yo u n o w I l o ve yo u no w I ll a l w ays

, , .
’
l o ve yo u t o the day I die a nd I guess this is what the y ca ll go ing

t o pie ces I guess I ve go n e t o pie ces be cause there s n o th i ng
.
’
,
’
l eft o f m e T here s n o thi ng l eft f or m e o f da ys that used t o be

.
’
I l ive in m em o ree a mo ng m y s o uve nirs A nd so what yo u

- -
.
d i d what yo u did w a s t o t a k e a k nife a nd cu t m e O pen f ro m

,
m y thr o at d o wn t o here a n d then yo u O pened the d o o r and l et ,

FREU D I S M 97
in a b l ast o f free z i ng co l d a i r ri ght w h ere yo u had cu t m e O pe n
, ,
a n d t i ll t h e d a y yo u d ie I h o pe yo u n ever n ev er k n o w what it ,
fee l s l i ke t o have so m e o ne cu t yo u o pen all the w a y d own the

f ro nt o f yo u and l et t h e free z i ng b l a st o f air i n si d e yo u I h o pe .
o u never k n o w w h at t h a t m ea n s a n d I k n o w yo u w o n t m
’
y y ,
d arl i ng t h a t I l o ve be ca u se n o t hi ng b a d wi ll ha ppe n t o yo u
, .
O h l o ve ly C a ll ie y o u r co at i s so w arm t h e shee p s in t h e
’
, , ,
m ead o w the co ws in t h e co r n N o I d o n t t h i n k I ll g e t u p
“ ’ ’
.
, ,
” 27
f or a w h i le, M r s G r a dy
. .
In the sa m e auth o r s B u tter fi e ld 8 ’

Gl o ria W and
r o us su ff ers fr o m a trau m ati c childh o o d experien ce ; and
after ridin g hi gh o n the tides o f pr o m is cui ty and detailin g ,
her experien ces with deep plun ges int o the strea m o co n f — -
sci o u sn ess she ends up by dr o wnin g in L o n

,
g I sland S o und .
Y o u ca n call i t sui cide if yo u wish — M r O H a r a d o es n o t

’
.
,
m ake the m atter very clear B u t the t w o n o vel s whi ch I.
have so ver y briefl y referre d t o d o m a k e clear the fa ct that ,
he see m s t o have dedi cated hi m self co m pletely t o the a m bi

ti o n o f be co m in g o n e o f o u r m o st su ccessful literary po r n o g
ra
p h ers .
n o velist w ho uses the m o n o lo g u e in t e r i e u r finds m uch

T he
’
o f value in expl o rin

g t h e su b li m inal B u t w hi l e he i s d o wn .
,
in the cellar he very frequently gets int o a cere b ral huddle

,
with him self and thin k s there i s o nly o n e ga m e t o b e played

there !
DO fish ev e rthe f o urth feature o f the strea m

e t s e a s i ck? As
g
o f co ns ci o usness I m enti o n the ease with whi ch i t p e r m i t s
-
w r i t e r s to b e co m e cu m b e r so m e d ifi u se and p o in t less , ,
.
O fte n; i t m ust b e c o nceded the details whi ch i t finds it n e c ,
essary t o addu ce really enri ch o u r understandin g o f char

a cter T hese apparen t irreleva n c1 es o f L e o p o ld B l oo m will
.
fi nd I thin k a n o t to o di ffi cu l t assoc iati o n i n a reader s

, ,
’
m ind ; and they d o add s o m ethin g t o o u r in terpretati o n o f

B l o o m s pers o nali ty
’
I forget t o write address o n that l etter l i k e the p o st card I
D id
sent to F lynn A n d the da y I we n t to D r i mm i e s with o ut ne ck
.
’
tie W ra ngl e with M o lly it w as put m e o ff N o I re me m ber

. .
, .
Ri chie G o u lding H e s a n o ther W ei ghs o n his m ind Funn y

.
’
. .
m y wat ch st o pped at ha l f past fo ur D ust S hark l iver o il the y

. .
u se t o cl ean co u l d d o it m y se l f S ave . . .
28
A gain the f a m o us fo rty sixth and f o rty se v enth chapters

,
- -
o f D reiser s A n A m e r i ca n T r a g edy tell us m u ch ab o u t C lyde

’
G r i fli t hs ; the s o lil o quy o f the y o un g sui cidal m ania c S e p ,
ti m us W arren S m ith in V ir g inia W o o lf s M r s D a llo wa y

,
’
.
,
fo r m s a revealin g b a ck gro und f or the rest o f a n o vel so skil

ful that I m enti o n it here th o u gh i t is by a B ritish writer
,
”
the i m pre s si o ns o f the ine b riates in N athan A sch s P a y
“ ’
D a y (1 9 3 0 ) se cure at least their desired effe ct o f re v ealin g the

way in whi ch the central chara cter a m a n with an inferi o ri ty ,
co m plex i s always at o dd s with hi m self ; the l o n g m o n o

,
l o g n es e m pl o y ed in I vald o F ran k s H o lida y (1 9 2 3 ) e ff e ct an

’
in g eni o us co ntrast b etween the psy ch o l o gies o f the white and

the b la ck ra ces ; the reveries in T h o m as W o lfe s n o v els very ’
frequently o ffer u s si gni fi cant gli m pses int o E u gene Gan t s ’
co m plex pers o nality ; and the very detailed th o u gh t

sequen ces in C o nrad A i k en s K i ng C ofii n (1 9 3 5) are g enu
’
i n e ly valua b le f o r their revelati o n o f t h e stran g e m ind o f

Jasper Am m en Indeed m any passa ges fr o m strea m o f co n
.
,
- -
sci o u sn e ss n o vels co uld b e listed t o Sh o w that a use o f care
fully sele cted details m a y o ften b e a valid and an e ff e ctive

m eans o f g ivin g us a m o re true and a m o re co m plete insi ght
int o chara cter .
,
f —
O n the o ther hand in m o st s trea m o co ns ci o usness n o vels -
the t o tal effe ct is blurred and di ff used o r the st o ry m o re than ,
o ccasi o nally en cu m b ered by the intr o du c ti o n o f s u p er flu o u s

,
.
— m
detail I n U lysses t o take but o n e exa ple B l o o m even
—
w o nders whether fish ever ge t seasi ck W hat did B l o o m do

at the kit chen st o ve ? W hat was in the first drawer o f his
desk ? W hat did he ad m ire in water ? W hy sh o uld o n e
i oo LU C IFER AT L AR G E
Mar garet M itchell s G o n e W i t h t he Wi n d (1 9 3 6 ) due in pa
’
at least t o a natural hu m an hun ger f o r ch ara cters that 10

the m selves in a cti o n a s well as reverie and due t o o u r a ,
m ir a t i o n f o r an auth o r wh o has the ability
t o sc na
N o t his own co ur se but that
, of man ,
3 1
auth o r w ho re creates s o m ethin g o f the co l o rful t ext a

“
‘
-
an
of life with m a n pla y in g a d o m inan t part in that life ?

,
P h i lo lo g ica l F u m b les
-
the . As a rule ,
co ns ci o strea m o f - -
ness e n co u r a g es a g r ea t d e a l o f e x p e r i m e n t a t i o n w i t h
g u a g e fo r m a n d m o o d
, ,
A t t i m es as I have . alread y ,
ou t this experi m en tati o n unites itself with a wild

,
e x pressi o nis m o r i m pressi o nis m and b e gets a k ind o f b a sta r

j
o ften even uninte l li gible
, .
Mr D o s P ass o s co m bines w o rds in a series in the f o llo v

.
i n g m anner : I go t a date a n i m po r ta n t e n ga gem e n t t o sec

“
ab o ut th o se l o ts o u ght n ev er t o ha v e st a ye d inb e d so la t e .
H e spea k s o f a m a n a s bein g le a d e n t ir e d and o f eyes 2

“
d o lla r pr o u d A n d t o se cure a rapid refle cti o n o f the co r

“
sci o u sn e ss o f h i s chara cters he uses wh a t m i ht b e th o u ht c

g g
a s m irr o rs co ntrastin their inner wi th their uter lives
g o
su ch cine m ati c devi ces as headlines Ca m era E yes and N e v , ,
R eels — experi m ents whi ch I discuss elsewher e in great e

detail .
In R o bert C a n t w e ll s L a n d of P le n ty (1 9 3 4 ) and I Vi llia r

’
R o llins T he S ha d o w B e f o r e (1 9 3 4 ) the sa m e experi m ent s

’
a r t i fi ce s a cco m pany their auth o rs u s e o f the strea m o f —

’
co r -
sc i o u sn e ss E rnest H e m in g way uses the te chnique o nly 0

. !
ca sio n a ll
y ; b ut hi s w o r k h a s a b s o r b ed c ertain aspe c ts o f l !
i m pressi o nis m T hus he des cribes the cen tral chara cter i
.
A F a r e w e ll to A r m s as spea k in g w i n e f u lly Mr Sa r o ya
“
. .
ives us such m binati ns as m d li h and m azd “
g co o a z a
g t :
FREU D I S M 101
sl eeplessness whi le Mr W o lfe a chi e v es a cu m ulative and

.
i m pressi o nisti c e ff e ct by a m assin g adj e ctives : H is thin fa ce “
b eneath the j uttin g gl o b ular head grinned co nstant l y glut , ,
tin g his features w ith w ide l a ppi n g re cedin g returnin g , , , ,
”
idi o t s m iles .
3 3
A s a result o f their experi m en ts m any o f o u r y o un g er ,
writers have co m e t o feel that pun ctuati o n m a r k s i m pede

the current o f the strea m o f co n s ci o usness K a y B o yle f o r
— -
.
,
exa m ple in s o m e o f her b o o k s o m its all qu o tati o n m arks

, .
O n the o ther hand sh e illustrates w hat are g enuinely inter

,
estin g — and in a very few i nstan ces m a y even be purp o seful

experi m ents in the n ewer te chniques that a cco m pany the
inter i o r m o n o l o g ue S he uses extra spa cin gs t o ge t the effe ct
.
o f nerv o us spee ch
If yo u wi ll si t d o w n in the I wi ll call my wife wh o i s

T he serva n t s f o r t he m o ment are 3 4
Wi th w eird effe ctiveness she o m i ts all qu o tati o n m arks t o

’
b l end dial o g ue and a cti o n as in thi s sket ch o f a b ar b er ,
c uttin
g the hair o f a criti cally ill m a n
He parted th e hair a n d l aid it ba ck and ran his s ciss ors

t hr o u g h T h ere s a super sti t i o n a b o ut cutti ng a m an s h air in
’ ’
b ed h e sa id st i ll smi l i n g
, , T h e b l a de s n i pp e d near the te m pl es
.
a n d cut sh o rt t h e b l a ck si lk h air S o m e t i m es we re ca ll ed up o n
’
.
to d o i t T h e st ee l ran thr o u gh a n d l ai d t h e s o ft thi ck l o ck s

’
aside A f ter a m a n h e said a n d h e parted the hai r o n the

.
, ,
o ther side a n d drew t h e co m b thr o u gh the depths o f it A f t er .
a m a n ha s al rea d y pa ssed o n he said , .

3 5
is a little m o re he lpful : he carefully em

F ran k
p l o ys the dash t o indi cate a shift t o the strea m o f co ns ci o us - -
ness H ere f o r exa m ple is a s cene in whi ch a w o m an is

.
, ,
S i tt i n g in her husband s tail o r sh o p waitin g f or him t o fini s h

’
hi s w o rk
A b o ve h er l d er o n sh o u the wa ll , w as a l arge sheet o f f a shi o n s .
W o men wi th wa sp wai sts , m ir k i ng

s , ro ll i ng : sti ff m en a ll cl o thes
, ,
with l itt l e heads U n d e r t h e tab l e where M e yer sits with h is
.
,
b ig feet so m u ch t o l o o k at F l o ra p l a ye d a s o i l ed bun d l e wit h a

, , ,
ba ll o f y ar n a nd a hu ge g l e a m i ng sci sso rs — N o o n e perh aps

co m e s a n d t hen I d o n o t m i n d sitti n a n d k ee i n the st o re I
,
g p g .
—
‘
sa w a d ea d h o r se i n t h e s t r e e t A d ead h o r se tw o d a ys d ead .
, ,
r o tti ng a n d sti ff A g a i n st the gre y o f the l ivi n g stree t a l ivi d

.
,
dead ho rse A h o t st i n k w a s h i s co l d d eath a gai n st t h e street s

.
’
cl e a nn es s T here are t w o l it t l e b o y s wrap pe d i n b l ue co at b l ue

.
, ,
m u ffl er l ea t her ca p
, T he y s ta n d ab o ve t h e g au n t head o i t h e
.
-
x
h o r se a n d sn eer at hi m H i s fl a n k ri ses r e d a n d hu g e
. H is .
l egs are fo ur Stro kes awa y f ro m l ife H e i s d ead T he . .
n au g ht y b o y s pi ck up b ri ck s T he y s t a n d ver y cl o se ab o ve the.
, ,
‘
h ead o f t h e h orse T h e y hur l d o wn a bri ck

. It stri k es the .
h o rse s s ku ll fa ll s sh a rp awa y T he y hur l d o w n a bri ck It cu t s

’
. .
,
t h e swo ll en n o stri l fa ll s s o ft aw a y T h e h o rse d o es n o t m i nd

,
.
,
the h o rse d o es n O t hurt H e i s dead . .

3 6
F inally a mo n g o ther inter estin g a r t ifi ces whi ch have been

,
en co ura g ed b y the strea m o f co ns ci o usness w e sh o uld n o te a - -

,
tenden cy t o strive f o r sudden co ntrasts in m o o d : co ntrasts

between the l o fty and the lo w the subli m e and the u n d i gn i ,
fl ed the cli m a cti c and the batheti c

, I n this m anner J o y ce .
o ffers us the par o dies I have earlier m enti o ned ; and T h o m as
W o lfe b urlesques T ennys o n :

By the waters o f l ife b y ti m e b y ti m e L ord T e nn y so n st o o d
, , ,
am o ng the ro cks a nd stared H e had l o ng hair h is e yes were

,
.
,
deep and s o mbre a nd he wore a cape ; he w a s a p o et a nd there

, ,
w a s m ag i c and m y ster y in h i s t o u ch f o r he h a d hear d the h o r n s ,
o f E lfl a n d faint ly b l o wi n g A n d b y the w aters o f l ife b y ti m e

.
, ,
b y ti m e as L o rd T en n y so n sto o d a m o n g the co l d gra y ro ck s

, , ,
a n d co mm a n ded the se a t o brea k — brea k — brea k ! A n d the se a

bro ke b y the w aters o f l ife b y t i m e b y ti m e a s L o rd T enn yso n
, , , ,
co mm a n de d it t o d o a n d his h eart w a s sa d a n d l o n e ly a s he
,
wat ched the state ly ships (o f the H a mburg A m eri ca n P a ck et C o m -
pa n y f ares fort y fi v e d o ll ars a n d u p fi r st cl a ss) go o n t o their

,
-
,
-
h aven under t h e hi ll a n d L o rd T en n y so n w o u l d that his heart

,
co u l d utter the th o u ght s t h at ar o se in hi m

3 7
.
I t is quite i m p o ssib l e f o r m e t o list all o f the stylisti c ex

e r i m e n t s whi ch have b een en co ura g ed b y the strea m o f
p
-
tends t o d o m inate these sequen ces and find s o m e o rder in ,
their cha o s .
L e t us sa y then that the strea m O f co ns ci o usness is seld o m

, ,
- -
adequate as a te chnique f o r an entire b o o k ; but that i t b e

co m es extre m ely effe ctive when a enuinely reati ve m ind
g c
uses i t j udi ci o usly as a co m ple m ent t o the m o re traditi o nally

v aluable m eth o ds o f literary analysis and expressi o n I n .
m y o pini o n i t has very rarely b een so used b y o u r A m er i can

,
n o v elists .
In seekin g a co m ple m en t in F reudis m m o re o v er the , ,
—
strea m o f co ns ci o usness united itself in a k ind o f in cestu o us
-
relati o nship whi ch has no t always been f o r the b est interests

of i ts literary o ff sprin g F reud s experi m ent s in psych o
.
’
analysis had b een kn o wn o n the C o ntinent o f co urse b efore , ,
the turn o f the century ; but i t w a s no t until he visited

”
Am eri ca in 1 9 0 9 t o deliver h is C o n cernin g P sy ch o analysis
le ctures at Clar k U niversity that su ch ter m s as the li b i d o ,
” ” ”
“
psy ch o ses , repressi o n “
subli m ati o n
,
“
co m plexes and ,
“
the cens o r be ca m e co m m o n t o pi cs o f A m eri can co nversa

ti o n and a fl oo d o f F reudian b o o k s s o m e tw o hundred o f
3 9
the m in the next de cade al o ne ! — was released up o n us .
R eaders interested in s o m e o f F reudis m s m ass e ff e cts up o n

’
o u r civilizati o n will find O u r N e u r o t i c A g e (1 9 3 2 ) an info r m
i n g sy m po siu m ; while th o se o f us w h o m a y b e in clined t o

think neur o se s o u t o f fashi o n can find reassuran ce in D r .
Lo uis B isch s B e G la d Y o u r e N e u r o t i c (1 9 3 6 ) — a b o o k
’ ’
hi ghl y advertised w ith the qu o tati o n that to b e n o r m al i s

n o thin g to b ra g a b o ut .
B y w a y o f explainin g the nature o f Freudis m let m e ask ,
m y readers t o i m a g ine that ma n i s a kind o f b uildin g T he .
well co nstru cted buildin g has o f co urse a go o d fo undati o n

-
, ,
and this fo undati o n is extre m ely i m p o rtant n o t o nly as a

base but f o r its en cl o s ure o f the d o z en s o f pipes s wi tche s
, , ,
FREU D I S M 10
5
and wire s whi ch s o m ewhat co ntr o l the life in the b u ildin g
itself B u t a cellar seld o m extends d o wn int o the earth
.
farther than the rest o f a b uildin g extends a b o ve the gr o und .
In the Freudian psych o l o gy the pr o p o rti o ns o f the str u c

ture a r e reversed : the cellar o r the subli m inal life o f ea ch ,
individual m a n be co m es the deepest part o f the edifi ce ;

,
and is expl o red exhaustively t o a cco unt f o r m o st o f the ideas

even the dusty and apparently unservi cea b le o nes whi ch
- —
s o m eh o w find their way int o t he cluttered atti c o f m an s ’
brain .
S i g m und Freud turns psy ch o l o g y upside d o wn He .
studies n o t what the m ind kn o ws ab o ut i tself bu t what it ,
”
d o es no t kn o w o r at least d o es no t kn o w that i t kn o ws
, , , .
4°
B y this pr o cess the sub co ns ci o us b e co m es the ke y to th e co n

sc i o us : really to understand what is go in g o n in the atti c ,
w e have o nly t o call up a few interestin g appari ti o ns fr o m

”
the depths o f the cellar o u r li b i d o o r sexual hun g er ; o u r “
,
”
co m plexes ideas whi ch a r e the result o f st o n g
“
o r th o se ,
r
e m o ti o ns ha v e b een repressed and y et o bvi o usly influen ce

, ,
o u r co ndu c t ; and o u r fi x a t io ns o r arrested sub co ns ci o us ,
tendencie s .
I t all s o und s si m ple en o u gh T here is a co m m o ti o n in .
the su b co ns ci o us part o f us O u r co ns ci o us li fe i s havin g

-
.
hav o c played with i t O nly let a few o f th o se stru gglin g

w
.
fe l l o ws that are d o wn there o u t brin g th em u pst airs fi nd , ,
o u t what the tr o uble i s and they will d o n o further da m a g e

, .
U nfo rtunatel y there is a l o c k ed d o o r b etween the cellar

,
and the upper part o f the h o use ; and the key t o that d o o r
is k ept b y a disa greeable cha p wh o m the F reudians call o u r
“
cens o r — a chap w h o stubb o rnl y refuses t o per m it the
e m er g en ce o f m an y o f th o se afo re m enti o ned desires co m ,
plexes and fi x a t io n s H is resistan ce is hard t o b rea k d o wn

, .
o ften , indeed i t is o nly when he is nappin g that th o se o c

,
cu a n t s o f o u r su b co ns c i o us ca n m ana g e t o es cape at all and

p
then they d o so lar gely in the fo r m o f o u r drea m s .
E nter at this p o int the psy ch o analyst I t i s his jo b to help .
o ver co m e the cens o r t o free the repressed pris o ners t o inter

, ,
pret o u r drea m s and find o u t what i t i s that th e cla m o r o us

fe l l o ws really want T his he atte m pts t o d o by arran g in g
.
a nu m ber o f m eetin gs wi th his patient durin g whi ch he ,
en co ura ges h im in every w a y p o ssi b le t o all o w his m ind t o

wander and t o g ive the freest expressi o n t o every asso ciati o n
that o ccurs t o h im As F reud says in his T he I n te r p r e ta
.
t i o n of D r ea m s the patient is t o relax cl o se h i s eyes te ll

, , ,
“
everythin g that passes thr o u gh h is m ind and n o t suppress “
o n e idea b ecause it see m s t o h i m uni m p o rtant o r i r r e le

‘
vant .
” B u t f or a m o re co m plete a cco unt let us go t o
1
H its ch m ann o n e o f F reud s students

’
H e hasthe patie n t re cl ine co m fortab ly o n a co u ch whi l e

he sits o n a ch a ir behind and o utside his l ine o f visi o n H e d o es .
n o t i n sist up o n the e y e s bein g cl o sed and avo ids an y to u ch

, ,
a s we ll a s ever y o ther pr o cedure whi ch m i ht l ead t o

g
S u ch a s e a n ce g o es a l o ng l i k e a co nversati o n between t w o si m i
’
l a r l y a w a k e pers o ns o f wh o m o n e i s re l ieved o f ever y m u s cu l ar

te nsi o n a n d ever y distra cting sense i m pres si o n whi ch m i gh t d i s ,
turb the co n ce n trati o n o f the attenti o n upo n h is o w n m enta l

a ff airs B efo re he pro ceeds t o detai l s he urges the m o ften f or
.
, ,
severa l sessi o n s t o s k et ch a e n era l pi cture o f their wh o l e i ll ness

,
g
a n d m o st i n ti m ate fa m i ly a n d l i f e surr o u n d i n s t o te ll h i m ever y
g ,
thi n g wh i ch co mes i nt o their heads whether the y thi n k it i m

,
p o rta n t irre l evant o r no nsensi ca l W ith Spe cia l e m p h asis it i s

, , .
,
ask ed o f them that n o th o u ght o r ass o ciati o n be o m itted fro m

the co mm uni cati o n be cause this te ll ing m i ght be sha mefu l o r
pai nfu l .
42
U lti m atelythe F reudian psy ch o l o gi s t thus di s co vers his

,
patients neur o ses — neur o ses whi ch ca n perhaps be best ex

’
plained b y this re m ar k o f F reud s I m aintain that

’
neur o ti c anxiet y has its o ri gin in the sexual life and co r ,
resp o nds t o a li b id o whi ch has b een defle cted fr o m its o h

”
e ct and has f o und n o e m pl o y m ent
j T h psy h analyst 43
e c o .
1 O8 LU C IFER AT LAR G E
W hen we drea m o f r o bbers w e re cal l o u r fathers ; gh o sts
, ,
h o w ever su g gest the whi te ni ght go wns o f the w o m en w ho

,
-
ar o used us !
B u t en o u gh I shall b e a ccused o f depre catin g genuine
.
advan ces in psych o l o gy I d o n o t I spea k o n l y a gai nst s o m e

.
o f —
the co unterfeit co ins whi ch i t h a s m inted co ins whi ch
h ave been m ade t o rin g so enti cin gly up o n the co unters o f
m o dern th o u ght and fi cti o n that w e are b e g innin g I Tea r t o , ,
m ista k e their ex chan g e va l ue .
A m a n hardened with a se cret sh o uld espe cially av o id the

inti m a cy o f his physi cian H o wever i f the physi cian po s
.
,
sesses native sa ga ci t y if he has the p o wer

“
, t o brin g
h is m i n d int o a ffi nity with his pati ent s then at s o m e ’
inevitable m o m ent will the s o ul o f the sufferer be diss o lved

, ,
and flo w fo rth in a dar k but transparent strea m brin g in g a l l ,
i ts m yster i es i nt o the da y li ght A qu o tati o n fr o m F reud ?

.
N o indeed F r o m H awth o rne s T he S ca r le t L e tt e r G enu

’
.
, .
ine p s y ch o analysis h a s i ts pl a ce i n o u r literature as this gr e at

n o vel pr o ves
B u t when Freudis m turns in t o F r a u d sm i — that i s an o ther
m atter . A n d when F reudian fi cti o n be co m es — as it has
be co m e in Am eri ca b ut an in v itin g wall o n whi ch t o s eri b
—
b le F es cenn i ne fi lt h — that t o o is an o ther m atter In this “

.
, ,
co untr y ps y ch o anal y sis h a s been wide ly a ccepted b y cr i t i cs and
creat o rs w ho were l o n g in g f o r a dia gra mm ed ex cuse f o r their
sensual ad m irati o ns and these pe o ple o f co urse have

, , ,
p lastered i t with phalli c exa gg er a ti o ns B a ck o f this .
far ce [ this is puttin g i t m i l dl y stands the psy ch o analyst wi th ,
his enti cin g i m pli cati o n that n o thin g exists in hu m an b ein gs

e x cept se x H e h a s indeed be co m e the g o d father o f
.
, ,
-
m o st co nte m p o rary A m eri can pr o se and p o etry and he is , ,
”
indeed very m u ch in need o f a m etaphysi cal span k in g
, .
45
T h e ps y ch o anal y st has g iven us in the w o rds o f Mr , .
J o seph W o o d K rut ch w ho hi m se l f leans t o ward the psy ch o

,
analyti cal the o rie s what i s certainly the m o st far rea chin g
,
-
FREU D I S M 10
9
of an y o f the re cent atte m pts t o r o b m a n o f su ch shreds o f
di gnity as had been le f t t o hi m In o u r fi cti o n he has o ver
.
e m phasized the in tr o vert ; he has capitalized upo n these i n

t r o ve r sio n s ; he has defle cted the strea m o f co ns ci o usness - -
unti l i t has O ften be co m e b ut a whirlin g eddy o f er o ti c se n

sa t i o n s ; he has m ade the abn o r m al serve a s a seri o usl y m i s
leadin g index t o the n o r m al .
A s a m atter o f fa c t there is little t o write ab o ut t o day

“
”
ex cept the a b n o r m al the F reudian Vr i d a r H unter go es so
,
46
far as t o o bserve in Va r d is F isher s N O Vi lla in N e e d B e ’

.
A n d o n e o f P r o fess o r H unter s very y o un g friends up o n a n

’
o ther o ccasi o n asks h i m what is wr o n g wi th m e ? I s

i t paran o ia o r is i t de m entia prae co x ? P aresis or an o rexia ?
A l go la gnia o r claustr o ph o b ia ? O r i s it euph o ria ? It s ’
”
al go l a gnia .
47
H ere is a t least o n e student o f the ps y ch o analyti c m eth o d

w ho needs s o m ethin g m o re than a m e t a p hys i ca l spankin g !
S i gm und Freud had s car cel y ended his A m eri can le ctures
befo re o u r fi ct i o n b e gan t o cat ch s o m e o f the e ch o es o f psy
ch o a n a lysi s . N o velists li k e Ja m es O ppenhei m — the auth o r
o f su ch early n o vels as W i ld O a t s I d le Wiv es
and T he B e lov e d (1 9 1 5) set a fashi o n whi ch w a s t o gain
-
co nsiderable m o m entu m i n the se co nd d e ca d e o f o u r ce n

'
tury an d t o be co m e defin itely established in o u r o w n de cade

, .
F l o y d D ell had hi m self ps y ch o anal y zed ; and wr o te aut o

bi o graphi cal n o vels dealin g with the te chnique H is M o o n .
C a lf a co m petent th o u gh n o t ver y en ga g in g n o vel o f

V ital F o r ces and the y o un ger g enerati o n depi cts what its ,
auth o r hi m self desi gnates as the stru ggle b etween the nar “
c isti c and sexual s o cial -

i m pulses F eli x F a y th e b o o k s
.
,
’
hero spends a self centered ad o les cen ce in the w o rld o f

,
-
”
drea m s ; and later seeks o u t kindred s o uls that read “
H ae ckel H e wears a carnati o n o n I n g ers o ll s birthday ;

’
.
thinks o f hi m self as a S uper m an after readin g N ietzs che tries

t o g e t his sweetheart t o rebel a ainst the idea o f a co n v e n
g
t io n a l m arria g eand be true ab o ve al l e l se t o her o w n, ,
s o ul and l ets her k iss h im in the co ns ci o us k n o wled g e that

“
”
sh e w a s o be y in g the ur e o f the L ife F o r ce
g .
F a y and hi s friends tal k ed o f b o o k s a n d id e a s and

“
~
, ,
N i e t z sch e a n phil o s o ph y and then at dawn went Ou t in sear ch

“
O f an al l n i ht rest a urant where the y co u l d t a brea k fast

g g e
-
” 48
o f h a m and e g s A d hen he d ran k ha m pa ne T h
“
g n w . c g e ,
” 49
i cy parti cles tin g l ed with a splendid rebe l li o n a gainst G o d .
The B r ia r y B u s h the sequel t o M o o n Ca lf d o es n o t -
l ean quite so n o ti ceab ly t o w ard the p sy ch o anal y ti cal m eth o d as

d o es M r D el l s l ater
.
’
a n o vel o f evasi o n “
.
E dwin B jOr km a n s T he S o u l o f a C h ild (1 9 2 2 ) bears h o w

’
ever str o n g te chni ca l rese m b l an ces t o the ear l iest D e l l

,
n o vels ; and nar cis m fo r m s o n e o f the the m es o f E vel y n

S co tt s T he N a r r o w H o u se (1 9 2 1 ) A s o m ewhat si m ilar i n
’
i
t e r e st in the subj e cts o f evasi o n and repressi o n is uni ted

“ “
in J o seph H er g eshei m er s Cy the r ea (1 9 2 wi th that o f fe tish

’
”
i sm ; and the q u esti o n o f inhibiti o ns a l s o en gr o sses the
sa m e auth o r in L in d a C o n d o n
W a l d o F ran k is an o ther o f the strea m o f co ns ci o usness - -
n o ve l ists w ho h a s res o rted o ften t o the F reudian te chnique .
T h e de m ented drea m er w h o i s the her o o f C ha lk F a ce (1 9 2 4 )

h a s be co m e insane as a resu l t o f a stru ggl e bet w een h is cens o r
and his co m plexes and finally be co m in g a k ind o f F reudian ,
E than B rand he co m m i ts sui cide b y ju m pin g int o a l i m e

,
k iln F ran k s H o li da y (1 9 2 3 ) is curi o usl y re m inis cent o f

.
’
A nders o n s D a r k L a u g h t er whi ch w a s t o be pub l ished t w o

’
years later ; and the co lle cti o n o f st o ries a Sin gle o r gan
”
i sm their auth o r ca l ls the m — entitled C i ty B lo ck (1 9 2 2 )
deals a m o n g o ther thin gs with al co h ol i cs li b i d os whi ch
, , ,
e m er ge so p o werfull y in a st o l id p o l i ce m an s fra m e that he ’
arran ges assi gnati o ns in a ha l l bedr o o m parents w ho d is ,
co ver their chi l d t o be a pervert and a cretin ny m ph o m ania cs , ,
hyp och o ndria cs and a w o m an with a m aternit y co m plex

,
s o m ewhat su ggestive o f that o f the central chara cter in a

” 52
feed o n the m P aran o i cs
. exhibiti o nists sensualists , , ,
—
fanati s the H e cht chara cters run thro u gh the entire ga m ut
c
o f abn o r m ali ties whi ch the j ar o n o f psy ch o anal y sis has so

g
far classified F urther m o re in several instan ces the spe cifi c
.
, ,
m eth o ds o f psy ch o analysis are e m pl o yed in the H e cht n o vels

t o interr o gate chara cters re ardin
g g their past li v es and inti .
m ate relati o nships .
”
Y o u m a y b e able t o ge t o ver i t
“
G o t o a psy ch o analyst .
,
53
adv ises a chara cter in J o hn D o s P ass o s M a n ha tt a n T r a nsfe r ’

.
A n d a little later in the sa m e b o o k an o ther says : E very

“
'
thin g w o uld be so m u ch better if suddenly a b ell ran g and

ever yb o dy t o ld everyb o dy else h o ne s tly what they did a b o ut
i t ho w they lived ho w they l o ved I t s hidin g thin gs m akes
, , .
’
the m putrefy B y G o d i t s h o rri b le As i f life wasn t dif

.
’
.
’
”
fi cu lt en o u gh with o ut that T all o w fa ced b ri ght eyed
.
54 -
,
-
pyr o m ania cs neurasthenic w o m en m elan ch o lia cs h o m o

, , ,
sexualists Mr D o s P a s s o s has dealt with al m o st every type

.
o f abn o r m ality .
A gr o win g pre occupati o n wi th a b n o r m al types has like

wise chara cterized the w o rk o i E u g ene O N e ill w ho by co m ’
m o n co nsen t t o da y stands o u t as the greatest fi g ure in m o d

ern w o rld dra m a Mr O N e ill has m o re than deserved the
. .
’
three P ulitzer A ward s whi ch he has already w o n and the ,
N o b el P rize re cen tl y b est o wed up o n h i m H e h a s n ever .
st o o d un ctu o usly in line t o re ceive the splashes o f literary lo g

r o llers : his ri ch i m a g inati o n his p o eti c insi ght and his p o si
, ,
tive g enius f o r the theatre are all pl easin gly co m ple m ented
b y his co m plete dedi cati o n t o the dra m ati c art A ls o in .
,
the o ry at least he has had a hi gh lassi al drea

, c c m — h e thin k s
the classi cal the n o b lest ever — as t o the ai ms o f that art
“
t o devel o p a tra g i c expressi o n in te r m s o f t r a n sfi g u r e d m o d

“
‘
ern values and sy mb o ls in the theatre whi ch m a y t o s o m e
d e gree b rin g h o m e t o m e m b ers o f a m o dern audien ce their
enn o b lin g identity wi th the tra gi c fi gures o n the sta ge ” .
5
W hen Mr O N e ill ha s fo ll o wed thi s drea m he ha s dis

.
’
FREU D I S M 3
co v ered rare m o m ents o f beauty and br o u ght a b o ut a genu

ine enlar ge m ent o f the v alues o f life Y ank s gnawin g fear
’
that he will b e buried at sea ; the co m plete catharsis in the ,
cl o sin g s cene o f I le when o ld Captain K eeney rushes o u t o f

,
the cab in leavin g Mrs K eeney insanely playin g a hym n o n

, .
the o r gan wildly and dis co rdantly while sh e sways b a ck and

, ,
fo rth t o its rhyth m ; the sure unfo ldin g o f S tephen Murray s

’
l o ve f o r E ileen Carm o dy and the h o pe b o rn in his heart

O ls o n in the gri m ly b rutal f o re castle re m e m b erin g hi s
, ,
m o ther ; R o bert May o fi ndin g at l ast the h o riz o n bey o nd the

blue hi l ls ; L azarus and the enthrallin g spell o f his lau ghter
like a great b ird s o n g triu mphant in depths o f s k y pr o ud ,
” 56
and p o werful infe cti o us w ith l o ve — t h e t r a n sfi g u r i n g
,
p o wer o f certain s cenes and e m o ti o ns in the O N e ill plays ’
cann o t b e denied Mr O N e i ll has had his drea m ; and at

. .
’
ti m es that drea m has indeed b een the n o b lest ever

, .
B u t n o t when he has called F reud in t o interpret the

drea m f o r hi m ! A n d m o re a n d m o re in the pr o gress o f
, ,
his career as a dra m atist has Mr O N eill d o n e exa ctly this

, .
’
S urveyed in their pr o per o rder his plays reveal a steadily ,
i n creasin g inter est in the findin gs o f psych o path o l o gy ,
and a gro win g pre occupati o n with su ch abn o r m al types as

m i g ht have stepped dire ctly o u t o f a psy ch o analyst s ca s e
’
b o o k L uke B entley s deran g ed o ld father G o d r o ast his

.
’
L uke B entley s sister ( a s st i nki n m ean as

’ “ ’
the insane B artlett with the neur o ti c dau ghter and the
,
“
sadisti c so n ; the S trind b er gian neurastheni c w ho m akes a

fetish o f g i vin g hersel f t o an ex s o ldier ; Curti s Jas o n l ivin g
-
,
a m idst a cen tury s a ccu m ulati o n o f self t o rtures and hates ;

’
-
the m ali ci o us and insane E lla — S i g m und F reud has been

O N e i ll s una ckn o wled g ed co llab o rat o r in pa i nt i n g a gallery
’ ’
o f chara cters t o o extensive t o des cribe here .
D esir e Un de r t he E lm s (1 9 2 5) is co l o red entirely b y the

F reu d ian p o in t o f View T here i s A bbie wi th a b o dy that
.
,
”
“
squ i r m s desir o usly wi th eyes that are al ways burn in g wi th
,
“
desire and with a v o i ce that is a h o rri b ly f rank m ixture o f
,
”
lust and m o ther l o ve T here is the F reudian scene in
.
which E b en surrenders hi m self t o A b b ie ; there is the

“
”
co m plex whi ch pr o m pts the seventy fi v e year Old E phrai m
“
-
Ca b o t t o ride fo rth t lea r n G o d s m essa g e t m e in the sprin g

“ ’ ’ ’
li k e the pr o phets d o ne T here are the co nfined hate s — n o

.
cathar s is here ! — between the father and s o ns ; the relati o n
ships b etween A b b ie and her d o dderin g o ld hus band ; the

F r eudian li b i d o whi ch m a k es E ben s cens o r p o wer ’
so
less a gainst A b b ie s lusts A n d there i s the co nstant em

’
phasis als o up o n that interestin g F reudian idea that

, ,
N ature ll b e at ye Y e m i ght s well o w n up t it fust s

“ ’ ’ ’ ’
.
”
last .
I n S t r a nge I n t er lu d e (1 9 2 8 ) the c o m plex which restrains

L eeds fr o m all o win g his dau ghter t o m arry ; the later fi x a
ti o n whi ch N ina has o n her so n ; and the way in whi ch her
”
“
inhi b iti o ns and b attles wi th the cens o r finally lead her
in t o pr o m iscuity all thi s is F reudian So al s o i s the d e pic .
, ,
t i o n i n D yna m o (1 9 2 9 ) o f the m e gal o m ania c with the fetish

,
i st s w o rship o f ele ctri city ; and so likewise is the m anner in

’
, ,
whi ch M o u r n in g B eco m es E le ct r a (1 9 3 1 ) treats o f the o ld

the m e o f the f E schylu s tril o g y T h e n o r m al hu m an h o rr o r
“
.
at in cest b e co m es an interestin gly F reudian libido T h e .
upstandin g m anh o o d o f O restes h i s hard fo u ght b attle f o r ,

-
spiritual release b e co m es a weak kneed and neur o ti c pes

,
-
sim i sm endin g in sui cide E le ctra herself is so tainted i n

.
m ind that she wilfully ren o un ces e s cape t o the b ri ghter w o rld
and cl o ses all d o o r s and shutters the m o re deeply t o enj o y ,
the gl o o m o f the H o use o f Mann o n T h e O restes far ,
fr o m m urderin g his m o ther i s war ml y F reudian t o ward ,
”
her .
57
I ndeed the co m plex whi ch m o tivates Mr O N e ill s

,
.
’ ’
wh o le interpretati o n o f this classi cal the m e is o n e thin g at ,
least f or whi ch the Greeks w o uld n o t ha v e had a na m e T h e

, .
Greek idea o f sufferin g o f catharsis o f fate o f wr o n g do in g

, , ,
-
wi fe has co mm itted sui cid e he has re m arried be co m e a co l , ,
le g e pr o fess o r and finally returned t o his earl y h o m e t o write

,
a m o nu m ental a cco unt o f his inne stru g gles and his d is r
co v e r y o f m o ral freed o m A s a b o y Vr i d a r had been held

'
b y the vi ce o f ad o les cen ce br o u ght al m o st t o t h e ver ge o f ,
insanity L ater o n when his first wife co m m its sui cide he

.
, ,
b la m es hi m self f o r her death : I w a s false t o her by bein g “
”
what the w o rld w o uld call faithful A n d b o th lfi s child .
58
h o o d experien ces and the m e m o r y o f his wi fe are ever after

wards t o re m ind h i m o f what he co nsiders hi s co wardi ce
”
in lett i n g the F reudian cens or ge t the better o f hi m ! “
Ma k e the se x o bsessed t h in k sex a ct sex until he breaks

-
, ,
”
that m o r b id fixati o n o n i t T his is the thin g t o d o ! .
59
A cco rdin gl y H unter l o o k s fo rward t o the ti m e when as he

, , ,
tells h is se co nd wife we ca n pl o t the destru cti o n o f o u r

,
selve s as an gels and the understandin g o f o urselves as ani

,
”
mals T o free h i s li b i d o f o r exa m ple he go es
60
,
and wi th the full understandin g o f the m istress wh o m he

“
i s t o m arry ! ba ck t o his earlier haunts t o indul ge in a few

-
,
a ff airs intended t o tea ch h im that l o ve g o o d lusty physical “
l o ve is as natural as fo o d and drink F o r we m en are

“ “
.
like r o o sters he insists A n d chastity i s the silliest vi ce

, .
a m o n g the virtues T h e thin g t o d o is t o b e co m e ani m als

.
”
so that w e ca n b e clean .
W hen he be co m es a co lle ge instru cto r Vr i d ar H unter is ,
o f co urse g iven unrivaled o pp o rtuni ties f o r pra cti cin g his
F reudis m S tudents fl o ck t o h m f o advi ce

. i r — students with
every type o f m ental and m o ral quirk A nd then P r o fess o r .
”
H unter anal y ses their cases f o r the m H e inquires int o
“
.
their drea m s as w ish f u l fi llm en t s he helps the m see that a

-
'
sense o f sin serv es o nly a s an aphr o disiac that adds zest to

se xual adventure H e interviews the m indeed in l o n g
. . , ,
revealin g inti m ate and painful s cenes whi ch w o uld I think

, , , ,
s o mewhat e m barrass S i gm und F reud hi m self B u t Mr . .
Fisher s most r ecen t n o vel — A p r i l : A F a b le of L ove 93 7)

’
1
FREU D I S M 1 1
7
m a k es s o m ewhat m o re pleasant readin g I t i s a sensiti v ely .
“
wri tten tal e o f an I dah o g irl w h o drea m s o f a l o ve denied

her be cause o f her u gliness — a tale o nly re m o tely F reudian .
E lean o r Carr o ll C hilt o n s Sha d o ws Wa i t i n g (1 9 2 7 ) applies

’
a subj e ctive F reudian te chniqu e t o a the m e whi ch D reiser

,
had atte m pted t o deal wi th o b j e ctively in T he G e n i u s I n .
W inifred Va n E t t en s I a m the F o x a neur o ti c g irl

’
identifies herself with the f o x whi ch she sees a s a sy m b o l o f

,
the hunted Gladys S t J o hn L o e s S m o ki ng A lt a r s (1 9 3 6 )

. .
’
deals a m o n g o ther thin gs with a sui cidal m ania c ; Ja m es

, ,
G ray s Wa ke a n d R e m e m b er (1 9 3 6 ) has o vert o nes whi ch will

’
easily be rec o g nized as F reudian ; T S M atthews T he . .

’
M o o n s N 0 F e e l (1 9 3 6 ) is hea vy with o b sessi o n s and sup

’ ” “
pres s ed desires C o ra Jarrett s S t r a ng e H o u ses (1 9 3 6 ) m ake s

’
u se o f the the m e o f dual pers o nality and h a s a psy chiatrist
as o n e o f its chara cters ; J o hn E vans S ha d o ws F lyi ng (1 9 3 6 )

’
in tr o du ces a study o f sexual abn o r m alities ; Murrell E d

m unds S oj o u r n A m o n g S ha d o ws (1 9 3 6) m akes use o f cer
’
tain o f the the m es o f psych o path o l o gy ; J ulian Green s T he ’
D a r k J o u r n ey (1 9 2 9 ) was lar g ely written fr o m the p o int o f

view o f the F reudian ; and J o anna C a n n a n s F r ig h t e n e d ’
A ng e ls (1 9 3 6 ) is a s o m ewhat F reudian study o f a m a n w ho

be co m es a m urderer as the result o f a clut ch o f circu m
stan ces .
Makin g u se o f either the m eth o ds o r the m aterials o f the

psych o analyst are su ch further v o lu m es as Mary D u n sta n s ’
S n o w A g a i ns t the S ky whi ch is a R o usseau li k e st o ry -
Of tw o m e n half b r o thers cu t o ff fr o m the w o rld in a m o un

,
-
,
tain cab in ; Claude H o u ght o n s C hr is t i n a ’
whi ch has
been called an i ncursi o n int o the the m e o f retr ospe ctive “
sexual j eal o usy H arve y O H igg i n s C la r a B a r r o n

’ ’
whi ch is an a cco un t o f an extre m el y neur o ti c w o m an L u d

W i g L ewis o hn s T r u m p e t o f 7 u b i lee
’
an atte m pt to
“
apply F reudian psy ch o l o gy t o s o ci ety at lar g e L e o nard O .
M o sley s S o I K i lle d H e r a pi cture o f dist o rted m ind s

’
,
sadists and a ny m ph o m aniac ; Millen B rand s T he O u t war d
,
’
R oom a st o ry o f a g irl w ho has spent seven y ears in

an insane asylu m be cause sh e has co m e t o identi fy her
b r o ther s death with her o w n J o hn R athb o ne O liver s
’ ’
Vi ct i m a n d Vi c t or a p o rtrai t o f a cler gy m a n str o n gly ,
influen ced by the findin gs o f psy ch o path o l o gy ; D ju n a

B arnes N ig h tw o o d
’
a tale o f a f rea k ish n o ble m an a ,
frea k ish d o cto r and t wo perverted w o m en ; a n d Ra m o n a

T
H erd m an s T o da y I s F o r e v e r a study o f a y o un g
’
wo m an in the grip o f neur o ses S o m e o f the tit l es whi ch I

.
have m enti o ned are by B ritish auth o rs but all o f them have
been published in this co untr y I t will be n o ted that f o r .
,
the m o st part I have tried t o su ggest o nly re cen t v o lu m es ;

,
but s co res o f o thers co uld be g iven t o sh o w h o w th o r o u ghly

F reudis m ha s filtered int o o u r present day literature -
.
H o wever I have n o desire t o c o nvert thi s chapter int o a

,
b i b li o graphy o f Freudian fi cti o n ; and so I b rin g i t t o a cl o se

with a co nsiderat i o n o f C o nrad A i k en and f Vilb u r D aniel
S teele . T h e fo r m er has b een th e m o st co nsistently su ccess
ful and the m o st frequently artisti c o f all o f o u r writers
, ,
w ho have e m pl o yed the te chniques o f F reud and the m o n o

log u e i n t e r i e u r
’
A bn o r m al types have clai m ed a share o f A i k en s attenti o n

’
i t is true F o r exa m ple B lu e Voya g e

.
, a b o o k whi ch
o wes m u ch t o U lyss es depi cts the half crazed refle cti o ns o f
,
-
an er o t o m ania c sufferin g fr o m s chiz o phrenia and lyin g

, ,
awake in his sec o nd class shi p s ca b in w hil e he thinks up o n

-
’
the w o m an w h o h a s snubbed his l o ve A n d K i ng C ofii n .
1 9 3 5) o o ff er an o ther illustrati o n is a study o f a me al o

( t g
m ania c w h o be cause o f his hatred f o r h u m a n i ty decides t o
,
f
sh o w his supre m e co nte m pt f o r the ra ce by p l ann i n g a per “
S uff erin g f ro m a s o rt o f J eh o vah co m plex

” “
f ect m urder . ,
Jasper A mm en think s a m urder ca n b e f o r h im the o nly , ,

“
natural puri fi cati o n B u t i t m ust b e

. si m ply an a ct o f “
de stru cti o n it m ust la ck all pers o nal m o tives

A rather gri m st o ry ; b ut o n e whi ch finds pleasant relief
in the m o re pleasant hu m o r in m any o f the o ther tales I .
ca n g ive but o n e exa m ple o f what I m ean In the fi rst .
st o ry in the co l l e cti o n a w o m an exhibits o n e o f her paint

,
in gs whi ch v ividly p o rtrays m o unds o f sand V ery realisti c .

,
She insists ! A n d then sh e co nfesses that sh e has a ctually

m ixed sand wi th the paint ! B u t her a m used friend as k s her
what She i ntends d o in g wi th the pain tin g : u se i t to strike
‘
x
m at ches o n ? T here i s a c o s m i c ir o ny in this hu m o r that

m y b rief w o rds m ust m iss .
I f m eat m ake my b r o the r t o o ff end I will eat n o flesh ,
while the w o rld standeth lest I m a k e m y br o ther t o o ffend

, .
In M ea t (1 9 2 8) W il b ur D aniel S tee l e has d o n e an extre m ely

well written n o vel that des p ite a few very di sa greea b le
-
,
s cenes co m petently illustrates what I thin k i s o n e o f the

,
le g i ti m ate uses t o whi ch a certain kind o f F reudis m m a y be

pu t in o u r fi cti o n .
T h e wealthy y o un g pu b lisher S a m I ndia and hi s wife , , ,
A nne have t w o children w h o see m t o p o ssess dependably

,
wh o les o m e and str o n g wills B u t the o b vi o usly weak will .
o f the third child R e x alar m s A nne

, , A s a co nsequen ce .
,
sh e wishes t o shield h i m fr o m a l l te m ptati o n ; alt h o u h the

g
father thinks i t wiser t o exp o se h im t o a f ew m in o r peri l s ,
and tea ch h i m t o fa ce the m and m aster the m .
T here is f o r exa m ple t h e te m ptati o n o f the cellar where

, , ,
five generati o ns o f the India fa m ily have k ept their wines !

.
O n e day Sa m ta k es hi s s o ns int o this wine cellar sh o w s the m -

,
where the key o f it is k ept and tells the m o f their grand ,
father and great grandfather-
It n ever e n tered t h eir h ead s t o be co m e drun k ards It never .
entered t heir hea d s eve n t o be a f ra id t he y m i ght T he y respe cted .
their wi ne t o o m u ch f o r t hat T he y w ere n t g o i ng t o m ake pi gs

,
.
’
o f t h e ms el ve s w i t h l i q u o r be ca u se th ey kn ew that if the y d id
,
the y wo u l d be shabb y a n d si lly j ust as t he y kn e w that if the y,
swi ll ed t o o m u ch fo o d at m ea l s t hey wo u l d be pasty and fat .

F RE U D I S M 121
Yo ur great gra ndfather h a d o n e fu nn y thing ab o ut him ; he

-
co u l d n t eat h o n e y
’
It g ave hi m b l o t ches a n d st o m ach a ches so
.
-
,
h e d id n t eat h o ne y th o u gh he w a s fo nd o f it and a l wa ys k ept

’
, ,
” 63
bees .
S o Sa m India wants t o keep the d o o r o f the wine cellar -
o pen ; but A nne lo cks it and thr o ws the key away W ho .
ca n deny that the children w o uld hav e been str o n g er m o rally ,
and m u ch happier i f S a m had had his way in this m atter at

,
least ? T h e F reudian likewise thin k s i t is b etter t o leave

, ,
the cellar d o o r Open : he wants t o fa ce t h e distur b in g co m

plexes o f m an s subli m i nal li fe
’
U nfo rtunately he wan ts t o d o even m o re than this

, He .
wants us n o t o nly t o re m e m b er that these co m plexes are in

the cellar b ut t o let the m all co m e upstairs H e tells us
, .
that w e sh o uld fa ce the m ; b ut he adds that we sh o uld n o t

try to fi ght the m W e can t W i n anyway E a ch o f us is
.
’
.
“
b ut a cru m pled creature dra gged by a l o n g leash as ,
W ald o F rank says o f P aula D e sstyn T h e leash m a y extend .
b a ck to o u r childh o o d o r even to o u r an cest o rs B u t i t is

, .
futile t o t u g at i t O r a g ain ea ch o f us is entirely rudder

“
, ,
less as L awren ce sa y s o f t w o o f his w o m en chara cters in

,
T he Vi r g i n a n d t he G yp sy .
E ntirely rudderless E spe cially when the strea m o f —co n

.
-
sci o u sn ess n o velist res o rts t o the F reudian te chn i que is he
likely t o take away o u r m o ral rudders — o u r wills H e r e .
fuses t o let us seek o u t a dire cti o n ; o ften he will n o t per m i t

‘
us even t o keep afl o at H e assures us t ha t n o t o nly are .
there s o m e very bad swi m m ers a m o n gst u s — s o m e abn o r m al

types ; b u t he als o enti cin g ly i m plies that n o ne o f us can
swi m ex cept by cultivatin g o u r weakest str o kes W e are t o .
cl o se o u r e y es and relax ; and while he help s u s t o g e t t o the
b o tt o m o f everythin g (in m o re than o n e sense ) we are t o ,
sin k quietly int o th e a l lurin g waters o f the strea m .

C HAP T E R V
SH E R W O O D AN D E R S O N : C O N G E N I TA L
F R E UD I A N
SE X and sy m b o ls evasi o ns and epider m is r e pr e ss m ns and

, ,
rivers physi o l o gy and p o plar trees se cret sins and stand

, ,
a r d iza t io n m ysti cis m and m ush n o stal g ias and sheer n o n

, ,
sense the m a chine and m ar chin g m e n the nerv o us dar k

, ,
lau ghter o f the ny m ph o m ania c and the full thr o ated s o n g o f -
the N e gr o the shiftlessness o f the p o o r white and drea m s

,
whi ch drive m en t o invent co al du m pers that m ake a hun

dred th o usand d o llars with a kind o f Whit m anian sensu
—
ality Sherw o o d A nders o n has w o v en all these subj e cts and ,
hundreds m o re int o what w e m u st certainly re co gn ize as

,
the m o st influential F reudian n o vels Am eri ca has yet pr o

d u ce d .
W hereas D reiser str o ve f o r the o b j e ctivi ty o f the naturalist ,
and Cabell s o u ght es cape in the hi gh pla ces o f the pas t ,
A nders o n h a s entered in t o an ex clusive k ind o f co m p o tati o n

with his o w n psy che ; tippled o r g i ast i cally up o n the deli ghts
o f a w o rld seen a l m o st entirely in co m m uni o n with h im
self ; a nd go ne o ff chantin g ba cchanalia ab o ut his bein g

”
“
pre gnant a sa cred vessel fa m iliar with s o ft lips and
,
“
the sweeter b r o therh o o d and wadin g in a l o n g river

,
“
until his feet a r e wet

“
Inebriated with e cstasy he s o unds
.
, ,
m o re than o ccasi o na l ly i t m ust be co n ceded a s i f he were

, ,
addressin g a la m p p o st T hus in A N e w T es t a m e n t
-
.
,
a v o lu m e o f verse he rants ab o u t ho w he i s a t ti m es an
,
.
, ,
A lexander a N ap o le o n o r a C ze sa r ; and he feveris hly as k s

, ,
his friends t o surrender the m selves t o h im o ff erin g t o

“
carry the m ab o ut as w o uld a w o m an w h o I S pre g nant !
A t su ch ti m es he see m s sli ghtl y in his psy chi cal cups b o th

m uddled and m audlin N o r d o es he see m t o care whether
.
1 25
we think hi m m uddled
whether we understand h im
o r no t —
o r no t A s he says in T a r all o n e has t o d o is t o gr o up

.
,
w o rds t o gether : o n e m a y n o t k n o w the m eanin g o f the m ,
but that m akes n o di ff eren ce A n d later a s o n e walks al o n g

.
, ,
repeatin g t o hi mself the w o rds he has written he W l ll learn ,
t o li k e at least the s o und o f the m the way they ge t al o n g ,
t o g ether as certain pe o ple d o .
Y o u d o n o t alway s understand S herw o o d A nders o n any

m o re than he at any ti m e clearly understands hi m self Fo r .
,
alth o u g h his in tensely sincere gro pin g m a y win yo u f or a

ti m e yo u are always c o ns ci ou s o f its m ist rather than i ts
,
m ysti cis m H is w o rk ann o yin g ly fails t o exhi b it o rder o r

“
.
desi gn H is chara cter s b a bb le ab o ut sy m b o ls that o nly the

.
devil c o uld understand ; and that perhaps o nly the devil is , ,
m eant t o understand H e cr o wds details int o hi s w o rk that

.
are b o th irrele v ant and m o n o t o n o us H e thinks wi th his .
n er v e t e lls ; and he see m s t o li v e raptur o usly up o n a kind o f

’
S winburnian spas m o f er o ti c e m o ti o na l exquisi te err o r .
W ithal h e ha s d o ne s o m e endurin gly creative w o rk

,
se v eral fine sh o rt st o ries f o r exa m pl e ; so m e penetratin g

,
c o mm ent u p o n o u r m achine a ge ; s o m e few m e m o ra b le por

trait s tudie s ; and se v eral unfo r g etta b le picture s Scenes .
fr o m his o w n b o yh o o d ; a ccurately revealin g des cripti o n s o f

o u r p o st W a r A m eri ca ; the o ld wid o w o f a railr o ad m a n
-
g ettin g u p in the ni g ht t o pi ck up co al whi ch her dead hus
b and s fell o w b rake m en thr o w i nt o her yard as their trains

’
-
hurl b y int o t h e darkne ss ; s m o ky P et e r o arin g d o wn the

street t o refo r m h i s fell o w citizens the li v e st o ck dealer
- -
,
H awkins m u m b lin g his fer v ent prayers b eside his wi f e s

’
rave while th e rain p o urs d o wn an o ld w o m an

g
fr o zen t o death and lyin g in the sn o w w i th the white m o o n
, ,
li ght U p o n her b o dy ; the p o o r fact o ry g irl K i t B rand o n , ,
o in g t o her friends t o return the sh o es sh e has had t o

g
b o rr o w and leavin g the m o n the p o r ch with a d o llar b ill to
, ,
sh o w her gr atitude — vi v id and m e m o ra b le pi cture s o f s u ch

1 28 L U C I F ER AT LAR G E
elves up o n the death b l o w w e dealt the P uritan d o ctrine
that the ho m o is n o t sexual : and then we spea k o f h o m o
sexuali ty W e try t o es cape fr o m a wh o le w o rld b y seekin g
.
o u t th e dar k er co rners o f o u r o w n s o u l s and then pretend ,
we are gazi n g at a p o rti o n o f infinity .
I s i t any w o nder that like the dra go ns teeth whi ch j as o n

,
’
s o wed F reudis m ha s s prun g up fr o m thi s fertile gr o und ?

,
E veryth i n g in lif e that we cann o t co m prehend w i lf b eco m e ,
at o n ce intelli g ible i f o nly w e refer t o the b o o ks whi ch F reud

ha s wri tten as B ru ce D udley says in S herw oo d A nders o n s
’
D a r k L a u g h t er A n in creas i n g nu m ber o f o u r n o velists

.
have been co nsultin g the w o rk o f D r F reud b ut n o ne have

.
,
had so great an influen ce as has S herw o o d A nders o n .
A m a n w ho l o ves t o spend m o st o f h i s ti m e tellin g yarns

sh o uld live with his fa m il y in haunted h o uses where he will '
n o t b e expe cted t o pay m u ch rent I n the winter if his

.
,
children d o n o t have su ffi cient b ed cl o thes they ca n always ,
k eep war m by sleepin g three in a b ed ; while o n H a l l o ween

his enterprisin g wife ca n e gg pr o wlin g b o ys int o thr o win g
en o u gh cabba g es o n th e p o r ch t o serve as fo o d f o r co m in g
weeks A n d when h is fa m ily is fo r ced t o eva cuate o ne h o m e
.
after an o ther he ca n at least ta k e their straw m attresses

,
al o n g wi th the m in the b elief t ha t N o t h in g is t o o go o d

,
r
“
f o r m y kids .M eanwhile when far m ers will let him he

, ,
ca n earn a little m o ne y b y paintin si ns H a n alw ays

g g e c .
sh o w s o m e aff e cti o n f o r his fa m ily : P e rhaps his w a y o f “
5
ettin drunk was a w a y o f cryin t oo A n d he ca n always
g g g .
spin his yarns .
T hat great yarn spinner Maj o r A nders o n o f A S t o r y

, ,
T e lle r s S t o r y is supp o sed t o b e I rwin A nders o n the

’
,
father o f o u r n o velist and th o u gh the p o rtrai t I have drawn

,
o f h i m has n o d o u b t been co l o red s o m ewhat by his s o n s

’
S H ER W O O D A N D ER SO N 12
9
fa n cy i t d o es su ggest s o m ethin g o f that s o n s early p o verty
,
’
stri ck en and n o m adi c life .
S herw o o d A nders o n was b o rn o n S epte m ber 1 3 1 8 7 6 in , ,
Ca m den O hi o H is early b o y h o o d was spent in a cquirin g

, .
'
an irre g ular and ele m entary edu cati o n un ti l after the death
o f the m o ther when the fa m ily b e ca m e entire l y a n o m adi c
,
o ne. T hen f o urteen the so n spent m u ch of his ti m e at

,
h o rse ra ces where he learned m u ch that h e w a s l ater t o put

int o s o m e o f his finest ta l es : espe cia l ly th o s e dealin g with
padd o ck and ra ce tra ck F o r a while he was e m pl o yed in a
.
bi cy cle fa ct o ry ; he l o aded ke gs o f nail s in a wareh o use ; and

he fr equented bar r o o m s and co untry st o res gatherin g a ri ch
-
,
st o re o f info r m ati o n and s o m e understandin g o f chara cter .
T h e b o y read widely : Crane V ern e C o o per T wain , , , ,
W hit m an H o wells B alza c the B i b le In fa ct he co nfesses

, , , .
,
that he saved his m o ney chiefly that he m i ght drin k and

read ! F r o m his father a j aunty individual w h o l o ved go o d
,
fo o d a n d c l o thes th o u gh he seld o m had m o ne y f o r e 1 ther ,
and w h o l o ved als o t o tell his attentive friends o f an an cestry

that s o m eti m es dated ba ck t o the I rish kin g s and at o ther
ti m e s o nly t o the I talian B ar o ns S herw o o d A nders o n a c
,
qu i red I thin k m u ch o f h l S o w n interest in y arns and his

, ,
habi t o f co l o rin g a tale A n d fr o m his m o ther I believe that

.
he re ceived m any o f hi s se n 5 1 t 1v 1 t i es his l o ve o f p o i gnan t

,
silen ces and the unsp o ken w o rd .
T h e S panish A m eri can W a r br o ke o u t ; A nders o n enlisted

-
and later returned t o find hi m self a her o in h is o w n t o wn .
My nat ural shrewdness led m e t o ta k e ad v anta ge o f this

situati o n and I enj oyed i t th o r o u ghl y F o r a few m o n ths
he attended W ittenber g C o l le ge ; then after m arryin g he , ,
be ca m e the head o f a paint c o n cern in E l y ria O hi o H e , .
co nfesses that he was a bit t o o absent m inded t o m a k e a su c

- -
cessf u l business m a n ; nevertheless he re m a i ned at hi s jo b

(
in this pain t fa ct o ry f o r ab o ut ten years H e wr o te a gr eat .
deal durin g this ti m e ; and h e spen t h o urs drea m in g ab o u t

1
3 0 LU C IFER AT L A R G E
all the luxuries he w o uld like t o b uy and w o uld b uy when ,
he b e ca m e wealthy In sh o rt this wh o le peri o d o f h i s life

.
,
m i ght b e des cri b ed a s o n e in wh i ch he w a s desperately try

i n g t o co nfo r m t o A m eri can standard s o f m aterial su ccess .
H e was unhappy at it h o we v er b e cause all th ese years he

, ,
had an o v erwhel m in g feelin g o f un cleanliness Gradu .
ally the co n v i cti o n had co m e t o h i m that h e was really in

”
his wh o le nature a taleteller and that by re m ai n in g a
“
”
busines s m a n he w a s pr o sti tutin g his li fe So i t was that .
o n e day he deter m ined t o leave hi s pa i n t fa ct o ry f o r d

g o o .
A t the m o m ent h e wa s di ctatin g t o hi s secretary
It w a s a try ing m o ment f or m e T here wa s the wo m an m y

.
,
se cretar y n ow l o o king at m e W hat did sh e represent ? W hat

,
.
did sh e n o t represent ? W o u l d I d are be ho nest with her ? It

w a s q uite apparent t o m e that I wo u l d n o t I had go t t o m y .
”
feet and we st oo d l o o k ing at ea ch o ther It i s n o w o r never .
“
I sai d to m y se l f and I re me m ber that I kept s mi l ing I h a d

, .
sto pped di ctating t o her in t he m idst o f a sentence T h e go o ds .

“
whi ch yo u have in q uired abo ut are the best o f their kind m ade
in the
I st o od and she sa t and we were l ook ing at ea ch o ther i n
t e n t ly .
W h ether at that m o me nt I m ere ly be ca m e shrewd and craft y

or wh ether I rea lly be ca m e te m p orari ly insane I sha ll never quite
k n o w W hat I did wa s to step ver y cl o se to the wo m an and
.
l oo king directly i nto her e yes I l au ghed gai ly I l o o ked at m y .
feet I h ave been wading in a l o ng river a n d m y feet are we t

.
,
I said .
A gain I l au g hed a s I wa lked l i ght ly t o ward the d o or and o u t

o f a l on and tan l ed phase f m l ife T he y want m o be a
“
g g o y e t .
”
nut and wh y n o t ? I t m a y j ust be that s what I a m I t hought
,
’
g ai ly . .
3
that i m pulse S herw oo d A nder s o n left E lyr ia and wen t

On
t o Chi ca go wher e he se cured a p o si ti o n with an adverti s in g
a gency wo rked hard at writin g a n o v el and m e t su ch o ther

, ,
writers a s F l o yd D el l B e n H e ch t and T he o d o re D reiser

, , .
T h e la s t na m ed auth o r intr o du ced h i m t o the n o v el s o f

1
own e r s o f f a ct o r i e s b u t ah I l e f t yo u o u t O f m y curses yo u
, ,
b u sy m a kers o f pa per T h ere w a s o n e m a n — l i nve n te d hi m

.
— n a m e d S a i n t J o h n P B e l e r w h o f u r n i sh ed a er t o i n d i e n t
g .
p p ,
g
w r i t e r s o f pr o se f r e e o f ch a r g e F o r vi r t u e I pu t h i m i n m y
.
,
d r e a m a l m o st o n a l e v e l w i t h S a i n t Fra n ci s A ssi si
,
5
I t w a s F l o yd D ell w ho wa s fina ll y instru m ental i n ge t t i n g ‘

f
a publisher f o r A nders o n s fi rst n o vel W in dy M cP he rso n s’
,
’
B u t the auth o r refused t o co m ply with the publisher s

’
Son .
co nditi o n that it be revised ; a n d i t was n o t unti l 1 9 1 6 that
the v o lu m e w a s finally published In the m eant i m e A nder .
so n had suffered fr o m a nerv o us brea k d o wn and had settled
d o wn in a cabin in the O zar k s t o re cuperate and start a

se co n d b o o k a n o vel w hi ch he hi m se l f w a s so displeased
—
with that he hurled it o u t O f the train wind o w o n h i s way

ba ck t o C hi ca go !
L i k e a ll o f his b o o k s W in dy M cP h er so n s S o n is hi ghly
’
aut o b i o g r aphi cal f o r despite its auth o r s e m phasis up o n the

,
’
”
ne cessit y o f es ca pe he has seld o m qui te been able t o
“
trans cend his o w n co nfused e m o ti o ns o r 1 na d e q u a t e ly d is

tilled i m pressi o ns suffi ciently t o deal with m ateria l far fr o m
h i s o w n experien ce A s a result the linea m ents o f S a m
.
,
M cP he r so n in this earliest n o vel are n o t o nly th o se o f A nder

so n hi m self but o f B ru ce D ud l ey in D a r k L a u g h t e r J o hn ,
W ebster l n M a ny M a r r ia g es H u gh M cv e y in P o o r Whi t e , ,
T a r in the n o vel b y the sa m e na m e G e o r g e W illard in

“
Wi n es b u r g O hi o B eaut M cG r e go r in M a r ch ing M e n and

, , , ,
O f co urse the spea k er in K i t B r a n d o n

,
F urther m o re o ther .
,
chara cters fr o m the fi rst A nders o n b o o k a re t o re a ppear a gain
and a gain with but s l i ght cha n ges in the ga rb O f their aut o
bi o graphi cal ident i ty ; and a d o zen s cenes fr o m A nders o n s ’
l ife are reto ld in the l ater v o lu m es with but a sli ght varia
ti o n in co l o r We m i ght say then that this n o velist cann o t
.
, ,
e v er e s cape fr om the v ery the m e o f escape .

S H ER W O O D A N D ER SO N 1
33
But return t o Wi n dy M cP he r so n s S o n She ll sh o cked

to
’
.
-
in the Civi l W a r ‘ Ni n d y M cP h e r so n be co m es a s o m ewhat

,
"
crazed bra g gart o f the s m al l t o wn o f C axt o n I o wa H is , .
so n S a m
,
tries t o es cape fr o m the sti gm a o f hear i n g t o wns
,
fo l k l au gh a t h is father s ta l es and shall o w b o asts ; and so

’
he de cides t o flee fr o m h is hu m i l iati o n b y a cquirin g the

p o wer and m o ney whi ch wil l w i n h im respe ct Ma k e .
m o ne y ! Cheat ! B e o n e o f the b ig m e n o f the

‘
L ie !
w or l d ! G e t y o ur na m e up f o r a m o dern hi gh class A m er ,
-
i can . S u ch was the N ietzs chean advi ce tendered h i m

by o n e Of the l o cal phil o s o phers .
A b o ut this ti m e als o S a m be g ins (like m o st o f the fo ll o w

, ,
i n g A nders o n chara cters ) t o hear the se x call H e be g ins .
t o hunt f o r O bs cene w o rds in the di cti o nary t o read O bs cenit y ,
int o certain B ibli cal referen ces F inal l y he go es t o the city .

, ,
where he be co m es a su ccessful manufa cturer m arries the ,
dau ghter o f the m a n w ho o wns h is fi r m and a cquires rail ,
ways ti m ber sh o o tin g l o d ges and Oil we l ls B u t he is n o t

, , , .
happy : H e did n o t dare think and in h is heart he w a s si ck

o f it sic k t o the s o ul
, .
A n d so S a m M cP h e r so n aband o ns his l u crative jo b and

his wife sets o u t o n ce m o re in search o f T ruth and the
,
“
m essa g e his hand had written and ulti m ately be co m es a ,
la b ore r so that m y m us cles m a y be co m e fi r m and s l eep

co m e t o m e at n i ght B u t the S o ci a l is m t o w hi ch he tur n s
.
fails t o satisfy h im ; and after a series o f m a d i ndul gen ces in

N ew Y o rk P aris and L o nd o n and a peri o d o f huntin g in
, , ,
A fri ca he go es ba ck t o h i s wi f e
, T h e last para graph o f the .
‘
n o vel then su m s up Sa m M cP he r so n s fi na l phi l o s o ph y : I ’
cann o t run a w a y fr o m li f e I m ust fa ce i t I m u st be g in t o

. .
try t o understand these o ther l ives t o l o ve T h e buried , .
”
inner thin g in h i m thrust itse l f up M o st o f the su c 7
ce e di n A nders o n n o v els are t o treat as we sha l l see O f so m e

g , ,
to m le x thus buried and tryin t thrust itself up

p g o .
T he s ce ne o f M a r chin g M e n (1 9 1 7 ) shifts t o C o a l C ree k ,

1 34 LU C I EER AT LAR G E
P ennsyl vania ; but the pl o t o f this se co nd A nders o n b o o k
has m u ch in co mm o n with i ts prede cess o r T h e escape o f .
B eaut M cG r e go r t o Chi ca go is the es cape o f S a m fr o m

—
Caxt o n o r A nders o n fr o m E lyria — t o ld o v er a gain Men .
have b e co m e m a d with the curse o f wealth up on the m ,
A nders o n says W hereas in reali ty they are children

.
, ,
children w h o sh o uld ne v er kn o w su ch a curse “ 7 hat w o uld

.
happen then if they be gan t o act like children

, , Su p -
1
”
p o se they co uld j ust learn t o m arch n o thin g else , .
8
S eein g hi m self destined f o r that leadership whi ch he b e

l i eves ca n al o ne sa v e the w o r kin g classes and rest o re their
co ns ci o usness as a r o up B eaut w o rks hard at his restaurant
g ,
b o clai m s his i n t e n
j o and at his le g al studies ; and finally pr
ti o n o f re g i m entin g all l ab o r int o what he calls his Mar chin g
Men : Y o u m ust m ar ch sh o ulder t o sh o ulder Y o u m ust
“
.
m ar ch so that yo u y o urselves shall c o m e t o kn o w what a

g ian t yo u are . O nly su ch a re g i m en tati o n can g i v e ,
h e feels brain t o the g iant that i s the lab o rer

, T his drea m
.
f o r a Mar chin g A m erica co l o rs s o m e w hat even su ch a re cen t

A nder s o n b o o k a s K i t B r a n d o n in w hi ch the auth o r thus
,
addresses all lab o rers : I t m a y b e the ti m e will com e in the ,
m ar ch o f m e n when y o ur w o rk w ill stand w ith that o f o ther

,
”
unkn o wn m en wh o built cathedrals in the Middle A ges .
1°
S u ch v o lu m es o f verse as M i d A m e r i ca n C ha n t s (1 9 1 8 ) and
-
A N e w T es t a m e n t (1 9 2 7 ) space prev ents m e fr o m discussin g

here in detail N ebul o us and o ften extre m ely m o re pr o saic
.
than m u ch o f his b etter pr o se they refle ct their auth or s

,
’
usual lush senti m ent rebe l li o n a gainst industrialis m and

, ,
eneral nfusi ns ; and yet they co ntain als o s o m e o f their

g co o
auth o r s m o st revealin g passa ges B u t th e nu m er o us sh o rt

’
.
st o ries br o u g ht t o gether in the fo ur v o lu m es entitled Win es

b u r g O hi o
,
T h e T r i u m p h o f t h e E gg H o r ses
an d M e n and D ea t h i n the Wo o ds (1 9 3 3 ) represent ,
h o wever the m o st endurin g w o r k whi ch A nders o n has yet

,
d o ne and I m ust speak o f the m b riefly F o r A nders o n ha s .

1
3 6 LU C IFER AT LAR GE
—
skilfully handled if n o t always a greeable ad o les cent r o —
m an ce S herw o o d A nders o n has d o ne h i s m o st m e m o rable

.
wri tin g in his sh o rt st o ries .
H u gh M cv ey i n P o o r Wh i t e (1 9 2 0 ) wa s b o rn in a little
h o l e O f a t o wn stu ck o n a m u d bank o n the we stern sh o re
o f the M ississippi R iver I t w a s a m i serab l e pla ce in
.
”
whi ch t o b e b o rn H e i s raised b y his father w h o
.
13
,
spends m o st o f his ti m e drinkin g and lyin g o n the earth

chasin g flies away fr o m his fa ce L ater o n H u gh go es t o .
B idwell O hi o where he invents a cab b a ge plantin g m a chin e

, , ,
and a co al du m per whi ch brin gs hi m a hundred th o usand

d o l l ars A lways he is the drea m er — inventi o ns m o ney
.
, ,
p o wer and sex b e co m e O b sessi o ns with h im H e m a k es

”
m o ney and h e is led int o m o re than o n e u gly l o ve affair ;
”
but the buried thin g within h im never quite su cceed s in
“
co m in g t o the surfa ce F inally h o wever H u gh m arries int o

.
, ,
the fa m ily o f O ld B utterw o rth w h o had been o n e o f B i d ,
well s m o st wealthy invest o rs in h is inventi o ns T h e t o wn

’
pr o spers f o r a ti m e ; and then be g ins t o suffer fr o m the very

m a chin e m eth o ds and the in v enti o ns whi ch had o n ce m ade
i t so pr o sper o us
M a ny M a r r ia g es (1 9 2 3 ) intr o du ces us t o J o hn I Ve b st er '
,
o n e o f the m o st aut o b i o graphi cal o f the A nders o n chara cters .
A m anufa cturer o f washin g m a chines in a s m all m i d western -
t o wn W ebster be co m es deluded wi th certain ideas whi ch

,
lead h im t o believe that gra ce and meanin g ca n be fo und “
in life o nly by th o se w ho d o n o t wear any cl o thes ! A k ind

o f n e w way t o a cquire culture — b y spendin g let us say , ,
fifteen m inutes a da y a m o n g the nudists !

A t all events after several pain f ul a nd extre m ely o bs cene
,
experien ces W ebster deserts h is wife in fav o r o f his sten o g

,
r a her
p Mrs . W ebster is then . l eft t o co m m it sui cide and ,
o n this cheerfu l n o te the b o o k co m es t o a cl o se M a ny

“
.
M a r r ia g es is a go o d exa m p l e Of what i s o ften sp o k en o f as

‘
A nders o n s m ysticis m I t is no t real m ysti cis m at a l l but
’ ’
.
,
S H ER W O O D A N D ER S O N 1
37
” 14
m yst ifi ca t i o n . I t is als o I d o no t hesitate in sayin g
, , ,
painfu l ly repellent and o b s cene .
S he r w o o d A n d e r so n s N o t e b o o k (1 9 2 6) i s a c o lle cti o n o f
’
essa y s f o r the m o st part garnered fr o m earlier m a gazine

arti cl es L i k e The M o d er n Wr i ter whi ch had appeared the
.
,
y ear previ o us l y the N o te b o o h O ffers us interestin g gli m pses

,
o f A nders o n s li terary tastes and the o ries A lfred S tie gli tz

’
.
,
R in g L ardner Gertrude S tein S in clair L ew 1 s P aul R o sen

, , ,
fe ld G e o r g e B e l lo ws — m o st o f the p o rtraits in t he b o o k are

,
vivid and co l o rfu l bu t n o t ver y si gni fi cant O n e o f the

, .
essa y s dea l s with Mr A nders o n s native State ; o n e 1 5 dev o ted

.
’
t o a dis cussi o n o f the pr o f ess1 o n o f l ect urin g ; an o ther co n
cerns i t s auth o r s fav o rite the m e o f S t a n d a r d 1z a t i o n ; and

’
several are m ade up o f m ere fra gm entar y jo tt i n gs o n a d o zen

unrelated su bj e cts F o r t h e Studen t g enuinely interested in
.
A nders o n perhaps the m o st revea l in g o f the papers in this

,
”
v o l u m e is that entitled A N o te o n R ealis m “
H ere o u r .
auth o r draws a sharp distin cti o n between rea l is m and truly

i m a g inative writin g ; b ut insists with sturd y co mm o n sense , ,
that the intelli gent writer m ust learn t o let h is i m a g inati o n

n o urish itself up o n real ities i f he w o uld n o t turn o u t w o r k ,
”
that is n o ti ceab l e f o r l ts h o les and f o r its bad sp o ts
“ “
A s far a s i t g o es a l l this i s s o und en o u gh

, B u t m any o f .
the ho le s and bad sp o ts in An ders o n s o w n writin g are the ’
result o f h is feedin g h is i m a g inati o n up o n certain ver y spe

ci a l O bsessi o ns whi ch he is in clined t o m istake f o r universal
experien ces A r e all b o y s like T a r ? All w 1v es like A line

.
G re y ? A r e m an y m e n l i k e J o hn W e b ster ? Mr A nders o n s ’
.
ke y t o the a b n o r m al wi ll n o t unl o ck so m an y d o o r s !
T hat o r g i asti c and pri m itive a cco unt o f his o w n m id
west childh o o d whi ch A nders o n enti tl e d Ta r (1 9 2 6) I sha l l
re f er t o later L e t m e n o w list A nders o n s o ther b o o ks
.
’
H e llo T o w ns (1 9 2 9 ) i s co m p o sed o f ite m s sele cted fr o m the

t w o newspap ers whi ch Anders o n in 1 9 2 8 b o u g ht in Mari o n ,
Vir g inia : the Mari o n D e m o cr a t (D e m o crati c) and the

S m ythC o un ty N e ws (Republican ) I n the editin g o f these .
”
rival and s m all t o wn papers he has fo und what he
“
two -
,
calls a w o rkin g co m pro m i s e with the m a chin e a ge

“
You wi ll thin k that I have a quarre l with the ma ch ine a ge I .
have but n o t the q uarre l yo u i m ag i n e

, what w e have to d o
i s n o t t o g e t rid o f the ma chi n e but t o catch up with i t s beaut y
, .
T h e tr o ub l e l ies i n u s W e have put al l o u r energy into ma k ing

.
these m agni fi cent t hi ngs — pre sses harvesters a uto mo bi les e m , , ,
g ines , d y na m o s B u t
. w e have ta k en n o ti m e o r e ff o rt t o l earn
h o w t o use th e m in a wa y wo rth y o f their beaut y W e bui l d .
g go r e o us
g reat presses and feed t he m debased a n d l urid sensa
t i o n a li sm W e co n stru ct beautifu l swi f t aut o m obi l es a nd s mash
.
the m o n cheap parties W e l et m a chines r u n o u r l ives and

.
r o b u s o f o u r e ssentia l hu m anit y .
15
In P er ha p s Wo m e n (1 9 3 1 ) he co ntinues his co n cern with

this the m e o f o u r m a chine made and m aterial c ivilizati o n
-
.
I t is a l read y to o late he co n cludes f o r u s t o es cape fr o m

, ,
these u g ly fo r ces whi ch we have created ; unles s perhaps , ,
w o m en sh o w us a way Fo r the w o rld o f w o m an 1 8 the o nly

.
w o rld up o n whi ch the m a chine has n o t m ade seri o us e u

cr o a ch m e n t s O nly the spiri t o f w o m an ha s n o t b een m ade
.
”
“
i m p o tent b y o u r C 1v 1 liz a t i o n A n d o nl y that spiri t can .
li ght the wa y f o r the rest o f u s .
S ince the pub l i cati o n o f this b o o k A nders o n h a s b r o u ght

o u t t w o v o lu m e s o f essays entitled N o S w a n k and
( 9 3 4)
1
P u z z le d A m e r i ca H e has als o sin ce published tw o

n o vels : B eyo n d D esir e wh o se central chara cter R e d ,
O liver is carried thr o u gh the sexual experi e n ce s co m m o n t o

,
m o st Of the An ders o n types and final l y be co m es en m eshed

in a ser 1 es o f lab o r tr o ubles ; and K i t B r a n d o n (1 9 3 6 ) whi ch f
is the St o ry Of a g i rl b o rn in E astern T ennesse e o f a m o o n

, ,
shi nin g father and a t o b a cco stained shi ftles s m o ther K i t

-
, .
”
early learn s w hat a lo t o f m e n are li k e fro m the far m st o ck
“
“
and fr o m her perverted father S h e rather generally su b .
”
s cri b es t o a friend s advice t o L e arn t o use what y o u v e go t
’ ’
co m monwith th o se in the o ther b o o k s by this auth o r A fter .
an unhappy j o urnalisti c career in Chi ca go J o hn S t o ck t o n ,
de cides t o chan ge his na m e t o B ru ce D udley desert his ,
wife and return t o h is birthpla ce O ld H arb o r Indiana

, , , .
In C hi ca go he had m arried o n e o f h is newspaper co llea g ues

,
but he had co m e t o feel that B erni ce and he p o ssessed in

co m patible te m pera m ents ; and t h e co nvi cti o n had r o wn
g
o n h i m that hi s life as a m arried rep o rter w a s k eepin g h i m
”
out of t o u ch with the lab o rin g and artist classes that a l o ne
“
ca n tea ch o n e h o w ri ch life is S O i t w a s that he had r e

.
s o lved t o desert his wif e and chan ge j o bs H e w o uld m o ve .
on , chan g e his envir o n m en t ; and g ive hi m self a chan ce t o
dis co ver t h e w o rld o f co m m o n thin gs that he m i ght really

dis co ver the capa cities o f his o w n Spirit T hus he w o u l d .
really be ta k in g a sh o rt trip int o what he calls the m y se l f “
A t O ld H arb o r D udley se cures a jo b at the G rey YVh e e l

W o rks where at his fa ct o ry ben ch he watches the deft
, , ,
fi n gers o f a fell o w w o rk m an S p o n ge Martin and thin k s o f

-
, ,
the pleasures t o be derived fr o m all fo r m s o f creative w o r k

even varnishin g wa go n w heels I t is interestin g t o n o te.
that j ust befo re ta k in g their fi nal plun ge in t o the M y se l f

, ,
”
m o st o f the A nders o n chara cters try t o subli m ate the S e l f
en tirely — in s o m e w ork o f the creat o r o r crafts m an T he y .
fail and se x pr o ves the k ey t o their fai l ure E nter here

, .
,
then the li b i d o
, .
A line G rey the wife o f B ru ce s e m pl o y er deter m ines that

’
, ,
he Shall be co m e her l o ver ; She advertises f o r a gardener ,
”
kn o win g that B ru ce with an irresist i b le affin ity f o r her
, ,
will answer her advertise m ent ! H e d o es G re y hi m self .
has a va g ue suspi ci o n th a t his wife ha s a para m o ur ; but he

r e m ai n s happily i g n o rant f o r a whi l e o f the fa ct that the
child A line expe cts is n o t his o w n U l ti m ate l y the adulter

.
,
”
ers info r m h im o f their l o ve ; and A line tells h im that the y
“
are go i ng O ff t o gether F o r sh e felt that t o co ntinue l ivin g

.
wi th her husband w o uld b e t o l ive a l ie N o t t o fo ll o w

“
.
S H ER W O O D A N D ER SO N 11 4 1
D udley w o u l d be livin g a lie T hen j us t as the b o o k

.
,
c l o ses G re y hears the bab bl in g v o i ce o f a y o un g ne gress a

, ,
servant w ho cries o u t shri lly that she has k n o wn o f A l ine s

’
unfaithfu l ness ri ght a l o n g T h e g irl s lau ghter fl o ats in

.
’
up o n G re y s ear s ; and he is left al o ne

’
B y wa y penin g m y co m m en t o n A nders o n s F reudis m

of o
’
l et m e a sk m y r eaders t o re m e m ber that B ru ce D ud l e y

advises pe o p l e t o go t o F reud f o r an exp lanati o n o f any
thin g i n life that is di ffi cu l t t o understand B ru ce adds .
,
further that F reud o ffers b y f a r the m o st satisfy in g explana

,
ti o n o f the entire co ndu ct o f m e n and w o m en in l o ve a nd ,
o f su ch a co mm o n si ght a s a m a n passi o natel y ar o used “

.
In Sh o rt F reud is B ru ce s B ible A n d F reud is A nders o n s

,
’
.
’
B i b le t o o , .
S herw o o d A nders o n s e m phasis up o n the intr o vert his

’
ch o i ce o f chara cters h is u se o f the li b i d o as an al m o st ex clu

,
sive m o tivatin g fo r ce h is i mm ersi o n i n what L ewis M u m

,
fo rd cal l s th e C l o a ca Maxi m a o f the pers o nalit y his ,
use o f s y m b o l s and ass o ciati o n o f in co heren ces — a l l o f this

in A nders o n is dire ctly su ggestive o f the F reudian m eth o d .
A li t t le v o ya i n t o t he m yse lf
his B ru ce D udle y Li k e
g e .
,
A nders o n u s k n ow very m u ch ab o ut
feels that very few o f
the my self
“
M o st o f his w o r k he h a s therefo re dev o ted t o
.
”
the F reudian pr o cedure Of ta k in g a litt l e trip int o h i m “
self : i n all o f the n o vels and in m o st o f the sket ches there

, ,
is a s I have alread y hinted a start l in g kind o f un o ri g inalit y

, ,
Of the m e and a tedi o us use o f his o w n pers o nal experien ces .
”
H is m idwest childh o o d experien ces his es cape p l o ts ,
“
”
his gr o pin g atte m pts t o s o lve the pr o b le m o f r e pr es
”
si o ns and his effo rts at fi ndin g a way o u t o f the co m pli ca
,
”
ti o n s o f industrialis m by thinkin g e m o ti o nal reflexes “
1 42 L U C IFER AT L AR G E
rather than ideas : all o f these s u ggest the w a y in whi ch he
has traveled — the way he has traveled ar o und in a cir cl e o f
o b se s si o ns .
H i s M y self is the O nly S elf O r at leas t i t is the o nly .

,
sel f th a t he tends t o u se as a n o r m in interpretin g o ther

selves H e co nfesses that he o nce set o u t in sear ch O f
.
18
the T ruth H e searched f o r it he says under his desk

“
.
, , ,
and beneath h is b ed B u t T ruth w a s n o t to b e found in .
ei ther o f th o se pla ces F inally he s canned the r o ad in .
the h o pe Of findin g it O b serve that he didn t ge t very far .

’
fr o m h o m e .
A ll o f whi ch i s n o t t o deny that T ruth o ften lin g ers o n

So m eti m es i t even hides under o ne s
’ ’
o ne s o w n d o o rstep .
n o se Jan e A usten fo und it by squintin g o ver the br e ak

.
”
fast dishes B u t Jane A usten s squint was really as I
.
’ “
think w e are b e g innin g t o se e quite a b luff A ctually she , .
sa w b e y o nd the dishes far d o wn the r o ad and far int o the , ,
w o rld thr o u gh whi ch that r o ad ran H er r o ad was a real .
o n e : i t wen t s o m e pla ce .
A nders n s r ad is nly a path

’
— a path cir clin ar und
o o o
g o
his o w n pers o nality .
T his wo rl d i s fu ll o f a nu m ber o f things E ggs f o r instan ce .

,
eggs in crates in bas kets in carto ns o n the fl o or o n she l ves

, , , , ,
pi l ed t o the cei l i ng m i ll i o n s o f eggs O r m i lk b o tt l es — O n the

-
.
fire e scape the t ab l e the w i nd o w l e d ge at tenem ent d o ors

, , ,
r o w aft er r o w O r n —
du g l itteri ng t h e gr ound spread o n the
.
,
g arde n co verin
, g the m ead ow heape d at the stab l e d oo r O ld , .
m aids a n d c ripp l es — coward s a n d to uts —chi l d ren and sai l o rs ,
cl erk s sten o graphers m o to r men A futi l e w or ld sa nd y and

, , .
,
m o n o t o n o us .
It i s a ll o f co urse a m atter o f e mphasis It m ay be a gl obe

, , .
encircl i n g wo rl d si g n a l i n g M ars — o r j ust the wo r l d o f Sherwoo d

,
A nders o n .
19
The s ha d o w oI n his study o f neur o s es F reud

f the w a ll .
m ade a careful exa m inati o n o f o ver a th o usand m en and

1 44 LU C IFER AT L A R G E
wall O f say s this auth o r o f o n e o f his chara cters .
In an o dd wa y al m o st all Of the m stand in shad o ws .
A P ha llic I m aintain that neur o ti c

C he khov .
anxiety has its o ri g in in the sexual life and co rresp o nds ,
t o a li b id o whi ch has been defle cted fr o m its O bj e ct and has

” 21
fo und n o e m pl o y m ent says F re ud L ike the psy ch o
, .
analyst a gain Sherw o o d A nders o n attri b ute s the neur o ses

‘
, ,
”
o f his characters t o s o m e repressi o n o f their li b i d os the “
A nders o n b oo ks as a m atter o f fa ct m i g ht b e chara cterized

, ,
chi efly a s Studies in the e m pl o y m en t Of the li b id o L ust

“
.
and ni ght and w o m en T his phrase fr o m o n e o f the n o vels

.
aptly sets the t o ne o f all o f the m O f o n e w o m an i t is said .
that in her wh o le atti tude there w a s a su ggesti o n o f wait

“
” 22
in g . A n o ther by way o f keepin g her li b i d o fr o m b e
,
co m in defle cted finds i t ne essar y t o unburden herself o f

g c ,
a l l the O bs cenities sh e has witnessed at a On at z A rts B all ’
A third thus co nfesse s her defe cti o ns : I ve go ne thr o u gh “ ’
i t with m e n I w o uldn t spit o n n o w I th o u ght I had t o

’
. .
”
I g uess it j ust happened so i t wa s the b reak I go t A gain
, .
23 .
”
a m ale chara cter ha s t he c o nvi cti o n that a certain g irl was
“ “
”
the w o m an his nature d e m a n d e d .
I have m yself itali cized that last wo rd I t sh o uld b e .
illu m inated printed in c o l o rs F o r e v en the F reudian

,
.
“
cen s o r never t o b e co nfused w e m ust re m e mber with
-
, ,
—
what yo u and I call the will even the cens o r seld o m stands
m u ch o f a chan ce with the A nders o n m e n and w o m en An d .
when these chara cters d o give the cens o r a li ttle co o perati o n

i t m ust be co n ceded that they d o so in rather cens o ra b l e
”
ways ! O ne o f the m f o r exa m ple finds the sex ca l l so
, ,
“
ur gen t that he runs o u t in the m iddle o f a st o r m y n i ght

and stands by a co ld creek ; an o ther wh o m I have a l ready ,
m enti o ned dashes d o wn t h e street naked in the rain !

, , ,
I s ea ch w o m an ab o ve all else a wanton

, S O refle cts ,
“
o n e o f the A nder s o n w o m en A n d y o un g T a r M o o rhead .

S H ER W O O D A N D ER S O N 14
5
wo uld see m t o a gree with her i f o n e m a y j ud ge b y his a ffi r m a
ti o ns re gardin g the nu m ber o f Mada m e B o v a r ies in o u r “
s maller t o wns I wish t o add o nly that s o m e o f the A nder

.
so n Mada m e B ovar i es m a k e the F lau b ert w o m an see m

p o sitively chaste by co m paris o n A s D r J o seph C o l lins said
. .
o f their creat o r
W hen he had a cco mp l ished ha l f the span l ife a ll o tted b y of
the p sa l mist t o m a n he heard a v o i ce sa yi n g : It i s h ard f o r yo u

,
“
t o ki ck but o u are the ch o se n vesse l t o bear the m es sa e : Life

,
y g
i s sex death i s sex repressi o n l ivi n g i s sex a w are n ess p l easure i s
,
- -
e x indu l e n ce ; beaut y i s se x rea l izati o n ; sa l vati o n i s de e n dent

g p
-
up o n t h e d eve l o p m e n t o f sex se n sibi l ities T h e s ca l es f e ll fro m .
hi s ey es and he we n t t o the t y pewriter .
P aul R o senfeld w h o wa s o n e Of Anders o n s friend s o n ce

,
’
called h i m a P halli c Chekh o v

“
I do n o t m yself perceive
.
, ,
a great si m ilarity with Chekh o v .
L e tt i ng t he w e ll e m
p ty i tse lf T rue F reudian that he is
.
,
A nders o n next sees t o i t that his neur o ti cs s peak freely In .
a pre cedin g chapter I have qu o ted H i t schm a nn s w o rds de

’
s cri b in g the F reudian m eth o d : the patient s m ust b e ur ged

t o s k et ch a g eneral pi cture o f their wh o le illness and m o st
“
inti m ate fa m ily and life surr o undin gs t o tel l every ,
thin g whether they think it i m p o rtant irrelevant o r , ,
n o nsensi cal W ith spe cial e m phasis i t i s asked o f the m that

.
,
n o th o u ght o r ass o ciati o n b e o m itted b e cause the tell

i n g m i ght b e sha m eful o r painful .
I n M a ny M a r r ia g es S herw o o d A nders o n g i v es expres s i o n

t o the sa m e F reudian p o int o f View :
If o ne kept the l id o ff the we ll o f thin ki ng within o ne se l f l et ,
the we ll em pt y itse l f l et th e m i n d co n s ci o u sly thi n k a n y th o u ghts

,
t hat ca m e t o it a ccepte d a ll thi n k i n g a ll i m a g ini n g s a s o n e a c

, , ,
ce t ed the fl esh o f pe o p l e ani m a l s birds trees p l a n t s o n e m i ght

p , , , , ,
l ive a hu ndred o r a th o u sa n d l ives i n o ne l i f e T he n ea ch o n e ;
o f us co u l d be co m e so m ethi ng m o re tha n j ust o n e individ u a l

“
man and wo m an l iving o n e narrow circu ms cribed l ife O ne .
co u l d tear d o wn a ll wa ll s and fen ces and wa lk in a nd o u t
m an y pe o p l e O ne m i ght in o nese l f be co me a wh o l e t own fu ll

.
o f pe o p l e a cit y a nati o n
, , .
25
An d in K i t B r a n do n the central chara cter O b ser v es 5 W e re

’
l o w and we re hi gh I t s b etter t o feel everythin g yo u can

l
’
.
’
—
feel thr o w i t away .
F r o m e v en an aesthetic p o in t o f v iew this d octrin e d o e s ,
n o t stand w o rthy o f co ntr o v ersi o n T h e artist is an artist .

,
f o r o n e thin g pre cisely b e cause he d o es n o t accept all think

,
i n g all i m a g in in gs
, H e 18 distin g ui s hed fr o m his f el
.
lo w m e n a m o n g o ther thin gs b y v irtue o f t h e fact that he

, ,
d o es n o t let the m inds o f his chara cter s think j u s t any

th o u ght s that c o m e t o the m : h e d o es n o t le t : h e co n t r o ls ,
discr im i n a t es se le cts cr e a t es ,
H e d o es no t li v e a hundred
, .
o r a th o usand lives in
[ his o w ]
n o n e life H e rather
p ro .
s his o w n b ein g fully richly and creatively int o a hun

j e ct , , , ,
dred o r a th o usand o ther live s .
F r o m an o ther p o int o f v iew the sa m e F reudian d o ctrin e , ,
whi ch Mr A nders o n ha s ac cepted re s ults in s o me extre m ely

.
,
distasteful m aterial and e v en b e i t n o ted in m uch lushly , ,
senti m ental n o nsense

T h e D ark hidden t h m gs festerin g in the well frequently
“
e m er g e hydra headed rather than b eautiful ; and S herw o o d

-
A nders o n o n his knee s b efo re the m perspirin g wi th his ,
”
“
pantheis m utters in can tati o ns that So und let us b e frank
, ,
a b o ut it like the re co rded cerebrati o ns o f a ve g eta b le

, Men .
“
sh o uld b athe m e with prayers and with weepin g he

sin gs in Chi ca go I n m y b reasts the s ap o f s prin g he
.
,
” "
chants in So n g t o the Sa p T here are indeed m any
“
26
.
, ,
ti m e s when i t is b etter n o t t o feel everythin g yo u ca n feel “

.
P igs is P igs sa m e li ftin g the lid O ff the well o f

. T his
”
thinkin g has als o resulted in Ander s o n s w o rk in an o r g i
’
a st ic kind o f pri m iti v is m that is o ften v ery repellent I will .

1 4s LU C IFER AT LA R G E
A l i ce w a s g o i ng to dro w n herse l f
p o n d A k ind l ad y in the .
i n a co t t a ge t o o k h e r i n S h e w a s o n e o f the g oo d chara cters

.
,
so o f co urse the vi ll a e hate d h e r n d said h h d m urdered

g a s e a ,
h e r br o th er a n d k ept a bro the l a n d that m ade her have rather

,
a w is tf u l l o o k S h e a l re a d y had t h e idi o t so n o f t h e r e ct o r l ivi ng

.
with her a nd he a nd A l i ce f e ll in l ove with ea ch o ther B u t he .
w a s a go o d ch ara ct er t o o so the ni ght befo re the y were t o be

, ,
m arr i e d h e m e t a tra m p o n the he a th

, W h o the b l o o d y e ll .
“ ’
are u ? said the tra m p j o via lly n d the n he k i cke d \h i m t o

yo a ,
de a th .
A nd M r B l aster
. j ust went on feedi ng his h o gs .
G e tt i n g ofi o ne s b ase w i t h sym b o lism T h e F reudian

’
.
neur o ti c is supp o sed a s we have n o ted t o tell everythin g

, ,
even th o se m atters whi ch he m a y think irrelevan t o r n o n “
”
sensi cal .F o r o ften t h e co m pl e x ca n b e arrived at o nly
,
by a careful study o f s y m b o ls cha o ti c th o u ght se q uen ces and

,
-
,
drea m s A ll o f whi ch play a lar g e part in the A nders o n

.
books
T hus in D a r k L a u g h t e r B ru ce D udley thinks a b o ut o n e
,
o f his wife s f riends w h o 1 5 supp o sed t o have fallen in l o v e

’
wi th a st o re wind o w du m m y ! H e 15 co nvin ced that this

-
”
sa m e friend has be co m e the her o o f a b o o k B erni ce hap
pens t o b e writin g ; and he fo ll o ws o u t a wh o l e series o f
t o rtu o us th o u ght sequen ces in an atte m pt t o dis co ver the
-
m ean in g o f the affair S u ch a dis co ver y he feels m i ght even

.
, ,
a ff o rd him a clue t o the entire fe m inist mo ve m ent “

.
B ru ce li k ewise utters a nu m b er o f ridi cul o u sly irrelevant

state m ents ab o ut the way in whi ch s o m eh o w o r an o ther he , ,
h a s co nfused the feelin g he has f o r h i s mo ther wi th certain

n o ti o ns that he ha s ab o ut rivers A n d he ad m its that with .
,
all th e s y m b o lis m in h i s head h e o ften feels O ff his base

, .
I n P o o r Wh i t e R o se M cC o y had th o u ghts o r rather sensa

,
“
, ,
ti o ns that had little t o d o with th o u ghts E a ch o n e o f this .

S H ER W O O D AN D ER SO N 1 4g
auth o r s b o o ks co uld be
’
alled up o n c o pi o usly
c to furnish
si m ilar exa m ples .
A f
co n u s e d ch i ld in a co nf u se d w o r ld L ike his R o salind .
W es co tt in O u t o f N o where int o N o thin g A nders o n feels

”
,
that it is really i m p o ssi b le f o r pe o ple to break thr o u g h the

”
wa l ls o f the m selves I n the p o e m called Chica go he
.
says : I a m a child a co nfused child in a co nfused w o rld

“
, .
” 28
T here are n o cl o thes m ade that fit m e .
W hen h i s w o rk has a b o ut i t — as i t so o ften ha s — the

e ff e ctive si m pli city o f a child s tale Anders o n i s at his b est
’
, .
H e is at his w o rst h o we v er when he O b fus cates these m o o ds

, ,
with the co nfused gr o pin gs o f a m uddled adult Y o un g .
T o m M o o rhead frequently refle c ts like a tired O ld m a n ; t he

b o y S a m M cP h er so n faces m any o f the pr o b le m s whi ch b e
l o n g t o a later m an ho o d ; H u gh M cv ey in his little t o wn ,
“
s tu c k on a mu d ban k is a k ind o,f H u ck F inn — b ut with

m ental sa g s that b el o n g t o senility .
A nders o n s un certainties and co nfusi o ns are t o b e r e

’
r e t ted f o r th e y frequ ently render hi m inarti culate even

g ,
when he has ver y m u ch t o sa y : when he 1 8 tryin g t o b rea k

”
thr o u gh t o the white w o nder o f life ; when he is spea k in g
o f ad o les cence o r when he is invei g hin
g ga ainst st a n d a r d iza
ti o n artd o u r m a chine m ade u glin e ss A t su ch ti m es he 15

-
.
,
like a m a n w h o hav in g an i m p o rtant spee ch t o m ake rises

, ,
o nly t o p o nder a lo t o f questi o ns t o pr o p o se a lo t o f j u m b led _
answers ; t o think n o t th o u ghts but rather sensati o ns

, ,
“
” ”
that have little t o d o with th o u ghts .
A r e there n o w o rds that lead int o li fe ? he asks in o n e

“
o f his tales .A n d in a letter t o U pt o n S in clair he o n ce ex

pressed the sa m e sense o f dis m ay T o m e there is n o answer “
” 29
f o r the terrible co nfusi o n o f life H ere we have su g
.
g ested what is I thin

, k o n e o f Mr A nders
, o n s m o st basi.
c
’
weaknesses .W ith o ut quite realizin g i t h e is huntin g n o t , ,

1
for w o rd s that lead in t o life b ut f or w o rd s that lead o u t
,
of i t
T here are n o cl o thes m ade that fit m e T his is n o t

.
entirely true f o r s o m e o f the Anders o n te chniques are

,
al m o st 1 nst 1 nct 1ve ly perfe ct B u t when Mr A nde rs o n d o es

. .
find the cl o thes he is frequently all dre s sed up with n o place

,
to g o
O ut of N o where
C H AP T E R VI
E RN E S T S P O K E SM A N FOR
HIS G E N E R A TI O N
T HE first thin g that happen e d [s ic] when we were ba ck in

P aris was H e m in g way with a letter o f intr o du c ti o n fr o m
”
S herw o o d A nders o n writes the auth o r o f T he A u to b i
,
2
o r a ph of A li ce B T o kla s T wenty —three years o ld

g y . .
,
rather fo rei gn l o o k in g with passi o nately interested rather

, ,
than interestin g eyes E rnest H e m in gway had arrived with

, ,
a letter fr o m his literary go dfather t o m eet G ertrude S tein , ,
w h o was destined t o be co m e his li terary g o d m o ther H em .
i n gw a y had b een fo r m ed b y the t w o o f the m and they were

b o th a little pr o ud and a little asha m ed o f the w o rk o f their
”
m ind s .
3
L ater in his par o dy T he T o r r e n t s o f S p r ing 1 9 2 6 ) H e m

, ,
i n gwa y was t o repudiate A nders o n M o re o ver a s a result .

,
O f a rather un co m pli m entary letter whi ch H e m in gway had
taken i t up o n hi mself t o wri t e A nders o n in the na m e o f ,

“
a m eri can literature he w a s t o be s o m ewhat naturally

,
fri ghtened W hen S herw o o d ca m e t o P aris

“
B u t in the .
,
m eanti m e H e m in gway w a s twenty three and deter m ined t o

,
-
b e a wri ter S O he cultivated the g o d m o ther t o wh o m A nder

.
so n had in tr o du ced h i m ; and in l o n g wal k s and visits with
Miss S tein he fo und en co ura ge m ent and s o und advi ce .
O da y sh e said to h im l o o k here yo u sa y yo u and yo ur

ne , ,
wife h ave a l ittl e m o ne y between yo u I s it e no ug h to l ive o n .
i f yo u l ive q uiet ly Y es he said

. W e ll she sa id th en d o i t If
, .
, , .
o u ke ep o n d o i n n e w spaper w o r k yo u wi ll never se e thi n s

y g g ,
o u w i ll o n ly se e w o rds and that wi ll n o t d o that i s o f co urse if

y ,
u i n t e n d t o be a writer
4
o
y .
H e m in gway was abl e t o assure her t hat h e did in tend t o

Im o me a writer S h o rtly afterwards h e t o o k his leave O n
.
, .
his next v isit i t was apparen t that h e had s o m ethin g i m
,
p o rtant o n his m ind whi ch he wanted t o talk a b o ut Arriv .
in g at Miss S tein s h o m e i n the m iddle o f the m o rnin g he

’
stayed until s o m e ti m e after dinner in the evenin g ; and ,
then finally b lurted o u t the news that he w a s to be co m e a

,
father Miss S tein says she co ns o led h im and sent h im

.
“ “
o n his way .
W h en th e y ca m e ba ck H e m in gwa y
said that he had m ade up
h i s m ind T he y w o u l d g o ba ck t o A m eri ca a nd he w o u l d w or k
.
hard f o r a y ear and with what he wo u l d earn and what the y had
the y wo u l d sett l e d own a n d h e wo u l d g ive up newspaper w ork
a n d m a k e hi m se l f a writer T he y went awa y and we ll within
.
the pres cribed y ear the y ca m e ba ck with a new b orn b ab y .
N ewspaper wo rk w as o ver .
5
H e m in gway had an instin ctive gen ius f o r pi ckin g o u t

apart m ents in nei gh b o rh o o d s where go o d fo o d and goo d
ser v i ce were t o b e had ; at his apartm ent m o re o ften than ,
at hers then h e and G ertrude S tein spent h o urs whil e the

, ,
latter read his w o rk ; while he co pied o u t f or her t h e wh o le

first secti o n o f T he M a ki ng of A m e r i ca ns whi ch F o rd Mad o x
F o rd wanted f o r the T r a nsa t la n t i c ; o r while he re co unted
f o r her the co n v ersati o ns whi ch h e w a s plann i n g t o u se in
his n o vels .
H i s health at this ti m e w a s n o ne t o o go o d : indeed o n e

, , ,
Of h is friends re m arked t o Miss S tein that he see m ed so w o rn

o u t by the war and S O fra gile that when ever he tried any
sp o rt s o m ethin g b rea k s his a r m h is leg o r his hand, , , .
T here is e v en a st o ry t o the e ffe ct that up o n o n e o ccasi o n

while he was g ivin g b o xin g less o ns his y o un g pupil a ccr ,
dentally kn o cked h im o u t ! T h e S t o r y i in a y be tru e — o r i t

m a y be a s le g endary as th o s e later o nes a b o ut H e m in gway
and his friends re cklessly enterin g a b ull fi ght and h a v m g
!
t o save th em sel v es b y ru n nin g f or their lives and leapin g

o ver the arena walls ! N evertheless durin g thes e early years ,
in P aris E rnest H e m in g way led tha t kind o f a cti v e life whi ch

,
1
h is next ten tales H e m in gway refused the o ffer h o wever
.
,
as he was later t o refuse a H o llyw o o d o ffer o f fo rty fi v e th o u -
”
sand d o llars f o r his advi ce o n the fil m in g o f A F a r e w e ll to
“
A r ms L e t i t b e said o f h i m that he has alway s pla ced his

.
art ab o ve the m o ney i t co uld co m m and .
H i s T hr e e S to r i es a n d T e n P o e m s whi ch R o bert
M cA lm o n published in P aris need n o t co n cern us here I n
, .
O u r T im e hi s first Si g ni fi ca nt b o o k co ntains Several ,
st o ries that are w o rse than in co nse q uentia l but the v o lu m e

co nt ains als o t w o o r three ta l es that its auth o r has never
, ,
surpassed M o re o ver i t displ ays a chara cteristi c later t o b e

.
,
co m e o n e o f the str o n g est qua l i ties o f H e m in g way s writin g

’
an a b ility t o dis co ver the satisfyin g go o dness o f e l e m ental

thin gs t o co mm uni cate a feelin g f o r what is cl o se t o earth
,
a W a gner apple fo und al o n g the r o ad shin y in the br o wn ,

“
”
rass fr o m the rain r o und that is s ft underf t as
“
o ne
g g o o o
wal ks thr o u gh the w o o ds ; the ti ghtenin g o f a fi sh er m a n s ’
heart as he sees a tr o ut flash thr o u gh clear swift Silver water , ,
the sweet taste Of apri co t j ui ce drunk after a plain m eal by a

ca m pfire .
I ndian C a m p the hi ghly aut o bi o graphi cal first st o r y in

“
the v o lu m e intr o du ces N i ck the y o un g so n o f a physi cian

, , ,
who a cco m pan ies h i s father t o the bedside o f an Indian

w o m an in t h e lab o rs o f child b irth I t has a si m pli ci ty that
.
is ele m ental in the b est sense ; and an understandi ng o f the

I ndian te m pera m ent that cann o t be cha llen ged My O ld .
”
Man the st o ry o f a j o ck ey and h is so n bears a rese m blan ce
, ,
t o A nders o n s I W an t t o
’ “
K n w
o VV h y
”
—a rese m blan c e
that I ca n su gg est by these re m ar k s o f the H e m in gwa y lad
“
I went ar o und t o the padd o ck t o se e th e h o rses with m y
“
o ld m a n and yo u never saw su ch h o rses T his K z a r is a .
g reat b i g ye ll o w h o rse that l o o k s li k e j ust n o thin g but run .
H e was bein g led ar o und the padd o ck s with his head d o wn

and when he went b y m e I felt all h o ll o w inside he was so
b eautiful T here never w a s su ch a w o nderful lean run
.
, ,
ER N E ST H E M I N G WA Y 1
57
” 7
nin g bui l t h o rse A true l o ver o f h o rse fl e sh wr o te th o se
.
-
w o rds ! A n d a true fi sher m an wr o te the fo ll o win g sele cti o n

fr o m B i g T w o H earted R iver
-
A m a n has t o thr o w o n e o f
.
his cat ch ba ck int o the water :
H ehad w e t hi s h a n d b e f o re he t o u ched the tro ut so he wo u l d ,
n o t d is t u r b t h e d e l i ca t e m u cu sthat cov ere d h i m If a tro ut .
w a s t o u ched wi th a d r y h a nd a white f u n gus atta ck e d the u n pr o

,
t ect e d sp o t . Y e a r s be f o r e wh e n he had fi she d cr o w d e d strea m s ,
with fl y fi sher m e n a h ead o f h i m a n d behi n d h i m N i ck h a d ,
a gai n a n d a g ai n co m e o n de a d tro ut furry wi t h w h ite f u n g u s , ,
d ri f ted a g ai nst a ro ck o r fl o ati n g be lly up i n s o m e p o o l

,
N i ck .
d id n o t l i k e t o fi sh wi t h o t h er m e n o n the river Un l ess the y .
w ere o f y o ur part y the y sp o i l e d i t

, .
s
W ith the pu b li cati o n o f T he S u n A lso R ises as I

have already po m t e d o u t E rnest H e m in gway s reputati o n
,
’
was assured D ealin g with what M iss S tein called the l o st

.
“
”
enerati n t h n o vel derives i t s title fr o m these w o rds o f
g o , e
E ccles ia s t es : O n e g enerati o n passeth away and an o ther

“
g enerati o n c o m eth b ut the earth abideth f o rever T h e .
su n als o ariseth and the su n o eth d o wn and h asteth t o the

,
g ,
p l a ce where he ar o se
T he S u n A lso R ises pi ctures a gr o u p o f expatriates in
E ur o pe w h o have been cau ght up in the v o rtex o f p o st
,
”
war e m an cipati o ns and disillusi o ns and w ho atte m pt t o
“
anaesthetiz e the m selves a gainst thin k in g ab o ut their purp o se

less and b lea k spinn in g with innu m erable drin k in g b o uts
, ,
illi ci t l o ve trips t o S pain t o wat ch bull fi ght s and fishin g

,
-
, .
B rett A shley — the w o m an with wh o m the newspaper co rre

s o n d e n t Jake B arnes is in l o ve h already m arried twi e
p , , a s c .
W aitin g f o r a div o r ce fr o m her se co nd h usband that she ,
m i ght m arry a certain M i chael Ca m pbell sh e sti l l co n fesses ,
”
her l o ve f o r J a ke and d o es n o t hesi tate ab o ut atta chin g
“
sti l l o ther l o vers a m o n g the m a y o un g Jewi sh n o velist a ,
wealth y A m eri can G ree k and a S panish bull fi gh t er

,
-
.
B y the end o f t h e n o vel h o we v er sh e ha s ann o un ced her

, ,
1
intenti o n o f returnin g t o Mi chael be cause H e s so da m ned ’
”
ni ce and he s so awfu l H e s m y s o rt o f thin g So m e o f
’ ’
9
. .
th e dial o g ue in the b o o k is as tedi o u s and vapid as t h e char

a ct er s the m selves ; but o ther pa es o f it are crisp and well
g
sustained and su ggest that dis cipline whi ch G ertr u de S tein
,
put her y o un g fo l l o wer thr o u gh in t h o se l o n g h o urs when

sh e had h i m re co unt o v er and o ver a ain the co nversati o ns
g
whi ch were to go in t o this n o vel I n the exa m ple w hi ch I .
g i v e t w o,o f the chara cters a r e talkin

g a b o ut L ady B rett
a V A D in a h o spita l I w a s in d uring the wa r
Sh e w a s . . . .
S he m ust h a ve bee n j ust a kid then .
”
S he s thirt y fo ur n o w
’
-
.
W he n did sh e m arr y A shl e y ?

D uri n g the w ar H er o wn true l o ve had j ust k i ck ed O ff with.
the d ysenter y .
Y o u ta lk s o rt o f b i tter .
S o rr y I did n t m ean t o I w a s j ust try ing t o give yo u the ’

. .
fa cts .
I d o n t be l ieve She wo u l d m arr y anyb o d y sh e didn t l o ve

“ ’ ’
.
W e ll I said she s do ne it twi ce

”
, ,
“ ’
.
I d o n t be l ieve it ’
.
W e ll I said d o n t a sk m e a lo t o f fo o l q uesti o ns if yo u
” ’
, ,
d o n t l i ke the answers
’
.
I didn t a sk yo u that
“ ’
.
Y o u as k ed m e what I k n ew ab o ut B rett A sh l e y .
”
I didn t a sk yo u t o insu l t her ’
.
O h g o t o he ll,
.
H e st o o d up fro m the t a b l e his fa ce white a nd st o o d there ,
white and a n gry behin d the l itt l e p l ates o f h ors d oeuvres ’

.
”
S i t d o wn I said D o n t be a f o o l
“ ’
. .
,
Yo u ve go t t o tak e that ba ck
J
’
.
O h cu t o u t the prep s ch oo l stu ff

,
-
.
T a k e it ba ck .
Sure A n y thing I never heard o f B rett A sh l e y H ow s ’
. .
.
”
that ?
No N o t that
. A b o ut m e go ing t o he ll . .
O h d o n t g o t o he ll
,
I Said S ti ck aro und
’
W e re j ust ,
”
.
“
.
’
”
starting l un ch .
1°
listed in o n e o f the Italian a m bulan ce units is in tr o du ced ,
by o n e o f his y o un g I talian friends t o C ather i ne B arkley an ,
En g lish w h o se fi a n cé had been k illed at the So m m e .
O b j e ctin g t o his nurse s evenin g o ff attitude sh e at first

“ ’
, ,
re b uffs H enry W hen he is w o unded and sen t ba ck t o a

.
Milan h o spital h o wever sh e i s stati o ned a s his nurse and

, , ,
n o t o nl y falls in l o ve with h im but ui ck l y be co m es his m i s

q
tress L ater when sh e expe cts a child Catherine refuses
.
, ,
t o m arry F rederi c H enry ; and h e leaves a g ain f o r the fr o nt ,
where h e find s hi m self in the m idst o f the Cap o rett o retreat .
T hen when he i s ab o ut t o b e sho t by I talian m i l itary p o l i ce

, ,
he es capes ; j o ins Catherine at S tresa ; and the t w o o f the m

r o w a cr o ss the lake int o S witzerland where Catherine later
dies in child b irth .
Certain adverse co m m ent o n this n o vel I reser v e until

later B u t in passin g I m ust n o te here briefly a few o f the
.
, ,
m an y hi g h distin cti o ns whi ch it a chieves T h o se l o n g pas .
sa ges tellin g o f the Cap o rett o retreat co nstitute s o m e o f the

m o st b rilliant pie ces o f des criptive writin g in o u r co nte m p o
rary fi cti o n T h e t w o m aj o r chara cters are drawn wi th a
.
searin g vividness and m any o f even the m in o r chara cters

co uld n o t p o ssibly b e f o r g o tten : o ld C o unt G r e ffi f o r ex ,
a m ple phil o s o phizin g o ver the bil l iard table at t h e a ge o f

,
ninety fo ur o r t h e y o un g nurse w h o is C atherine s friend ;

-
’
o r R inaldi the y o un g m a n in the m edi cal co rps S o m e o f

, .
the epis o des will l o n g retain their ani ma ted freshness H enry
tr y in g t o have a seat saved f o r him o n the tra i n ; the t w o
l o vers r o win g a cr o ss th e still la k e durin g the l o n g n i ght ;
th e graphi c h o rr o rs o f the h o spital s cenes ; and m an y o thers .
A n d final l y A F a r w e ll to A r m s has at least i n H S cl o sin g

, , ,
pa ges a hi ghly co n centrated e m o ti o n that sets o ff pleasantly

,
the trun cated feelin gs o f the chara cters in m o st o f the o ther

H e m in g way b o o ks T h e la st para graph O f the n o vel i s an
.
u
'
artisti c classi c in the use o f undert o nes in the co m pressi o n ,
O f tra g i c feelin g s H enry h a s as k ed th e nurse s t o leave

.
ER N E S T H E M I N G WA Y 61
th e r o o m that he m i ght b e al o ne
, f or a m o m ent with Cath
erine s b o dy
’
But after I h a d go t t he m o u t a n d s hu t t h e d o o r a n d tur ned

o ff t h e l i g ht it wa sn t a n y g o o d I t w a s l i k e sa y i n g go o d b y t o a
’
-
.
s tatue A fter a w h i l e I we n t o u t a n d l eft t h e h o spita l and

.
wa lked ba ck to the h o te l i n th e rain .

13
An afici o nad o is o n e who is passi o nate a b o ut the b ull

”
fi gh t s. R eaders o f H e min gway w h o are interested in
14
fo ll o win g this au th o r s l o ve o f that sp o rt will d o well t o turn

’
t o his D e a t h i n th e A ft e r n o o n a verita b le B aedeker

”
o f bulls as i t ha s been called B u t D ea t h in the A ft er n o o n .
is m o re than a handb o o k o n bull fi gh t i ng I t co ntains dia -

.
lo gu es o n F aulkner E li o t and a nu m b er o f o ther writers

, , ,
c o m m ent o n the craft o f writin g and m u ch general philo so ,
hi z in T h later G r e en H i lls o f A f r i ca a re co rd
p g . e
o f a n A fri can safari is likewise n o t co nfined t o i ts prin cipal

,
su bj ect — that o f huntin g ; but i s 1n t er spe r se d with dis cus

si o n o f T h o m as W o lfe Melville E m ers o n P o e W hittier
, , , , ,
H awth o rne rev o l uti o ns the Gulf S trea m s o m e o f th e g reat

, , ,
b o o ks the auth o r has read and a nu m ber o f o ther g eneral ,
m atters A s a dis cussi o n o f neither o f these t w o v o lu m e s i s

.
pertinent t o the purp o ses o f m y study h o wever I ca n i m , ,
m ediately t u rn t o the v o lu m e o f st o ries entitled Win n er

T a ke N o t hing
Mr H e m in gway s o lder co n cerns are here refle cted a gain
.
’
th o u gh s o m ewhat m o re tedi o usly : A Clean, I Ve ll L i ghted “

-
”
P la ce su gg ests his co n cern with death W ine o f W y o m in g “
with his hun ger f o r E ur o pe ; F athers and S o ns with the ,
m o o ds o f t h e ad o lescent B u t in additi o n t o these Older

.
interests there is als o i t i s t o b e re gretted , o n the part o f

, ,
the auth o r that gr o win g pre o ccupati o n with the a b n o r m al

,
whi ch as I have already p o inted o u t had m ani fested i tself

, ,
earlier in M e n Wi t ho u t Wo m e n I turn m y fla m e which .
is a s m all o n e d o wn and d o wn and then suddenly there is a

b ig expl o si o n E rnest H e m in gway o n ce re m arked t o G e r
trude S tein . I f there were n o thin g but expl o si o ns m y
”
wo rk w o uld b e so ex citin g n o b o dy co uld b ear it .
15
Win n e r Ta ke N o t h in g co m es dan g er o us ly cl o se t o bein g

o nly a series o f deli b erate expl o si o ns T hus there is o n e
.
,
sket ch whi ch pi ctures an ad o les cent w ho m utilates hi m self ;

o n e whi ch p o rtrays a h o m o sexualist w h o all o ws his m o ther s
’
b o nes t o b e cast o u t o n a du m p he ap ; and there a r e sev er a l \
whi ch deal with er o t o m ania and vari o us o ther fo r m s o f per

versi o n . O n e w o nders whether Mr H e m in g wa y ca n pr o
.
du ce any m o re interestin g v o lu m es so l o n g as he St o ps O ff as
a b ruptly as this turnin g t o play the radi o so l o ud that it
,
”
ca n n o l o n er b e heard
16
g .
L et i t b e said at least that H e m in gway s N aturalis m is m o re

’
o b j e ctive than that o f any o f o u r O lder N aturalists F or .

,
despite all his disav o wals o f su b ject iv i sm r e iser h a s con

t i n u a lly w o rn his
g rievin g and dis m ayed heart up o n his
sleeve ; Ca b ell — w h o in a sense is a R o m anti c N aturalist
,
“
has created a kin gd o m co m p o sed entirely o f pers o nal states ,
and ruled fr o m the capital o f his o w n ego ; A nders o n has

plu m b ed the depths o f h is ow n bein g until h e has l o n g a go
hi t b o tto m.
L ike A nders o n H e m in gway s i m m ediate prede cess o rs

’
”
s o u ght f or the whit e w o nder o f li fe under their beds ;
“
H e m in gway and the g enerati o n whi ch he represents s o u g ht

, , ,
instead a kind o f bla ck L ethe ; tried t o fo r g et a b o ut life b y

,
co m plete physi cal i m m ersi o n in it ; and went t o sleep in
their beds wi th pleasantly p o tent j a gs o n .
F o r the o lder N aturalist cred o whi ch tended t o m ini m ize

the individual fo und crushin g co nfir m ati o n in a p o st W a r
,
-
s o ciety that in clined to anaesthetize h i m A n d so i t was that

.
whil e A nder s o n wa s tryin g t o ge t the li d o ff the well o f

“
I m
da m ned bad
’
for a re l i g i o us at m o sphere says

B rett A shley in T he Sun A lso R ises I ve the wr o n g type
“ ’
”
o f face
22
.
Wor ld p ess im ism a n d p e r so n a l che e r in ess F o r o n e thin g .

,
the fa ces o f the H e m in gway chara cters are usual l y hidden

by the m asks o f a certain kind o f hed o n is m whi ch su ccess
fully co vers up their true feelin g s t o ward the b itter n e s s and
futility o f life Y e t th o u g h these pe o ple thin k li fe futile
— .
and fail entirely in atte m ptin g t o adj ust the m selves t o i t

the y still d o n o t co m p l ain ab o ut i t L i k e the st o lid Indian .
i n Indian C a m p they m a y in m o re wa y s than o n e cu t their

“
, ,
thr o ats in the m idst o f the pain and d isillusi o n whi ch they
se e ab o ut the m ; nevertheless the y d o so always with an i m ,
”
passive k ind o f co ura g e and even wi th a k ind o f gra ce
“
F rederi c H enry o b serves o f o n e o f his friends : T here

was a great co ntrast between his w o r l d pessi m is m and per
” 23
s o nal cheeriness I thi n k this re m ar k apt ly chara cterizes
.
the m e n and w o m en in t h e H e m in gway b o o ks I t takes a .
lo t o f g in m any bu l l fi g h t s and m u ch fa cile dia l o g ue t o d o

,
-
,
the tri ck ; but the H e m in gway twenty sixers m aintain a l -

,
m o st a l wa y s their pers o nal cheeriness despite the w o rld pessi

,
m is m o f wh i ch the y are always co ns ci o us .
N o t ma de f t h i n ki n
g
or S u ch pers o nal cheeriness
. is po s
sib l e t o the m o nly be cause they d o n o t thin k T hey refuse .
t o thin k ; the y dare n o t think Y o u are b etter when yo u

“
.
” 24
d o n t thin k so deepl y
’
sa y s F rederi c A gain
, I lay d o wn .
” 25
o n the bed and tried t o k eep fr o m thinkin g A nd a gain .
,
I was no t m ade f o r thinkin g I w a s m ade t o eat Eat . .
In Win n e r T a ke
” 26
and drin k and sleep with C atherine
N o t h i n g we a r e t o ld o f Mr F razer : H e was thinkin g well
,
.
,
” 27
a little t o o wel l .
C o iti o n travelin g eatin g drinkin g fishin g b ull fi gh t in g

, , , , ,
-
all o f these thus b e co m e an o dynes — o piate s a gainst thinkin g ,

ER N E ST H E M I N G W AY 1 65
m eans satisfyin g appet i tes whi ch are never very co m plex

of .
F o r the H e m in g way chara cters d o n o t a s a ru l e have very , ,
p o werful hun gers : their needs are si m ple o nes satisfied by

their go in g d o wn t o S pain t o drink go urds o f cheap wine ,
o r by their takin g a m istress O ff t o red plushed bedr o o m s in -
M i l an h o tels F r o m this p o int o f view they are n o t v ery

.
,
satisfa cto rily hu m an ; they always fail si gnally in co m in g t o

any intelle ctual grips wi th life T heir e m o ti o ns o r i g i nate
.
in the navel .
I n em pha s1z 1n g all o f whi ch I m ean t o sa y o f co urse that

, , ,
E rnest H e m in gwa y has frequently failed t o m a k e the m o st

o f the m aterial at his disp o sal H e rej e cts. and this i s t o be
re gretted — t h e catharti c va l ue o f a ct 1 o n l n fav o r o f the uses ,
t o whi ch i t m a y b e put as an o piate H e has in h is hands a

.
b o ttle o f expl o sives ; he dilutes it int o an an o dyne W hen .

,
f o r exa m ple B rett A shley avera g es a l o ver a m o nth that i s

, ,
( o u se Mr H e m in way s idea ) turn i n the fla m e

’
no t t g . o w n g
d o wn I t is turn i n g it up 8 0 hi gh that it b e gins t o fli ck er
.
ou t !
L e t m e g ive but o n e o ther exa m ple : the m atter o f eatin g .
W hile his wife is in dan ger o us lab o r H enry spends so m u ch ,
ti m e runnin g o u t o f the h o spita l t o eat that he co m es in , ,
th o se pa g es very cl o se t o bein g co n v m cm g as a g o u r m e t
,
”
r a t h e r t h a n as a hu m an l o ver A g ain in A n A lpine I dyll
“
v
.
,
the s cene is se t in a Swiss tavern A m a ca b re st o ry has j u st

.
b een t o ld a b ou t a peasant w h o when his Wife had died had

, ,
kept her b o dy in a w o o d Shed f o r a wh o le winter :

-
whe n sh e d i ed I m ad e t h e r e po rt t o t h e co m m u n e a n d I
put her i n the sh ed a cr o ss t h e t o p o f t h e b ig wo od W hen I .
s t arte d to u se the b ig w o o d sh e w a s st i ff a n d I pu t her up ag ai nst

t h e w all H er m o u t h w a s O pe n a n d wh e n I ca m e i n t o t h e she d
.
”
at ni ght t o cu t up the b ig wo o d I h u n g t h e l a n tern fro m it
, .
23
T he y o un g Am eri can has o nly this co mm ent o n the st o ry

H o w a b o ut eatin g ? A n d his friend this rep l y : A ll
“
”
ri ght .
Ca ug ht o fi b a se pe o ple m a y have rather belyin g
. T hese
appetites and they certainly d o dis g uise their real feelin gs
under a veneer o f rapid and cl ever dia l o g ue N evertheless .
,
as I have alread y said they thin k l ife pred o m inant l y cruel

,
and deter m inisti c Y o u did n o t kn o w what i t w as a l l ab o ut

. .
Y o u never had ti m e t o learn T hey threw yo u in and t o l d .
yo u the rules and the first ti m e they c au g ht y o u o ff base they

”
killed yo u A n o ther chara cter says :
.
29
Y o u always feel
”
trapped bi o l o g i cally .
3 °
I n o ther w o rds yo u are b o und t o b e cau ght o ff b ase even

,
when yo u co m pr o m ise b y playi ng the ga m e — n o t with prin

ci les and ideas — b u t with t h e s o ft b all o f i m pulses Y
p o u -
.
are trapped b i o l o g i cally I had seen n o thin g sa cred and.

,
the thin gs that wer e gl o ri o us had n o gl o ry and the sa cri fi ces

were like the st o ckyards at C hi ca go if n o thin g w a s d o ne with
the m eat ex cept t o b ury i t A bstra ct w o rds su ch as gl o ry
.
,
h o n o r co ura g e o r hall o w were o b s cene beside the co n crete

, ,
na m es o f villa g es t h e nu m ber o f r o ads the na m es o f

, ,
”
river s. S u ch w a s the trap
3 1
.
O n ce i n ca m p I put a lo g o n t o p o f the fire a n d it w a s fu ll

o f ants A s it co m m en ced t o burn the ants swar m ed o u t a n d
.
,
went first toward the centre where the fire w a s ; then turn ed
back a n d ran t o ward the e nd W h en there were e n o u gh o n .
the end the y fe ll o ff i n to the fire I re m e m ber thi n k i n g at .
the ti m e that it w a s the en d o f the worl d a nd a sp l e ndid chan ce

t o be a m essiah a n d l ift t h e l o g o ff t h e fi re a n d thr o w it o u t
where the ants co u l d g e t o ff o n to the gro u n d B u t I did n o t .
d o an y thi n g but thro w a tin cu p o f water o n the l o g so t h at I ,
wo u l d h ave the cu p e m pt y t o put whis ke y i n befo re I ad ded

water to it I thi n k the cu p o f water o n the b u rni ng lo g o nly
.
stea m e d the ants

3 2
.
C lea n ing co n sci e n ce with

t o o t h b r u sh R inaldi the y o un g
a .
,
physi cian in the war n o vel up o n o n e o ccasi o n refers t o his ,
fr iend as always tryin g t o clean his co ns cien ce with a t oo th

“
b rush . I n the H e m in gway b o o ks the m o rality is a m u s

cu la r o n e — n O t o nly in i t s e xtre m e flexibili ty b ut in the way ,
S till ,i t is a ga m e T he hands are goo d o nes T here are
. .
many a ces in the pa ck B u t neither o f the t w o l o vers is at all

.
co ns ci o us o f any stake that m i ht m ake the playin w rth

g g o
while B efo re fallin g in l o ve with Catherine Fr ederi c had ,
said : N o b o dy had m enti o ned what the sta k es were I t .
was all ri ght wi th m e ” T hr o u gh o ut the wh o le aff air

.
8
neither m en ti o ns any real stakes — and b o th a r e co ntent

m erely t o play the ga m e — and o nly a ga m e — o f an irre
sp o nsible and passi o nat e relati o nship wi th ea ch o ther .
T h e centra l the m e o f the b o o k is the sto r y o f a S co t ch

nurse m ade i rresp o nsib l e b y heartbrea k a nd an A meri ca n s o l dier
appare n t ly irre sp o nsib l e b y nature go ing o n an irres po nsib l e
h o n e y m o o n and g etti n g awa y with it T hat i s the l eve l at whi ch
.
the sto r y w a s co n ceived a nd writte n a nd that i s i ts appea l : a

,
da ydrea m o f e x tre m e ero ti c i nd u l ge n ce div or ced fro m the o ther

no ri n a l hu m an e m o ti o ns and unto u che d b y the n o r m a l d i ffi cu l
ties and retributi o ns Y o u wi ll no ti ce that the circu m stances are
.
carefu lly ch o sen t o per m it co n ce n t rati o n o n an e x cl usive ly er o ti c
re l ati o n the beautifu l passi o n ate hero ine s l i ght ly h ysteri ca l a n d

, ,
wh o lly dev o ted to bei ng a perfe ct m istre ss the handso m e stro ng , ,

”
brave hero a ga ll a n t o ffi cer in the servi ce o f a fo rei gn arm y a
, ,
p o pu l ar h e m a n with m e n and pro m pt ly a d ored b y wo m en ; a

-
°
forei g n co u n tr y a nd a forei g n co u n try in the e x cepti o na l co ndi

,
ti o n s o f war f are ; a w o u n d j ust su ffi cient to co nfi ne the her o

with o ut cripp l ing h im whi l e t h e hero ine s o ccupati o n o f nurse
,
’
pro vides the circu mstan ces as cribed b y Shaw to m arriage : the “
m ax i m u m o f te m ptati o n co m bi n ed with the m a x i mu m o f o ppo r

”
tunit y ; the absen ce o f respo nsibi l ities but the co nstant ex cite
m ent o f da n ger ; a rel ati o n o utside the la w a n d a l m o st entire ly
divo rced fro m an y o ther hu m an contacts th e few friendships ,
bei n g superfi cia l a n d gradua lly e l i m inated unti l the co upl e is in

co m p l ete is o l ati o n
3 9
.
A ll o f whi ch m akes f o r s o m e e x c1 t 1 n g m o m ents b ut n o t ,
f o r what the pu b lishers ter m a l o ve co n ceived in the m u ck

o f w a r whi ch e v o lves int o b eauty . I had s een n o thin g
sacred and the thin gs that were gl o ri o us had n o gl o ry and
,
the sa crifi ce s were like the st o ckyards at Chi ca go .

4°
W hate v er m erits A F a r e we ll to A r ms h a s i t at lea s t d o e s no t

,
ER N E ST H E M I N G WA Y 1 69
Offer a co nvin cin g p o rtrayal o f a l o ve that h as any gl o ry o f a ,
l o v e that ev o lves int o beauty T he l o ve o f C atherine and

.
F rederi c Often b e co m es so dehu m anized a s a m atter o f fa ct , ,
”
that i t peril o usly ver ges O ff int o o nly an o b s cene j o ke .
Freed o m h a s co m e but with it a certain l essened sense o f the

,
i mp o rta nce o f the pa ssi o ns that are thus free ly indu l ged ; and ,
if l o ve h a s co m e t o be l ess o fte n a si n it h a s co m e a l s o t o be l ess

,
o ften a supre m e
p r i vi l e g e If.o n e tur n s t o the s m arter o f th o se
n o ve l i st s w ho d es cri b e t h e d o i n gs o f t he m o re a d va nce d set o f

th o se w ho are e x peri m enti ng w ith l ife t o f o r ex a m p l e M r -
, , .
Al d o us H ux l e y o r M r Ernest e mi gwa y o n e wi ll disco ver in

. H n —
their tra gi c farces the pi cture o f a so ciet y whi ch i s at bo tt o m in
despair be cau se th ou g h it is m ore co m pl ete ly abs orbed i n the
,
pursuit o f l ove tha n i n a n y thi ng e l se it h a s l o st the sense O f a ny

,
u l ti m a te i m p o rta nce i n here n t in t h e e x perience wh i ch pr eo ccu

pies i t t o ta k e a per f e ct ly co n crete e x a m p l e a co n cl u si o n ,
w hi ch d o es n o m o re than bri n g a m a n and w o m an into co m p l ete

p o ssessi o n o f o n e ano ther i s a m ere batho s whi ch d o es n o thing
e x cept l eg iti m ate ly pro vo ke the co m m ent I Vell wh at o f it ,
'
,
41
li fe isn t v ery hard t o m ana ge when y o u v e n o thin g

’ ’
”
t o l o se,
42
says o n e o f the H e m in gway m e n Can anythin g .
in cludin g l o ve — see m w or t h m ana g in g when yo u have n o th

i n g t o l o se ? All o f whi ch is an o ther way o f sayin g that the
l o ve aff air in A F a r e we ll to A r m s fails t o assu m e m any o f the
tra g i c pr o po rti o ns that are i m plici t in it .
T he ea r t h a b ide t h . \
i thV
few ex cepti o ns su ch as the —
cl o sin pa es f the war n vel — E rnest H e m in way s m st ’
g g o o
g o
sterlin g qualities as a writer are to b e fo und I sh o uld say , ,
in what we m i ght call h i s m en with o ut w o m en w o rk I n

- -
.
his pa ges l o ve and w o m en m a y at ti m es b e co m e o nl y the

su bj e ct o f an Obs cene j o ke t h e m o re usual a ctivities o f
m en h o wever he des cribes with an unfa ilin g fe cundity o f

, ,
inventive and co nvin cin g detail .
T he tawdry bedr o o m s cenes in a M ilan h o tel L ady A shley ,
d a n g l in g a su ccessi o n o f l o vers a y o un g m a n tryin g t o per

,
1
suade hi s m istress to have an ab o rti o n — these thin gs I d o
n o t b elieve w e l o n g re m e m b er as the Stu ff o f literature On .
the o ther hand the C ap o rett o retreat ; a m atad o r desperately

,
tryin g t o re gain h i s na m e in the arena ; snat ches o f co nversa

ti o n at an A r m y m ess — these thin gs I d o n o t thin k we ca n
s o o n fo r g et a s the stu ff o f life .
I n a sense therefo re i t m i ght b e said that this sp o kes m an

, ,
.
f o r his g enerati o n has d o ne his be st w o rk when he h a s n o t

T
sp o ken f o r his generati o n at all W hile the generati o ns .
pass the earth abides ; and Mr H e m in gway endures b est

, .
when he abides with it F l o cks o f dark s m all gr ebes trailin g

.
,
thr o u gh the water ; the n o stal g ia that all m e n in fo rei gn

lands m ust feel when the ele ctri c li ghts co m e o n t w o hearted -
rivers that fl o w by o ne s ca m p in the n 1 gh t ; the inarticulate

’
g r ief in whi ch o verwhe l m ed ,by the death o f o n e he l o ves ,
a m a n cl o ses a stran ge d o o r t o wa lk ba ck t o his h o tel in the

”
rain ; an atte m pt in the m idst o f a l o st generati o n t o po s
, ,
”
sess o ne s s o ul as an o ther an gler a great o n e — did s o m e
’
—
three hundred year s a go

W hi l e I evera l tro ut had j u mped at the fa ll s
h a d h im on, s .
A s s o o n a s I b a i t e d u p a n d d ro pped in ag ai n I h o o k ed an o ther
a n d br o u g h t h i m i n t h e sa m e w a
y I n a l itt l e whi l e I had.si x .
T h e y w ere a ll ab o u t t h e sa m e S i z e I l ai d th e m o u t side b y .
,
side all th eir h ea d s po m t i ng the sa m e w a y a n d l o o k ed at the m

, , .
T h e y were beauti f u lly co l ore d a n d fi r m a n d h ard fr o m the co l d

w a ter It w a s a ho t da y so I s l it t h em a ll a n d shu ck ed o u t th e
.
,
‘
i n si d e s g i ll s a nd a ll a n d t o ssed the m o ver a cro ss the river I

, , .
t o o k t h e tro ut a sh ore wash ed t he m i n the co l d s m oo th ly heav y

, ,
water ab o ve the d a m a nd t h en pi ck ed so m e f er n s a nd pa cke d

,
the m a ll i n the b a g three t ro ut o n a l a yer o f f er ns the n an o ther

, ,
l a yer o f fern s then three mo re tro ut a n d th en co vered them with

, ,
f er ns T he y l o o k ed m ce in t h e f ern s a n d n o w the b a g w a s
.
,
bu lky a n d I put it i n the Shade o f the tree ” .

,
these thin gs d o n o t speak f o r any o f the generati o ns that

-
pass T hey re m ain ; and what is built up o n the m will

.
endure .
1
H is b o o ks have s o m eti m es had an echo m e tr ic desi gn that has
m ade the m cat ch up t o o easily Miss S tein s repetiti o us
’
phrases dra b m o n o t o nes sheer e ch o lali c passa ges fo ur letter

, , ,
-
w o rds and o verly fr equen t pr o n o uns

, .
L e t m e hasten t o add h o wever that this i m it ativeness has

, ,
seld o m l o n g prevailed a gainst H e m in gway s o ri ginalit y and ’
individuali ty S een in their pr o pe r sequen ce his v o lu m es

.
,
indi cate a styl isti c gro wth that is dis cernible despite ev en his
i m itati o ns I n G r e e n H i lls of A fr ica f o r exa m ple the sen
.
, ,
t e n ce s are l o n g er than in any previ o us b o o k ; there is less
m o n o t o ny o f style and a m o re wide l y varie gated pattern in

the th o u ght .
E rnest H e m in gway s g enius is t o o individual and t oo o ri g i

’
na l f o r h i m t o co ntent h 1 m se lf f o r very l o n g with m ere b or

r o win g when he has so m u ch capital o f hi s o w n ; in m atters
o f style h e need n o t depend up o n h i s g o d m o ther any l o n er
g .
O n e p o int o f view h o wever he m i ght have b o rr o wed f r o m

, ,
her with pr o fit I dislike the abn o r m al says M iss S tein b e

.
, ,
cause i t is SO o bvi o us
’
.
CH AP T E R VI I
7 O H N DOS P ASS O S AN D TH E
M O D E RN D I S TE M P E R
As o ne who re g ards hi m se l f neither a s a pessi m i st n or al to

ether a s a n i n co m o o p I have been su ccessive ly ab a she d ru ffl ed
g p , , ,
and bewi l dered b y the cheerfu l cho rus o f despair u n ti l a l ittl e

readi n g a nd a l itt l e m e d ita ti o n have co nvi n ced m e tha t the Si n g
er s swe ll i n g the ch o r u s d o n o t k n o w the m e a n i n g o f the w o rd s
‘
o f the o rat o ri o a s th o u h t h e r e it er a t ed A ll w e e e l i k e sheep
’
g
- -
, ,
w ere a h y m n i n prai se o f m u t t o n . A s I u n d er sta nd the m

‘
t h e h ea l th y pe ssi m ist i s n o t a pe smm i st at a ll but si m p ly
’
t h e t y pe o f D i o ge n es w h o thi nk s t hat he i s wi ll i n g t o se e w h at h i s
l a n tern revea l s a l tho u gh h e m u ch prefers to see the thi n gs that
,
h i d e i n dark n e ss a n d th a t are reve a l e d o n ly b y arti fi cia l l i ght .
S o m e C o n te mp o r a r y A m e r ica n s b y P er cy H B o y nt o n P
, . . .
1
hi s prea chin g the curtain had run g d o wn up o n h im ; and
,
the sp o tli ght was turned up o n B enj a m in F ranklin sy mb o l ,
and ap o stl e o f a m o re h o peful literary and ec o n o m i c o rder .
D urin g the ei g hteenth century then A m eri ca w a s refle cted , ,
in o u r literature as a land o f pr om is e I n the w o rds o f .
Cr eve coeur m e n then fo und that E v erythin g tended t o

,
r e g enerate the m ; n ew laws a new m o de o f livin g a n ew

, ,
s ocial syste m ; here they a r e b ec o me m en ”

A n d i n the .
2
x
earl y nineteen th cen tury under the i m pa ct o f the French

,
R ev o l uti o n n ew a grarian ideas and n ew de m o crati c im

, ,
pulses this sa m e tradi ti o n o f o pti m is m re ceived an i m petus

,
whi ch sustained i t f o r at lea s t ei ght or nine decades .
S h o rtly after the fi n d e s i e cle h o wever o u r literary co m

’
, ,
plexi o n underwen t a n o ti ceable chan ge T h e pessi m is m o f .
the O ld W o rld — r e fl ect e d in the w o rk o f I bsen S uder m ann , ,
S trindber g and H ,aupt m ann — b e g an t o fi lter int o o u r liter
o —
ary c ns ci o usn ess ; the R ussians espe cially G o rki Chekh o v , ,
and T o lst o y — s o o n b e gan t o lend a s o m b re co l o r t o o u r

letters that is Often indi s tin g uisha b le fr o m the darker shades
o f defeatis m .
N iet z sche s the o ry o f the s uper m an F reud s studie s o f neu

’ ’
r o ses the w ork o f the F ren ch N aturalists the later frankly

, ,
pessi m isti c phil o s o phy o f S pen gler and t h e s o m b re writin g

o f that reat artist T h o m as Mann — such were b ut a few o f
g ,
the fo rei gn in fluen ce s which helped b rin g ab o ut a certain

pessi m is m b y causin g us t o fo cus o u r attenti o n up o n hu m an
fai l ures the m isfits o f s o ciety the j a gged and l oo s e ends
, ,
o f life that are b o und t o dan g le in a d e t er m i n i st l c w o rld .
AS the de cades passed there were als o o f c o urse o ther , ,
influen ces at w o rk N ew e co n o m i c pr o ble m s clas s stru ggles

.
, ,
an intensi fyin g o f racial prej udi ces m at erialis m and greed , ,
h i loso h of ru ed individualis m the re i m entati n

“
our
p p y gg g o
'
and expl o itati o n o f life under the new industrial o rder the ,
W a r wi th its deba cle o f de m o lished hu m an v alues the dis m ay ,
o f m ankind at findin itself suddenly adrift with ut s m any

g o o
JO H N D O S P ASSO S 1
77
of i ts o lder ideals the call o wness o f the yo un ger genera
,
ti o n and a l l o f its ne gati o ns all o f these co ntributed

— ,
o b vi o usly t o that spiri t o f defeatis m whi ch m akes m any o f

,
o u r co nte m p o rary n o vel s see m li k e n o thin g but v ast dial o g ues
o f disco ntent .
F o r hu m an life after all was a wearis o m e co mm o n

“
, ,
refle cts Va r d is F isher s Vr i d a r H unter

“
pla ce L i fe
’
.
is a b ig j o ke R es es t sa cr a m iser says the sa m e auth o r s

’
.
,
B e cky H a m m o nd G o d saw that H e had bl undered and

.
”
t o help us endure H is m istake H e g ave us gi n o bserves
5
,
an o ther o n e o f the F isher chara cters L ife i s o nly an eva .
si o n o f death ”
de clares W i l lia m S ar o y an I t is but a
,
6
.
“
tawdry pant o m i m e a p o urin g o f bl o o d a grapplin g ,
”
with shad o ws a di ggin g o f graves a cco rdin g t o B e n H e cht s ,
7
’
E rik D o rn the reas o n f o r livin g was t o ge t ready t o

”
sta y dead a l o n g ti m e s o lil o quizes o n e o f the F aulkner
,
8
w o m en .
“
L ife is a da m ned m uddle a fo o t b all ga m e with
ever y o ne o ffside and the referee g o tten rid o f cries
A m o ry B laine in F S co tt F i tz g era l d s T h is S i d e o f P a r a d ise

’
. .
I t is j ust a l o n g drawn o u t lie with a sn ifll i n g si gh at the

“
”
end ,
insists N ina L eeds in S t r a n g e I n t er lu d e L ife was
1°
.
a prett y heavy thin g that thinned o ne s fa ce and fell like a ’
”
lu m p o n o ne s sh o ulders ’
say s o n e o f th e chara cters in

,
11
Ja m es T F arrell s G u illo t in e P a r t y while the sa m e auth o r s

.
’ ’
S tuds L o ni gan early in life de cided that the w o rld was “
l o usy .
”
“
I t is so easy t o fo r get that there s any jo y at all in li fe ’
,
13
de cides A ndrews in T hr e e S o ld i e r s o n e o f the earliest D o s ,
P ass o s n o vels O f his Jasper P enny J o seph H er geshei m er

.
says h o w h o ll o w livin g see m ed ! H e had m issed

s o m ethin g ; o r else existen ce was an u gly de cepti o n the false ,
”
lure o f an in co m prehensi b le j est .
14
”
T h e essential thin g in life is hate
“
su ch is the o pini o n 15
o f o n e o f C o nrad A iken s m e n A n d the sa m e o pini o n is

’
.
1
e ch o ed b y s u ch o f R o b ins o n J e ff ers chara cters as F era wh o ’
”
in C a w d o r says : T his m ust b e life thi s h o t pain
,
“
(I t , .
16
will b e re called that N ietzs che th o u ght life go o d o nly b e ca u se

it is so painful ! )
I n Sherw o o d A nders o n s Win es b u r g O hi o H a l W inters
’
w o nders if a m a n has go t to b e harnes s ed up and dri v en

“
”
thr o u gh li fe li k e a h o rs e O f t w o o f the pe o ple in L o uis
.
17
B r o m fi eld s A G o o d Wo m a n i t i s s aid that they had tried

’
t o e s cape fr o m a life whi ch cir cu m stan ces o r fate had m ade

”
t o o cruel f o r the m t o bear A n d in H elen H ull s M o r n
’
18
.
i ng S ho ws the D a y o n e o f t he central fi g ures o ffers u s this

O b servati o n o n life : I m p o ssi b le to s ee the end i m p o ssi b le
“
”
t o turn b a ck a l o n g o n e way street - 19
.
,
T O Mar garet B ade in R o b ert N athan s A u t u m n life see m s

’
, ,
t o b e j ust so m uch spilt m ilk t o a character in G l e n wa y

“
W esco tt s T he A pp le o f the E ye i t appears that the o nly

’
”
A n d finally
“
purp o se in livin g is t o go o n j ust t o go o n , .
I t i s o n e o f F reud s quain t c o n ceits that the child in its

’
”
m o ther s w o m b i s the happiest o f livin g creatures
’
So .
2°
wr 1 t es J o s eph W o o d K rut ch in h i s T he M o d e r n T e mp er
an ex cellent s tudy o f what is n o t so m uch a m o dern te m per ,
as a m o dern d iste m per .
F o r a s refle cted in at least an appallin gly lar g e nu m b er o f

,
o u r co nte m p o rary n o v els ,

—
it is a diste m per a b ad state o f
m ind ; and i t w o uld b e p o s s i b le o f co urse f o r any reader , ,
o f pr esen t day fi cti o n t o draw u p an indefinitely l o n g list o f

-
such qu o tati o n s as I ha v e g i v en t o pr o v e the po int , .
Q ue s ti o ns co nfr o nt o u r a ge t o day as have co nfr o nted f e w ,
a ges b efo re ; and o u r n o velists ha v e pre occupied the m selves

wi th a lar g e shar e o f these que s ti o ns Bu t o n e c o uld c o unt
“
o n the fin g ers o f o n e hand th o se o f the m w h o have co m e t o
real grips wi th m o dern pr o b le m s who ha v e n o t either entered ,
the fi ght with a pretty ill hu m o r t o b e g in with o r e m er ged

-
,
fr o m it in an even w o rs e state o f m ind that Of the defeati s t .
O n e is al m o st in clined t o in clude Mr J o hn D o s P ass o s .

O M an I n i t ia t o n
the i
first D — P ass o s n o vel
’
ne s 9 7 o s 1 1 , ,
appeared in 1 9 2 0 I t i s the st o ry o f the a m bulan ce dr iv er

.
,
Martin H o we and his co m pani o ns ; and is like the early

, ,
H a rva r d M o n t h ly article an indi ct m ent o f o u r a ge : o f all

“
this cant o f go vern m ents and this reiterati o n o f hatreds , ,
o f the w a y in whi ch the resilien cy o f hu m an life is rapidly

“
bein g crushed under o r ganizati o n tabu lati o n

“
T he a n , .
swer Mr D o s P ass o s says lies in o u r see k in g a d iso r ga n i z a

, .
,
ti o n rather than an o r gan i zat i o n o f the present s o cial o rder

, , .
T hr e e S o ld i e r s (1 9 2 i ) is in m any respe cts a classi c that

sh o uld be co m pared wi th Crane s T he R e d B a dg e of C o u r a g e ’
espe cially f o r the w a y in whi ch like the latter n o vel i t , ,
e m phasizes the deter m inistic way in whi ch war redu ces m en

t o m ere aut o m ata and slaves T hey treat yo u like yo u was
“
.
”
a steer b ein g taken o ver f o r m eat says o n e o f the s o ldiers ,
21
.
A n d F uselli o n e o f the o ther m e n thinks o f

, t h e feelin g ,
he had o f bein g l o st in the m a chine o f bein g as helpless ,
”
as a sheep in a fl o ck T here was the endless su ccessi o n
.
22
o f the da y s all alike all su b j e ct t o o rders t o the inter m inable

, , ,
m o n o t o ny o f drills and l ine ups H e felt he co uldn t go

’
-
.
on , yet h e knew that he m ust and w o uld go on that ther e ,
w a s n o st o ppin g that his feet w o uld go o n beatin g in ti m e

,
”
t o the steps o f the tread m i l l
23
.
C au ght up o n this tread m ill then are three s o ldiers , , ,
ea ch s k ilfully sele cted b e cause o f his te m pera m ent t o refle ct

, ,
s o m e di ff erent aspe ct o f the h o rr o rs experien ced by th o usands

o f o ther s o ldiers F uselli the y o un g I talian f r o m S a n F ran
.
,
c is co drea m s o f h is g irl ba ck h o m e ; patheti ca l ly h o pes f o r a

,
co rp o ral s ratin g f o r her sa k e ; and i s destined by his o w n

’
te m pera m ent t o failure C hr i sfi e ld fro m Indiana is m o re

, .
, ,
st o lid bu t als o mo re un co m pr o m isin gly intense and m o re

,
i m pla ca b le in his hatred o f the cruelty a b o ut h i m he finally

kills an Offi cer w ho h a s insulted h im and be co m es a deserter , .
A ndrews i s the m o st sensiti v e o f the three ; and i t is

thr o u gh him chiefly I think that the arti s t and the ae s thet e
, ,
JO HN D o s P A SSO S 1
in Mr D o s P ass o s seek t o be co m e articulate F o r m erly a

.
,
.
m usi cian A ndrews l o ngs f o r the end o f the W a r that he

,
m i ght return t o N ew Y o rk t o study m usi c H e is w o unded .

,
sent b a ck fi nally fr o m the h o spital t o his deta ch m ent ; and

m ana ges after the A r m isti ce t o g e t a travelin g o rder e n
, ,
ablin g him t o stud y at the Sch o l a C ant o ru m in R o m e .
B u t when the M P s cat ch h i m at Chartres t o whi ch he

’
. .
had go ne o n a day s o utin g with a g irl fr o m P aris — and find

’
h i m with o ut his per m i ts they kn o ck him d o wn a n d haul , ,
h im Off t o a lab o r b attali o n with o ut g ivin g hi m a chan ce t o

co m m uni cate with the o fli ce r s o f his S ch o o l D eta ch m ent .
A ndrews es capes and like C hr isfi e ld be co m es a deserter

, , .
I think n o reader will b la m e h im after readin g a b o ut the ,
p o werfully des cribed and un m iti gated brutalities he had

b een m ade t o suffer A lways he had tried t o keep his o w n .
individuality and a sense o f th e i nv i o labi l ity o f his w o rth as

a hu m an bein g H e m ust n o t let hi m se l f sink t o o deeply
.
int o the helpless m entality o f the s o l dier H e m ust k eep .
”
his will p o wer .
24
B u t t h e syste m had b een a gainst hi m I t was the sta g

“
.
nati o n o f the life a b o ut h im that he fe l t sin k in g int o every

crevi ce o f his spirit so that he co uld never Sha k e i t o ff
, the ,
sta gnati o n o f dusty ruined aut o m at o ns that had l o st a l l life

Of thei r o w n wh o se li m bs had pra ctised the drill m anual
,
”
so l o n g that they had n o m o ve m ents o f their o w n left
25
.
Men had b een turned int o du m b beasts : Y o u ve go t t o “ ’
turn m e n int o beasts befo re ye ca n g e t e m t oa ct that way ’
”
E ver read T o lst o i ? A n d at the end o f the n o vel An26
, ,
drews t o o has really ad m i tted inevita b le defeat

, , ev en b e “
fo re he is apprehended as a des erter , and carried away t o the

fate we kn o w awaits h i m T here is an undenia b le r o b ust .
ness o f style in this b o o k a h o m ely natural quality o f spee ch , , ,
a great deal o f p o wer and even a kind o f b eauty wistful , , ,
t ender and s i m ple

, .
A fter the v o lu m e o f v erse e ntitled A P u shcar t a t t he C u r b

i 82 LU C IFER AT LAR G E
Mr . D o s P ass o s b r o u ght
a b o o k o f essa y s R osi ou t ,
n a n t e t o t he R o a d A g a i n and a se co nd n o vel S t r e e ts ,
of N i h t f
“
g an es capist st o ry o
“
the y o un g er g enera
”
ti o n whi ch is so m u ch in the nature o f a po t b o iler as t o -
have n o si g ni fi can ce f o r the purp o ses o f m y dis cussi o n .
M a n ha tt a n T r a nsf e r h o wever i s co mm o nly co n ,
sid er e d o n e o f hi s best b o o k s F ul fi l l in g s o m ewhat Mr . .
S ar o yan s defin iti o n o f a n o v el a s a thin g o f m any fra g

’ “
m ents ,i t present s a co m p o sit e picture o f li fe in N ew

Y o rk City fr o m 1 8 9 8 t o a b o ut the m iddle o f the se co nd
de cade o f o u r o w n century T h e title o f the b o o k is derived
.
fr o m the Manhattan T ransfer where E llen and her husband

have t o chan ge trains o n their w a y t o A tlanti c City f or their
h o ney m o o n ; and E llen T hatcher and o n e o f her hu sbands ,
J i mm y H er f m i ght be co nsidered the central chara cters in

,
the rapid s eries o f p o rtrai ts drawn f o r us F urther m o re n o .

,
”
two snaps o f the sa m e chara cters are ever g iven in i m m e d i
“
ate su ccessi o n ; alth o u gh i t i s p o ssi b le t o p ie ce t o gether the

eneral st o ries o f their live s fr o m the vari o us fa c ts that we
g
are a b le t o gather fr o m the f requently interrupted narratives .
T here is B u d K o r pe nn i n g w h o has co m e t o N e w Y o rk
after runnin g away fr o m a father w ho had whipped h im until
h is ba ck had be co m e a welter o f s cars B u d tries vainly t o .
ob fl o uses and finally j u m ps O ff B r o o k

g e t a j frequents , o
p h -
,
lyn B rid ge E d T hat cher a p o o r a cco untan t in the first

.
,
part o f the n ovel later retires in fairly co m fo rtable circu m

,
stan ces H is dau ghter E llen gr o w s u p and i s m arried three

.
,
ti m es : fi rst t o O gleth o rpe the a ct o r ; se co ndly t o the news

, ,
paper m a n Ji mm y H e r f and finally t o the lawyer G e o r ge

, , , ,
B aldwin .
B u t ther e are m any o ther chara cters T here i s the m ilk .
m a n Gus M cN e il w h o is hi t by a tr o l ley and w h o g ets

, ,
B aldwin t o c o lle ct lar g e da m a g es f o r h i m T here is D ut ch .
R o berts o n w h o ret u rns fr o m the W a r and tries t o g e t a jo b

,
that he m i ght m arry his g irl ; w ho turns h o ld u p m a n at -

,
A f et o r of s l eep seepe d o u t f ro m t he b l o ck s o f
m a t tresse s a nd
narro w wi nd owed h o uses A l o ng the gutters g a r b a geca n s stank

-
.
s o urly In the shad o w o f a d o o rwa y a m a n a n d gir l swa yed

.
ti ght ly cl a m ped in ea ch o ther s arm s S a y i n g go o d ni ght E ll en ’
. .
s m i l ed happi ly G reatest hit o n B ro a dwa y T h e w o rds were

. .
an e l evat o r carryi ng h er up dizzi ly up i n to s o m e stat e ly hei ght ,
where e l e ctri c l i ght Si g ns cra ckl e d s carl et a n d go l d a nd green ,
where were bright r o o f g ar d e n s that s m e ll ed o f o rchids a n d the ,
s l ow thro b o f a ta ng o dan ced in a g o ld gr een dre ss with S tan

whi l e h and cl apping o f m i ll i o ns beat in gusts l i ke a hai l storm
ab o ut them . .
28
S u gg estive Crane als o are su ch b its o f i m pressi o nis m as

of , ,
the fo ll o win g : T h e new b o rn b a b y squir m ed in the co tt o n

“
”
w o o l fee b ly like a kn o t o f earthw o rm s T h e r a in d a r k .
29
h o uses heaved o n ei ther side H e wal k ed o n fast

“
.
splashin g thr o u gh puddles full o f sky D rippin g wi th

“
3 1
.
”
a tan go the r o adh o use m e l ted pin k li k e a b l o ck o f i ce crea m .
3 2
T h e teleph o ne rea ched o u t shiverin g beady tenta cle s o f

”
s o und . A n d finally
3 3
B ri ght fla k es o f cl o ud were s calin g
,
o ff a sky o f crushin
g indi g o o ver t h e B attery .
As a m atter o f fa ct the wh o le gr o undw o r k f o r D o s P ass o s

’
later te chni cal experi m ents i s really laid in M a n ha tt a n T r a ns

f e r. A s in his su cc eedin g n o vels he here co m bines w o rds ,
“ ” ”
to t certain effe cts u t t co lo r d l ki n
g e p y sa cr e o o
g , ,
"
su er cil super cili o sity
p
-
H e uses newspaper headlines t o
.
establish the ti m e o f certain o f his epis o des :

M O RT ON S I G N S T HE G R E A TE R N E W Y O R K B i L L 3 5
To a chieve an atm o sphere o f co nte m p o rane o usness he e m

pl o ys newspaper clippin gs s o n gs played in ni ght clubs m er ,
-
,
ch a n d i se li sts and tele gra m s ; and t o g ive a ccelerati o n and

,
tenseness t o th e style he m akes use o f su ch sharpl y clipped

,
senten ces as this : P r o pped with five pi l l o ws in the m iddle

“
o f his wide co l o nial m ah o gany b ed with pineapples o n the
p o sts P hineas P B la ck head his fa ce purple a s h i s Silk

.
dressin g go wn sa t up and cursed F inally h e in tr o du ce s .

,
JO H N D O S P A SS O S 1 85
pr o se p o e m s a s a m eans o f p o intin g t he i m p o rt o f hi s
vari o us chapters T his o ne f o r exa m ple head s the chapter
.
, ,
”
entitled T h e B urthen o f N ine v eh
“
S eep i ng i n r ed tw i lig h t ou t o f the G u l f S tr ea m f og ,

t hr o b b i ng
b r ass thr o a t t ha t ho w ls thr o u g h the s tifi -
fi ng er e d s tr e e ts, p r y i ng
o pen g la z ed
y e f y
es o , s k scr a p er s sp la sh in g
lea d o n t he g i r r ed
d e r e d th ig hs of th e fiv e b r i dg es, tea s i ng ca te r wa u li ng tu g b oa ts
i n to he a t u n d er the t opp li ng sm o ke tr e es of the ha r b o r .
S p r i ng p u cke r i ng o u r m o u ths, sp r i ng g iv i ng u s g o oseflesh

r o ws i a n t ic o u t of the d r o n i n of s i r e ns, cr a s hes w i th e n or
g g g g
mo u s sca r i n
g d i n t h r o u h th e ha lte d tr a fii c, b e tw e e n
g t
a t e n tiv e
f r oz e n t ip t oe b lo cks 3 7
.
I n the interests readers ti m e let m e o m i t a di s

of my
’
cu ssi o n o f t h e t w o plays entitled T he G ar b a e M a n (1 9 2 6)

g
and A ir ways I n c (1 9 2 8 ) as well as o f the t w o co lle cti o n s o f
,
.
essays called O r i e n t E x p r ess (1 9 2 7 ) and I n A ll C o u n t r i es

( 1 9 84
)
T he 4 2 n d P a r a lle l 9 9 and the1 re c ently
1
pu b lished T he B ig M o n ey ( 1 9 3 6 co nstitute a tril o gy which

)
supp o sedly represen t s the b est w o rk J o hn D o s P ass o s has yet
g i v en us I n .
g eneral the s e v o lu m es are
, intended t o cut
thr o u gh representative se cti o ns o f A m eri can life be g inn in g ,
at a b o ut the Openin g o f o u r century in m uch the sa m e m a n ,
ner tha t certain st o r m s fo ll o w three paths o r tra ck s fr o m

“
the R o cky M o untain s to the A tlanti c O cean o f whi ch the

central tra cin
g r o u g hly co rresp o nds with th e 4 2 md par all e l
o f lati tude .
L ike M a n ha tt a n T ra nsf er these three n o v els d o n o t have

what we co mm on ly ca l l pl o ts Instead they o ffer a series .
,
o f f requently interrupted narratives and a th o usand char

”
a cter flashes whi ch m ust b e pie ced t o gether at t h e end o f
“
the b oo ks in o rder t o g e t a co m p o site pi cture o f the m any !
sided and inv o lved pattern o f tee m in g life whi ch they a t

te m pt t o su ggest rather than depi ct
, .
T he 4 o n d P a r a lle l tell s u s o f such pe o ple a s F a iny

M cC r ea r y wh o s e early surr o undin gs and life can b e b e s t
,
su gge s ted b y this passa g e of Crane like reali s m :

-
W hen the wind se t the si l ver fa ct ories a cro ss the river the
f ro m .
air o f the gre y f o u r f a mily fram e ho use where F a i ny M ccrear y .
w a s b o rn w a s ch o k ing a ll da y with the s m e ll o f w h a leo il s o ap .
O ther da y s i t s me l t o f cabbage a n d babies a n d M r s M cC r ear y s

’
.
w a sh b o iler s F a i n y co u l d neve r p l a y at h o m e be cause P o p a

.
,
l am e cav echest ed m a n with a w h i spy b lo nd egr ey m u stache w a s ,
ni ghtwatch m an at the C hadwi ck M i ll s and s l ept a ll da y I t was .
o n ly r o un d five o cl o ck t hat a cur l ing whi ff o f t o ba cco s mo k e

’
wo u l d seep thro ugh fro m the fro nt roo m into the k it chen T hat .
wa s a Si g n that P o p w a s up and in go o d spirits and w o u l d s o o n

be wantin g his supper .
T hen F a i n y w o u l d be sent running o u t t o o n e o f two corners

o f the sh ort m udd y street o f identi ca l f ra m e h o uses where they
lived .
T o the ri ght it w a s ha l f a b l o ck t o Fin l e y s where he wo u l d

’
have to wait at the bar in a fo rest o f m u d spla tt er ed tr o u ser legs

unti l a ll the ran k braw l ing mo uths o f grownups h a d been
sto pped with beers a n d whisk e ys T hen he wo u l d walk ho me
-
.
,
m a k i ng ea ch step ver y carefu lly with the hand l e o f the pa d o f

,
suds cutting into hi s hand .

3 9
I t chr o ni cle s the career o f J W ard M o reh o u s e — wh o m we

.
are later to m eet as a fa mo us P u b lic R elati o ns C o un s el I t .
intr o duce s u s t o M o reh o use s wife t h e wealthy Gertrude

’
S taple and his f riend E lean o r S t o ddard

, , I t tra ces in de .
tail the aff air s o f M oreh o u s e s s ecr etary the b l o nd Janey

’
W illia m s ; tells o f t h e v ar i o us j o bs s he had had b efo re co m

i ng t o w o rk f o r M o reh o use and g ives m u ch attenti o n to
her tr o u b les in av o idin g the me n w h o are c o ntinually tr y in g
t o s edu ce her T here a r e chapters al s o o n o n e o f E lean o r
.
, ,
S t o ddard s friends E v eline H utchin s ; and a co ncludin g o n e

’
o n Charley A nders o n w ho w o rk s f o r a while f o r his b r o ther

'
in M innes o ta m akes quit e a b u s ine s s o f sedu cin g v ari o u s

,
n o t v ery reluctant w o m en and finally lea v es f o r th e W a r

, .
1 9 1 9 c o n t inue s the s e sharply etched p o rtraits and in tro ,

the sa m e fifteen m inutes she surrenders herself first to her , ,
leadin g m a n and then t o her dire ct o r

, , .
T h e o nly chara cters in the b o o k as a m atter o f fa ct w h o , ,
see m t o see anythin g w o rth fi ghtin g f o r ex cept m o ney and »
a widely distributed se x l ife are Mary F ren ch the s o cial , ,
w o rker and her C o m rade co m pani o n ; and even they are

,
“
n o t near ly so e ff e ctively drawn as they m i ht be be cause they

g
are i m pelled chiefl y b y a co nfused e m o ti o nalism t hat spends
”
i tse l f in pi ck et l ines distributin g C o m rade literature and
,
“
g ettin g hit o n the head by l ab o r p o li ce .
I t is Mary F ren ch I think ; w h o g ives t o the n o vel what

,
ever co n trast i t i s m ean t t o a chieve : that b etween the lives

l ed b y B i g M o ne y pe o ple and the lives led b y the p o o r ,
.
T h e f o o d the y waste and the m o ney they waste while o u r

“
pe o ple starve in tarpaper barra cks I m si ck o f this

’
parasite life . B u t Mr D o s P ass o s has m ade this

4°
.
parasite life so attra ctive t o te l l the truth that the balan ce , ,
between the s y ste m s o f values he see m s t o b e tryin g t o se t up

i s s carcely e ffe ctive .
I find m y self quite unable t o go al o n g with th o se w h o

m aintain that these later v o l u m es are better b o o k s than
either their auth o r s T hr e e S o ld ie r s o r M a n ha tt a n Tr a nsfer ;
’
but I shall reserve f o r a m om ent m y reas o ns f o r this j ud g

, ,
m en t . In the m eanti m e let m e call attenti o n to the te ch ,
n ica l experi m ents whi ch have b een used in the tril o gy .
F o r o n e thin g Mr D o s P ass o s e m pl o ys a series o f brief

, .
”
B i o g raphies o f pe o pl pr o m inent durin g the peri o d whi ch
e
ea ch n o vel co vers T hus T he 4 o n d P a r a lle l has sketches o f

.
Min o r C K eith Carne g ie E dis o n S tein m etz D e b s B u r

.
, , , , ,
ban k H ayw o o d and L a F o llett e 1 9 1 9 o ff ers su ch p o rtraits

, , .
a s th o se o f R and o l ph B o urne Ja ck R eed W ils o n R o o sev e lt , , , ,
J oe H ill ,M o r g an P axt o n H ib
, b en and W esley E verest , .
A n d T he B ig M o n ey in cludes a m o n g o thers sharply fo cused , ,
pi ctures o f F o rd V eblen Insull I sad o ra D un can Valentin o

, , , , ,
”
and H ear s t O ften it sh o uld be added these B i o graphies
.
, ,
“
JO H N D O S P A S SO S 89
co nstitute b y far the m o st interestin g parts o f the b oo k s ; .
o ften they represent Mr D o s P ass o s ri ch ir o ny and sharp

’
.
satire at i ts best ; and alwa y s they serve the purp o se f o r

whi ch the y were intended : t o p l un g e us even deeper int o“
”
the current o f the life he is depi ctin g
41
.
S e co ndly he m a k es a m o re intense use o f the N ewsreels

,
whi ch he had o nly o ccasi o nally e m pl o yed in M a n ha tt a n

Tr a n sf e r T hese in clude sl o gan s f ra gm ents o f s o n g s head
.
, ,
lines and qu o tati o ns whi ch he l p t o establish b o th the ti m e

,
and at m o sphere o f his st o ries

WAL L STRE E T E MP L O Y E RS B AN I S H CH RI STMAS W O RRI E S AS
B O N U S E S RO L L I N
L ef t my g ir l i n the m o u n ta i ns
L ef t he r s ta n d i n i n the r a in
’
O UR AI R S U P RE M AC Y AC C LA I M E D
L AND SO M O U N TA I N O U S IT STAN D S ON E ND
G o t m yse lf i n tr o u b le
A n s h o t a co u n ty s he r ifi d o w n
’
42
T hirdly he inserts int o the n o vels what he calls

, C a m era
”
E yes passa ges o f hi ghly subj e ct i ve and extre m ely e ch o m et
r i c pr o se
W a lk t he streets and wa lk the streets inq uiri n g

h
of C o ca C o l a
s i gns Lu cky S tri ke a d s pr i ce t ag s in st o r ew i nd o w s s craps o f o ver
heard co nversati o ns stra y tatters o f n ewsprint yesterda y s head ’
l ines sti cking o u t o f ashcan s

f o r a se t o f fi gures a fo rm u l a o f a cti o n an address yo u do n t
’
q uite kn ow yo u ve forgo tten the nu mber the street m a y be in

’
B r o o kly n a train l eavi n g f o r s o m ewhere a stea m b o at whist l e

stab bi ng yo ur ears a jo b cha lke d up in fro nt o f a n a gency
t o d o t o m a k e there are m o re l ives than wa lk ing desperate the
streets hurr y underdo g d o m ake 43
finally he e m pl o ys a gain these experi m ents which

An d , ,
we hav e already seen i n M a n ha tta n Tr a nsfer : w o rds that

are run t o gether ; l o n g passa ges entirely free fr o m pu n ct u a
1
ti o n spa cin gs that a r e intenti o nally irre gular ; ideas d elib
er a t e l
y fra g m entary ; and sequence s o f th o u g ht whi ch are
purp o s ely cha o ti c .
A rrestin g and o ri g inal a s these te chn iques m a y b e I a m ,
c o n v inced that their eff ecti v eness ha s b een greatly e x a gger

ated B u t let us n o t quarrel a bo ut the b o ttles into whi ch
.
Mr D O S P ass o s has at ti m es so s kilfully p o ured hi s win e

.
, , .
T h e p o int t o b e n o ticed and the p o int which m o st o f this

,
n o v elist s cri ti cs ha v e ch o sen t o i gn o re i s that hi s wine als o

’
, , ,
is o ften t o o n ew t o o una ged, .
Much o f hi s th o u gh t s m ack s t o o s uspici o u s ly o f the fer

”
m ent o f m o dernis m t o b e endurin gly satisfyin g F or .
,
t o ward the universe t o ward the definitely deter m ined v alues

,
o f hu m an i ty and e v en t o ward th o se s o cial pr o b le m s o f wh o se

,
ur g ency h e i s so sensiti v ely and unc o m pr o m isin gly aware ,
Mr D os P ass o s m aintains an attitude that i s b o rn o f the

.
di s te m per o f o u r wh o le m o dern life T hese atti tude s he .
share s b y and lar g e wi th m o st o f the o ther writers wh om I

, ,
co n s ider in this b o o k ; and thes e atti tudes d o m u ch t o fail
in j u s tifyin g Mr D o s P ass o s clai m t o b ein g called a writer

.
’
w h o has freshly o r v i go r o usly m e t the challen g e o f his a ge .
T h is t t r ea d m i ll
va s H i s co n cepti o n o f the universe is
.
that o f the deter m inist B u t i t i s m o re th an that I t is a

. .
c o ncepti o n that takes o n an in creasin gly deep co lo r ing o f '
despair and defeatis m as o n e fo ll o w s i t thro u gh the n ov el s

in their chr o n o l o g i cal o rder Martin H o we A ndr ews .
, ,
J i mm y H e r f — m o st o f the chara cters i t h e earlier b o o ks are

o ccasi o nally b o und t o thi s v ast tread m ill o f life F uselli
“
”
fel t a j ustifiabl e hatred o f the syste m that m ade his feet “
o n b eatin in ti m e A d A ndrew s was s m eti m e s

“
n
g o g . o
te mpted to thr o w hi m self into inevita b le defeat

“
An d .
J i mm y H er f turn ed his b a ck up o n the City when he c o uld

1
9 2 LU C IFER AT L A RG E
c hara cters cr y o u t that I t s a hell o f a n o te when yo u hav e
’
t o b e asha m ed o f bel o n g in g t o y o ur o w n race B u t I swear .
I a m I swear I m asha m ed o f b ein g a m a n

,
’
it will take
s o m e hu g e wave o f h o pe li k e a rev o luti o n to m ak e m e feel
any selfrespect e v er a gain G o d we re a l o usy cruel v i ci o u s
’
.
,
”
du m b t y pe o f tailless ape .
46
T o ward his chara cter s as puppe t s cau ght up in a welter

of their o w n b i oche m i cal i m pulses and cruel ec o n o m i c
fo r ces D o s P ass o s m aintains an attitude o f h o nest sym pathy
, .
B u t he w o uld see m t o have little respe ct f o r h is chara cters as

m e n and w o m en T his is pr o v ed f o r o n e thin g b y the
.
, ,
fa ct that with perhaps three o r fo ur excepti o ns he m akes

, ,
n o n e o f his chara cters have any respe ct f or the m selves as

m e n and w o m en .
N o w in a m anner whi ch I hav e explained in m y co m m en t

,
o n D reiser even the m o st intensely h o nest sy m pathy is b o und

,
to l o se m u ch o f its dra m a t i c and literary si gnifi can ce when it
is dissipated o n an unw o rthy o b j e ct A real b r o ad com .

, ,
m
prehensive hu ani tarianis m — one of the distin guishin g
chara cteristi s c o f endurin g writin g see m s t o m e al mo st
—
i m p o ssi bl e wi th o ut at the sa m e ti m e s o m e m easure o f

, ,
hu m anis m .
B u t the tra g edies o f Mr D os P ass o s her o es and her o ines

’
.
,
b e cause o f t h e defeatist s p o int o f View o f their creat o r are

’
hardly tra gedies at all ; and up o n certain o ccasi o ns indeed , , ,
o ri e D o wlin g s d o u b l e surrender)
’
(su c h as Marj they are

al m o st far ces A s o n e criti c puts it when Charley A nderso n
.
,
m ade a drunken atte m pt t o b eat a train t o a cr o s s in g i t

” 7
didn t m ake a great deal o f di ff eren ce when h e l o st
’
.
4
R eadin g these n o v els yo u co m e t o feel that it d o esn t m ake

’
“
a gr eat deal o f di fferen ce when a ny o f the m l o se Y o u kn o w .
fr o m the b e g innin g if yo u kn o w Mr D o s P ass o s that they

, .
,
w i ll l o se anyway ; and yo u can t b e expe cted t o have either

’
that e m o ti o nal o r intelle ctual interest in their s tru ggle s that

JO H N D O S P A SSO S 1
93
yo u usually do hav e when a b s o r b ed in the con fli cts o f really

g reat n o vel s .
A s yo u watch a prize fi ght f o r exa m ple yo u will n o t have , ,
any t o o attentive an interest in the aff air if yo u are certain ,
fr o m t h e first go n g whi ch o f the tw o fi ghters is go in g t o take

,
the c o unt — i f yo u happen t o have de fi nitely learned let us ,
sa y that the fi ht h a s b een s o ld b

’
,
g A n d a o ve all yo u w o n t .
, ,
put up any bets o n the l o ser .
Mr D o s P ass o s fi ghts are s o ld fr o m the first go n g ; and

.
’
yo u w o n t’
bet o n his c hara c ters th o u g h t o b e able t o d o so
,
w o uld certainly sti m ulate y o ur interest B u t f o r o n e thin g , ,
kn w that h i s pe o ple d o n t e v er dare t o b et o n the m

’
y o u o
selves ! Mary F ren ch s father kn o ws he is s o ld o u t l o n g

’
befo re he co m m its sui cide ; and so d o es An n T rent and ,
E veline H ut chins and Charley A nders o n

, A n d so d o m o st .
o f the o thers L ike the pr o stitute in 1 9 1 9 m o st o f th o se w ho

.
d o n o t k ill the m sel v es refrain fr o m d o in g so n o t b e cause o f

, ,
their b elief in G o d o r f or any o ther rati o nal reas o n b ut f o r

, ,
fear o f ho w int o lera b ly quiet i t will b e a fter death !

I t is t o a lar ge extent thi s d eepened and al m o st co m plete
, ,
abs o rpti o n in the spiri t o f despair that has m ade m e rank

the tril o gy far b el o w let u s say the earlier T hr e e S o ld i er s
, ,
and M a n ha tt a n Tr a nsf er .
W e a r e t o ld that J o hn D o s P ass o s and Ernest H e m in g

48
wa y o nce wen t t o a b ull fi gh t t o g ether D os P ass o s leaped

-
.
int o the rin g t o try o u t his own s kill in the s p o rt ; b ut w hen

he saw the b ull char g in g at h im si m ply st o o d there wav in g , ,
the red s ash b ack and fo rth until the ani m al cau ght hi m
b etween its h o rn s T h e D o s P ass o s chara cters h o we v er
.
, ,
seldo m s tand their gr o und .
I d ea s li ke t p t io ns of t issu e pa p er
co n r a T hey s ee in life .
,
as I ha v e previ o usly p o inted o u t little which is really w o rth ,
standin g gro und f o r T o o m any o f the m fr o m the o ut s et

.
, ,
find their m inds per m eated with du s ty s ta gnati o n like the
sta gnati o n o f o ld garrets and lu m b er r o o ms wher e a mo n g , ,
superannuated b it s o f machinery and cracked gri m y cr o ckery ,
”
li e heaps o f b r o ken t o ys .
49
W i th the excepti o n o f a kind o f fo rl o rn and fe v eri s h sen s e

o f s o cial j ustice the ideals c o mm o nly re co nized b y hu m an
,
g
i ty are b y these m en and wo m en th o u ght o f a s little m o re
than b r o ken t o ys clutterin g u p a fu til e gri m y d u sty civ il iz a , ,
r
ti o n Cra cked cr ockery ! E v en o n e o f the earlie s t pr o t a go

.
mists w o nder s if they are n o t all Sha m s t o o the s e g i ganti c

“
, ,
phra s e s that fl o ated like gaudy kite s hi gh a b o v e m ankind ?

K ites that was i t c o ntrapti o n s o f tis s u e paper held at the
, ,
end o f a strin g o rna m ent s no t to b e taken seri o usly

, An d .
m o st o f the later chara cter s d o n t even b o ther t o take an

’
o ccasi o nal l o o k at the ki tes !
L e t m e g ive b ut t w o exa m ples o f the way in whi ch ideals ,
in thi s auth o r s w o rk are l o o ked up o n a s o rna m ents n o t t o

’
,
“
”
b e taken seri o usly T her e i s f or exa m pl e the attitud e t o
.
, ,
ward w o m an A ll the o lder re s pe ct whi ch m en have had

.
”
f o r her in these n o v els b ec o m e s o nly that gaudy kite m ade
“
, ,
up o f cheap tissue and fl o atin g b efore the cyni cal eyes o f

,
me n . W o m en l o o k in y o ur p o cket no t in y o ur h eart
“
” .
1
W hat leads u p t o i t s [ t o m atri m o ny ] all ri ght b ut g ettin

“ ’ ’
”
m arried is l o ike de m o r n in after I gues s I d o n t l o v e
’ “ ’
52
.
any b o dy f o r l o n g unle s s they re dead ’

.
Cha s tity is an o ther b it o f D o s P a ss o s cr o ckery w ith a lar g e

crack in it A l s o the crack ha s w idened wi th each s ucceed
.
,
in g n o vel I n T hr e e S o ld i er s s om e o f the affairs which the

.
—
s o ldier s ha v e s o ldi er s s et a gain s t a b a ck gr o und o f pa s si o n
—
and cruelty and b estiality s om e o f these a ff air s I say s ee m , ,
natural en o u gh B u t that at mo sphere o f a huddled st u fli

.
“
ness o f pi ge o nh o le r oo m s where m en and w om en s b o die s ’
writhed al o ne to rtured b y the ni ght and the y o un g su m

m er
”
that at m o s phere which is expl o ited in M a n ha tt a n
54
T r a nsf er the next n o v e l find s le ss j ustifi cati o n

, , .
W e sh o uld n o te carefully h o wever that — even under the
, ,
li m itati o ns o f su ch a rea l is m — m o rals are so m e b o dy s b usi ’
ness : at l east a m an s m o rals are h is o w n business ; and even

’
o d rea l is m de m a nds that m e n be depi cted a s t he y rea l ly are

g o
— as creatures w h o pay s o m e attenti o n t o this business .
W ith few ex cepti o ns the D os P ass o s ch ara cters fail t o co n

,
sider m o rals as o n e o f the natura l hu man co ncerns whi ch ,
the y happen t o be L i k e the m a j o rity o f the H em in gway

.
m e n an d w o m en these pe o ple cu t Sh o rt their div o r ces their

, ,
pr o m is cuities their drin k in g o nly f o r s o m e extre m ely pra g

, ,
m ati c reas o n o n l y when they have run thr o u gh the u n

-
var y in g fo r m ulae whi ch their creat o r has b o und the m with .
T he y st o p g ettin g div o r ces o n l y when see m in gl y they realize , ,
the futility o f bein g happy in a ny m arria g e (o r when like ,
E veline H ut ch i n s t h e y k i ll the m se l ves

,
T he y refrain fro m
b ein g pr o m i s cu o us f o r a ti m e when they co n tra ct diseases
, ,
r when like Charley A nders o n they are killed b y railr o ad

(o , ,
trains T hey curtail their drin k in g f o r a sh o rt interva l , ,
when the m o rnin g after heada ches be co m e t o o unbeara b le

-
(o r when ,li k e M o reh o use and S ava g e they fi nd that drink ,
in g interferes wi th business
R o u nd a nd r ound in u ir r e l ca
In o n e respe ct h o w
q a s
g e .
,
ever the pe o p le i n the D o s P ass o s b o o k s are the very a n

,
t i t h e se s o f th o se in the H e m in gway n o ve l s T h e latter as .

,
we have seen tend t o av o id thin k in g : th o u ght is f o r the m

,
t o o painfully disturbin t o b e f requently indul g ed in T h

g e .
fo r m er o n the o ther hand find i t as ne cessary t o spend their

, ,
intelle ctual ener g ies by thin k in g as they d o to m aintain their

ph y si ca l stren g th by eatin g T hus i t i s sa id o f Andrews that
. _
H e needed t o lie awake and think at ni ght this w a y so that ,
he m i ght n o t l o se entire ly the thread o f his o w n l i fe .

56
T o qu o te fr o m Mr D o s P ass o s Ge o r g e B aldwin m any o f

’
.
,
u s m ust feel , h o we v er that t o o o ften these chara cter s do

,
n o thin g with their thinkin g except to go r o und and r o und

J O H N D o s P ASSO S 97
in a squirrel ca ge T heir th o u g ht pr o cesses th o u gh always

.
,
intense are m o st frequent l y fevered and m isdire cted W hen

, .
the y are ly in g a m idst a fet o r o f m attresses in a distri ct in

“
”
whi ch the g u tters ga r b a g eca n s o d o rs are unpleasant ly dis
ce r n i b le they are a s l i k ely as n o t t o be thin k in o f the W o r l d
,
g
W a r instead o f su ch a pra cti cal thin g as a way in whi ch they
,
ca n spend l ess m o ney o n pr o stitutes and m o ve t o a better
nei ghb o rh o o d A nd in the m idst o f the W o rld W a r the y

.
spend un co ns ci o nabl y l o n g and t o rtured h o urs w o nderin g

whether s o m e o n e will arrive o n ti m e t o ta k e the m t o tea .
Indeed with all that they appear t o be ener geti cally co n

,
c erned wi th the challen in

g g pr o ble m s o f hu m anity they ,
a ctual l y spend a surprisin g ly s m a ll part o f their ener g ies o n

an y thin g but their o w n pers o nal a ffairs .
I am an a na r ch is t . Let m e
repeat a gain h o wever that , ,
w e m ust all o f us ad m i t Mr D os P ass o s un co m pr o m isin g

’
awareness o f the industria l and e co n o m i c evi l s that co n f r o nt

our w o rld t o day W ith h is graphi c searin g hi ghly a c
.
, ,
ce le r a t e d pr o se he has m ade t hese evi l s ta k e o n the ur g en cy
whi ch the y deserve t o have .
H e m akes u s realize that the pr o ble m s are a c ute ; but he

fails si gnally in m a k in g u s realize that they are answerable
, , .
T a k e the pr o ble m f o r instan ce o f o u r m o dern tenden cy t o

, ,
re gard pr o m is cuity as s o m ethin g o f n o co nsequen ce M r . .
D o s P ass o s h a s his chara cters see k an answer here m erely by

a ctin g fr o m the be g innin g as if there were n o answer T h e
, ,
.
wa y t o o r ganize o ne s m o ral life i s so co m p lete ly t o d i so r g a n

’
ize i t that there is n o l o n g er any need f o r o r ganizati o n !

In h i s s o cia l and e co n o m i c the o ries he has h is chara cters
g o ar o und in the sa m e k ind o f squirrel ca g e Instead of ad .
m ittin g the i m peri o us ne cessity f o r a carefully planned r e

’
o r ganizati o n o f o u r e co n o m ic and class syste m h e w o uld ,
a gain see m t o adv o cate com plete dis o r ganizat i o n I t is .

“
”
dis or ganizati o n n o t o r ganizati o n that is the a im o f l ife
, , .
57
O bv i o u s ly I a m n o t here c o ncerned with any p o s si b le
,
li m itati o ns o f Mr D o s P ass o s pers o nal s o cial cr e e d w h e th er

.
’
m
o r n o t h e hi m s elf happens t o b e an anar chist a c o m m unist , ,
a s o cialist or anythin g el s e B u t I a m co n cer ned with the

, .
wa y in which hi s e m phasis up o n dis o r g anizati on has aff e cted

b o th the i m p o rtan ce and the v alidity o f what h e ha s t o s ay
in hi s n o v el s H e think s o f hi m s elf beyo nd a do u b t as a
.
, ,
refo r m er and a s a refor m er he m ust t o s om e extent b e

,
j ud g ed .
B u t e v en m o r e m ust he b e j ud g ed a s a n o velist and I call

attenti o n t o his anarchi s tic s o cial creed b ecau s e i t has len t
a co l o r t o his n o v els whi ch n o cri ti c ca n disre gard I t has .
m ade m uch o f his writin g c o n s pi cu o usly fevered ill o g ical , ,
and un s ati s fyin g I t ha s m ade m any o f hi s character s up o n

.
,
o ccasi o ns s ee m no t pathetic a s su ch chara cters m i g ht very

, , ,
well b e b ut r i di cul o u s which s uch chara cter s m o st certainly

, ,
sh o uld n o t b e .
T h e reader up o n such o ccasi o n s g ets the i m pre s si o n that

they are per m i ttin g the m selves t o be hi t o n the head by lab o r
p o li ce n o t so m uch b e cause they are fi ghtin g f o r certain
,
s o cial principles as b ecau s e they gain pleasure fr om b ein g hi t

,
o n the h ead H e g et s a s a result the further i m pressi o n

.
, ,
that the co n v i cti o ns whi ch their creat o r pla ces in their

m o uth s ar e n o t nearly so c o g en t ly expre ss ed a s they deser v e
,
to b e .
B u t n o t o nly d o es thi s auth o r s p etard thu s o ften fail in

’
hittin g i ts m ark T he m ark itself i s o ften a co nfused o n e

. .
T h e co nvi cti o n it s elf i s o ften wr o n g I n M a n ha tt a n Tr a ns .
s s I s m l
’
f e r Marc o ay : t s the a e all o ver the w o rld the p o ice ,
beatin g u s up rich pe o ple cheatin g us o u t o f their starv ati o n

,
wa ges and wh o se fault D io can e ! Y o ur fault m y

, .
,
fault T h en hi s friend pr o tests : W e didn t m ak e the

’
w o rld . T hey did o r m ay b e G o d did .
Marc o ha s th e an s wer t o this h o we v er : G o d s o n their ,

’
re g i o nal pattern s o f life whi ch they represented A n d in this .
redis co very lie I a m co nvin ced t h at exa m ple and challen ge

, ,
whi ch ca n d o m u ch t o ward g i v m g o u r letters t h e inv igo r a t

i n g co l o r whi ch they so s o rely need .
T here were pr o ble m s — plenty o f the m !

‘
i n th e S o uth -
durin g and after the C ivil W a r B u t Miss M it chell s p o wer .

’
fu l ly written G o n e Wi t h the Win d (1 9 3 6) m ust live a m o n g ,
m any reas o ns be cause i t is n o re co rd o f despair \ T here

, :
were pr o b l e m s in the M iddle W est when i t s far m s were bein g

deve l o ped B u t Miss C ather s Ant o nia survived b y lendin g
.
’
herse l f t o i m m e m o rial hu m an atti tudes whi ch w e re co gnize

“
b y instin ct a s universal and tru e S h e had o nly t o stand

“
in the o r chard t o put her hand o n a li ttle cra b tree and l o o k

,
up at the apples t o m a k e yo u feel the g o o dness o f plantin g

,
”
and tendin g and har v estin g at last T his i s n o re g i s ter o f
.
6°
defeat .
A n d th o se g iant s created by R o lvaa g — wi th their e y es

Wanderin g fr o m skyline t o skyline year in and year o u t
“
, ,
”
wi th o ut findin g a restin g place T hey bend but they d o
.
61
,
n ot b ow A n d Miss G las go w with su ch chara cters as D O

.
,
rinda O ak l ey w ho rea l ized that sh e need n o t fear the fo rces

,
“
wi th o ut j ust as l o n g as sh e co uld rule her o w n m ind .
A n d R uth S uck o w s characters and Z o na Gale s and P hil

’
, ,
S t o n g s and E liza b eth Mad o x R o b erts and E dna F er b er s

’ ’ ’
, ,
and the chara cters o f a d o zen o f o u r o ther re g i o nalists “

.
She had go t that stren g th free at last with pain and ,
” 62
blind stru ggl e and o utward ne cessi t y S O says Miss .
S u ck o w o f S arah B o nney I will b reak thr o u gh ! I w i ll

.
I W I LL ! I W I L L
”
S o cries M iss G al e s Mister P itt
’
63
.
”
L ife has n o w eap o ns a gainst a w o m an like that So .
64
o bserves Miss F erber o f S elina P ea k e .
T here i s n o Si gn o f pessi m is m defeatis m and despair in , ,
a l l o f this D o es i t n o t see m then that we m ust l o o k t o o u r

, ,
”
re g i o na l ists f o r that real te m per whi ch al o ne ca n co unter
a ct the l iterary diste m per o f o u r ti m es ?
C H AP T E R VI I I
WI L L I A M F A UL K N E R : C R E TI N S , C O F F I N -
WO R M S ,
AN D C R UE L T Y
I have n t written a rea l n ovel ye t I m t o o y o ung in ex per i

’ '
.
’
en ce It hasn t cr ystall ized eno u gh f o r m e t o bui l d a b o o k up o n

.
’
o n e o f the few funda m enta l truths whi ch m an k ind has l ear n ed .
W i ll ia m Fau lk ner (Qu o ted b y M arsha ll J S m ith i n F a u lk

. .
,
ner o f M ississippi . T he B oo km a n D e ce mber

, ,
1
2 04. LU C IFER AT LAR G E
sk ilfu l A ll Q t u ie
on West e r n F r o n t ; D o s P ass o s T hr e e
t he
'
S o ld i ers ( gg
su esti v e of Crane ) appeared in 1 9 2 1 C u m
min gs T he E n o r m o u s R o o m a vivid stud y o f cruel t o r
’
tures in a F ren ch pris o n ca m p ca m e o u t in 1 9 2 2 ; B o yd s

,
’
T hr o u g h the Whe a t in 1 9 2 3 ; S tallin g s P lu m es in 1 9 2 4

’
.
, ,
M o re re cent n o vels indi ctin g the barbari c crue l ties o f w a r

all o f the m have appeared sin ce S her m an s death in 1 9 2 7 ’
in cl ude B lake s T he P a t h to G lo r y
’
S ca n lo n s G o d
’
H a v e M e r cy o n Us ! H arris o n s G e n e r a ls D ie in B e d
’
M ar ch s C o m p a n y K C o bb s P a t hs o f G lo r y
’ ’
the an o ny m o usly wri tte n A M a n in A r m s (1 9 3 and

van der M e e r sch s I n va si o n
’
A s co re o f o thers c o uld
b e added t o the list .
S o m e few o f these are ad m ittedly great b o o ks ; o n the

o ther hand s o m e o f the m have o n ly what K enneth B ur k e
,
called a charitable eye f o r ex cre m ent L e t that stand f o r

.
the present T h e p o int I wish t o m a k e i s that S her m an s

.
’
h o pe f o r a b o dy o f fi cti o n that w o uld m o re clearly refle ct

”
the as certained values o f hu m anit y has n o t o n the wh o le
, , ,
b een fulfilled I t i s true that idealisti c n o ve l s have b een

.
written indi ctin g cruelty and all that w a r st ands f o r B u t .
fr o m the W a r there h a s als o e m er ged a s ch o o l o f writers w h o

write n o t t o i m pu gn b ar b ari s m b ut t o set the m selve s u p in
,
a rather pr o fitable literar y business with un m iti gated cruel

ties and a b n o rm alities as their re gular st o ck i n trade T hey - -
.
see in cruel ty (whi ch m y thesaurus says is a syn o ny m o f i n “
”
hu m anity ) o nly a m er chandise whi ch has a hi gh value o f
ex chan g e ; they g ive i t n o tran s cendin g value by whi ch w e
m a y rise a b o ve it with a visi o n truly hu m an :
W hat is w o rse the cri ti cs and the publishers have cau ght
,
the fever W e are never with o ut their assuran ce that in the

.
,
Mer e dith phrase there is a pleasure that is b o rn o f pain

, .
P u b lishers blur b s ta k e parti cular care t o hint at the h o r

’ “
r o r s in the b o o ks they advertise and cri ti cs in the fo ll o win g

,
W ILLI A M FA UL K N ER 2 05
manner su ggest the ex citin g nature

, of the stro n g stu ff in
the v o lu m es the y review
th o se w ho l i k e stro ng stu ff t hi s i s a n e x citi n g pie ce
F or
o f co n t e m po rar y n a t u ra l is m i n w h i ch b l o od l u st t o rture a g o n y
, , , ,
a n d v io l e n t d eath fo ll o w o n e an o ther b y tur n s I n B o ok O n e a

‘
g raphi c a cco u n t o f a n ap e ndi citis o perati o n with o ut the u se

p
o f et h er fo ll o ws a se r ies o f vivid ly des cribed v o m iti n gs T he .
i nva l i d the n h a s a n a ff air with his n urse w h o po sse sse d o f a wea k

,
h ea r t d i es fro m the e x cit e m e n t

, . I n B o o k T w o a hel pl e ss m a n
i s b e at e n u p i n a po l i ce i n sp ect o r s o ffi ce T here i s a sedu cti o n
’
.
s cene A n d a sui ci d e a n d a co u pl e o f sho o ti ng s co m pl ete t h e

.
car n a ge F e w detai l s are s pared the reader

. In B o o k T hree
.
t h e des cri pti o n o f a chi l d bi r th ta k es u p m u ch o f the spa ce At .
the e n d after el a b o rate p h ysi ca l d etai l s t here o ccurs the ho rrib l e

, ,
d eath o f a s m a ll bab y . T hro u gh o ut the b o o k a l m o st all i m a gi

n ab l e sta t e s are d escribed i n l a n gua g e t hat i s a s f ra n k a s p o ssib l e
4
.
In b rief we are n o t o nl y b ein g co ntinually t o ld that su ch

,
and su ch a n o vel will sha k e us t o the ver y m arr o w o f o u r

-
b o nes b ut w e are g iven a tin glin g pr o m ise that o u r b o nes

,
will b e sawed in ha l f and that the s ca l pe l o f cruelty will pull

o u t a few o f o u r nerves durin the perati on ! T h sad
g o e
part o f it is that m an y o f o u r readers w h o o n ce ha d nerves ,
o r hu m an sensibilities are b e ginnin g t o find it s o m ewhat

,
pleasan t t o d o with o ut the m A s a cult certain Of o u r

.
,
n o ve l ists are w o r k in g definite har m up o n readers capa cities ’
f o r refined feelin g : in telle ctua l m o ral and aestheti c

, , .
W illia m F aulkner is t o day the mo st t o uted leader o f thi s

cult o f cruel t y B o rn in 1 8 9 7 in R ipley M ississippi o f a
.
, , ,
f a m il y that i n cl uded go vern o rs g enera ls and states m en he

, , ,
spent his b o y h o o d in the s m all t o wn o f O xfo rd and later

attended the U niversity there f o r tw o years W hen the .
W a r b r o ke o u t he j o ined up with the Canadian F lyin g C o rps ,

was finally pr o mo ted t o the rank o f L ieutenant and w a s ,
w o unded a s the re s ult o f a plane cra s h A fter the W ar he .
returned t o thi s c o untry f or b ut a b rief ti m e ; and t hen he

s et o u t o n a tra m pin g trip thr o u gh E ur o p e .
W hen F aulkner later settled d o wn w ith S herw o o d Ander

so n — a t the latter s apart m en t in N w
’
e O rlean s — h e wa s
already the auth or o f a sli ght v o lu m e o f p o etry entitled T he
M a r b le F a u n S eein g that his y o un g g uest Sh o wed
few in clinati o ns t o d o an y kind o f o rdinary w o rk A nders o n ,
at last s u ggested that he try wri tin g a n o vel F aulkner did .

,
and S o ld i ers P ay (1 9 2 6) wa s fi n ished in six week s A nder

’
.
so n apparently did n o t have ti m e t o read any o f i t b ut that ,
m ade no difference H e despat ched the m anuscript t o his

.
o w n pu b lisher and wi th 1 t a letter o f fervent r eco m m en d a

ti o n U p o n this reco m m e ndat i o n the n o vel wa s a ccepted ;
.
,
and with s o m e little d ifli cu lt y F aulkner m ana g ed t o place his

next three b o o ks .
L e t us inquire b riefly int o the the m e s o f the s e early n o vels .
S o ld i ers P a y tells the st o ry o f L ieutenant D o nald Mah o n

’
w ho had b een rep o rted killed in the “ a r b ut w ho suddenly

f
,
returns Shell sh o cked and w o unded t o his Ge o r g ia h o m e

,
-
, ,
where he finds a sweetheart who ha s b een unfaithful t o h im ,
and an entire civilizati o n that s ee m s t o hav e c o llapsed and

decayed M os q u i t o es
. the next n o v el satirizes in a ,
m anner re m ini s cent o f A ld o u s H uxley a gr o up o f in t e lle c ,
t u a ls wh o thr o u gh t h e g ener o sity o f a certain Mr s Maurier

“
, .
,
a dull de vo tee o f the art s are ena b led t o spend several days
,
o n a yachtin g party .
S ar t o r is (1 9 2 9 ) repeats s o m ewhat the the m e o f the auth o r s

’
first n o vel Y o un g B ayard S art o ri s ret urns with h i s m i nd

.
s hattered by the W ar to Jeff ers o n Misso uri ; he m arries

, ,
N arcissa B en b o w b e co m es o b s es s ed with the idea o f co m

m ittin g sui cide ; find s that he i s a m o ral c o ward de s pit e his
b rave assu m pti o n o f re cklessness ; and is finally killed lea v ,
i ng hi s wi fe with an un b o rn child T he narrati v e o f T he

.
his b est I ts suc cess despite i t s auth or s Opini o n o f i t wa s
.
,
’
n o t phen o m enal ; but i t served at least t o o ver co m e its pub
li sh er s s cruple s su fli ci e nt ly f o r h im t o release in the f o ll o w

’
i n g year the b o o k called S a n ct u a r y o f whi ch I have already

, ,
s p o ken .
B e cause Mr F aulkner co nsiders As I L a D i n his b est

.
y y g
b o o k I want t o exa m in e i t s o m ewhat mo re cl o sely than
,
space has perm i tted m e t o exa m ine the o ther e a r li er no v els “
I n g eneral i t re co unt s the experien ces o f a S o uthern fa m ily

,
all o f m
the cretins w ho se t o u t o n a j o urney that l asts f o r
—
,
perhaps n ine or ten days with a putrefyin g co rpse b eside ,
the m in their wa go n B u t more spe cifi cally As I L a y .

, ,
D y i ng o ff ers als o a c o m p o si te pi cture o f the entire live s o f

the m e m b ers o f this fa m ily .
A s the n o vel o pens the M o ther A ddie is dyin g , She ha s , , .
wrun g a pr o m ise fr o m her husband that he will b ury her

”
with her o w n fo lks in a ce m etery s o m e distan ce a w ay
“
.
D urin g the three or fo ur days pre cedin g her death the o ldest ,
so n is b usy sawin
g u p b o ards fittin g them t o g ether and , ,
b evelin g the m o ff f o r her co fli n T h e s cree chin g o f the

, .
sa w o utside the wind o w serves as a painful and h o rri b l e ac
co m a n im e n t t o the m a ca b re s cene within the dirty h o u s e

p .
F r o m ti m e t o ti m e m o re o v er Cash w h o is m akin g the

, , ,
co fli n b rin gs o n e o f the b o ards up f or hi s dyin g m o ther s

,
’
careful inspe cti o n and appr o val ! T w o o f the o ther s o ns in ,
the m eanti m e go o ff t o earn three d o llars b y haulin g

,
”
pr o du ce ; h o pin g h o wever that they will ge t b ack b efore
“
, ,
their m o ther s death ! O n e o f the children B arl i s an

’
, ,
i m b e cile the y o un g est so n Varda m an co ntinually identifies , ,
his dyin g m o ther with a bleedin g fish he has seen ; the

dau ghter D ewey D ell is a de m ented creatu r e w h o spends
, ,
her ti m e fannin g the si ck w o m an and w o nderin g ho w sh e ,
ca n find s o m e do ct o r w h o will co n sent t o a b o rt the child
within her f or the ten d o llar s her l o v er has g i v en her f or

,
this purp o se .
W ILLI A M FA U L K N E R 2 09
But the co ffin is fi n ished at last and A ddie dies T h e ,

.
y o un g est so n then b o res h o les thr o u gh th e t o p o f the r o u gh

ca sket o let h i s dead m o ther b reathe and in so d o in g als o
( t
b o res h o les thr o u g h the co rpse s fa ce so that it has t o b e

’
co vered with m o squit o nettin durin the funeral servi ce

g g .
T h e cl er g y m an arrives and we learn fr o m his s o lil o quy that

he is reall y the father o f three o f A ddie s children H e say s
’
the pra y ers he has co m e t o sa y after this s o lil o quy ; and the
,
g ri m co rte g e sets o u t in a wa g o n with the b o x c o n tainin g the

n o w pu trefyin
g b o dy .
B rid g es have been washed o u t : f o r days the fa m ily is

fo r ced t o carry al o n g its l o aths o m e b urden B uzzards b e gin .
t o cir cle a b o ve the co fli n . O n ce while they are tryin g t o

,
fo rd a river the wh o le wa go n tips o ver o n an o ther o ccasi o n

, ,
a b arn in whi ch they had put the co ffi n f o r t h e ni ght (b e

,
cause the Wind had shifted burns d o wn and the b o dy is

) ,
rescued o nly with d i fli cu lt y O ne o f the b o ys has h i s leg

.
b r o k en cr o ssin g the river : i t i s splinted b y a veterinarian

with o rdinary ce m ent ; and in the fo ll o win g days this b o y
, , ,
t o o lies in the wa o n — o n t o f t h casket B u t they ar

,
g p o e .
rive — a t last a t their destinati o n ; the father s o le m nly b or

—
r o ws sp a des t o d ig the grave ; and then after he has helped ,
o fli cer s fr o m an insane asylu m pin i o n h is idi o t so n D a r l t o , ,
”
take hi m away h e b o rr o ws the ten d o llar s whi ch D ewey
,
“
D ell had b een savin g f o r her ab o rti o n and go es o ff t o buy ,
hi m self a set o f fals e teeth ! S uch is the pl o t o f Mr F aulk .
”
ner s b est n o v el
’
.
B u t we are t o ld that the te chnique e m pl o yed in A s I L a y

D y in g is b o th new and interestin g I t cann o t b e denied
.
that i t is intense in t h e w a y i t m akes u se o f a serie s o f

s o lil o quies ea ch desi gned t o g i v e us a different p o int o f
,
view t o ward the series o f h o rr o rs — t o li ght up as i t were , ,
a different fa cade o f this te m pl e o f pain and gr o tesqueri e .
B y m eans o f this m eth o d the reade r i s m ad e t o feel certain

h o rr o r s o v er se v eral ti m es T hus e v en after the painful
.
,
death s cene and even after the pr ocessi o n has started o n its
,
terri b le j o urney certain s o lil o quies b rin g us b a ck and fo rce

,
us t o witness that death and departure o v er a gain and a gain

fr o m different p o int s o f view O ther m anifestatio n s o f this
.
techniqu e in clude a chapter whi ch co nsists o nly o f Cash s ’
nu m eri cally listed refle cti o ns o n carpenterin g and an o ther

chapter whi ch is m ad e up o f b ut o n e senten ce uttered b y ,
”
Varda man My mo ther is a fish
“
.
With the ex cepti o n o f A b sa lo m A b sa lo m — up o n whi ch I ,
shall in a m o m ent speak in s o m e sli ght detail — I m u s t co n

tent m yself wi th b ut b rief co mm ent o n the F aulkner b o o k s
whi ch suc ceeded As I L ay D y ing T hese T hir t ee n (1 9 3 1 ) .
is a c o lle cti o n o f painfully gri m sh o rt s t o ries co ntainin g char

a ct er s that I shall refer t o lat e r ; L i h t I n A u u s t s
g g (1 93 2
) i
a n o v el a b o ut a ne gr o who m urders his white m istress and i s ,
t o rtured ca s trated and lynched ; A G r e e n B o u g h (1 9 3 3 ) i s a

, ,
”
v o lu m e o f expre ss i o ni s ti c v ers e ; D o ct or M ar t in o
“
an o ther co llecti o n o f tal es ; and P y lo n (1 9 3 5) i s an o ther

n ov el dealin g wi th an air race pil o t w ho has co m e t o N ew
,
-
O rleans t o c o m pete in a l o cal ra ce H e Shares his wife with .
his parachu te j u m per and d o e s n o t therefo r e e v en kn ow

, , ,
whether or n o t he i s t h e father o f his wife s child ’
T h e characters in P y lo n live in a typi cal F aulkner at mo s

h er e o f a bs inthe and execra b le g i n T hey cann o t speak
p .
wi th o ut b la s phe m in g eat a sandwich with o ut dro o lin g or

, ,
t thr u h a chapter wi th o ut v o m itin O n e o f the m a d

g e o g g .
m its indeed that he has arrived at that unenviable sta g e

, ,
where o nly the ci garett e end s he pi ck s o ff the fl oo r ha v e any “
”
kick t o the m N i ght m are N e u r o t ics N ihilis m
. . . .
W e are a s sured b y o ne o f o u r m o st Co n s er v ative literary -
re v iewers that in A b sa lo m A b sa lo m ! (1 9 3 6) ther e i s b ut a

,
“
t o u ch o f in ce s t and m isce genati o n m o destly and in o ff ensi v ely

,
”
L e t us n o te this deli cate t o u ch as i t m ani
“
added .
fests it s elf m o destly and in o ff en s i v ely in the pl o t o f the

m o s t recent F aulkner n o v el .
ne w b o rn b a b y surrenders hi m self to a sheri ff s p o sse T h e
,
’
.
n o v el then co m es t o an end when Clytie the m ulatt o d a u gh ,
ter o f o ld S u t pen sets the h o use o n fi re and t o gether wi th

, ,
H enry perishes in the h o l o caust C harles B o n s des cendant

’
, .
,
the m ulatt o and idi o t J im B o nd stands o u t I n the yard

, , ,
h o wlin g and wailin g while the fla m es leap to ward the red

,
S ky
but a t o u ch o f i n cest and m is ce gen a ti o n m o de s tly

8
,
and in o ffensively added .
T h e style o f A b sa lo m A b sa lo m ! is easil y the m o st i n,
v o lved that F aulkner has yet g iven us L o n g l ines o f purely .
parentheti cal expressi o n — i n o n e instan ce al m o st a pa ge o f

the m — o btrude the m sel v es b etween su b j e cts and ver b s .
T h e auth o r co ntinually fi nds it ne cessary t o insert the na m e

o f the spea k er o r the ante cedents o f his pr o n o uns b etween
, ,
parentheses ; and it i s o ften di ff icult even then t o tell w ho is , ,
speakin g T h e ti m e fo cus o f the narrative is h o pelessly co n

.
-
fused : in o n e senten ce f o r exa m pl e the au th o r deals with

, ,
t w o events that a ctually happened fifty years apart and fails ,
t o distin g uish b e tween th e t w o ti m es !
F inally A b sa lo m A b sa lo m ! is filled with su ch g i bb erish

, ,
as w o uld m ake F ather D ivine s utter ances co nspicu o us exa m

’
ples o f lu cidity T here are hundreds o f phra se s like thes e :

.
that S t u lt i fi ca t io n o f the b ur g e o nin g and in co rri g i b le I ,
”
p o ly m ath l o ve s andr o gyn o us adv o cate
’
an an g uished ,
10 “
”
e m er g en ce o f the pri m ar y ind o m i table o ssifi cati o n A nd .
11
the b o o k is pa cked with su ch sheer n o nsens e as the fo ll o win g

“
In fa ct perhaps this is the pure and perfe ct in cest : the
,
b r o ther realizin g that the sister s vir g inity m ust b e destr o yed ’
in o rder t o have existed at all the m a n wh o m he w o uld b e i f ,
he co uld b e co m e m eta m o rph o se int o the l o ver the h u s

, , ,
band ; by wh o m he w o uld be desp o iled ch o o se f or desp o iler , ,
if he co uld be co m e m eta m o rph o se int o the sister t he m is

, ,
”
tress the b ride
,
.
12
W ILLI A M FA UL K N ER 1 3
My pre cedin g co m m ent o n the F aulkner b o o ks su ggests

t w o pre o ccupati o ns whi ch their auth o r has : o n e with te ch
nique and an o ther wi t h a w o rld o f pain per v ersi o n and , ,
vi o lent cruelty F r o m thi s i t will b e s een that his w o rk has

.
a d o ubly sharp ed ge t o it T h e su bj e ct m atter i tself cuts

.
deeply int o the surfa ce o f o u r neur o ti c a ge and the auth o r s

co n cern with a s o m ewhat in g eni o us te chn ique keeps his
blade sharply h o n e d f o r the h o rr o rs he then o ffers u s .
T hus he uses s o lil o quies t o s e cure the e ff e ct o f certain

,
intense repeti ti o ns o f his the m e H e no t o nly m ak e s his

.
readers peer thr o u gh the d oo r into the terr o r s o f the te m ple

but he fo r ces the m t o l o o k in turn thr o u gh ea ch o f several
, ,
wind o ws W hat is m o re F aul k ner go e s even further than

.
,
this H e refu ses t o let his r e aders l oo k thr o u gh the wind o ws

.
with their o wn eyes ; b ut instead h e has the m see the v io,
len ces wi thin thr o u gh the eyes o f i m b e ciles idi o ts and , ,
m o r o ns .
W hat these cretins see is so m u ch a part o f their o wn per

v erted w o rld that their v ery rep o rtin g o f i t see m s m istakenly
t o b e the gri m reality o f a w o rld that is n o thin g b u t ter r o r
and cruelty In T he S o u n d a n d the F u r y the idi o t B enj y

.
, ,
s erves t h is purpo se ; in A s I L ay D yin g the sa m e effect is

e
a chieved by the intr o du cti o n o f j ust a very few san e char

a ct e r s wh o se s o lil o quies lend vi o lent co ntrast t o the insanity
o f the m o r o nic m aj o rity A n d a Si m ilar plan is fo ll o wed in

.
m o st o f the o ther F aulkner b o o ks .
T hat this te chnique secures i ts de si red e ff ects ca n hardly

be den ied I ts e ff e ct u po n a reader i s that n o t o nly o f watch
.
i n g a su ccessi o n o f neur o ti cs slinkin g al o n g in a ni g htm are

o f h o rr o rs ; b ut als o o f seein g th o se fi ures refle cted ba ck as
g ,
I t were in a wh o le series o f m irr o rs whi ch m a gnify their

,
de g eneracies Mr F aulkner als o displays co nsidera b le skill

. .
in brin g in g a b o ut the cine m ati c as s o ciati o n o f ideas in cer ,

tain vi v id and o ri ginal w o rd c om b inati on s in an o c ca s i o nally ,
e ffective u s e o f the strea m o f —co ns ci o usness A nd in a strik

-
.
i ng m anner he e m pl o ys italic s t o indicat e rapid s hift s fro m

present ti m e
after A r mstid gave pa a drin k he fe l t better
B ut , , a nd when
he went in t o see ab o ut C ash he ha d n t co me in w i th ’
us . Whe n
I lo o ke d b a ck he wa s lea d i ng the h o rse i n to the b a r n he wa s a l
read y ta lking ab o ut getti n g an o ther tea m a nd , b y supper t i m e
he had goo d as bo ught i t H e is d o w n t he r e in the
. b a r n , sli d i ng
flu i d ly p a st t he ga u dy lu ng ing sw ir l in to the s ta ll
, w i th i t He .
cli m b s o n to t he m a n e r a n d d r a s t he ha d o w n a n d lea v es the

g g y
s ta ll a n d se e ks a n d fi n ds t h e cu r r om b T h n h t n n d
y c e e r e u r s a
-
.
s lips i ckl p t h e s i n le cr as h i n h m p d i h
q u y a s t g g t u a n u
p g a a ns t t e
h o rse, w he r e i t ca n n o t ov e r r e a ch H e a pp li es the cu r ry co m b ,
.
-
ho ld i ng h i mse lf w i t hi n the h ors e s s tr i ki ng r a di u s w i th t he a g ili ty

’
of a n a cr o b a t, cu rsi n t h e h o r se i n a w hisp e r of O b sce n e ca r ess

g .
I ts he a d fla shes b a ck, to o th cr opp e d ; i ts eyes r o ll i n the d u sk like

-
ma r b les o n a ga u dy v e lv e t clo th a s he s tr ikes i t u p o n the fa ce wi th

the b a ck of t he cu r r y co m b -13
.
S harp as t he F aulkner te chnique is there are still a f ew ,
ni cks in its b lade H is parti ciples and his gerund s can

.
dan gle in desperati o n while Mr F aulkner refuses t o rescue a .
s in g le o ne o f them T o rtu o us experi m ents o ften o b fuscate

.
his s tyle ; and what was in Crane an i m pressi o n istic m eth o d

o f art m o st o ften b eco m es in F aulkner m erely an o b sessi o n
,
with the disa greea b le N o t o nly d o es a r o ad b e co m e an

.
“
er o ded s car but b and m usi c rese m bles a thin co atin g
”
o f t o rtured T s chaik o vs ky o n a s li ce o f stale b read a m an s 14 ’
eye s l o o k l i k e t w o cl o ts o f phle gm
“
and a wai tress hand ’
s ee m s t o ha v e b een c o ncei v ed fo r m ed and b aked in the

kitchen . A gain w o rds are run t o g eth er in su ch a way a s t o
,
”
m ake the expressi o n ann o yin g ly clu m sy Y etda r k A u g ust
“ “
tre m ul o u s r m e n tw o r r i ed L ikewise alth u h Mr

“
g
, a . o g , .
m
F aulkner f requently e pl o y s the strea m —
o c o nsci o usne ss e f
f -
f ect iv e ly he al s o frequently e m pl o y s i t m erely a s a s or t o f

,
tha n see hea r I hea r I se e my he a d b e n t I hea r t he m o n o to n o u s
d og m a t ic v o i ce w h ich I b e li ev e w i ll n e v e r ce a se g o i ng o n a n d o n
f o r ev e r a n d p e ep ing I see the i n d o m i ta b le b u lle t hea d the clea r .
b lu n t b ea r d they to o b e n t a n d I thi n king H o w ca n he b e so n o t

h u ng r y a n d I sm e lli ng my m o u th a n d to ng u e we ep ing the ho t sa lt
m h e h o t s te a m fr o m th e d is h It s ’
of w a i t i n e es t a s t i n
“
y y g t
g
peas , he said a l o ud , .
19
Mr A rn o ld B ennett declared that F aulkn er w r i te s like

.
an an gel I f this be true i t is j ust a s true it see m s t o m e

.
, , ,
that h e tr o u b le s h is water s s o m ewhat m u ch at ti m es with a

te chnique whi ch is i f anythin g t o o ex peri m ental H i s , , .
strea m o f co ns ci o usness up o n s u ch o ccasi o ns turn s int o a

- -
seethin g whirl p o o l o f e ccentri ci ties ; his phrases b e co m e

-
s harply i m press i o n i st i c w ith o ut b ein g plea s antly i m pre s si v e .
Mr F aulkner s se co nd pre o c cupati o n na m ely that wi th

.
’
— ,
a w o rld o f per v ersi o n and pain see m s at first si ght t o b e b ut

a d e lib er a t e e x p lo i t a t i o n o f what sh o ck s and o f what i s a b
n o rm al M r F aulkner has co n fessed an intenti o nal and de
. .
li b erate s electi o n o f su ch the m es as are dealt with in S a nc

t u a r y ; and he has illustrated i t in the carefully co nsidered
te chniques o f certain o f his o ther b o o ks .
B u t thi s pre o ccupati o n als o derives f r o m and is inherent

, ,
in Mr F aulkner s p o int o f view t o ward life — whi ch he sees

, .
’
as b itter perv erted and cruel, W e are here t o w o rk

, .
“
.
he s ay s W here is there a law requ i r i n g w e sh o uld b e

.
“
happy ? ”
W e are g iven o u r b reath o nly t o want and fret
2° “
a span ”
W ere this pre o ccupati o n therefo re less co n ge n i
.
21
tal F aulkner m i ght be g in t o o ut gr o w i t n o w that the n ece s

,
si t y f o r its deliberate expl o i tati o n n o l o n er exi s ts — n o w that

g
his reputati o n is esta b lished .
N o w that he is in the d o o r he m i ght — were thi s o b sessi o n ,
n o t so inherent in his wh o le p o int o f v iew t o ward life — b e

W ILLI A M F A UL K N ER 217
co m e willin g st o p splashin g bl o o d all o ver the d o o rstep

to
t o attract o u r attenti o n B u t I d o n o t think he will

. He .
m a y d o a b oo k n o w and then that will be an excepti o n ; b ut

o n the wh o le I think his pre occ u pati o n t oo in grained t o per
m i t his a b and o n i n g i t A b sa lo m A b sa lo m
. his m o st re cent ,
n o v el has a style so inv o lved as t o see m t o co n ceal i ts auth o r s

’
co n cern with h o rr o r ; a ctually h o wever i t m ark s n o essen

, ,
t i a lly new dire cti o n in F aulkner s interests

’
.
B y way o f sh o win g h o w deep s eated this interest in the -
a b n o r m al has been let m e no w intr o du ce my readers t o a

,
few o f the F aulkner chara cter s
P op ey e an i m p o tent de generate w h o m ana ges b y a m eth o d

: ,
t o o hid e o usly vul gar t o be m e nti o ned t o rape an inn o c en t ,
sch o o l g irl H e ca n b e re m e mb ered in o n e terri b l e scene

-
.
,
dro o lin g s ali v a and makin g a hi gh whinnyin g s o und like a

,
h o rse . A t fi v e he had b een fo und in the b athr o o m cuttin g , ,
up tw o b ird s with a bl o o dy s ciss o rs T hree m o nths later .
he had d o ne the sa m e t o a cat A s he gr o ws o lder h o we v er .

, ,
in the pa ge s o f the n o vel in which he fi g ures P o peye turn s to ,
m o re ela b o rate crueltie s .
An u nn a m e d n e r o m u r d er er
in the sa m e n o vel slashes his
g
wife s thr o at W i th a raz o r H er head t o sses b a ck fr o m the
’
b l oo dy re g ur g itati o n o f her b u b blin g thr o a t as s he runs up

the lane in fr o nt o f her ca b in .
S n opes a pervert re m inis cent o f o n e o f

, A nder s o n
’
s W ine s
b ur g de g enerate s who spends his ni g hts
, on to
p of a p o rch ,
play i n g P eepin g T o m .
C hr is t mas a ne gr o who ha s an u gly aff air with a white

:
w o m an whi ch ends with his m urderin g her bein g cau ght , ,
e m asculated and killed H e has n o will o f his o w n (ex cept

, .
the will to do e v il H is creat o r tells u s that i t was impo s

sible f o r him t o ge t o ut side this cir cle o f his sensuali ty . An d
C hrist m as hi m self e ch o es the sa m e co nvi cti o n .
M r M cE a cher n
. he whips y o un g J o e Christ m as at inter val s
un til ea ch ti m e t he b o y faints T hen he whips h im a gain
, , . .
H i s punish m ent co n 3 1 sts I n m akin g his vi cti m study f o r

a while whippin g hi m and then m akin g him return to his
, ,
study .
M iss B u r d e n She has a repulsive a ff air with a ne gro In the .
m idst o f i t she prays D ear G o d let m e be da m ned a little ,
l o n g er a little whil e
,
.
H ig hto w er the cruel e st o f the F aulkner chara cters

one o f .
H e deliberately t o rture s h i m self with the m e m o ry o f the

wi fe w h o had left h i m An o ther i m p o tent de generate
. .
G r i m m the head o f a lyn chin g party T o l y n ch his vi cti m .
he fi rst cruelly t o rtures h im and then deliberately fires a

wh o le su ccessi o n o f sh o ts int o the dy i n g m a n H is spe cific .
m eth o ds o f t o rtur e are t o o O ff ensive t o be detailed .
L ena G r o v e sear chin g f o r the father o f her child she derives ,
a n a l m o st m as o chisti c pleasure fr o m b ab b lin g her wh o le st o ry
t o all the g awkin g and o bs cene m en sh e m eets al o n g her
j o urney .
E m i ly a perverted m o r b id o ld m aid who after b ein g dis

: , , ,
app o in ted in l o ve lives o u t the rest o f her life with o nly the
,
co m pany o f her ne g r o m a n servant W hen sh e dies they

-
.
,
)
fi nd the b o dy o f the ne gr o de cayed and sunk into the ,
“
m a ttress o n h is m istress bed

’
.
M in n ie anC o o p er
intr o vert
: and sadist w h o falsely a ccuse s
a m a n o f rapin g her and lets h im b e lyn ched j ust f o r the
vi cari o us pleasure o f co nte m platin g the m an s dyin g a go nies
’
.
ple the war m feelin g and the hu m anity in the fo ll o win g
,
p o rtrai t fr o m S ar t o r is
T his w a s D r Lu cius Qu i ntus P eab o d y e i ght y seven y ears O ld
.
,
-
’
a n d wei hi n h ree hun red and ten p u ds d ssessi a

g g t d o n a n po n g .
di gestive tra ct l i ke a h o rse H e h a d practised m edi cine in the

.
co unt y when a d o ct o r s e q uip m ent co nsisted o f a sa w and a

’
satche l o f ca l o m e l ; he had been J o hn S artoris regi menta l su r ’
g e o n and u
,
p t o the da y o f the aut o m o bi l e he w o u l d st a rt o u t at
an h o ur o f the twe n t y fo ur i n an y weather a n d f o r a n distan ce
y y
-
,
o ver pra cti ca lly i m pa ssab l e r o ads in a l o psided bu ck b o ard to ,
visit an yo n e white o r b l a ck w h o sent f or him a ccepti n g f o r fee

, , ,
usua lly a m ea l o f corn p o n e a nd co ff ee o r perhaps a sm a ll m eas ,
ure o f corn o r fruit o r a f ew fl o wer bu l bs o r grafti ngs

, .
W he n he w a s y o u n g a n d hast y he h a d k ept a da ybo o k k ept it ,
m eti cu l o us ly unti l these h yp o theti ca l assets to ta l e d Bu t

that w a s fo rt y y ears a g o a n d s i nce t he n he had n t b o t hered with
,
’
a re co rd at a ll a n d n o w f ro m ti m e t o t i m e a co untry m an enters
h i s shabb y o ffice a n d dis charg e s an o b l i g a ti o n co m m e m o rating ,
s o m eti m es the pa yer s e n tr y i n to the w or l d i n curre d b y his father

’
or
g randfather whi ch D r
, P eab o d y hi m se .l f had l o ng sin ce f o r
g o tten ab o ut Ever .y o n e i n the co unt y k new hi m a n d it w a s
said that h e co u l d sp e n d the ba l a n ce o f his da y s drivi n ab o ut

g
the co unt y in the bu ck bo ard he sti ll used with n ever a tho u ght ,
f o r b o ard a n d l o d gi n g a n d with o ut the e x pen d iture o f a pe nn y

f o r either H e fill ed the ro o m with h i s b l u ff and h o m e ly h u
.
m anit y 22
Or O b serve the undercurrent o f hu m o r in this pi cture o f

,
M iss J enny fr o m the sa m e n o vel A nei ghb o r has enquired .
a b o ut her grand nephew w h o had b een rep o rted as hurt in

-
,
an accident .
M iss J enn y thank ed her tartly f o r her s o l i citude a nd dared to ,
sa
y that B a y a r d w a s a ll ri g ht : sti ll a n a ctive m e m ber o f the so
ca ll ed hu m a n ra ce that is si n ce the y had re ceived n o o ffi cial

, ,
wo rd fro m the co ro ner N o sh e had heard n o thing o f h i m since

.
,
L o osh P eab o d y ph o n e d her at fo ur o cl o ck that B a y ard w a s o n

’ ’
his w a y ho m e with a bro ke n he a d T h e bro k en head sh e readi ly .
bel ieved but the o ther part o f the m ess age she had put n o cr e
,
den ce in whatever havi ng l ived with tho se dam n S ar tor i ses ei ghty
,
W ILLIA M FA U L K N E R 22 1
years and knowing that ho m e wo u l d be the l ast p l a ce in the

worl d a S artoris with a b r oken head wo u l d ever co nsider go ing
“
N 0 sh e w a s n o t even interested in his present whereab o uts a n d

, ,
sh e h o ped h e hadn t in j ured the h o rse H orses were va l uab l e

’
.
ani m a l s .
23
Or , n o te the ad m ira b le quality of this des cr i pt i o n

T he mo on had go t up be yo nd the dark eastern wall o f hi ll s
and it l a y witho ut e mphasis up o n t he va ll e y m o unti ng l i k e a ,
chi l d s ba ll o o n behind the o a k s and l o custs a l o n g the drive

’
.
B a y ard sa t with his feet o n the veranda rai l in the m o o n l i ght , .
H i s ci gar gl owed at spa ced interva l s and a shri ll m o n o t o ne o f ,
cri ck ets r o se fr o m the i m m ediate grass and further awa y fro m , ,
a mo ng the trees a fairy l i k e piping o f yo ung fro gs l i k e end l ess

,
-
si l ver s m a ll bubb l es rising A thin s o urce l ess O d or o f l o cust.

,
drifted up intangib l e as fadin g t obacco wraiths and fro m the

,
-
,
rear o f the h o use up the dark ha ll E l n ora s vo i ce fl o ated in

, ,
’
meanin gl ess m in or suspense .

“
T his is go o d writin g fr o m F aulkner s b est b o o k B u t i t ’

.
is si gnifi cant that when S a r t o r is pr o ved unsu ccessful F aulkn er ,
turned so deli b erately t o the ex pl o itati o n o f cruelty A n d .

,
with o n e o r t w o ex cepti o ns he has sin ce c o ntinued that ,
expl o i tati o n ; h e has preferred t o o utra g e sensib ilities rather

than de v el o p the spe cial quali tie s o f war m th and n o r m al
hu m an feelin g displayed in S a r t or is .
T his I s ay is a si gnifi cant thin g

»
, , I say al so that Mr .
, , .
F aulkner s pre o ccupati o ns are b rin g in g h i m fa ce t o fa ce with

’
a dile m m a w hich is an interestin g o n e F or the m o re com .
le t e his expl o itati o n with cruelty b ec o m es t he less eff e cti v e

p ,
i t is O n e m i ght say that the mo re suc cessful F aulkner is

.
in intensifyin g his h o rr o rs the l es s su ccessful he b e co m e s as ,
a n o velist .
T h o se w h o play the ga m e o f ex pl o i tin g the fr isso n n o u

“
ve a u find that its stakes are co ntinually risin g ; ea ch m ust raise
his prede cesso r s ante Mr F aulkner has evidently deter

’
. .
”
m ined n o t t o b e a piker Mr F aulkner has als o b e it .
25
.
,
added j ust a b o ut arri v ed at that p o int where he cann o t

,
raise the ante W hat i s he t o d o n o w ? A lready his h or
.
r o r s be in t o iv that effe t w t fr m a par dy — fa t

g g e c e g e o o a c
whi ch I ca n illustrate b y as k in g m y readers t o co m pare the

t w o f o l l o win g sele cti o ns : the first fr o m o n e o f t h e F aul k ner
n o vels and the se co nd fro m a par o dy d o ne o n t h e sa m e

°
boo k
He sa w, fa cing him acro ss the spring a m a n o f under size his, ,
hands i n his co at p o ckets a ci garette s l ante d fro m h i s chin H i s

, .
suit w a s b l ack with a ti ght hi gh waisted co at H is tro users

, ,
-
.
were ro ll ed o nce and cake d with m u d ab ove m u d cak ed sho es -

.
H i s fa ce had a q ueer b l o od l ess co l o r a s th o u gh seen b y e l e ctri c

, ,
l i ght ; against the sun ny si l en ce in h i s sl anted straw hat a nd his

,
s l i ght ly a ki m bo arms he had that vi ci o us depth l ess q ual it y o f

,
stamped tin .
26
T he y fa ci ng the m a cro ss the spri n g a m a n o f under size

sa w , , ,
with tw o revo l vers drawn a nd a sl i m d a gger i n h i s teeth H is .
f a ce had a q ueer b l o o d l es s co l o r l i ke o ld ran cid l ard

,
B ehind .
hi m the bird sa n g a g ain i n m o n o t o n o us repet i t i o n ; a s o und

,
m ea n ing l ess a n d pr o fo und l i ke the l ast drain in the k it chen sin k

,
.
P o pe y e rea ched a r o u n d and wru n g i t s ne ck a n d co mm en ced t o ,
eat it s l owly with o ut re m o ving the d agger

, .
27
Ar e Mr F aulkner s n o vels eventua l ly

.
’
to b e co m e par o dies
of the m selve s ?
W hatever they b e co m e we o u ght in the m eanti m e t o r e

m e m ber that the m o st vi ci o us aspe ct o f su ch writin g derives
fr o m the fa ct that it is o nl y part o f a wh o le cult which
brutalizes hu m an nature and blunts o u r e m o ti o nal sensibili ‘
ties T here is a pleasure that is b o rn o f pain B o und

“
. .
in a ainst the s undin b o a rd o f o u r neur o ti c a g e this idea

g g o g ,
o f Meredith s is be g innin g t o reverberate until its e ch o es

’
are b ein g cau ght up in the w o rk o f en o u gh o f o u r writers

even when i t d o es his easy dis co very o f vi o len ce and pe r
,
versi o n i n the abundant neur o ses o f o u r ti m es is at least ,
s y m b o li c o f the wh o le tenden cy o f whi ch I have b een

speakin g .
In T he Wo m e n a t P o in t S u r (1 9 2 7 ) a father wh o m ,
N ietzs che w o uld have l o ved f o r his reli g i o n o f the super

m a n rapes his o w n dau ghter
, Ca w d o r (1 9 2 8 ) descri b es a
.
y o un g g irl w h o m arries t o assure herself and her a ging father

a livin g ; and then after failin g in an atte m pt t o seduce her
,
hus b and s so n deliberatel y i n fl a m es the o ld m a n by tellin g

’
h i m the so n has raped her T h e g irl tries t o co m m it

.
sui cide ; and the o ld m a n punishes hi m self b y pier cin g“
o u t his o w n eyes ! T his m ust be life this h o t pain says , ,
F era . F o r pa i n i s t o pleasure What the sun is t o the candle

In o n e o f th e p o e m s in D ea r 7 u das (1 9 2 9 ) w e are intr o
d u ce d t o a g irl w ho m urders her father when he dis co vers
o n e o f her illi c it relati o nships ; w h o then turns m as o chist
herself and W ho finally b eco m es o bs essed with the idea o f

, ,
at o nin g f o r her cri m e b y freely surrenderin g her b o dy t o

m ake as m any m e n a s p o ssi b le happy F o r i t i s her c o nvi e .
,
ti o n that all hu m an pain co m es fr o m restraint o f l o v e

“
.
A ll o f whi ch co m es ab o ut as cl o s e t o the G reek co n cept o f

tra g edy as Mr O N e ill s M o u r n in g B e co m es E lect r a
.
’ ’
A n d yet h o rrible as the J e ff ers the m es a r e w ho o f us ca n

, ,
deny his genius as a p o et ? U sually let m e repeat he d o es , ,
e m pl o y vi o len ce n o t f o r its value a s a crudely per ceived

,
series o f fa cts bu t f or its w o rth a s a t r a n sfi gu r i n g sy m b o l

, .
T h e sa m e cann o t b e said h o wever f o r m any o f the n o vels

, ,
d o ne b y the m e m b ers o f o u r cult o f cruelty In the b ri ef .

,
th o u gh representative list o f th o se I a m a b o ut t o o ff er
,
f —
,
m any are well co n ceived and b eautifully written b ut al m o st

all o f the m i m pin ge li k ewise up o n the unne cessary expl o ita
ti o n o f certain abn o r m ali ties and v i o len ces .
E velyn Sco tt s T he N a r r o w H o u se (1 9 2 1 ) is a study o f the

’
m o st co nfined hates and sadisti c ten den cies ; the sa m e im

W ILLI AM FA UL K N ER 2 25
p o undin g pain and the sa m e perverted cruelties are rep o rted

in her N a r cissus (1 9 2 2 ) and the wh o le t o ne o f her T he
G o lde n D o o r (1 9 2 5) is set b y o n e o f the characters o f wh o m
”
i t is said that he had 11 0 lan gua ge f or anythin g but pain
‘
.
M igr a t i o ns (1 9 2 7 ) as ri ch and as e x cellently written as

-
the o ther Sc o tt n o vels p o rtrays a ne gr o lashed int o a b l o o dy

welter until the exquisiten ess o f pain left h im sli ghtly
“
”
faint and a F ren ch l o v er who was so b rutal and so dire ct “
”
in his bru tality as to p o ssess a char m that wa s m o s t en
”
a
g g g in .
3 °
Va r d i s F i s her s The Vr i da r H u n t e r Te t r a lo gy is a v eri ta b le

’
cas e b o o k o f cruelties ; and M o rley Calla g han s n o v els taken

’
as a wh o le are gri m ly li ghted ph o t o graphs o f the m o st stark

,
brutalities O n e o f the m f or exa m ple painfully re co rds the

.
, ,
deran ge m ent o f a m o n o m aniac o b sessed with the idea o f b e

c o m in g a mo dern A q uinas I n a painfully detailed scene .
the insane m a n is e v en m ade t o wat ch his wife in an illi cit

l o ve with o ne o f his friends A n o ther o f the Calla ghan .
chara cters first a b du ct s a child ; then b rut a lly atta cks the
child s m o ther ; and is finally captured in a s cene as graphi c

’
as any o f the F aulkner lynchin g epis o des .
Certain o f the n o vel s o f K a y B o yl e reveal the sa me m o r b id

m i cr o s co py despi te the beautifully li m pid E n glish in whi ch
,
they are wr i tten and the delicate p o i gnan cy with whi ch parts
,
o f the m are c o nceived D e a t h of a M a n . her latest

n o vel is aptly des cri b ed b y o n e critic as a n i m m ersi o n in
,
”
neur o ti cism D r P r o cha s ka its central character sees
.
3 1
.
, ,
n o thi ng t o l o o k fo rward t o b e cau s e o f the abs o lute cessa

“
”
ti o n o f livin g ; en m eshe s hi m self in a l o ve a ff air with a
y o un g and s li ghtly i nsane w o m an w ho has e v en durin g her ,
h o ney m o o n di s carded her hu sb and a s ea s ily as o n e w o uld

,
dis card an o ld hat ; and then tries t o find his way o u t o f a

m o ras s o f c o nflictin g e m o ti o ns by thr o win g hi m self as a
sa crifi ce up o n the a l tar o f H itleris m G e n t le m en I A d d r ess .
,
Y o u P r iva t e ly (1 9 3 3 ) n o t o nly b o rder s up o n the neur o tic

thr o u gh o ut b ut ver ges o ff ulti m ately int o the dark frin ge o f
,
a perverted sex relati o nship Y e a r B ef o r e L a s t (1 9 3 2 ) .
fo cuses its attenti o n up o n t w o l o vers w h o travel a b o u t fr o m

o n e F rench h o tel t o an o ther while the m a n suffers a series
,
o f he m o rrha es whi ch a r e the result o f his ha v in

g g b een g assed
in th e W a r A ll the while he deri v es a m as ochistic pleasure
.
”
fr o m a cruel l o ve whi ch o n e o f his aunts b ears f o r h i m
“
A n d P la g u e d b y the N ig h t i n ga le (1 9 3 1 ) — t o g o b a ck t o
Miss B o
’
—
yle s earliest n vel is the st o ry o f a y o un g F ren ch
o
m a n w h o returns t o his fa m ily in F ran ce wi th an A m eri can

b ride T h e m en o f the fa m ily in cludin g N ic o las all su ffer
.
‘
fr o m an in cura b le b o ne disease ; a s a result N i co la s d o es ,
n o t wan t t o have a child W hen his father o ff ers h im a

.
lar g e su m o f m o ney pr o vidin g he will co nsent t o a child ,
N i co las bitterly su g g est s t o his wi fe that she deliberately

find s o m e o ther father f o r i t H at e f o r his fa m ily stifles .
h i m until his m ind is twisted and fixed in a go ny in his

“
head
H ate and hate a nd hate w a s in N i co l as glance f or each fa ce ’
at the t abl e H ate and hate f o r every o ne ex cept f o r C harl o tte s

.
’
face but even f o r her he had so m e l itt l e irritati o n n o w be cause

,
she had n o t pr o tested and be cause sh e w a s wi ll i n g t o a ccept
censure fr o m J ean a n d P apa a s if i t were the i r ri ght t o d o l e o u t
sense and reas o n t o her H ate a n d hate f or M a m an s fa ce a n d

.
’
her adro it t o o thpi ck spi k i ng o u t great l o ck s o f shagg y arti ch o ke

at whi ch she nibb l ed nervo us ly A nd hate f or Lu c s unfee l ing.
’
cl ea n l iness and char m Li k e a m a n s fa ce i ll and turn ing o n h i s

’
.
pi ll o w in pain N i co l as fa ce turn ed fro m o ne to the o ther o f

,
’
the m e yeing the m a ll H ate f o r M arthe s h ysteria and hate f or

, .
’
A n n i ck s unse lfi sh heart that bade her n o t ta k e the vei l H ate

’
.
f o r J u l ie s su ll enness that w a s a barrie r to her wo m anh o o d and

’
hate f o r his o w n wife w h o sho u l d have sOmeho w m astered cir

cu m st a n ce s and m ade the fa m i ly b o s o m but a te m p orar y resti ng
p l a ce H ate it w a s that m ade h i m turn up B ri d get and ho l d her

.
captive in hi s bitter e y e
3 2
.
W illia m March s C o m e in a t the D o or (1 9 3 4 ) features o n e

’
character w h o when aband o ned b y his pr o stitute wi fe find s

,
-
,
j a gged s ensi b ili tie s o f reader s U se the ter m so o di o u s to
.
m o dern criti cs i f yo u will and say that cla s sical literature

, ,
”
ha d a catharti c value O r say si m ply that i t kept o ne
.
, ,
wind o w o pen t o ward infinity .
O u r cult o f cruelty wri ters cl o se this wind o w

- -
T h e n o v el .
i s t who turn s the m aj o ri ty o f hi s puppets int o de generates

l o o kin g with frustrati o n o nly upo n a cruel b leak and , ,
—
b arren w o rld s uch a n o velist cl o ses thi s wind o w L ike \ .
W illia m F aulkner and t he rest o f the cult he m a y b e an

, ,
—
adept at sh o wi ng us the nsi de o f the h o use a h o u s e o f
i
h o rr o rs T he i n t er v en en ce o f h is cruelties m a y cause us f o r
.
~
a ti m e to rivet o u r gaze up o n t he ni ght m are wi thin B u t

, .
the distin ctly hu m an ele m ent in all o f u s m ake s us wan t to

advance a b i t ; the divine ele m ent in all o f us m ake s us
”
want the wind o w o pened t o ward infinity A true classi c
“
.
,
said S ainte B eu v e -
i s an auth or W ho has enri ched the
,
“
hu m an m ind increased i ts treasure and caused it t o adv an ce

,
”
a s tep.
C H APT E R I X
TH O M AS WO L F E E IWB R A CE S L IFE
ma y be o bj e cted it h a s been o bj e cte d a lre ad y b y certai n

,
criti cs that in su ch resear ch as I h ave here atte m pted t o des cribe

,
there i s a qua l it y o f inte m perate e x cess an a l m o st i nsane hunger

,
t o dev o ur the entire b o d y o f hu m a n e x perie n ce t o atte m pt t o

,
i n cl ude m o re ex perien ce m or e tha n the m easure o f o n e l ife ca n

, ,
h o l d o r t han t h e l i m i ts o f a Si n gl e w o r k o f a r t ca n we ll de fi n e
, .
I readi ly a d m it e val i ity o th i s cr i ti ci sm

t h d f .
— T h o m a s W o l fe
,
i n T he S t o r y of a N o v e l p,
.
to a b o ut fifteen th o u s and So m e o f u s m a y wish he had
.
pruned the m e v en m o re ; let u s rem e m b er the artistic crafts

m anship whi ch pr o m pted h im t o cu t so ruthle s sly what he
did T here is no d o u b t a b o ut i t T h o m as W o lf e is an
. .
artist o f sin ceri ty and inte gr ity T hat is the first thin g t o.
b e s aid a b o u t h i m .
T h e s ec o nd O bs ervati o n t o b e m ade is that o u t o f his

tee m in g m ass o f ver b ia ge there ha s e m er ged I thi nk n o t , ,
o nly the p o werful indi v iduality o f a m a n w h o i s o n e o f o u r
mo st pr o m isin g y o un g er n o v elists ; b ut als o s o m e o f the m o st

el o quent wri tin g s o m e o f t he m o st flashin g fi gures and m o st
, ,
c o l o rful transcript s o f life that ha v e yet w o ven the m s el v e s

in t o the n o ticea b ly dra b texture o f o u r mo dern pr o s e .
T h o m a s W o lfe kn o w s h o w t o write ; he kn o w s ho w t o tell

a st o ry to g i v e Sweep and b readth t o hi s can v as and to i n
, ,
fuse a glea m in g v itali ty into hi s characters that i s o f the

stuff o f l ife i tself .
F urther m o r e he ha s inherited v ery few o f t he effete

,
s terilities and little o f the e go m ania o f his a ge ; and he i s

, ,
si gnifi cant a m o n g m any o ther thin gs because h e ha s pr o v ed

, ,
that n o t o nly is the A m eri can n o vel n o t dead b u t that i t is ,
e v en capa b le o f gr o win g stro n g a gain if it seek its greatnes s

in the fullnes s o f A m eri can lif e T h o m as W o lfe o pp o ses .
our pre s ent day m e chanis m with vitali s m in pla ce o f

-
escapist n o v els filled with s o phisti cati o n and ennui he ,
o ff er s us b o o k s that are filled with all the hun g ers o f the
hu m an heart W e need that kind o f writin g t o day ; and

.
we need i t b adly .
A
“
Gar gantua b estridin g the w o rld an elephantine ,
P r o ust
”
,
the W hitm an a m o n g n o velists o u r critic s have
“
—
n o t b een sl o w i n ac cla im in g hi s ge nius S in clair L ewis has .
even go ne so far as t o sa y that I f W o lfe keeps up the

“
pr o m ise o f L o o k H o m e w a r d A nge l he has a chance to b e

, ,
”
the greatest A m erican writer o f all ti m e .
E xtra v a gant ? P erhap s so B u t at lea s t T h o m a s W o lfe is

.
T HO M A S W O LFE 23 3
the mo st p r o m i s in g o f o u r y o un ger writers W hat is m o re .

_
t o the p o int he is p r o m isin g a m o n g o ther thin gs b e cause

, , ,
he is gr o win g and be cause he is so co ns ci o us o f his i na d e q u a

c ies
. T here is n o ne o f that o ver co n fi d e nce i n h i m — n o ne -
o f the fl i a n t disdain f o r criti cal traditi o n — that chara c ter

pp
izes so m any o f o u r o ther y o un g er writer s H e ad m its that
'
he is no t a skilled wr i ter ; he fervently insists that he is try

i ng desperately o nly t o find a lan g ua g e that will m ake his
arti culateness m o re dis ciplined H e listens to the criti cs .
patiently H e is tre m end o usly sin cere And he is h o nestly

. .
deter m ined I ll learn e m yet he o n ce wr o te j o cularly

.
“ ’ ’
, ,
t o a friend I f or o n e think he ha s a go o d chan ce to d o so

.
8
, ,
W o lfe do es n o t re m e m ber exa ctly when he first th o u ght o f

b e com in g a writer A s a b o y peddlin g p aper s in A sheville s
.
’
N igger to w n he listened t o the whistlin g trains that hurled

,
the ms elves int o the i m m ense mo untains bey o nd his h o m e .
H e was filled with w o nder a b o ut that re m o te w o rld int o

which th o s e train s disapp eared ; and he was e v en then , ,
seized b y certain o f th o s e na m eless hun ger s whi ch were t o be

so chara cteristic o f his later w o rk B u t when he th o u g ht o f .
wr i t er s h e th o u g ht o f the m always as rese m b lin g distan tly

stran ge and fo r m idabl e fell o ws like T ennys o n L o n gfell o w , ,
o r B yr o n . O n e thin g did h o we v er inculcate in the b o y a

, ,
g enuine l o ve o f li terature In hi s h o m e he heard

. p o etry
l o n g ti dal waves o f it that rushed fo rth as his father a s t o ne ,
cutter a v e rhet o ri cal re citati o ns f r o m H a m le t Gray the

,
g , ,
”
Mark Ant o ny F uneral O rati o n M a cb e t h An d la t er o n
“
, .
,
the m e mo ra b le re ci tat i ve quality o f this v erse was t o find its

w a y int o the auth o r s o wn headl o n g rhet o ri c and ap o str o phes
’
and de cla mati o ns and tro pes as he went a b o ut the w o rld ,
still hun gerin g at th e sym b o l o f a s to n e a leaf a d o o r , , .
At Chapel H ill W o lfe edited the co lle ge paper ; als o he ,

23 4 L U C I F ER AT LA R G E
wr o te three play s : T he R e t u r n of B u ck G a v in D ef err e d ,
P a ym e n t and T he T h ir d N ig h t : A G hos t P la y o f t he
,
C a r o li n a M o u n t a i ns T h e first o f these was his first pu b

.
li she d w o rk (s ee C a r o lin a F o lk P la ys S e co n d S er ies 1 9 2 4 )

, ,
the auth o r hi m self a cted i n I t so su ccessfully that the ni ck

”
na m e B u ck stu ck with h im thr o u gh his co lle ge days .
H e went to H arvard Where under B aker he wr o te m ore

plays in the fa m o us W o rksh o p B u t all the w h ile h e w a s
.
k
dissatisfied with the dra m a as a vehi cle f or his m any ideas

that cla m o red f o r utt eran ce H e realized that he co uld n o
.
m o re find expressi o n in the d ra m a than a whale ca n b e

co nfined in a go ldfish b o wl ; and so he left f o r L o nd o n
where in a Chelsea sittin g r o o m h e b e gan t o fill up lar g e

,
-
,
led g ers wi th the st o ry o f L o o k H o m e wa r d A ng e l L ater ,

.
he returned t o N ew Y o r k t o instru ct in o n e o f the uni v ersi

tie s there and t o finish his b o o k
, .
B u t a pu b lisher turned it d o wn ; and so W o lfe left f o r

E ur o pe a gain .W hile there S cri b ners sent f or h im T hey
, .
g ave h i m a c o ntra ct when he returned ; and the y o un g

auth o r o n e m o rnin g walked o u t int o t he F i fth A venue
cr o wds at the S cribner o ffi ce t o think a b o ut the fi v e hundred
d o llar che ck in his hand and find hi m self at last up a t , ,
1 1 0 t h S treet with o ut e v er kn o win g h o w he h a d o t there

g
L o o k H o m e w a r d A n g e l s o ld steadily but nevertheless
, , , ,
i ts auth o r w o rried R eturn in g at n i ght to the unwashed

.
brea k fast cu p the s cattered b o o ks and the cast o ff shirt i n

, ,
hi s apart m ent he w o ndered if he co uld d o an o ther n o vel ,
o r if he was j ust a flash in the pan H e w a s filled with .
co ns cienti o us m is g ivin g s H e learned in bitter m o m ent s

.
, ,
when publi city w a s seekin g h i m o u t that an h o nest auth o r ,
reall y wants t o fo r get his b o o ks as s o o n as the travail o f

g i vm
g the m birth is Over H e beca m e fearfully awar e o f
.
”
the fact that the naked intensity o f his fir s t n o vel w o uld
have t o be dis ciplined when he ca m e to write an o ther b o o k .
A l s o there wa s the h o stile recepti o n o f the n o vel in his

,
of his flesh n o t m erely the l o st father o f hi s y o uth b ut the
, ,
i m a ge o f a stren g th and wisd o m external t o his need and

superi o r t o his hun g er t o whi ch the b elief and p o wer o f h is
,
”
o w n life co uld be united
5
.
M o re led gers were filled up ; and finally in the sprin g , ,
of 1 9 3 1 T h o m as W o lfe returned t o Am eri ca wi th ab o ut
fo ur hundred th o usand w o rds written T hen i t w a s that .
t w o diffi cult pr o ble m s presented the m selves t o his cOnsci en
ti o us and creative m ind — that o f the ti m e ele m en t ; and

that o f g ettin g all h is wealth o f m aterial in to o n e b o o k .
T h e fo r m er pr o ble m W o lfe s o lved when h e realized the

’
i m peri o us ne cessity o f a ctually u s in g t hr e e ti m e ele m ent s

present ti m e t o advance the narrative ; past ti m e t o tra ce
the ba ck gr o unds o f h is char a cters ; and the i m m uta b le ti m e
o f rivers o f o ceans and o f m o untains t o se cure a rhyth m i c
, , ,
effe ct by co ntrastin g th o se i mm utabilit i es with the brevity

o f m an s lif e up o n the earth T he latter pr o b le m W o lfe
’
.
so lved by de cidin g that he w o uld write sev er a l new n o vels

—n o vels that w o uld deal with a century and a half o f h i s
t o ry e m pl o y o v er t wo th o usa nd chara cters and be a vast
, ,
pan o ra m i c study o f A m eri can ra ces !

H a v m g deter m ined up o n this o bj ect i ve he at Once set ,
t o w o rk wi th a kind o f sava g e intensity H ere is the .
plan o f the series he co nte m plated wi th the b o o ks in the ,
o rder o f their pr o b a b le appearan ce and wi th the ti m e plan ,
o f ea ch
L o o k H o m e w a r d , A ng e l 1 8 84- 1
9 2 0
(pub l ished 1
9 2 9)
O f Ti m e a n d the R iv er 1
9 2 0 -
1
9 5
2 (pub l ished 1
9 3 5)
T he O ct o b e r F a i r 1
9 5 9
2 -
1 28
5
T h e H i lls B ey o n d P e n t la n d 1 83 8 -
1
9 2 6
T h e D e a th of t he E n e my 1
9 2 8 1 -
93 3
P a ci fi c E nd 1
79 1 -
1 884
Byday he s laved and at ni ght he drea m ed o f s lav in g

,
.
H o urs and h o urs he Spent at hi s typewri ter ; b ut still when

’
he lay d o wn after the day s w o rk h e fo und he c o uld no t

THO M AS W O LFE 23 7
sleep T hen h e w o uld rise a gain turn o n the li ght read
.
,
.
,
What he had written and go ba ck t o b ed o nly t o drea m

, ,
o f m o untains o f un m arked student the m es and o f classes still
waitin g f o r him after all the m o nths he had b een in E ur o pe !

B u t O f T i m e a n d the R iv e r was pu b lished at last and ,
t w o m o re o f the n o v els wer e written in r o u g h draft T here .
ca m e the day finally when Maxwell P erkins info rm ed h i m

that his se co nd n o vel was finished W ith relief W o lfe turned .
the m anus cript o ver t o his publishers befo re flee i n g t o

E ur o pe t o await its release in painful anxiety a s he w o n
,
dered What the cri ti cs w o uld sa y ab o ut i t F or three days .
like a ma d m o nster he pa ced the streets o f P aris waitin g f o r

news o f his n o v el s re cepti o n B u t Scribners ca b led h im
’
.
at last T he new s they had f o r h im I d o n o t hav e t o repeat

. .
As the reveries whi ch Mr W o lfe b r o u ght t o gether under

.
the title F r o m D e a t h to M o r n ing (1 9 3 5) do li ttle m o re than

illustrate the m any m erits and the few defi cien cies whi ch the
t wo previ o us n o vels had displayed i t w ill b e su ffi cient if I ,
f
refer t o the m later o n when I co m e t o a m plify m y re m arks

o n the n o vels the m s el v es T h e c o n tents o f the n o vels h o w
.
,
ever wi ll first have to b e understo o d clearly as a b asis f o r

,
this later dis cussi o n .
L o o k H o m e wa r d A ng e l (the title i s derived f r o m Milt o n s

’
L yci da s) is a pan o ra m ic first n o vel which chr o n i cles at least ,
in lar ge part the life in W o lfe s o w n fa m ily u p thr o u gh the

,
’
se co nd decade o f o u r century wh en E u g ene i ts a u t o b io , ,
g raphi cal and c entral character lea v e s his h o m e in N o rth ,
Car o lina t o go t o H ar v ard W o lfe s ow n father W illia m

.
’
O liver W o lfe in the n o vel bec o m es O li v er Gant ; and the

,
auth o r s m o ther J ulia E liza b eth W estall b ec o m es Mr s Gant

’
, , . .
O liver Gant the st o ne cutter p o werful le cher o u s and qu er

,
-
, , ,
u lo u s m arries E liza P entland t o fo und the lar e fa m ily with

,
g
whi ch L o o k H o m e wa r d , A ng e l and its sequel , O f T ime and
t he R iv e r ,
b o th deal .
W hile a b o y O liver G ant had seen co m panies o f b e gri m ed

R ebels fi lin g past h i s m o ther s far m ; after the “ l ai r he had
’
landed in B alti m o re ; there he had b e co m e f a scm a t e d as he

wat ched a passive st o ne cutter carvin g o u t cheru b i m and
-
l a m bs o n granite t o m b s to nes A s a result he had a ppr e n.

,
ti ced hi m self t o this sto ne cu tter ; and had final l y se t up his

o w n sh o p E liza G a nt h i s wife has a passi o n f o r wea l th :
.
, ,
while her husband carves the s m o o th j o ined m arble hands

o f death o n co ld s labs o f m arble sh e b uys D ixieland a , ,
g reat b o ardin g h o use and w o r k,s n i g ht and da y t o keep

b o arders tha t she m i ght invest in m o re pr o pert y E liza has
, .
little ti m e f o r tenderness t o ward any o f her m any children ;

and O liver G an t t h e father pauses seld o m in his o r g ies o f
, ,
drinkin g and cursin g a nd then o nly l o n g en o u gh t o revil e

,
his wife and fa m il y .
L o o k H o m e wa r d A n g e l thus b e co m es fr o m o n e p o int
, ,
o f view a study o f the way in which the Gant children are

,
drawn int o the net spun o u t o f their m o ther s cal culatin g ’
parsi m o ny and their father s b itterness a n d lust T w o o f

’
.
the children escape o nly by death and E u gene the y o un gest ,
so n a drea m in y o uth w h o cann o t find his way o u t o f the

,
g
queru l o us atm o sphere o f his h o m e go es t o H arvard in the ,
end ; but he stil l carr i e s W i th h im a feelin g o f bitter futili ty

and hun ger b o rn o f th o s e early days .
I n the sequel h e neither es capes fr o m his earlier futili

ties n o r satisfie s his hun ger O f T i m e a n d the R iv er c o vers
.
the ti m e which E u g ene spent in P r o fess o r H atcher s [ B aker s ] ’ ’
pla y writin g cl as s at H arvard his career as an instru ct o r in

-
,
a lar g e N e w Y o rk university and his trave l s in E ur o pe , .
N o stal g ia and na m eless hun g ers and frustrati o ns re m ain with

E u g ene G an t even there : he b e co m e s a pr o t o type o f the
exile and the wanderer d e st i ned raven o usly t o feed hi m self
,
up o n hu m an experienc e and findin g n o experien ce that ,

has fallen heir to m o re of these tenden cies than we are likely
t o suspect .
T he g ra pp ling ho o ks f -
o ar t
Mr .W o lfe s
T here is o ne of
‘
.
’
chara cters wh o clai m s that he will n o t o nly have the Wh o le

6
cake o f the w o rld b ut that he will eat i t to o L ike thi s

, , .
chara cter T h o m as W o lfe see m s t o b e co ntent with n o thin g

,
less than a ll o f life taken at o n e great gulp N o t Only this .
n o t o nly d o es he see m t o think it the writer s duty t o

’
” ”
e b ra ce and de vo ur l fe b ut i t b e co m es als o t h e duty
m i —
”
o f the artist t o fix e t e r n i ty as he says with the grapplin g
, ,
h o o ks o f his o w n In O f T i m e a n d the R iv er i t is
said o f o n e o f E u gene Gant s exp erien ce s that i t b e ca m e part
’
o f the m e m o ry o f hi s wh o le life — a life in w hi ch he co uld
fo r get n o sin gle part .
W o lfe t o o see m s una b le t o fo rg e t an ythin g : his te chnique

, ,
de m ands the in clusi o n o f e v ery fact and detail A s a result .

,
hi s canvas b eco m es t o o cr o wded with incident s and nam es and

i dea s si m ply b e cause he has disre garded the first prin ciple o f
endurin g art that o f arti s tic sele cti o n H e fo r get s in o ther .
,
w ord s that genius m ust b e disciplined A nd l o n g passa ge s

, .
o f hi s n o v els s h o w thi s lack o f dis cipline re s e m b lin g a s th ey ,
d o the diary kept b y E u gene Gant hi m self

, pi cked
o u t at rand o m fr o m the fer m en t o f ten th o usand pa g es ,
—
and a m illi o n w ords put d o wn j ust a s they were writt en ,
i n fr a m ent s j ts r splintered flashes

g o o , , .
T h e W o lfe m eth o d o f writin g — that o f cr o wdin g hu ge

led g ers full o f fra gm entary des cripti o ns which hav e n o desi gn
s o m eh o w feeds o u r auth o r s raven o us hun ger with t o o in ’
;
”
dis cr i m i nate a diet I n h is ea g ernes s to de vo ur the Wh o le
.
o f life he atte m pt s t o satiate hi s gar g antuan appetite b y
p o urin g into the m o nstr o us ma w o f hi s literary m eth o d as

m u ch raw experien ce a s p o ssi b le grindin g i t all d o wn int o ,
an undi ge s ted m a ss o f epi thets and a s m any adj ecti v e s a s

he ca n find .
THO M AS W O LFE 24 1
T hus , hara cters all see m t o breathe stert o r o u s ly

his c
”
E u g ene n o t o nly grins but grins in his entrails ; peo ple
,
no t o nly curse b ut they d o so , in a t o ne o f m incin g and “
ir o ni c refine m ent a l o v er m ust speak with kissy wettie “
”
talkie the hysteria o f t h e Gan t fa m ily is n o t o nly welled
”
b ut a gg lutinated ; lau ghter i s n o t o nly co n fu s ed b ut a
”
twiddle g i ggle-
cr o wd s are always t h e m a n swar m ; “
-
”
pe o ple cann o t yawn unles s they d o so cavern o usly ; m e n “
”
never s m ile except lewdly an Od o r i s no t si m ply an o d o r ,
b ut o n e hu ge g i ganti c S tink a sy m ph o nic Smell a vast , ,
o r an n o te o f stupefyin
g
-
g o d o r c unnin g ly co ntrived ,co m ,
a ct e d and c o m p o s ed o f ei hty seven separate several putre

p g
-
,
”
facti o ns .
9
A s a co nsequen ce o f this te chnique pa ges o f his n o v els ,
read like a railr o ad ti m e ta b le ; and wh o le chapters o f the m

-
s o und li k e a less o n in ge o graphy H e l o ves t o pile u p b o r .
in g catal o g ues o f details and m eanin gless aut o b i o graphi cal

re m inis cen ces H e n o t o nly uses t oo m u ch of the clay o f
.
experien ce f o r his m o delin g b ut t oo o ften h e fails t o g ive

,
any m o del whats o ever t o the clay M o re o v er he affi r m s t o o .

,
little be y o nd his o w n hun gers and a thir s t that gulps d o wn

”
rivers a n d re m ains insatiate .
1°
So i t is that parad o xi cally en o u gh T h o m as W o lfe f r e

, ,
quently o ffers with all his ne gati o ns n o t o nly a pi cture o f

, ,
a m a n w ho w o uld b o th have and eat his cake b ut the aut o ,
bi o graphi cal p o rtrai t o f a m a n w h o in despair and futility , ,
insists that there is no t even any cake ! T here i s o nly the

hun g er f o r cak e .
A p ha n t o m fla r e of gr i ev e d desir e T h o se unc o n s ci o na b ly .
l o n g catal o g ues o f details are n o t w o rthy o f T h o m a s W o lfe s ’
fr esh p o wer F urther m an y o f the m are just as tedi o us as

.
,
the tired a ccents and stale repetiti o ns o f the D reiserian sch o o l .
R e m inis cent o f this s ch o o l als o are certain o f Mr W o lfe s

’
, , .
attitudes t o ward the i nsign i fi ca nce o f m a n in o ther w o rd s , ,

to ward ma n as a puppet : W e are a phant om flare o f
rieved desire the h t li n and ph sph ri fli ker f 1m
g g, o s
g o o c c o
m o rtal ti m e .
O n e o f t h e W o lfe chara cters is des cri b ed as a grain o f

hu m an dust an at o m thrust b y chance int o the great r o ar
,
o f a distant city O ther s are referred t o as at o m s

“
.
o n the hu e breast o f t h e indifferent earth

g . A n d all
13
of the Gants th o u gh creature s o f de mo n iac energ y are

, ,
nevertheless so i n efi e ctu a l as hu m a n b e ings that with an “
in s ane fatalis m they had surrendered to the sava ge cha o s

”
o f li fe
14
.
T h o m as W o lfe ha s learned h o w t o g i v e spa ce t o lif e ; b ut

that spa ce o ften b e co m es a great chas m in whi ch his char -
a ct er s fall a co s m i c v o rtex int o whi ch they are s u cked as

, ,
creatures w h o are dwarfed in everythin , g except ener g y and

hun ger b y the m a gni tude o f des o lati o n en co m passin g the m
, .
T h ey b ec o m e in the w o rds o f the auth o r hi m self m erely

, ,
pe o ple w ho thri v e up o n t he inex o ra b le tides o f N e ce s sity

“
fannin g with their prayers the useles s al tar fla m es sup ,
pliant with their h o pes t o an unw i ttin g spirit castin g the ,
tiny r o ckets o f their belief a gainst re m o te eternity and h o p ,
i n g f o r gra ce g uidance and d e li v ery upo n the s pinnin g and

, ,
fo r go tten cinder o f this e arth ” .

5
I n li t e r a t u r e of gr ea t a n d e n d u r ing p r o p o r t i o ns t he a u t ho r
is ju s t ifi e d i n m a ki ng m a n fa ll to a ny d e p t h B u t to g e t
.
t his p r o p o r t i o n the a u t ho r m u s t fi rs t p la ce m a n u p hig h

e n o u g h so t ha t he CA N fa ll t o so m e r ea t de p t h
g .
T he p i n
ro a cci d e n t o f lif e T h e W o lfe character s all
g g .
”
c o nfr o nt life b lindly : they are cau ght u p in its variety and
”
“
stran geness ; b ut they present the c o ntradi ct o ry spe ctacle
p
o f m e n with o ut s iri tual eyesi g ht tellin g us o ver and o ver
a ga i n o f th e w o nder and the b eauty they see A s B en s ays .
in L o o k H o m e wa r d A ng e l : W hat s i t all a b o ut ?
,
’
Is it
really so o r i s s o m e b o dy playin g a j o ke o n u s
, Again ,
wh o s u gge s ts the stran g eness and variety o f this life m o st is
T h e chara cters whi ch Mr W o lfe
” 2°
S herw o o d A nd e rs o n . .
has created h o wever at ti m es o utd o A nders o n s in sava gery

, ,
’
bitterness and futility t o su ch an extent that A nders o n s

’
»
,
,
W ines b ur g see m s by co m paris o n a cheerful l ittle D ut ch

, ,
vi l la ge s k et ched by W ashin gt o n Irvin g !

A ll m e m bers o f t h e G ant fa m ily see m t o hat e o n e an o ther .
O ld Gan t hi m self is al m o st always in s o m e drun k en o r gy :

the ni ght that E u gen e is b o rn M r s Gant ha s t o l o ck herself , .
in her r o o m t o pr o te ct herself fr o m her husband ; and the

father d o es no t kn o w o f the birth o f his so n un til he b e ‘
co m es s o ber at dawn T h e children all see m t o despise

.
their parents T hey expl o de int o an ger even in m o m ents

.
whe n their creat o r is tryin g t o sh o w their tenderness .
In the seco nd o f the n o vels this a m b iva len t e m o ti o nalis m

is neatly illustrated b y an in cident in whi ch E u gen e falls in
l o ve with A nn and say s t o her (b y w a y o f sh o win g his
a ff e cti o n ) Y o u l o vely bitch Y o u b ig dark , ,
du m b l o vely sullen B o st o n b itch !

, , I l o v e yo u ! -
O h yo u b it ch
,
Y o u B o st o n b it ch
. A n d in the earlier .
,
n o v el when th e m o ther o nce pleads that they all o u ght to

,
try t o ge t al o n g t o gether and b e than k ful f o r their b less

, ,
in gs E u gene su ggests the w h o le m o o d o f a gglutinated

,
“
hysteria in the W o lfe n o vels by cursin g

Y es I have a great deal t o give thank s f o r
, I g ive thank s .
f o r every dirt y l ust and hunger that crawled thro u gh the p o ll uted
b l o o d o f m y nob l e an cesto rs I give than k s f or ever y s cro fu l o us
.
t o ken that m a y ever co m e up o n m e I give thank s f o r the l o ve .
a n d m er cy that k n eaded m e o ver the washtub the da y befo re m

y
birth I g ive than ks f o r the co untr y s l ut w ho nursed m e and l et
.
m y dirt y ban da ge fester a cro ss m y n ave l I g ive than ks f o r ever y .
b l o w a nd curse I h a d fro m an y o f yo u during m y chi l dho o d f or ,
every dirt y ce ll yo u ever gave me to s l eep i n f or the ten m i ll i o n ,
ho urs o f crue l t y or indi ff eren ce and t he thirty m inutes o f cheap,

”
advi ce 2 2
.
THO M A S W O LFE 2 45
B u ll la u g h t e r b e llo w ing in the b ea n e r y

-
the s e m en . A ll of
and w o m en represent types wh o se entire nerv o us s yste m s are

hi ghly dis o rganized AS a result the n o vels the m selves fr e
.
,
quently suffer fr o m a m er e welter o f e mo ti o ns N eur o ses .
are co nfusedly presented as if they were inten s e pas s i o ns ;

m aladj ust m ents are c o l o red w i th tra gi c i m plicati o ns that
a ctually d o no t exist at all T here are ti m es when Mr . .
Wo lfe atte m pts t o b uild m o untain s o f pas s i o n s o u t o f m o le

hills o f m ere irri ta b ility o r neur o ti cis m .
M u ch o f the po ssible effe ctiveness o f the n o v el s is als o l o st

b ecause o f the exasperatin g la ck o f all in telle ctual sy mpathy
b etween the chara cters N o t o n e o f the m li v es in any kind
.
o f har m o ny with the universe the o ther chara cters o r even , ,
with hi m self T h e underta k er H o rse H ines reeks co n

.
, ,
t i n u a lly o f al co h o l D oct o r C o k er the physi c ian called in at

.
,
B en s death puts his hat b a ck o n hi s head and li g hts his

’
ci g ar b efo re his patien t is e v en dead An d in the W ines .
b urgs o f W o lfe s fancy n o t o nly ca n no o n e li v e in pea ce

’
b ut n o o n e can die in pea ce .
T hus in the s cene fr o m L o o k H o m e wa r d A ng e l in

, , , ,
whi ch B en dies th e Wh o l e fa m ily hysteri cally lea v e s the

,
dyin g b o y al o ne wi th E u gene and E liza E liza h o ld s her .
dyin g s o n s hand s and s o b s E u gene trie s t o pray — no t we

’
.
,
are t o ld b e cause he b elieve s in G o d o r i m mo rtality b u t

, ,
be cause he is a f raid n o t t o b elieve in G o d o r i mm o rtality .
J ust befo re B e n die s th e fa m ily is called b a ck in I mm e di

, .
ately afterwards L uke and E u g en e go d o wn t o a restauran t

t o enj o y a n i ce steak and g e t rid o f their hysteria b y scree ch
i n g o u t b allad s T here we are t o ld in a ch o ice W o lfi a n

, ,
s enten ce that T heir bull lau ghter b ell o wed in the b ean
,
-
”
ery .
23
I n O f T im e a n d the R iver when their father dies the , ,
b o ys send o n e o f the l o d ger s o u t after a gall o n o f Whisky

a nd e v er y o ne drank a great deal b eca m e in fact s o m e
“
, , ,
what int o xicated ; when the undertakers ca m e t o take Gan t
away n o ne o f the fa m ily was present N o o ne saw it T hey
, . .
were all in the ki t chen seated ar o und E liza s battered o ld ’
ki tchen ta b le wi th the ju g o f whisky o n the table befo re

,
the m T hey drank and tal k ed t o g ether all ni ght l o n g until

.
”
dawn ca m e .
24
S u gg estin g the sa m e exasperati ng and un co nvin cin g a h

n o r m a l ity o f chara cter is the st o ry in F r o m D ea t h to M o r n
i n g in whi ch when the dyin g father is taken o ff t o the
,
h o spital o n e o f the s o ns seri o usly co m plains that he had

,
been l o o kin g fo rward t o enj o yin g a trip b ut that n o w he ,
kn o ws h e will b e disapp o inted ! Is it any w o nder that o u r

auth o r says o f the Gant fa m ily that N o ne o f the m wa s u n
”
co m fo rtable i n the presen ce o f m adne s s ? 25
E n t er yam es 7 y
o e c . Mr W o lfe s gre a t ad m irati o ns
O ne of .
’
f m
is f or the w o r k o Ja e s J y o ce — espe cially th e J o y ce kn o wn
f o r h i s skill in handlin g sen s e i m pressi o ns I t m ust b e .
o b s erved that J o yce s in fluen ce up o n hi m ha s n o t b een

’
wh o lly a go o d o n e F o r m o st o f what i s co mm enda b le

.
in the A m eri can n o velist is the result o f his skill in m akin g

thin gs ha pp en in g ivin g a sense o f m o ve m ent and p o wer t o
,
ti m e in p o rtrayin g m en as cr e a t u r es of a ct io n rather than

,
passivity O n t h e o ther hand when he tries to m a k e ti m e

.
,
stand still he s o m eti m es b e co m es tedi o us H e interp o lates .
d o zens o f rhaps od i c passa g es a b o ut rivers fl o win g and p e o ple

eatin g and cursin g H i s chara cters th o u ghts are b o rne
.
’
al o n g o n the strea m o i c o ns ci o usnes s until they co m e t o a

- -
dizzied st o p in its s eethin g whirl .
T h e s ce n e (in the latter part o f L o o k H o m e w a r d A ng e l) ,
in whi ch E u gene visits the spiri t o f B en and sees the phan

t a sm a g o r i a o f the t o wnspe o ple ; the qu o ted lines o f p o etr y
intended as satiri c co m m entary o n E u gene s readin g ; the ’
intr o du cti o n (in O f T i m e a n d the R ive r ) o f a m eanin gles s

diary re co rdin g a trip thr o u gh F ran ce and readin g like a
S uch ne gati o ns m i ght p o s si b ly n o t b e SO w o rthy o f n o ti ce
if o u r auth o r did n o t take hi m se l f S O seri o usly as a phi
lo so ph er as o ften t o lend co nfusin g purp o ses t o his w o rk .
B u t he info r m s us that all the pe o ple fr o m his se cti o n o f

the co untry a r e phil o s o phers by nature every m a n o f the m
“ ”
is naturally a phil o s o pher .
28
A n d i t is clear that W o lfe thinks o f hi m self a s a phil o s o pher

als o H e pauses in the m idst o f the m o st interestin g narra
.
tive t o be co m e a m etaphysi cian whi l e E u g ene G ant I ndul ges

f o r pa g es in su ch refle c ti o ns as this : I a m a part o f all
that I have t o uched and that has t o u ched m e whi ch havin g , ,
f o r m e n o existen ce save that whi ch I gav e t o i t beca m e ,
o ther than i tself by bein g m ixed with wh a t I then was ,
and i s n o w still o therwise havin g fused w i t h w ha t I n o w

’
am , whi ch is i tself a cul m inati o n o f what I have been b e

c o m in g W h y here ? W h y n o w ? W hen then
.
H e be co m es the psy ch o l o g ist — li m pin g it is true s o m e , ,
what la m ely after F reud b y refle ctin g up o n H elen Gant s

-
’
life : She did n o t kn o w what she wante d t o d o with her

“
life ; i t was pr o babl e that sh e w o uld never co ntr o l even

partially her destiny A n d still in t h e shad o w o f
.
,
F reud th e auth o r in a m anner very re m inis cent o f A nder

, ,
s o n s D a r k L a u g h t e r tells us o f E l iza Gant

’
, her life
was s o m eh o w bey o nd these a ccidents o f ti m e trainin g and , ,
o ccasi o n an d the w o m an w a s as g uiltless as a child a river

, , ,
”
an avalan che o r any fo r ce o f nature whats o ever
, .
3 1
W ith his co m m ents up o n deter m inis m envir o n m ent and , ,
heredity W o lfe b e co m es the s o cial phil o s o pher in su ch

,
s cenes a s that fr o m L o o k H o m e wa r d A ng e l in whi ch S teve ,
G ant havin g be co m e a drunkard is m ade t o bla m e his

, ,
m o ther and Mar garet f o r all his tr o ubles : H e called the m

“
”
fo ul na m es and said they had p o is o ned his syste m .
3 2
F o r al m o st n o ne o f t h e W o lfe chara cters see m t o feel an y

pers o nal resp o nsi b ilit y f o r anythin g ; they bla m e everythin g
up o n en v ir o n m ent and heredity P artly as a co nsequence o f
.
THO M A S W O LFE 249
this the co nfli ct in the n o ve ls i s O ften the result n o t o f a

, ,
clash o f wills b ut o f w o rds T h e chara cters be l l o w n o t

, .
be ca use o f s o m e fur y o r frustrati o n that inv o l ves their deeper

’
nature but be cause let u s sa y they have go t in o n e an o ther s

, , ,
way in the kit chen A n d when their creat o r co m m ents o n .
the m o ften he is m erely rhaps o dizin g instead o f ph i lo so

, ,
ph i z in
g .
T here is a di fferen ce !
T he p a ci ty to s h o ck B e n had died and L uke and E u g ene

ca .
had go n e t o pi ck o u t h i s co ffi n T h e underta k er H o rse

‘
.
,
H in e s takes the m int o the e m bal m in g r o o m t o se e the b o dy

,
o f their br o ther W hen o n e o f the b o ys su ggest s that B en

.
l o o k s pale H ines bris k l y ta k es s o m e r o u g e fr o m h i s p o ckets

,
”
and t o u ches up B en s chee k s S e ein g h im d o this E u gene ’
.
,
sta ggered a cro ss t h e fl o o r and co ll apsed upo n a chair r o arin g ,
with lau ghter while h is l o n g ar m s fl a pped helplessl y at his

,
”
Sides . O ld G ant is dyin g ; he falls d o wn up o n the side
3 3
walk and b efo re E liza ca n rea ch h i m her flesh turned r o tten ,

“
at t h e Si ght H e w a s b l eedin g t o death thr o u gh the

.
” 3 4
g enital o r g ans .
E u g ene G ant pauses f o r a m o m ent at a subwa y st a ti o n

, ,
while h e l o o k s at a brawn y lusty g irl breast b elly a r m , , ,
and thi gh and al l her brawn y lustih o o d

,
A chara cter .
3 5
m e ets a pr o stitute A swart ey e d fell o w O iled and a m o r o us

“
-
, ,
sweetly li ck s with n o zz ly t o n g ue his wh o re s r o u ge varnished ’

-
fa ce . A j ewe l er is repairin g a wat ch he pries i nt o i t s

3 6
“
entrails A g r o up o f students gather ar o und their i n str u c
.
-
tor : thi ck with their h o t and swarth y b o d y s m e l ls their

“
str o n g fe m ale Od ors o f rut and cr o t ch and a r m pit and cheap -
perfu m e O n e o f the tales in F r o m D ea t h to M o r n

.
3 7
i ng des cribes the ph y si cal detai l s o f a death in a subwa y so

,
g raphi cally that were a co r o ner called up o n t o read t h e

,
des cri pti o n pu bl i cl y I a m sure he w o u l d b e g t o be ex cuse d , .
— An I talian vend o r in t h e sa m e v o lu m e is hi t by a tru ck : , ,

2 56 LU C IFER AT LA RG E
his wa go n o f spa ghetti parts o f his Skull and his brain all
, ,
m ix t o g ether in o n e h o rrible bl o od y welter up o n the street .
T o o o ften Mr W o lfe is m erely repellent when we m i s

.
ta k in gly think he i s p o werfully rea l isti c .
B u t a ca p a ci ty t o s ho ck is n o t o n e of the d is t i ng u ishing
cha r a c t er is t ics o f li t e r a r en i us
y g .
Of T m , t he R iv
i e e r — a ndI have a l read y co m
B e r gso n .
m e n t e d up o n T h o m as W o l fe s atte m pt t o a chieve in h is sec

’
o n d n o ve l a sense o f the rhyth m o f rivers and o ceans in ,
o rder that he m i g ht pr o j e c t a gainst their i m m utabl e ti m e
h i s feelin g o f the co ntrastin g brevity o f m an s da y s up o n the

’
earth T o su gg est the durati o n and fl oo d tide o f the m o ve

.
-
m ent whi ch went int o his se co nd n o vel he ha s therefo re

e m pl o yed as a s o rt o f m o t if thr o u gh o ut the entire b o o k the
, ,
fi g ure o f a river — a fi gure whi ch he f o r t i fi e s with a s co re o f

ze a n s o n the a ctual rivers o f A m eri ca and wi th whi ch he
p ,
m er g es the fl o w o f experien ces whi ch h i s her o has the

dar k and se cret river ful l o f stran g e ti m e is fo rever fl o win g
, ,
” 3 8
by us t o the sea .
T his wh o le co n cept o f experien ce i s re m inis cent o f the

phi l o s o ph y o f B er gs o n a s I ca n de m o nstrate with a few q u o
,
t a t i o n s fr o m the F ren ch m an s C r e a t iv e E v o lu t i o n
’
B er gso n s
’
.
”
idea o f the fl u x o f li fe m ade h i m de fi ne durati o n as the
“ “
co ntinu o us pr o gress o f the past whi ch g naws int o the future

”
and whi ch swells a s i t advan ces F o r the real fun ct i o n o f
.
3 9
,
m e m o r y B er gs o n go es o n t o sa y i s n o t t o fil e o u r r e co lle c
, ,
ti o ns awa y — but t o repr o du ce the wh o le fl o w o r flux o f

the m the pi l in g up o f the past up o n the past go es o n
With o ut re l ax at i o n A ll that w e h a v e f e l t th o u ght and
.
, ,
willed fr o m o u r earliest in fan cy is there leanin g o ver the ,
present whi ch is ab o ut t o jo i n i t pressin g a gainst the p o rtals ,
o f co ns ci o usness
4°
.
W o lfe s E u gene G ant wanted t o read the m illi o n v o lu m es

’
in a certain li b rary H e wanted to kn o w all ab o ut the lives

.
b ut satiated with at least s o m e re gard f o r l iterary dieteti cs ;
t h e auth o r m ust n o t o nl y e m b ra c e l ife and dev o ur i t ; he
m ust try in his gr o pin g t o understand and rea lly affi r m

, ,
life as an a ff air at least o rdered en o u gh t o satisfy a few o f the

va g u e yearnin gs o f h i s o wn heart .
In co m m entin g up o n the futile w o rk d o ne b y m e m b ers

o f E u ene G ant s p l ay writin lass W lfe tells us that the
’
g g c o
-
,
plays there written were bad chiefly b e cause their a ut h ors

did n o t have that ability whi ch every truly great artist m ust
have : the abi l i ty t o g e t o u t o f his own life the p o wer
t o l ive and w o rk b y t o derive fr o m his o w n experien ce — as
,
a frui t o f a ll his seein g fee l in g livin g jo y and bitter an guish

, , ,
” 42
the palpable an d l ivin g substan ce o f his art .
T his w o uld see m t o o ffer a cha l len g e t o T h o m as W o lfe

hi m se l f W hether o r n o t he will m eet that cha l len g e i t i s per
.
,
haps t o o s o o n t o sa y A t present he i s at w o rk o n a l o n g n o vel

.
tentativel y ti tled T h e L if e a n d T i m es o f 7 0seph D o a ks)

(
whi ch I presu m e i s t o b e s o m eh o w fitted int o the pr o je cted
, ,
p l an o f n o ve l s I have previ o usly m enti o ned i n this chapter .
S in ce O f T i m e a n d t he R iv e r w a s pu b lished h o wever he , ,
has br o u ght o u t a brief serial — I H a v e a T hing to T e ll Y o u

u n Wi ll I ch I hn e n W T his i s m ade u p o f
g )
as S a e n
’
(N .
43
sev eral th ou ghtful i m pressi o ns o f a y o un g m a n w ho t o gether ,
with hi s co m pani o ns in the co m part m en t o f a train wat ch e s ,
the N a 2 1s arrest a J ew tryin g t o leave G er m any with con

si d er a b le m o ney
. T h e ver y brevi ty o f this pie ce w o uld see m
t o ha v e fo r ced up o n i ts au th o r a dis cipline in whi ch m u ch o f
hi s earli er w o rk w a s la ck in g F o r with o ut l o sin g ei ther

.
i ts flexi b ility o r sur g in g stren gth wi th o ut bein g cl uttered

,
up with repe t iti o us details the pr o se in th is S k et ch is s o m e

,
o f the fi nest T h o m as W o lfe has y et g iven u s What h e has t o .
tell u s has be co m e m o re than a p o werful cr y m en find

” 44
a land m o re kind than h o m e m o re lar g e than earth
‘
, .
O n e thin g i s certain if T h o m as W o lfe d o es m eet the chal

len g e o f his o w n a ccepted cred o he will hav e t o d o so al o ne
, .
THO M A S W O LFE 2 53
He ann o t f o r exa m p l e co ntinue t o depend up o n his pub

c , ,
l ish e r (a s he did in t h e case o f his se co nd n o ve l ) t o te l l h i m

when h is b o o k s a r e co m p l eted H e m ust feel the gr o wth o f
.
his n o vels a s uni fi ed and co m plete o r ganis m s within hi m self

, .
H e m u st rid hi m se l f o f m u ch o f hi s m ere p l a cental m ate

ria l. H e m ust av o id the rep o rtin g o f su ch co ntradi ct o ry
s cenes a s are t o be fo und in h i s se co nd n o vel ; and he m ust
”
n o t fail as he did in t h e sa m e b o o k t o trans late the I (in “
, ,
”
whi ch apparentl y he had w ritten the fi rst draft) t o the he
, ,
o f E u ene
45
g .
H e m ust n o t o nl y swi m in tida l sur g es o f rhet o ri c but ,
he m ust learn t o put s o m e k ind o f co rset o n his pr o se

“
H e m ust re m e m ber that the palpa b le and livin g substan ce

“
o f art cann o t be go t at with g rapplin “
g h o o k s O-
nl y .then
wil l he be m a k in g the m o st o f the sp l endid ta l ents he po s
sesses ; o nly then will he be g in t o ful fi ll the real pr o m ise
o f his unden iable g enius .
C HAPT ER X
TH A T D A RI N G Y O UN G M AN , MR . S A R O YAN
M R W I L L I A M SA R O Y AN has
. nly ev o ked perditi o n up o n
no t o
all the sh o rt st o ry pr o fess o rs b y tellin g the m they ca n go

-
take a j u m p in the river but h e has als o hurled all their

“
ba gga ge l o ad o f te chniques int o the r i ver after the m A s a

-
.
m atter o f fa ct l o n g befo re Mr S ar o yan ever th o u ght o f

, .
be co m in g a wri ter he had de cided that t h e o nly thin g f o r

h im t o d o w o uld b e t o m ake h is o w n rules
, F o r o n e thin g .
,
his o wn rules m i ght be easier t o fo ll o w .
S o m e day per chan ce the literary hist o rian m i ght find i t

, ,
interestin g t o re m e m b er that I Villi a m S ar o yan s first break ’
with the pr o fess o rs t o o k pla ce o n e aftern o o n when o u r future

auth o r was at th e s o m ewhat unpr o m isin g a ge o f eleven H e .
had b een s ent h o m e fr o m s ch o o l that day b e caus e he had

”
tal k ed o u t o f turn ; he had b e co m e pretty s o r e a b o ut the “
wh o le a ff air ; and then and there he had fo r m ulated the

, ,
first o f his o w n rules A n d what w a s it ? A v o id all rules !

.
F o r he fo und that pe o ple m ak e laws f o r their o w n pr o tecti o n

”
anyway : and so t o hell w ith the m
, ,
“
.
T his i s defini te en o u g h at least B u t still m o re definite

.
—
was the way in whi ch S ar o yan after swearin g t o av o id all
—
l iterary the o ry then set ab o u t the b usiness o f elab o ratin g
m o re the o ry S e v eral m o nths
. of mature deli b erati o n
elapsed h o wever b efo re he had arri v ed at t he se co nd o f his
, ,
can o ns : F o r g et all ab o ut P o e and O H enry and all o ther .
”
writers and j ust si t d o wn and write H e ad m it s that he
(
“
.
hi m self has even been able t o stand and “

B u t i t was
n o t until he had f o r m ed his third g uidin g literary prin ciple
that his g enius was g iven its fullest sc o pe : the writer he ,
said sh o uld learn t o handle a typewri ter so that h e ca n

,
”
“
turn o u t sto rie s a s fast a s can Zane Gr ey .
25 7
T his third prin ciple was particularly effe ctive F o r ex .
a m ple when the edit o rs o f o n e o f o u r b etter kn o wn sto ry

,
-
m a gazines en co ura ged the y o un g wri ter b y a cceptin g his

T h e D arin g Y o un g M a n o n t h e F lyin g T rapeze they
“
re ceived f o r several m o nths afterwards at least o n e sto ry ,
and s o m eti m es tw o a day fr o m their unkn o wn c o ntri b ut o r !

,
S tandin g and sittin g typin g and typin g Mr S ar o yan w as

, , .
at w o rk .
H e had arri v ed at auth o rship W hat i s m o re and a l .

,
th o u gh he wa s o nly in h is twen ties he fo und hi m self at that ,
parti cular sta ge o f au th o rshi p where he co uld o ffer advi ce

t o his y o un g co nte m p o rarie s L earn t o b reath e as deeply a s .
p o ssible he t o ld the m L earn t o ge t the r eal taste o f fo o d

, .
,
t o sleep s o undly t o b e fully ali v e t o , lau gh like hell t o , ,
”
r ea ll an ry will b dead s n en u h
“
g e t y g F o r Y o u .e o o o g .
2
I n the m eanti m e W illia m S ar o yan hi m self was very m uch

ali v e W e b e gan t o hear a go o d deal a b o ut h im H is
. .
father w e learned had been b o rn in Ar m en i a had b een a

, , ,
tea cher and an unpublished writer in N ew Y o rk City ; and

,
had finally go ne W est to try hi s hand at grape farm in g in -
the ri ch F resn o v ineyards o f Cali fo rnia where the so n wa s ,
b o rn i n 1 9 0 8 T h e y o un g m an s gr and m o ther S ar o yan has

.
’
pictured her I n o n e o f h i s tal e s — wa s a b orn s t o ry teller ; -
with her co untles s le gends o f a curi o usly interestin g past she

furnished an inspirati o n a n d a s o urce f o r m u ch o f the w o rk
o u r auth o r w a s later t o d o .
S ar o yan b e g an t o write at first in A r m enian and later , ,
in E n glish H e be gan t o b e pu b lished ; he fo und hi m self

.
fa m o u s a nd his pu b lishers fo und h im pr o l ifi c B u t still he .
refused de s pit e his carefully fo r m ed rule s and gratuit o us

“
adv i ce really to c o n s ider hi m self as a wri ter

, I a m no t .
a writer at all he says in Myse lf U p o n the E arth

,
“
I .
write b e caus e ther e i s n o thin g m o re civilized or de cent f or

” 3
me to do .
Mr . S ar o yan
’
s pu b lisher s h o we v er di s a gree with their
, ,
freed o m fr o m
self co ns ci o us crafts m anship A s a result o f
-
.
these co nvi cti o ns W i ll ia m S ar o y an has thr o wn m o st o f the

,
tradi ti o na l ru l es o f l iterary art int o the river W hat is m o re .

,
he has then co m p l eted the jo b b y j u m pin g int o the river

hi m self A n d that river as I shall sh o w in a m o m ent is
.
, ,
the river o f the B er gs o nian flux .
In a ll o f this I d o n o t m ean o f co urse t o sa y that S ar o y an

, ,
i s a co ns ci o us pupil o f B e r gso n s as a m atter o f f act were

’
—
,
S ar o yan t o se e that learned F ren ch m an splashin g ab o ut in

the v o rtex o f his flux phi l o s o phy he w o uld pr o b a b ly think ,
o f h i m as o nly an o ther o n e Of the pla g uy pr o fess o rs (A n d .

,
”
so, t o he l l with h im ! ) N o r d o I m ean t o lay the bla m e
\
f o r al l o u r present da y flux ph i l o s o phy a t B e r gso n s i nvi tin g
’
-
d o o r A ld o us H u x ley s strea m o f li fe the o r y Vi llia m

.
’ “
Ja m es co n cepti o n o f the strea m o f th o u ght the wh o le

’
s ch o o l o f o u r strea m o f co ns ci o usnes s n o velists all these m ust

— -
share t h e resp o nsibi l ity B u t I d o m ean t o sa y that W illia m

.
S ar o yan has i m m ersed hi m se l f in at least the o ver fl o w o f all

these phil o s o phies and th o u gh B er gs o n is n o t I think the , ,
prin cipal villain in t h e pie ce an interestin g parallel ca n be

,
drawn b etween his phil o s o phy and t h e te chnique o f the

y o un g Am eri can — a parallel whi ch m a y reveal m an y o f
the latter s sh o rt co m in gs a s a thin k er a n d as an artist
’
T h at he is pr o lifi c ca nn o t b e deni ed T h e o n e st o r y a
f
.
- -
day auth o r he has b een called H ar o ld Mats o n his literary

, ,
a g ent l o st his b reath tryin g t o keep up with his client !

,
A n d o u t in his un cl e s vineyards in the S a n J o aquin V alle y

’
where S ar o yan n o w l ives when n o t in H o l l y w o o d he i s sti l l ,
d o in g as m an y a s fo ur st o ries a w ee k ; while m o re than a

hundred o f his ta les have alread y been pub l ished I m enti o n .
this t o Sh o w ho w Obvi o usly i m p o ssible i t is f o r m e here t o

inquire in t o the subj e ct m atter o f all these st o r i es B u t I .
d o dee m i t advisable t o dis c uss a few o f the m very b riefly

b y way o f esta b lishin g a b asis f o r m y later dis cussi o n .
”
T h e D arin g Y o un g Man o n the F lyin g T rapeze whi ch
“
W ILLI A M SA R O YA N 261
is the title st o ry o f his first v o lu m e t e lls o f an i m p o v erished t
y o un g writer wh o haunts the e m pl o y m ent a g en cies and li

b r a r i e s tries desperately t o g e t a st o ry written and dies o f
, ,
starvati o n befo re h e ca n finish i t T hen swiftly neatly .

“
, , ,
with the gra ce o f the y o un g m a n o n the trapez e he was go ne ,
fr o m his b o dy F o r an etern a l m o m en t he wa s all thin gs at

.
o nce the bird the fi sh t h e r o dent the reptile the m a n A n

, , , , .
o cean o f print undulated endlessly and dar k ly b efo re hi m .
T h e city burned T h e herded cr o wd ri o ted

. T h e earth .
cir cled away and kn o win that h did he turned his l st

,
g e so o ,
fa ce t o the e m pty Sky and b e ca m e drea m less unalive per , ,
”
fe e t .
s
“
W a r describe s a gr o up o f children o f fo rei gn des cent , ,
fi ghtin g o n the st r eets and rem indin g the narrato r o f the w a y

in whi ch nati o ns fi ght b e caus e the little b o y s see m ed so
v ery inn ocent and likeable and wh o le nati o ns see m ed SO ,
”
m u ch li k e little b o ys . des cribes a
6
r o m an ce whi ch a y o un g tele graph o perat o r has with a girl ,
an o ther o perat o r h u n dr ed s o f m iles away ; and derives i ts

,
c uri o us title fr o m a pattern o f rhyth m whi ch the central
chara cter re co nizes in s o m e ph o n o graph tunes h e hears

g .
A spirin Is a Me m ber o f the N R A i s a bitterly ir o ni c tale

. . .
o f a y o un g m a n w h o lived f o r m o nths in a Manhattan hall
bedr o o m ; and durin g that ti m e t o o k d o zens o f aspirin s t o

quiet t h e pain in his head while he listened t o the radi o ,
ann o un ce m ent that A spirin i s a m e m b er o f t h e N R A . . .
I t m ade m e lau gh he refle cts t o hear that B u t it is the

, ,
“
.
truth .A spirin is helpin g t o b rin g ba ck pr o sperity It .
”
isn t preventin g anythin g but i t is deadenin g pain
’
, .
7
A few o f the st o ries — and espe cia ll y the ti tle o n e — fr o m

T he D a r i n g Y o u ng M a n o n t he F ly i ng T r a p ez e represent
curi o usly i m a g i nati v e dexter o us and swiftly sur e studie s in
, ,
interestin g su b j e ctive state s A n d yet and despit e the eriti

.
,
ca l blurb whi ch attended the appearanc e o f this v o lu m e ,
that is ab o ut all that ca n b e said f o r i t It w a s a r o cket b ut .

,
it ha s burned o u t I even thin k that m o st o f us felt it
.
g r o win
g co l d whi l e readin g i t .
O f I n ha le if E x ha le (1 9 3 6 ) the sa m e cann o t b e said T he .
fla m e is at least a ppre ci a b ly bri ghter here ; ther e is a little

heat as well as l i ght T here is n o t o nly the app earan ce o f
.
virtu o si ty ; there i s as we l l m o re ran ge a n d s o m e little

, ,
hu m o r a qua l i t y in whi ch the fi rst v o lu m e i s a l m o st entirely

,
l a ck in g A n d hu m o r m a y he l p ! O n e thinks o f the S co tch

.
m an s advi c e t o t h e sur g e o n w ho was tendin g his wife T ry

’ “
her w i a j o k e an ce D o ct o r
’
, .
In I n ha le if E x ha le an o ccasi o nal fru gal j o k e w o rk s w o n

ders and is m u ch m o re effe ctive than Mr Saro yan s sard o ni c .
’
s ca l pel I t re l ieves the m o n o t o ny o f i ts auth o r s m e gal o

.
’
m ania and pr o ves a we l co m e leaven t o a bread that is o ther

w ise o ften bitter O n e ca n f o r exa m ple lau g h at the tale
.
, ,
o f the b o xer w h o in O u r L i ttle B r o wn B r o thers the F ili

“
”
pin o s refused t o l eave the prize rin g until he had been
,
de cl ared winner — and w ho co uld n o t until then be b ud ged , ,
b y a hundred p o l i ce m en ! In So l e m n A dvi ce t o a Y o un g “
M a n A b o u t t o A ccept U nderta k in g as a P r o fessi o n there

are a m usin g re m inis cen ces o f a m o rti cian tr y in g t o sell an
o verl y e co n o m i ca l wid o w an expensive co fli n f o r her hu sband
w h o had j ust died and left her a co m fo rtabl y lar g e insuran ce .
”
“
My P i cture in the P aper hu m o r o usl y re co rds the bewilder
m en t o f the auth o r when after the appearan c e o f h is fir st
,
v o lu m e publi cit y be gan t o see k h im o u t A n d o thers o f the

, .
st o ries o ffer interestin g and whi m si cal a cco unts o f S ar o y an s ’
br o ther his Sister o ther m e m b ers o f his fa m i l y and his life

, , ,
in va i io u s Ca l ifo rn i a V i ne y ards .
S o far so g o o d T h e b o o k has its m e r i t s e and o f these the

.
cri ti cs have t o l d us in s y co phanti c unis o n I need n o t r e .
peat the m here B u t I d o thin k it ti m e that we n o w n o te

.
so m e o f Sar o yan s defe cts o f whi ch the criti cs have n o t t o ld

’
,
’
us at least with a ny a m o unt o f clarity o r co nfiden ce .

writers L i fe is a current passin g fr o m ger m t o ger m thr o u gh
the m ediu m o f a deve l o ped o r ganis m I t i s as if the o r .
a n i sm itself were o nly an ex cres cen ce a b ud aused t

g c o ,
spr o ut b y the fo r m er g er m endeav o rin g t o co ntinue it s elf

in a new ger m T h e essential thin g is the co n t in uo u s p r og
.
r ess indefinitely pursued an inv i si bl e pr o ress o n whi ch ea ch

g , ,
v isibl e or ganis m rides durin g the Sh ort interva l o f ti m e g iven

”
it t o live . H avin g n o ted the si m ilarity between t he t w o
11
auth o rs let u s n o w inquire s o m ewhat m o re carefully int o

,
t h e w o rk o f the F ren ch m an that w e m i ght pursue o u r co m
paris o n further .
T he b e n efi ce n t fl u i d . A cco rdin g
real to B er gs o n , the
fun cti o n o f m an s intelli gence is t o t o u ch reality and t o li v e

’
reali ty ; b ut t o d o b o th o nly t o t h e exten t that they c o n cern

o urselves and o u r ow n w o rk — the furr o w that w e happen
t o b e pl o win g as h e puts i t
, L e t happen what will t o the
.
furr o ws in all nei ghb o rin g fi elds .
F o r this jo b he tells us that we gain s tren g th fr o m a

c ertain b en e fi ce t
“
n fluid — a n oc ean in whi ch we find o u r
s e lves that is life s w o nder i tself B u t whenever w e i m

—
’
m erse o urselves I n reali ty we n o te o f c o urse th o usands o f

, , ,
in cidents whi ch see m abs o l utely unrelated t o o u r past and

t o o u r future until w e co m e t o realize that all o f this d i s
,
co ntinuity fi nds s o m e desi gn in a ba ck gr o und whi ch is really
co ntinu o us A t first therefo re

. ea ch psychi c experien ce
, ,
see m s t o b e but a swell o f water : i t is up t o u s t o see ea ch

o f these swells as part o f the oc ean .
T hus all ind ividual experien ce m er ges int o a fl o w o r a

f
flux ; yo u cann o t alwa y s tell as a m a t t er o f fa ct j ust what , ,
part of the o cean is y o urs : whi ch o f y ou r experien ces a r e

distin ct and valid and whi ch are n o t T hat m akes n o dif
, .
f eren ce F o r the individual s m ental state swells anywa y

’
.
while he tries t o swi m In m u ch the sa m e way as a sn o wba ll

.
d o es b y r o lling u p o n i tse lf ! S u ch i s B er gso n s fi gure

— ’
.
In this pr o cess the m os t that th e individual ca n d o i s t o

r eunite a ll thes e s cattered and fl o win
g ele m ents by i m a g inin g
itse l f a fo r m less e go
“
Individuality m ust b e co m e I m i ght

.
,
su g est a s o rt o f very ne cessary sp o o l whi h i t threads “
g , o n c ,
t h e ps ychi c states whi ch i t has se t u as independent en

p
” 12
ti ties
. F o r o u r intelle cts ca n f or m clear ideas o f o nly
o n e thin g : i m m o bilit y A n d when w e think we
. think ,
”
i n a t t er ideas play a very s m all part in o u r existen ce : o u r
w h o l e past w e see chie fl y as a series o f i m pu l ses and tend
e n ci e s . T hes e dis co ntinu o us i m pulses and tenden cies b e
co m e then the o nly parts o f t h e swellin ean f flux that
, ,
g oc o
w e ca n real l y distin g uish .
Wa v es co m ing a n d g o ing B y these t o kens it will be n o ted

.
th a t the auth o r wh o se w o rk fi nds a parallel wi th all t h e flux

the o r i es thin k s o f lif e as bein g si gnifi cant chiefly be cause
,
i t chan g es its co l o rs with a cha m ele o n li k e swiftness He -

.
d o es n o t try t o na m e o r understand the interestin g ani m a l ,
th o u gh h e is fas cinated b y its swi ftly chan gin g sp o ts H e .
sees in the flux o f livin g n o thin g but a vast m o ve m ent u n ,
i m peded by any certainty and carr y in g him al o n g o n the ,
crest o f i ts waters as they fl o w fo rever int o s o m e unfath o m
able dar k ness .
T h e Writer w h o h a s abs o rbed the o verfl o w o f this phi

lo so phy ca n I repeat o nly l o o k up o n hi m self as a s o rt o f
, ,
”
fo rl o rn g e ca n o n ly i m a g ine hi m self the fo r m less e go
fi u r — “
o f whi ch B er g s o n sp e a k s seated in a very shaky b o at up o n a

current .H e is carried al o n g the strea m with b reathl e ss
rapidit y ; h e sees n o bu o y s o r li ght h o uses o f traditi o n t o -
g uide h i m ; and he re co g nizes o nl y t h e ne cessi ty o f keepin

g ,
S om eh o w o r an o ther in t h e flux i tself T o u se the w o rds

, .
whi ch Mr Sar o yan s publishers e m pl o y in speak i n g o f their

’
y o un g a uth or : H e ta k es a headl o n
g plun g e in t o the vivid
life ab o ut h im H e d o es n o t have t o l earn t o swi m in
.
his m ediu m at all : I t cann o t be said o f W illia m Sar o yan

that he has for ged s teadily and cauti o usly ahead b y dint o f a
”
l o n g apprenticeship in hi s m ediu m .
13
S O it is that S ar o yan h a s so willi ngly disre g arded all rules

,
they d o no t help with the swi m m in g with t he co mpr eh end ,

t
i n g o f lif e anyway ,
T o carry m y co m par is o n further let m e qu o te a gain f rom ,
B er gs o n : W e are at ease o nly in th e dis co ntinu o us in the ,
i mm o b ile in t h e dead T he i n t e llec t is cha r a ct erize d b y a

, .
”
n a t u ra l i na b i li ty to co mp r e he n d lif e A n d Mr S ar o yan 14
. .
expresse s the sa m e idea in thes e w o rds : All that I have “
learned i s that we b reathe and re m e m b er and it b e g ins

,
n o where and i t ends n o wh ere and all that I kn o w is that we ,
are s o m eh o w alive all o f us in t he li ght m akin g shad o ws the

, , ,
sun o verhead spa ce all ar o und us

, and the sea sullen
wi th m o ve m en t lik e m y b reathin g wa v e s c o m in g and ,
g o in g .
5 1
L if e is o ne
g t o o t ha che
r a nd Mr S ar o yan s peaks w e will. .
,
o b ser v e o f the sea b ein g s u lle n with m o v e m ent

,
An d i n .
,
deed t he life p ortrayed in h is tales i s f or t he m o s t part an

, , ,
unpr o piti o us expans e o f un b earable an d dis m al pain A .
v ery f ew o f hi s st o ries a r e i t is true divertin gly hu m o r o u s

, , .
B u t an unpleasan t m aj o rity o f th em refle ct life t o use Mase ,
”
fi eld s fi g ure as a l o n g heada ch e in a n o isy s treet
’
.
,
I n L aura I mm o rtal f o r exam ple w e have a typ i cal illu s

, , ,
tr a t io n o f this A m a n returns t o his o ld h o m e o n ly t o find

.
,
as he des cri b es it the des o lati o n o f my life fr o m the first

,
“
mo m ent o f its reality o n b a ckward to t h e first m o m ent o f

,
”
reality i n the life o f m a n C o nfr o nted b y the su m o f.
1°
all hu m an des o lati o n he stands b efore the h o use prayin g

, ,
and weepin g and cursin g until hi s heart m akes a vi o lence in “
the earth A gain in T h e W o rld 8e the T heatre

.
, a b oy ,
sufferin g fr om t o o thach e says : a m a n do e s n t b e g in

,
’
t o li v e b efo re h e b e g ins t o d i e and I wasn t b awlin g a b ou t

’
the pa i n o f the t o o th I was b awlin g b ecau s e I kne w

,
”
" .
1
a brief shad o w in the su n up o n the water H e is n o t as .
,
W illia m S ar o yan sees h i m m u ch m o re than a weak w o eful

,
“
”
cl o d o f clay w h o finds this business o f tryin g t o be a Chris
tian a da m nably distressin g aff air H is chur ch i s so purely .
“
” ”
o rna m ental and so ann o yin gly statisti ca l a b out the s o ul “
.
21
A s an individual m a n rese m bles a lie f o r the next g enera

“
ti o n H e i s a d o cu m ent the subj e ct o f bad p o e m s An d

“
.
,
.
,
fi nally T here is n o di gnity anywhere n o t ev e n a m o n g

,
“
peasants .
O n t hu m b in g o n e s n ose at the u n iv er se I t Sh o uld b e r e

’
.
m e m bered that the m o st i m p o rtant shad o w whi ch the strea m

o f l ife auth o r ca n cast bef o re h i m w o uld see m t o b e h i s o w n
-
, .
T o exist we m ust chan g e and t o ch an g e is t o m ature t o

“
, ,
” 22
m ature is t o go o n creatin g o nese l f endless l y says the ,
auth o r o f C r ea t iv e E v o lu t i o n M a n wishes o f co urse t o

.
, ,
o bserve but , he wishes ab o ve all thin gs t o o b serv e hi m self

“
e ch o es the auth o r o f T he D a r ing Y o u n g M a n o n th e F ly in g

T r a p ez e E a ch o n e o f u s is interested in hi m self as an
.
,
experi m ent .
W e m i ght think o f this p o int o f view with t h e help o f the

fo ll o win g fi g ure W hile t h e auth o r is b ein g whir l ed a l o n g
.
in his currents he is n o t li k ely t o b e te m pted in t o an under

,
standin g int o a true understandin g o f the pr o ble m s o f the

, ,
o ther pe o p l e in t h e flux : H e l ives and he lives within ,
” 23
hi m self whi ch i s the universe
, A s a co nsequen ce he h a s
.
l ittle ti m e f or qu i et m o m ents o f beauty o r f o r the m o st ,
si gnifi can t pro b le m s whi ch co nfr o n t t h e hu m an ra ce .
I t will b e n o ted that S ar o yan illustrates this attitude b y

refusin g al m o st entirely t o gr apple with any o f the deeper
pr o ble m s o f hu m anity H e t o u che s up o n the m I ad m it
.
, .
B u t h e d o es n o t clarify the m ; and he refuses ab o ve al l t o , ,
h o pe f o r any s o luti o n t o t he m : when a li fe preserver in the -

,
fo r m o f c o m m o n hu m an experien ce is thr o wn o u t t o h im ,
W I L L IAM S A R O YA N 2 69
he persists in stubb o rnly pushin g it awa y , th o u gh it m i ght

o ften b e a he l pful thin g t o clin g t o I t d o es n o t always pay .
t o re j e ct hu m an traditi o n a l t o g ether .
B u t W illia m S ar o yan d o es al m o st j ust that T h e real way .
t o be co m e a phil o s o pher he ar g ues is n o t t o b e f o und in

, ,
pr o fi tin g b y the su m o f hu m an wisd o m but rather b y intensi ,
f yi n g pers o nal attitudes H e even be co m es quite pra cti cal

.
in i ll ustratin g this p o in t o f view by su ggestin g a ni ce li ttle

p o k er ga m e as the best pla ce in whi ch t o be co m e a phi
lo so ph e r S i t d o wn deal when i t s y o ur turn take an o cca
’
.
, ,
si o n a l swi g o f whis k ey T ha t will tea ch yo u a b o ut o u r

.
universe T e n h o urs o f this and y o u will kn o w m o re a b o ut

the w o rld than any six s cientists co uld ever k n o w ! A b o ve
al l yo u wi l l learn en o u g h ab o ut the un iverse t o realize that
,
b ut o n e esture is ne cessar in ex la in in i t — and that

G
O
”
g esture a co m i cal o n e .
24
C r e a t i ng f e n d less ly C lin g in g t o Mr S ar o y an like a

o n e se l . .
N e ssu s shirt is an o ther o n e o f t h e B er gs o ni a n ideas already

-
referred t o : the idea that t o chan g e i s t o m ature t o m ature ,
is t o go o n creatin g o nesel f endlessly N o w when Mr . .
D o o ley o bserved that the tr o uble with o u r k n o w l ed g e i s n o t

that w e haven t learned en o u g h b ut that w e have learned so
’
m an y thin g s that j est ain t so he uttered a re m ar k that

“ ’
app lies ni cely t o the y o un g W i ll ia m Sar o y an gazin g ab o ut

the w o rld in wild e y ed sur m ise and turnin g o u t st o ries
—
pr o j e ct i o ns o f in tense pers o nal i m pulses and attitudes — a t

the rate o f al m o st o n e a day .
F o r t o chan g e is n o t ne cessaril y t o m ature N o r d o es it .
fo ll o w that w e m ature by an endless creati o n o f o urselves .
T h e artist m atures by tr a n sfi g u r i n g experien ce — b y derivin g

fr o m i t t o qu o te S ar o yan s b i g b r o ther T h o m as W o l fe
,
’ “
, ,
the palpable and l ivin g substan ce o f his art .
B u t m o st o f the S ar o yan st o ries a r e t r a nscr ip t s o f ex

2 70 L U C I F E R AT LA RG E
pe r i e n ce — usua l ly trau
ofm atic experien ce — rather t han
t r a n sfi g ur a t i o n s o f i t Indeed i t is t o b e n o ted that he has
.
,
li ttle s k ill in creatin g any chara cter o th er tha n an a lt er eg o

all o f hi s characters Speak and feel exa ctly alik e f T h e a r t .
‘ “
o f h i s w o r k is n o t the result o f a ri chly end o w e d m ind

foc usin g a hi g hly creative i n telli gence up o n life and distillin g
fr o m i t s o m e rarely co n cen trated bea u ty I t is th e result o f a .
m ind cau ght in the flux o f life with little ti me t o f use e x ,
e r i e n ce with i m a inati o n and f o r ced t o co m pensate itself

p g ,
b y hi g hly m a g nifyin g its o w n e go .
O n his B er gs o nian bar k and seein g o nly his o w n shad o w

,
up o n the water h e tries feverishly t o di stra ct h i m self t oo

,
o ften wi th the m ere fl o tsa m and j etsa m carried al o n b y the

g
current .
A t h i n g o f m a ny f r a g m e n t s W illia m Sa r o ya n t ells us th a t
.
a no vel is a t hin g o f m any fra gm ents held t o g et her by t h e

frequen t perishin g and frequent resurre cti o n o f a b rave and
stubb o rn m a n ; and by wa y o f g ivin g p o in t t o thi s the o ry
25
he g ener o us l y co n cedes that Christ a ct u a lly l ive d a n o vel that '
”
is a l m o st a fi r st rate o n e H e has n o t hi m self a s yet essayed
“
-
.
‘
the wri tin g o f a n o vel ; but si gni fi cantly en o u gh his sto ri es

, ,
”
are j ust su ch f ra g m en ts fra g m ents held to gether b y their
auth o r s frequent perishin g i n disil l usi o n m ent and his resur
’
re cti o n int o an intensely passi o nate but un co ntr o lled exa l ta , ,
ti o n (E ven h is pu b l ishers i t is t o b e n o ted with interest

‘
.
, ,
refer t o h i s f e v e r o f exa l tati o n .
P erhaps i t is this e ff e c t o f vi o lent co ntrast in S ar o yan s

’
mo o ds whi ch m a k es m any o f his ad m irers think h im p o wer

ful as war m th m a y even b e m ista k en f o r heat b y a m a n w h o
h a s j ust co m e o u t o f t h e co ld F o r alth o u g h in s o m e o f his
.
,
st o r i es he rises t o a g enuine feelin g he usually fails t o sustain ,
that feelin g : vul garis m s blasphe m ies crud e o r ann o yin g ly

, ,
in co m petent writin g chara cters that expe ct o rate and curse

,
o n every pa g e these m atters distra ct fr o m t h e effe ct o f real

0
that they will be In sh o rt I think Sar oyan s clai m s t o o ri g i
.
,
’
n a li t y have b een e gre g i o usly exa ggerated .
A ls o I think unj ustified h is cl ai m t o bein g co nsidered

,
”
a fresh v o i ce H e pretends t o thr o w o verb o ard a ll rules
“ “
o f wri tin g H e d o es thr o w m o st o f the m o ver b o ard wi th

.
—
the ex cepti o n o f his o w n W e a r e t o ld that he is f ree fr o m

.
that kind o f li terar y self co ns ci o usness whi ch so o ften fails-
in pr o du cin g anythin g truly creative A s a m atter b f fa ct .

,
Mr S ar o yan is n o thin g i f h e i s n o t self co ns ci o us H e is

.
-
.
self co ns ci o us in t h e very way in whi ch he is co n tinually

-
assurin g us that he i s n o t self cons ci o us H e is supp o sed t o -

.
b e creatin g a m o re intense art fo r m when he and his s ch o o l ,
are a ctually turnin g what was fo r m erly a perfe cted fo r m o f

art into an intense pr o j ecti o n o f pers o nal experien ce
,
m akin g o f i t an i mm ense pr o vin g gro und f o r experi m enta

ti o n .
E m o t io na l so m e r s a u lt s
Meanwhil e he threatens unless his
.
, ,
future w o rk sh o ws an advan ce o ver that so far published to ,
perish i n th e sea o f his o w n e go is m endlessly tryin g t o create ,
hi m self t o kee p hi mself afl o at b y dependin g up o n fevered

,
s tr o ke s o f ir o ny H i s T hr e e Ti m .es T h r e e
( 9 3 7)
1 — the m o st
re cent Sar o yan b oo k at t h e m o m ent o f this writin g is a—
co lle cti o n o f nine st o ries as fevered and fo r m less as th o se

in hi s previ o us v o lu m es .
R eal ir o ny o f the cla s sic kind m i ght help h im

, B u t Mr , . .
S ar o yan s ir o ny d o es n o t happen t o b e o f the classic kind

’
.
I t is rather what Jean P aul R i chter des cri b ed as ho t b aths

.
”
of senti m ent alternatin g with co ld d o u ches o f ir o ny .
W ritin g o n an o ther auth o r than S ar o yan A lan R eyn o lds ,
T h o m p s o n refe rs t o su ch e m o ti o n as a devic e o f e m o ti o nal

s o m ersaults b e caus e i t i s t h e re v ulsi o n o f the auth o r s ’
intelli gen ce a gainst his o w n r o manti c senti m ent s and b e ,
cause i t thu s di f fer s es s entially fr o m the clas s i c ir o ny whi ch

is based o n the o bj e ctive o b servati o n b y a n o r m al individual

”
o f extrava an ces in o thers
27
g .
P erhaps that is it . P erhaps the auth o r o f T he D a r ing

Y o u ng M a n o n the F ly i n g T r a p e z e has b een m erely per
f o r m i n g em o t i o n a l s o m ersaults
C H AP T E R x1
A F O O TN O TE ON 7 A M E s T . F A RR E L L
W H AT in hell is art anyway ?

”
,
T w o de cades a go that fa m o us je u n e fi lle wh o m S tuart

S her m an had created as a sy m b o l o f the n ew sp i r i t in o u r
A m eri can literatur e ran ,
with so m ewhat m o re t han a
flash o f her sil k en perfe cti o ns d o wn the steps o f her h o m e
and o nt o the street wher e sh e m e t a pr o m inen t y o un g criti c
w h o greeted her with a qu o tati o n fr o m a rather fa m o us b o o k
he happened t o b e readin g : o n i l n y a p o in t cle d e lica t esse
“ ’ ’
,
”
i l n y a p o i n t d e li t ter a tu r e T hat s a new o n e o n m e
’ ’ ’
.
,
said the y o u ng lady as sh e hurried o n her way

,
2
I t was perhaps a de cade later that a g irl in wh o m ca n b e ,
re co gnized the psych o l o g i cal linea m ents o f the sa m e je u n e

fi ll,
e chan ced t o receive fr o m an o l d friend a c o py o f verses
by a p o et even then still co nsidered m o dern S h e li ghted
a ci garette displayed I a m sure t h e sa m e flash o f silken
, ,
perfe cti o ns and sin k in g int o the luxuri o us e m b ra ce o f a

,
s o fa prepared t o read the b o o k m erely t o o b li ge the f riend

,
w h o had g iven it t o her A t first sh e w a s co ldly indifferen t

.
t o it the n she be ca m e sli ghtly am used F inally she st o pped .

,
s m o kin g A n d at last sh e sa t u p and ex clai m ed : W hy

.
, ,
he l l ! T hese are w o nderful I a m go in g t o wri te s o m e

.
”
reli gi o us thin g s m yself .
3
With a k n ow led ge o f co nte m p o rary literature datin g n o t

m u ch further ba ck t h an W o o dr o w W ils o n either o n e o f ,
these y o un g ladies m enti o n ed as types o f the new spirit “
in o u r letters durin g the se co nd and third de cade s o f o u r

century — either o f these y o un g ladies I sa y m i ght have , ,
uttered the undeniably direct interr o gati o n with whi ch I

be g in m y chapter O r the je u n e fi lle o f o u r o w n de cade
.
,
with perhaps e v en a greater flash o f silk e n perfe cti o ns

277
m i ght ask the sa m e questi o n as she m eets s o m e y o un g fri end ,
o n the street o r as sh e per ches beside h i m at a dru st o re

g
-
,
co unter .
W hat in hell is art anyway ? A n y char m in g y o un g

,
thin g o f t o day m i ght as k this with the si p o f a W al green

'
s o da o r a B acardi at the B ilt m o re b ar

, .
L e t m e add at o n ce h o wever that I take m y o penin g, ,
senten ce fr o m the r o u ged lips o f n o li g ht h ea d e d e u n e fi lle

’
T
-
,
co n ceived m erely as a s y m b o l o f a new reader spiri t in o u r

”
literature F o r by n o w this new Spiri t is an even newer
.
spirit o u r cr i t i cs are assu m in the that s a n ew o n e o n m e

’
g
- - - - - -
atti tude when co n fr o nted by certain pr o b l em s in aestheti cs

and certain distin cti o ns b etween s o ci o l o gy and art O ne o f .
the m has j ust been readin g Mr Ja m es T F arrell s S t u ds . .

’
L o n iga n tril o gy H e dis co ver s that Mr F arrell s b o o k s

’
. .
H e co n fesses hi m self o verwhel m ed

“
have depth and pa ce .
by their cli m axes and de ep m eanin gs .
H e g ets a tre m end o us e m o ti o nal wall o p fr o m Mr F a r

“
.
\
r e ll s ra pe s cenes L e t pe o ple thin k this is s o c i o l o gy if they
’
want t o ! I t is really endurin g art ! F or Vh a t in hell is

“
art anyway ?
, A n d any o ne w ho insists that Mr F arrell is .
n o t an endurin g artist is utterin g he sa y s n o t cr i t i ci s m

, , , ,
but m erely an in cantati o n desi gned t o ex o r cise the u nco m

“
f o r t a b le m e m o ry o f S tuds and hi s fri g htenin g pals y w a lsi e s -

,
with their b r o ads their m o vies their p o o l their al k y their

, , , ,
p o ker and their craps In b rie f we had better keep o u r

.
,
eyes o n Ja m es T F arr ell f o r he i s go in g pla ces

.
, I n this .
j ud gm ent let m e add m o st o f o u r o ther cr i ti cs have co n

, ,
c urred S o m e o f the m have even go ne so far as t o rank

.
”
F arrell ab o v e all co nte m p o rary A m eri can n o velists and ,
in o n e criti cal circle at l east hi s tril o gy h a s been rated the ,
mo st si gnifi can t A m eri can fi ct i o n sin ce the W a r .
W i th h i s palsy w a lsie s the i r b r o ads “

-
alky, and ,
“
craps Ja m e s T F arrell w a s first dis co vered in a seri o us

,
.
wa y up o n o u r literary h o riz o ns when in 1 9 3 2 he pu b lished ,

lady and the o ld m a n al s o interfere ; b ut n o t quite su fli
ci e n t ly t o keep their so n fr o m runn i n g the entire ga m ut o f
sexual experien ces o r t o keep h i m fr o m sufferin g certain

,
co nsequen ces t o hi s health which s o ci o l o g ist s and m edi cal
m en ha v e l o n g h a d an interest in b ut whi ch u ntil H e m in g , ,
way and D o s P ass o s had hardly c o nstituted m aterial f or

,
literary refle cti o n .
In the m eanti m e life i s l ively en o u gh f or y o u ng L o ni gan

,
‘
.
I t i s pleasant t o stand in f r o n t o f the p o o lr o o m and watch

the g irl s go b y and wi th a Sli ght e ff o rt o f the i m a ginat i o n
,
qui ckly t o see ea ch disr o bed in the sun I t is pleasant .

,
als o t o t o rture t h e s m all ne gr o b o ys in the nei gh b orh o o d

,
T hey o nly cau g ht a ten year o ld ne gr o b o y -

T hey t o o k
-
.
his cl o thes o ff and b urned the m T hey burned his tail

, .
with li ghted m at ches urinated o n h im and sent h im run

, ,
”
n i n g o ff naked wi th a co upl e o f sl ap s in the fa ce .
8
S tuds decides t o go t o wa r o n ad o les cent principle s that

are v a guely general ; b ut he v o ws that he will never m arry ,
o n prin ciple s s uffi ciently s ec1 fi c in th eir expressi o n f o r m e

p
t o prefer n o t t o qu o te the m her e A n d why m arry any .
, ,
way with su ch pleasurable ex peri en ces as the fo l l o win g t o

, ,
take part in ?
W eary pum ped h i s ri ght into the o x s e y es fe ll ows
’
. T wo
j u m ped W ear y B udd y C o en swung and bro u ght
. h i s k n ee int o
a gro in A fe ll o w we n t d own m o aning T h e ox swu ng at S tuds
. . .
S tuds du ck ed .H e hit the wa ll and wi n ced S tu d s swung T he

. .
o x dr o pped ,a n d B u d d y k i ck e d h i m i n the h e a d H e m o a ned .

,
a n d craw l e d t o wards the d o o r S tuds j u m ped o n the ba ck o f a

.
u
g y ta ckl i n
g W ear y a nd
g o t a St o m a ch h o l d
9
fu dg m en t D ay
( 9 3 5) arrie s the adventures
1 c o f S tuds
L o ni gan thr o u g h the re m ainin g year o r t w o o f his life He .
falls in l o ve l o ses hi s sa v in gs in I m b r a y [ I n su ll P] st o cks

, ,
c o ntinues a pre m arital relati o nship with Catherine sees his

-
,
father ruined suff ers a co m plete physi cal co l lapse and dies
, ,
o f pn e u m o nia b efo re he has quite fulfilled his intenti o n o f

JA M E S T . FA RRELL 28 1
ivin the l o usy w o rld a run f o r i ts l o u sy m o ney O n

g g .
the evenin g o f h i s death b o th hi s father and his b r o ther ,
o o u t t o b e co m e in the w o rds whi ch S in clair L e w is has

g ,
m ade fa mo us gl o ri o usly drunk

“
.
,
J ust a w ord m ust b e said ab o u t th e techniqu e e m pl o yed

in these n ov els R e m ini s cent o f D os P ass o s — with wh om
.
Mr F arrell ha s m uch in c o m o n are s uch cine m atic de

. m —
v ices a s th o se i n whi ch the y ou nger n o v elist fla s hes news

reel s up o n a screen o r uses pla cards carried b y m e m b er s , ,
o f a pr o test parad e t o review sard o ni cally certain pha se s o f

,
co nte m p o rary life L ar ge slices o f sm u r ky satire are wed g ed

.
int o the n o v els b y m eans o f devi ces whi ch in clude l o n g

s er m o ns repr o du ced in full f o r the s o le purp o se o f d e ni gra t
i ng reli g i o n ; the wh o le tril o gy is sandwi ched with int er
chapters that effe ctively co ntrast the prayers and pieties o f
certain characters wi th th eir entirely c o ntradi ct o ry c o ndu ct

,
, ,
—
and finally in 7 u dgm n t D ay the stream o f co nsci o usnes s i s
e -
,
e m pl o yed t o su gg est a weird and phantas m a go ri c pro cessi o n

o f f riend s whi ch S tuds sees a s he lies dyin g .
T h e Sa n
“
L o st wh o lly l o st wi th o u t an inward fire
, , .
t a ya n a qu o tati o n whi ch i s prefixed t o Mr F arrell s co lle cti o n

’
.
o f sh o rt st o rie s entitled G u i llo t i n e P a r t ) gg s

y ( 1 9 3 5 su ests thi
”
v o lu m e s prin cipal co n cern : wi th that l o st generati o n
’ “
sp o ken o f b y M iss S tein and written ab o ut b y Mr H e m in g , .
way i n T he S u n A lso R ises C o m pared h o wever wi th Mr .

, , .
H e m in gway s fresh and o ften b rilliant pi cture o f p o st W a r

’
-
, ,
E ur o pe Mr F arrell s indict m ent s o unds li k e an a cco unt

’
.
,
recei v ed even at b est o nly se co nd hand I n t he H e m in g

, , .
way p o rtrait s ther e is a t lea s t s o m ethin g akin t o v i tality and

real ener gy T h e chara cters have s o m ethin g o f t hat ze s t
.
whi ch we l o o k f o r in hu m an b ein gs — even when they are

l o st hu m an bein gs T he y are enthusiasti c and co l o rful in
.
their b ull fi ght in g fishin g da m nin g and drinkin g I t is

-
, , , .
true that Mr H e m in gway s m e n and w o m en s o m eti m es sin

.
’
with o ut m uch enthusia s m B u t they at lea st fish fi ght .

,
b ulls and p o und the typewriter like me n who are awake
, .
O n the o ther hand the b o red S o phisti cate s in G u i llo t in e

,
P a r ty d o everythin g with a yawn :

“
T hey talked o n and ,
drank win e and yawned

, As an indict m ent o f Miss
.
S tein s l o st g enerati o n G u i llo t i n e P ar t y i s exha ustin g b e

’
—
cause i ts the m es have b een exhausted b y fre s her and m o re
’
creative intelli g en ces than th at which Mr F arrell p o ssesse s . .
T h e F arrell st o ries have all the H e m in gway hi ccu ps wi th

o u t the H e m in gway co ld s h o wers .
F urther m o re th o se tales that deal with m aterial with

,
which F arrell see m s m o r e h onestly fa m iliar si ft o u t indis

cr i m in a t e ly and rehash t o o m uch o f the m aterial fr o m their
auth o r s pre v i o u s tril o gy T h e O pen R o ad m erely t e

’ “
.
v iews th e travel s o f th e J ew in the n o vels ; T h e Merry

”
Cl o u ter s i s o nly a s li ght variati o n o f o n e o f y o un g Lo n iga n s ’
b rawl s ; t he in cident o f the y o un g Greek w ho m ade his

mo ney at dance m arath o n s had previ o usly b een run o ff the
m ill in o n e o f the earlier n o vel s ; B i g J e ff m ake s u s e o f
the interi o r m on o l o g ue t o r e intr o duce o n e o f the F arr ell
perv erts i n a lan gua g e whi ch m ake s the refle cti o ns o f Mrs .
B l o om in U lysses s ee m like a Chau cerian chuckle ; I n Ac “
”
cent s o f D eath d o es n o m o re than refle ct o ne o f S tuds ’
”
s ch oo l in ciden ts ; T h e L i ttl e B l o nd F ell o w r e e m phasizes
“
-
an o ther o n e o f t he sexual experien ces o f the sa m e early

r o up o f b o ys ; a n d at least fo ur m o re o f the sket che s are
g
o nly further sm u r ky satires u p o n previ o us deni grati o ns o f
w o m en and reli g i o n .
T h e tale entitled S tud s deserves h ow ever special , ,
c o mm en t ; f o r i t is t h e nucleus o u t o f which grew the entire

b ulk o f the L o ni gan tril o gy I n i t a cr o wd o f S tuds friends
.
’
are depi cted j ust after they have attended his wake If .
“
o nly th e y had n o t sent h i m t o H ea v en where ther e are n o

”
wh o re s and p o o lr o o m s Mr F arrell c o mm ent s And the
,
11
. .
b o y s reflect
dirty r a g under her chin al m o st fallin g o ff H is fath e r .
is b o rn e d o wn under the b urden o f try i n g t o suppo rt a

large and ever in creasin g fa m ily u p o n the paltry sixteen
, ,
d o llars a week he earns drivin g an expres s tru ck listenin g ,
t o L i zz s na gg in g and atte m ptin g t o rec o n cil e hi m self t o

’
the squalid po v er ty a n d t h e dirt in his h o m e B u t the .
burden has gro wn t o o great f o r h im and so D anny ha s b een ,
sent t o live with his A unt Mar garet his U ncle A lf ? and his ,
rand m ther ld Mrs la he r t Mar aret is a

’
g o o , O F.
y g . n eu r a s
theni c w h o has graduated b y difficult sta ges fr o m the life o f

a pr o stitute t o that o f m istres s o f a fi nan cier ; A lf O F la h er t y ’
is a sh o e sales m an w ho returns fr o m his trip s at least f r e

quently en o u gh t o m a k e y o un g D anny co ntinually l o o k f o r
ward wi th dread t o the cu ffi n gs his un cl e g ive s h im and the
g rand m o ther is a vi c i o u s and g o ssipy o l d h a
g w h o is always
o fferin
g s o m e o n e a s u m o f m o ney f o r bashin
g in t h e fa c es
o f her i m a g ined ene m ies In t h e o ld c o untry i f m e father
.
,
didn t lik e a m a n he d rip hi s guts o u t and b rin g the m h om e

’
,
’
”
t o sh o w t o m e m o ther .
15
I n su ch an envir o n m ent what chan ce Mr F arrell i m plies , .

,
what chan ce has the b o y ? T h e w o rld he lives in is a w o rld

he never m ade ! (T h e titl e o f the b o o k b y the way i
, s ,
derived fr o m a line in H o u sm a n s L a s t P o e m s ) A n d so ’
D anny passes this year o f his childh o o d : fr o m his o lder

”
br o ther he learns o f the mysteries o f birth ; his o wn “
c uri o sities a b o ut the w o rld o f se x a re rep o rted in l o n de

g
tail ; and what is p o ba b ly w o rse a r e fo cused a gainst the
,
r
,
mo st repulsive abn o r m a l braw l in g blasphe m o us and s o rdid

, , , ,
experien ces o f his elders N o thin g is spared the reader

.
Mr F arrell s i m a g inati o n — whi ch be it e m phasiz ed is a

.
’
, ,
r e p r o d u c t iv e and a m e c ha n i ca l o n e rather than a p r o d u c t iv e

,
and cr ea t iv e o n e — pr o m pts h im t o fi ll in every detail In .
the m atter o f lan g ua ge al o n e in hi s use o f fo ur letter w o rds

,
-
,
this n o veli st w o uld see m t o have been a ctuated b y a feverish

desire t o ge t as m an y vul garis ms o n ea ch pa g e a s p o s si b le .
JAM E S T . F A RRELL 2 85
T he nly pun ches that co un t are th o se b el o w the b el t !

o
S in c e the appearance o f A Wo r ld I N ev er M a d e i t s ,
auth o r has b r o u ght o u t b u t o n e o ther v o lu m e o f fi c t i o n — a
b o o k entitled Ca n A ll T h is G r a n d e u r P er ish T hi s
i s a co llecti o n o f sixteen sh o rt St o ries and o n e sh o rt n o v elette
called S eventeen T h e tales co n cern a nu m ber o f su b

“
.
e ct s f o r t he m o st part set a g ainst t h e parti cular S o uth S ide

j ,
o f Chi ca go b a ck gr o und whi ch its auth o r has dealt with in
his previ o us b o o ks T her e is a s t o ry a b o ut a wealthy Chi

.
ca g o a n w ho spends hi s ti m e s m o kin g expensive c i g ar s and
utterin g platitudes a b o ut suc cess ; o n e a b o u t a y o un g writer

and his artist wi fe in P ari s o n e whi ch des cri b es the act ivi t i es
-
o f a Chi ca go pre cinct captain ; an o ther a b o u t a s e v enteen
th o usand d o llars a year co lle g e pro fess o r thwarted in his a m

- - -
b i t i o n t o write an o ther which tell s o f t w o y o un g pe o ple o n ,
relief who h o ld a do g f or rans o m and are sentenced to

,
pris o n ; and several o f c o urs e whi ch go int o detail a b o u t

, ,
the sex life o f ad o lescent s .
L e t m e add h o wever that in a v er y f ew o f the St orie s Mr

, ,
.
F arrell has a chi e ved the f o r him al m o st unique distincti o n , ,
o f ha v 1 n g f o und his i n s pirati o n in v ery n o r m al i m pulse s .
T hu s in T h e O rat o ry C o ntest — t o g i v e b ut o n e exa m ple

— h e tell s o f a pr o ud father o in ff t wat ch h i s so n w in
g g o o
a s ch o o l priz e f o r o rat o ry Mrs O D ell is expe ctin g an o ther

’
’
. .
child ; and b efo re her hus b and l eave s f o r the c o nte s t s he ,
b reak s d own and tell s h im o f a gnawin g fear that she m i gh t

n o t live .
She s o bbed in his arms H o l din g her he fe l t a s if paralyz ed

.
, .
H e sensed in her the m y ster y o f wo m an whi ch enabled the m t o

bring fo rth a m an s chi l d H e w a s fill ed with respe ct awed into
’
.
,
spe ech l essness H e k issed her cl asped her ti ght ly his feel ings
.
, ,
reverentia l H e tho u ght o f how the y were go ing a l o ng now

.
,
and o f h o w the y were past knowing and fee l ing a gain what the y
had kno wn and fe l t in tho se first burning day s o f their m arriage .
N o w it was j ust having s y mpath y with ea ch o ther being used t o ,

o ne ano ther havi ng their f a m i ly their duties and the o b l i ga
, , ,
t i o n s whi ch t h e y h a d t o m eet t o ether the fee l in f l i k in m r e

g g o
g o , ,
t h a n l o vi n ea ch o ther and wa n tin t be pr u d f their k ids

g ,
g o o o , .
H e k issed her a gain .

16
An d d o w n the street Mr O D ell

’
then as father and so n , g o , .
suddenly turns t o Mi chael
M i ck e y yo ua l wa y s want to be go o d t o y our mo ther : H e l p

,
h e r a ll yo u ca n whi l e y o u ve g o t her be cause y o u ll never rea l ize

’ ’
”
h o w m u ch she m ea n s t o yo u unti l she s g o ne he said ’
.
,
“
Y es D a d
, the b o y dutifu lly r ep l ied the f ather s words mere ly
, ,
’
g ivi n g h i m the fee l in g that the o ld m a n w a s j ust prea ching a
l ittl e in order t o hear hi mse l f ta lk .
”
Y o u w o n t h ave her with yo u a l wa y s yo u k n o w
“ ’
17
.
,
In the tales a student in a Sh o rt st o ry class i ns ist s

one of ,
-
that a st o ry have the M i sery the R a w ness the S qual o r the

“
, , ,
” 18
T ra g edy the B eauty the Gl o ry o f L ife
, O f m isery and
, .
rawness and squal o r Mr F arrell has g iven u s m u ch I f , . .
o nl y he w o uld
g ive u s m o re o ften su ch appr o aches t o tra g edy ,
and b eauty and h o nest gl o r y as characterize st o ries like T h e

,
“
O rat o ry C o ntest A n d i f o nly h e w o uld learn s o m ethin g

—
ab o ut writin g w o uld learn h o w t o end a st o ry ; ho w t o
descri b e chara cters Wi th o u t dependin g al m o st entirely o n
strin gs o f adj e ctives ; ho w t o w rite dial o g ue with o ut havin g
a b o ut every line end with said “
Lizzie J u ne m ade m e cr y A ggie sa i d

, , .
I wasn t so goo d to day J u n e said m o d es t ly

’
, .
B u t sa y J une y o u ve l o st wei ght A gg ie said

’
.
, , , ,
I l o st ten p o u nds o n the H o llywo od die t J une said s mi l i ng , .
I s it g o o d o ne ?
a
as k ed M r s B r o wn . .
”
I t s wo nderfu l Li z zie J une said
’
.
, ,
L i zzie what h appened to the d iet yo u were o n ? Aggie

,
as ked .
“
I l o st two o r three p o unds but I had so mu ch ho usework t o ,
d o f o r the h o l ida ys I f orgo t I go t hungr y and ate Li zzie

, . ,
sa id a n d the y l au ghed
,
.
o nly the pl easur e o r the elati o n whi ch w e deri v e fr o m
”
thin gs f o r their o wn sake i t m a y even co ntinu e t o
g ive a hard pressed -
reviewer a tre m end o us e m o ti o nal
wall o p W hen i t rep o rts chi efly the u se v alue s o f ex per i

.
en ce it m a y b e go o d s oci o l o gy B u t in no t o ne o f these
, . .
cases will it ne cessaril y refle ct that cr ea t ive intelli g ence which
we expe ct in the artist .
I ntensely ph o to graphi c realis m m a y r efle ct ca ncer o us

g r o wths o n civili z ati o n (and thus have c ertain s o c i o l o g i cal
“
u se values
”
) with o ut enlar in g up o n life
g W ritin g m ay b e
.
vivid and even te chni cally skilful wi th o ut a d va n cm g o n e

p o int t h e ni ceties and th e dis cri m inati o ns we think o f wh en
”
we View literatur e a s a b ran ch o f the fine arts
“
o u il n y .
“ ’
a p o i n t d e d e li ca t esse il n a p o in t d e li tte r a t u r e F
’ ’
, y
’
urther .
m o re I d o u b t very m u ch if Mr F arrell s w o rk has even th e

’
.
,
”
“
u s e values which hav e b een attri b uted t o i t I think i t .
an X ray w hi ch reveal s can cer o us gro wths wi th o ut hav in g

-
any great therapeuti c valu e — that i t i s rather intended to

attra ct b y i ts m o r b id detail .
But T hat s a new o n e o n m e o u r criti c ca n b e heard

’
t o say O n e y o un g cri ti c
. asks : D o esn t Ja m es T F arrell
21 ’
.
”
hav e depth and pa ce ? An d d o e s n t his w o rk co ntinually ’
”
“
flash with new m eanin g s ?
P erhaps F r o m the ti m e that S tuds L o ni g an screwed up
.
”
hi s puss in f r o nt o f the m irr o r t o the ti m e when death ends ,
all h is Sl o bb ish years perhaps t he tr i logy d o es flash with

, ‘
new m eanin gs B u t o nly o f a certain kind : we wat ch a

.
l o n g chapter given o v er t o the physi cal details o f a rape in

a cheap h o tel r o o m ; w e fo ll o w t h e pr o gress o f a b o y s per ’
versi o ns ; we ha v e pi ctured f o r us a y o un g fo urteen year o ld - -
g irl g ivin g herself t o s everal b o ys within an h o ur ; we read

an other l o n g chapter tellin g o f a y o un g h o usewife who
g a m b le s her weekly all o wan ce away and g et s i t b a c k a g ain
b y b rin g i n g thre e s tran g e m en h o m e with her N ew m ean .
in gs
JA M E S T . FA RRELL 289
But — the w o rk o f Ja m es T F arrell c o o rdinate s o ne s ’

.
o w n s cattered and spas m o dic experien ces and reflecti o ns ,
the sa m e critic clai m s .
I think no t I prefer t o think that with few excepti o ns

.
, ,
neither the n o v els no r the tales co o rdinate m any hu m an

experien ces that are w or t h c o o rdinatin g S tud s L o ni gan .
was a sl o b ; b ut he died with o ut ha v in g t o live c o untle s s

Sl o b b ish year s L ife was ev il
.
“
t o o n e o f the o ther
22
F arrell characters A n o ther h ad per m itted hi m s elf t o b e

“
.
”
pushed and sh o ved int o [life ] and thes e last year s he had ,
”
g o ne o n in his rut H e wa s a pawn. A n o t h er su m s up .
23
”
all his s cattered and s pas m o dic experience s and reflecti o n s
b y c o n cludin g as yo u Am ericans say what the hell ,
24
A n o ther o ff ers his refle cti o n s in an interestin g N ietzscheis m

“
Men are fo o ls ex cept f or , artists and n o b le m en .
T hey are pi gs Y o ur c o m m o n pe o ple !

. P i gs B east s .
A n o ther finally b ec o m e s a pi m p g et s s yph ili s die s Ah , , .
o ther g ive s f o rceful a ff i r m ati o n t o thi s phil o s o phy : W o m en “
An d — to
”
are b i tches T hey re bit ches I tell yo u
.
’
, .
26
”
cu t this list o f s cattered and spas m o di c refl ecti o ns sh ort
we are t o ld o f S tuds j ust b e fo re h is death ,
He th o u ght o f ho w when yo u went o u t and l istened t o what

peo p l e said yo u heard a ll kinds o f things ; peo p l e washing thei r
,
dirt y l i nen in pub l i c ta lking ab o ut frie nds and business

,
a nd it m ade h i m thin k h o w the w o r l d m ust be at ever y m inute , ,
so fu ll o f pe o p l e fi htin a n d d y in a n d wo r k in g a nd
g g g , ,
l o sing j obs a nd it wa s a funn y wo rl d a ll ri gh t fu ll o f funn y

, , ,
pe o p l e m i ll i o ns o f the m
, .
27
ne s o wn s cattered and spa s mo dic experience s and

o
’
”
refle cti o n s
But — the F arrell b o o ks m o un t t o cli maxes that suddenly
reveal b y artistic m utati o n what h as b een i mper cepti b l e and
”
latent in a character .
28
D o they ? When S tuds was a b o y the w o rld was l o u s y

to him W hen he ca m e to die it wa s m erely full o f funny “
.
pe o ple. W hen he w a s a b o y hi s defecti o n s were with a
very y o un g girl ; later o n he arrives at the br o thel sta ge,
.
W hen y o un g he had s cr ewed up his puss and de cided t o

,
”
i v e the w rld G dda m run f r its l o usy m o ney A

“
g o o n e o o s .
he gro ws o ld er he acquires even further pr o fi ci enci e s in

,
cursin g which need no t b e re co rded here H is chara cter

” ”
i st ics are latent en o u gh but hardly i m per cepti b le !
“
”
A n d where is the artisti c m utati o n ? In the violen ce ?
“
I n th e tedi o us m inutiae ?
B u t — S t u ds L o n iga n d e m a n ds the m inutiae the stret che s
“
,
o f co m parati v e tediu m a b o ut hu m dru m life i f o nly t o p o int ,
up the sudden wild flarin g in to b rutality o f s o m e o f his

chara cter s .
I think that what the criti cs really sh o uld say is this

S t u ds L o n iga n is v ery b adly in need o f th o se wild fl ar in gs
int o b rutali ty to p o int up its dreadful and painful tediu m .
I n this m atter F arrell is ex tre m ely pr o ficient : hi s b oo ks

,
are seas o ned at al m ost m athe m ati cally cal culated in ter v als
, ,
with sex vi o len ce and brutal ity I t is thes e s cenes chiefly

, , .
w hi ch carry the reader thr o u g h the hu m dru m pa ges thr o u gh ,
the m edi cal repo rts psych o pathi c studies and s o ci o l o g i cal
, ,
investi gati o ns .
T hat brin g s u s o f co ur s e t o even further distin cti o n s b e

, ,
tween s o ci o l o gy and art I nt o the s e w e n eed no t inquire

. .
I t w o uld perhap s b e futile F o r s o m e cri tic can alway s .
c o un ter b y a s kin g
W hat the hell i s art a nyway ? ,
C H A P T E R XII
TO WA RD TH E CE N T R E OF TH E S T RE AM
T HE si gnifi cant b o dy o f T he o d o re D reiser s w o r k co m pel ’
lin g f o r i ts co l o r and cu m ulative detail ri ch in what is ,
hu manitarian but p o o r in what is hu m an : s o m e o f the

cl u m siest writin ever d o ne b y an A m eri can and o ccas i o nally
g ,
s o m e o f the mo st war m tender m o vin g , T h e brilliantly

, .
ur b ane style o f B ran ch Cabell co ntinually p o int i n g i tself o n

the s harp ed ged instru m ents o f cyni cis m and indi scri m inate
-
m o ckery . O ur F reudians and strea m o f co ns ci o usness - -
writers w ho have s o m e genuine ve i ns o f o r e t o m in e b ut

, ,
who o ften b rin g up t o ns o f m u ck t o pr o ve they have real

or e — w ho put the cellar Where the atti c sh o uld be and m a k e ,
the abn o r m al a key t o the n o r m al S herw o o d A nders o n

.
,
wh o has written s o m e st o ries that m ust last as l o n g as b o y s

”
wish to di e gl o ri o usly or ra ce h o rses are full o f spun k ;
w ho has wri tten o thers that o nly pr o v e that T ruth cann o t
be fo und under t h e b ed E rnest H e m in gway o r i g i n a l
.
, ,
v irile with many fine answers t o the hi ccupin g queries o f a

,
l o st g enerati o n but una b le quite t o sa y t he last w o rd

, , , .
o h n D o s P ass o s w ho has pr o v ed the value o f experi m ent

J ~
and the I ne ff e cti v en es s o f m ere experi m ent ; w ho has an

alert awareness o f the pr o b le m s o f o u r s ocial o rder and yet ’
,
finds an answer f o r th o se pr o b l e m s o nly in a f u r t h er brea k

do wn o f that o rder W illia m F aul k ner and the cruel t y
'
.
,
cult thr o wn at last a g ainst the dile m m a o f b e i n either nly

, , ,
g o
h o rrible o r o nly ridicul o us T h o m as W o lfe w h o writes

.
,
pr o se as sur g in g as his rivers certainly the m o st pr o m isin g

—
o f the y o un g er m e n n o w writin g in A m eri ca if he ca n o n ly ,
co rset his art a bit W illia m S aro y an paddlin g the

. .
bar k o f his o w n individual (but n o t ne cessari ly o ri g ina l )

pers o nali ty o n the B er g so nian strea m A n d Ja m e s T . .
F arrell w h o s e
, sincerity perhaps cann o t b e que s ti o ned b ut
, ,
wh o se failure to distin guish b etween s oci o l o g i cal and J ud g

m ental values has resulted in s o m e o f the m o st vul gar and
o r iastic writin
g g o f o u r day .
In the studies that I have m ade I have n o t o f c o ur s e , ,

- ‘
iven a c m plete pi ture o f A m eri can literature durin g the

g o c
last three de cades T here i s m u ch o f whi ch I hav e said

.
n o thin g : the penetratin g a n d a s a r u le infalli b ly a ccurate ,
analyse s which S in clair L ewis has m ade o f o u r s o cial scene ;

the tren chant s atire in the earlier w ork o f E dith W harto n ;
the ri chly textured and super b ly ir o nic style whi ch sh o uld ,
b efo re this ha v e br o u ght E llen Gl a s go w the N o bel P rize ;

,
the arti s ti c undert o nes the i m pecca b le writin g and the

, ,
‘
o i g nant b eauty t o b e f o u n d i n W illa Cather s n o v els ; the
’
p
fine restraint understandin g and s ensitivity which char
, ,
a ct er i z e m o st o f Mrs F isher s b o o k s ; the a cc o m plish m ent s

’
-
.
,
as a m atter o f fa ct o f a d o z e n o ther n o v elist s wh o m I fo und

,
o utside t h e pr o v in ce o f m y in v esti gati o ns .
O n the wh o le h o we v er i t i s exa ctly th o s e attracti v e li ter

, ,
ary currents which I have tra ced that ha v e tended t o m ake

us s o m ewhat b lind t o o u r m o r e s o lid literary achieve m ents .
W hile wat ch in g the eddies w e are in clined t o fo r get the real

,
and s tr o n ger current I n the centre o f the strea m that wri t in g

whi ch has a so und re gard f o r the traditi o nal and unceasin g
fl o w o f hu m an values instin ctive and endurin g that li tera
, ,
ture cann o t l o n g i gn o re i f it is t o b e th o u ght o f as an

aff air o f t h e spiri t o r a co n cern o f the heart I have written .
this b o o k b e cau s e I b elieve r e evaluati o ns (whi ch distin gui s h

-
between thes e eddies an d this strea m) are espe cially in o rder

t o day I have wri tten this b o o k be cause I think that a lar ge
.
nu m b er o f o u r reader s likew i se b elie v e s u ch r e evaluati o ns -
t o b e in o rder .
as we all kn o w b y n o w m ad e a rather hand s o m e in v est m ent
'
b y gettin g that s uit case B y A pril 1 9 3 7 Miss M itchell s

.
, ,
’
b o o k had s o ld co pies ; in the fi rst part o f the f o l
l o win g m o nth i t was ann o un ced as a P ulitzer A ward winner ;

and i t is no w rep o rted that i t is ver y s o o n t o b e pu b li shed
in Ger m any and in S weden .
M o st o f u s kn o w the St o ry o f G o ne Wi t h the Win d , .
S carlett O H a r a the dau ghter o f an I rish plantati o n o wner

’
in Ge o r g i a at the ti m e o f the Civil W a r h a s had m any ,
b eaus ; but when She learns that A shley W ilkes i s t o a n

n o un ce his en ga ge m ent t o Melani e H a m ilt o n at a great
, ,
bar b e cue the fo ll o win g day sh e suddenly decides that i t is he

,
wh o m sh e l o ves Sh e will co nfess her l o ve t o h im b o ldly ;

.
they Wi l l el o pe t o g ether A n d so she prepares t o attend the

.
affair under Ma mm y s eyes carefully eatin g a gr eat quanti ty

’
o f fo o d befo re sh e leaves h o m e in o rder that sh e m i ght at , ,
the barbe cue have t h e deli ca te appeti te expected o f a S o uth

,
”
ern lady . B u t her c o nfessi o n d o es n o t have i ts intended
effe ct A shley insists up o n keepin g his pled ge t o Mela n i e ;
.
and sh e is further e m barrassed b y learnin g that her av o wals

had been o verhe ard b y o n e R hett B utler a stran ge guest at ,
the b arbe cue As the party ends n e ws i s b r o u ght o f the

.
,
o ut b rea k o f the W a r .
A shle y m arries Melan i e ; t o spite h i m S carlett m arries ,
Melanie s br o ther w ho is s o o n k illed in b attle le a v m g her

’
with an unb o rn child L ater sh e go es t o A tlanta where

.
,
while tryin g t o live the de co r o us life o f a wid o w she a gain ,
m eets B utler w ho is n o w f o r pur ely m er cenary reas o ns a

, , ,
bl o ck ade runner f o r the S o uth D urin g the sie g e o f the C i ty .
she bravely k eeps a pr o m ise She has m ade t o A shley that she
w o uld a l wa y s ta k e care o f Me lanie ; and with a great deal o f
res o ur cefulness and pers o nal her o is m stays with Melan i e
until the latter s child is b o rn T hen they m ake their way
’
.
b a ck thr o u gh the Y ankee lines t o T ara the fa m ily planta , ,

T O WA R D T HE C E N T RE OF THE ST RE A M 2 97
ti o n where Scarlett finds that t w o o f her S i ster s are ill with

,
typh o id her m o ther has died and her father h a s l o st his

, ,
m ind .
T h e f o ll o win g weeks are filled with terr o r f o r the m all .
T o pay a pr o hi b itive tax whi ch the Scalawa gs and R epu b

li ca n s ha v e le v ied o n T ara Scarlett o ff ers herself t o R hett
,
B utler B u t he refuses t o g iv e her t h e m o ney sh e needs ;

.
and so b y lyin g she m ana ges t o win instead F rank K ennedy

, , , , ,
wh o had b een en ga g ed t o her o w n y o un ger sister W ith .
her new husband s business and certain o ther ven ture s s he

’
, ,
pr o spers ; and when F rank is kil l ed in a K lan fo ray s he

, ,
m arries B utler with o ut delay L ater S h e c o m es t o realize

.
,
that i t was really he wh o m she ha d l o ve d all the while !

B u t t o o late !
, A t this p o int B utler leave s her ; and s he,
o es b a ck t o T ara t o rec o ver her deter m inati o n t o win h im

g
”
b ack f o r she had yet t o see the ma n sh e co uldn t ge t o nce
,
’
s he had deter m ined t o ge t h i m !

G o n e Wi t h t he Win d has m any s cenes that a r e ri chly
_
hu m or o u s : t he s cene in whi ch o ld U ncle H enry H a m ilt o n

rides t o war with his ne gr o v alet walkin g b eside h im with
,
a raised u mb rella ; that in whi ch Gerald c o m e s t o t o wn to

r e b uke his dau ghter gets drunk and finds Scarlett h o ldin g
, ,
t h e whip hand wi th a threat t o tell Mrs O H a r a o f hi s o w n

’
.
dis gra ceful co ndu ct ; that in whi ch Grandpa Merriweather

recalls th e ti m e his wi fe had given hi m a surprise party and
had herself b een the m o st surprised o n e at the party f o r s he ,
had ne glected t o apprize h i m o f the co m in g a ff air and he

had d o n e m u ch drinkin g durin g th e day and m any o thers
that readers will l o n g re m e m b er I t is als o a n o vel whi ch .
,
th o u gh und o u b tedly o ver l o n g and cr o wded i s still surpris

-
,
i n gly rewardin g in detail in char m in g des cripti o ns o f S o uth

,
ern life in sharply individualized chara cter s in skilful su s

, ,
pen s es in its handlin g o f e m o ti o ns that a r e ele m en tal in

,
t h e b es t sense and in its co m plete a b s o rpti o n wi th an idea

,
that s o m e thin gs m a y b e go n e wit h the wind b ut that o th er s ,
endur e fo rever .
I a m no t interested in all o f thi s I a m intere s ted in .
G o ne Wi t h the Wi n d no t as a literary triu m ph of o u r day ,
b u t as a challen ge t o o u r day A t a ti m e when extre m e and

.
li teral reali s m w o uld see m t o b e the fashi o n Mar garet ,
Mitchell ha s pr o ved a gain what ca n be d o ne b y the n o velist ,
who writes with a realizati o n that the values o f a r t sh o uld -
b e transcendin g values L e t m e su ggest but o n e exa m ple

. .
R ecall tha t l o n g des cripti o n o f the b irth o f Melanie s child

’
a terri fyin gly vivid des cripti o n t o be sure b ut n o t an or gi , ,
a st ic o r purp o seless o n e as i s let us s ay the b irth s c e ne in

, ,
S herw o o d A nders o n s Ta r R ather is i t i m a ginati v e and

’
rede m ptive filled with hi ghly si gn ifi cant o vert o nes as such

, ,
—
a s cene sh o uld b e a s i s the si m ilar sc ene in K r is t in
L a v r a nsda t ter .
A ls o Mar garet Mitchell has s h o wn u s what can b e d o ne

,
b y a n o velist who think s o f m e n and w o m en a s hu m a n b ein gs .
S carlett O H a r a ha s an extre m ely v o lati le te m pera m ent ;

’
b u t s he is no b o ttle o f fluid dyna m ite S he lives p o wer .
fully in o u r m em o rie s n o t b ecau s e she is a m o th o r a

,
”
“
li ttle m annikin b u t becaus e she is a w om an Rhett
, .
B u tler is the very in carnati o n o f evil ; he is o n e o f the m o st

i
g g antic d evils ever created f o r o u r ficti o n B u t he is an .
arre s tin g devil e ven a fas cinatin g o ne ; and Miss Mit chell
,
ha s b een a b l e to create hi m as su ch b e cau s e she has created

him als o a s a m a n
, , T he sa m e is true o f the o ther pe o ple
.
”
in the n o v el T heir e mo ti o ns a r e no t a gglutinated hys
.
teria s b ut genuin e pa s si o ns T hey a r e no t m erely cau ght

, .
“
”
up in the flux o f li fe I n sh o rt they are m en rather
“
.
,
than m echanis m s w o m en rather than m ere che m i cal co m

,
po u nds
A nd have we no t pr o ved that we like the m as s uch ?
ing heat crisp e v erythin g that is green o n the fa ce o f their
s m all part o f m o rt ga ged earth .
A s o m b re tale ? A n d bleak and b itter and tra g i c P

, ,
Y es B u t n o t a tale o f frustrati o n o r des pair

. I t is intense .
!
,
b ut even its bitterness has a kind o f res o nan ce ; and the

n o vel is filled with snat ches o f su ch b eau ty as that su ggested
by Mar get
But s om eti m es even in this y ear the beaut y o f certain h o urs

, ,
and p l a ces w a s so int o l erab l e that it co ntra cted the h eart and
l eft m e with o ut w o rds T here w a s an u nearth ly s m ell i n eve
.
mi ngs a stra n g e m in g l i ng o f wi ld grape and cata l pa sweetness

,
with h o ne ysu ckl e co m e t o fl ower and unkn o wn b l o sso m in g

thi ngs a n d I wo k e up at n i ght t o b l i nd ing m oo n l i ght and the
,
co m p l ainin o f a catbird in the fi r e b u sh e s T h b l a ck m arsh

g e .
fi e ld s swarm ed with fi re fl ies that see m e d t o sta nd sti ll in the

air f o r se co nds at a ti m e T h e earth w a s overwhe l m ed with
.
beaut y a nd i ndi ff ere n t t o it and I we n t with a heart read y t o

,
cra ck f o r its unbearab l e l o ve l ines s

’
4
.
B eauty that co ntra cts the heart ! A n d h o pe that all m en

and w om en kn o w w ho l ive cl o se t o the earth ! U nd er the
pressure o f al m o st unendura b le su ff erin g these pe o ple m a y , .
a t ti m es think o f the m selves as crawlin g al o n g the ruts and

“
sh o vin g de b ts ahead li k e the ball o f dun g beetles -

.
B u t alway s they rise t o fa ce t h e m o rnin g s
L ove and the o ld faith are go ne Faith go ne with M o ther . .
G rant go ne B u t there i s the need a n d th e de sire l eft a n d o u t

.
,
o f these hi ll s the y m a y co m e a g a in I ca n n o t be l ieve this is the

.
end N o r ca n I be l ieve that death i s m o re than the b l i ndnes s

.
o f th o se l ivin g A n d if this is o n ly the co ns o l ati o n o f a hear t

.
in i t s n e cessit y o r that eas y faith b o rn o f despair it d o es n o t

, ,
m atter si n ce it g ives u s co urag e s o m eh o w t o fa ce the m orning s

,
.
W hi ch is a s m u ch a s the heart ca n a sk at ti m es .
5
T he reputati o n whi ch Miss J o hns o n a chieved with this

b o o k sh e m o re than sustained in her Win t er O r cha r d (1 9 3
,
a co lle cti o n o f st o ri es that will be re m e m bered f o r its m any

T O W A R D T H E C E N T RE O F T H E S T RE A M 3 01
war m hara cter p o rtraits and l i m pidly b eautiful writin g

c .
7 0 r d a n s t o w n her m o st re c ent n o vel adds t o these ,

.
qualities a passi o nate sy m pathy and a new p o wer b o rn o f an

awareness o f sufferin g in a s m all t o wn J o rda nst o wn the .
,
scen e o f the b o o k i s des cri b ed a s a cluster o f parallel iso

,
“
lated lives A t o wn p o ised o n t h e b o rderland between

.
N o rth and S o uth s o ur ced b y F ren ch and Swedish and Ger,
m a n and p l ain E n glish st o ck I t had n o ne o f the b eauty o r .
fi erce brutality o f the So uth b ut a starched and Si m ple ,
”
sava g er y o f i ts o w n P art o f the t o wn (the B lu ff ) i s i n
.
6
habited by the su ccessfu l ; bel o w lies F o x B asin inhabited ,
b y the p o o r bu t o ver b o th se cti o n s bl o w the fo ur great “
w inds o f li fe
t he fie r ce w es t w i n d o f p a ss i o n ,
o f ha te a nd an
g er , tha t
d r iv es m e n ho w li n g i n m o bs t og e the r ; t he f o u l e a s t w i n d o f
t he d es i r e f o r p o w er ; t he b i t te r a n d a r c tic w i n d of n ecess i ty, d r iv
i ng ea ch life b efo r e i t ; t h e s tr o n
g so u t h w in d o f lo v e .
7
W hen his father dies A llen Crai g m ana ges t o b uy the ,
t o wn s s m all newspaper fr o m i t s dyin g o wner ; and t o g ether

’
with his friend D ave W o o l f he sets a b o ut the business o f

, ,
r o usin g th e expl o i ted lab o rers in F o x B asin H e wants t o .
g i ve the m pride in the m selves t o m a k e the m m o re arti culate ,
i n their need F o r i t d o es n o t see m ri ght t o A llen that

.
F o x B asin sh o u ld kn o w alwa y s the b itterly co ld n o rth wind

o f n e ce ssH y while the B luff lives in a b undan ce
,
A b o ve the surfa ce o f the t own l a y the pattern o f go o d

, on ,
th i n gs no rm a l thi ngs : the sewi ng circl es the l i ght o n supper

, ,
tab l es the cl ubs t h e p l a ys the l iterar y so cieties the sudden co m

, , , ,
prehensi o ns o f beaut y the church s o cia l s the g i ngerbread and , ,
pra yers ; m en standing in su n o n street co rners talk in g ; the ,
heav y gro cer y s a ck s the pi cture sh o ws ; chi l dre n l au ghing sh o ut

, ,
i n g l i cki n g their i ce cr e a m co n es ; the s ch o o l pa gea n t wedding s

,
-
, ,
the ca r tied with white ribb o n s the church fu ll o f l i l ies a nd ,
as para gus fern L a w and order go i n g o n l ife m o ving o n the

.
,
surf a ce . .
8
U nder Crai g s leadershi p the w o rkers b uild a crude hall
’
whi ch they intend t o use as a m eetin g place and a kind o f

co o perative m arket B u t when they finally try t o take po s
.
sessi o n o f their b u ildin g they are driven fro m its steps by ,
a p o ss e o f deputies and thu gs hired b y the o r gan i zed wealth

o f the B luff D ave is sh o t and dies ; A llen and a nu m b er o f
.
the o ther l a b o rers are j ailed F o r a ti m e after he is r e .

,
leased A llen despairs B u t no t f o r l o n g R e m emb erin g

, . .
D ave s death he co m es t o see that in its very

’
, chill and
”
terri b le finali ty ther e wa s s o m ethin g de m andin g that he
carry o n H e ha d f e lt t he so u t h w i n d the w in d w i t ho u t
.
,
sa l t , a t la s t .
I have said n o thin g a b o ut s o m e o f the Splendid p o rtrait s

in this n o vel : such as that o f the b ig ne gr ess A nna w ho , ,
leads the w o rker s o n with her i m pr o vised s o n gs ; o r the

desperate A very wh o has been with o ut a jo b f o r years b ut
,
w ho m ana g e s t o keep hi m s elf and his can cer ridden wife -
alive by drivin g a bakery wa go n in ex chan ge f o r left o ver -
buns ; o r the go lden hearted little baker S tefan wh o se b u S I

-
, ,
ness is al m o st ruined b ecause he cann o t resist the pr o ud ,
tear stained hun gry faces that pres s a ga i nst his w ind o w s
-
, .
T h e s o cial o rder in which t hes e pe o ple liv e i s just as try

i n g a s that f o r exa m ple in which J o hn D o s P as so s char
’
, ,
a ct e r s exist B u t whereas J o hn D o s P ass o s and his s ch o o l

.
,
g ive us puppets w h o fi g urative l y speakin g a l l

, o w t h e m sel v es ,
t o b e b eaten t o the railr o ad cr o ssin g J o sephi ne J o hns o n ,
ives us hara cter s w ho if ne ce s sa ry will m ana e li ke m en

g c g , , , ,
t o keep alive b y dri v in g a b akery wa g o n in ex ch a n g e f o r a
few buns .
E arlier in this chapter I su ggested that o u r recent av id

”
in terest in b i o gr aphy h i sto ri cal ficti o n and pers o nal his
,
“
t o ry m i ght fr o m o n e p o int o f vie w be interpreted as a si gn

, ,
o f o u r g r o win dissatisfa cti o n with that extre m e realis m

g
3 4
9 LU C IFE R AT LAR G E
ettin u t o f hi s fine carria e t o wat ch an ant o r L inn a e us
g g o g , ,
when h e sa w th e go rse in fl o wer fallin g o n his knee s t o pray , .
A nd we were glad t o b e t o ld a g ain o f the di v ine aspirin g ,
nature o f that sa m e spirit In s o m ewhat t h e sa m e w a y D r . .
A lexis Carrel s M a n T he Un kn o w n that s ear chin g

’
inquiry b y a s cientist o f indisputa b l e reputati o n fo und a ,
welc o m e a mo n g a goo d many th o usands n o l o n g er quite s atis

fi e d with t he o lder scientific mo nis m
“
.
F o ll o win g in th e fo o tsteps o f N o rdh o ff and H all (wh o se

r o usin g B o unty tril o gy w a s su cceeded b y their T he H u rr i
ca n e,
1 93 7 ,a C o nrad like st o ry o f P o lyne s ia) a s m all b ut
-
,
n o t ne g li g i b le nu m b er o f o u r writer s hav e als o b e g un t o

,
turn t o the sea a gain f or inspirati o n I think we m a y s afely .
predi ct a gro win g interest in su ch i m a g i nat iv e and r o manti c

m aterial ; and this t oo i ndi cate s a v eerin g h o wever sli ght
, , , ,
away fr om extre m e realis m defeatism and m o rbid pa

“
, ,
’
th o lo g y .S o m eh o w psy ch o ana lysts d o n o t espe cially fl o urish
,
o n s a l t water ; o n a full ri gg ed s hi p there is little ti m e f o r

-
despair and m e n w ho cli m b masts in i ce and sleet d o no t

think o f the m sel v e s as b ul b o us spewin g pulin g creature s , , .
A l s o we m i ght n o t e wi th interest a few o f t he b o o ks which

,
no w a ctually su g gest that fa m ily relati o nship s ca n b e n o r m al
and that n o r m al relati o nships can b e extre m ely intere s tin g .
T o th o se o f us w h o have co m e t o b elieve that every so n i s .
su ff erin g fro m an (E d i pu s c o m plex and e v ery dau ghter fr o m

an E le ctra c o m plex that every m o ther has a che m ical
,
“
”
a fli n i ty f o r her n e i gh b o r s hus b and and e v ery hus b and a
’
b i o l o gical co m pulsi o n t o ward hi s n ei gh b o r s wife t o s uch ’
o f us b o o ks like R uth S uck o w s C o u n t r e o p le T h

’
,
y P e
B o n n ey F a m i ly Claren ce D ay s ’
and The F o lks
L if e Wi t h F a t her N ancy P o p e s We Thr ee
’
an d J o hn P M a r q u a n d s T he L a t e G e or g e A p ley (1 9 3 7 )
’
.
ca m e a s a greea b le s urpri s e s .
Mr M ar q u a nd s b o o k is particularly rewardi ng f or it s
.
’
pre s entati o n o f w hat we m i ght call o ld fa s hi o ned relati o n “

-
T O WA R D T H E C E N T RE O F T H E ST RE A M 3 5
0
s hi ps f or i ts sly hu m o r and f or i ts effe ctiv e ir o ny H is

, ,
.
c entral fi g ure G e o r g e A pley (wh o se life i s presented t o us

, ,
chi efly t hr o u g h th e letters he had wri tten h i s so n) is o n e o f
the past year s m e m o rable chara cter p o rtraits W ritin g t o

’
.
J o hn who was in the A r my at t h e M exi can b o rder o ld

, ,
Ge o r g e co m plains that J o hn s m o ther is a b o ut t o have s o m e

’
r o se bushes re m o ved fr o m the pre m ises r o se b ushe s cher

- — -
i sh e d b e cause they had co m e fr o m his o wn grandfather s

’
arden in S ale m H be his so n t o send a tele g a r m — i f

g e.
g s
necessary g ettin g his C o l o nel s spe cial per m i ss i o n t o go t o

,
’
t h e tele graph o ffice — ur g in g t h e m o ther t o let the b ushes
stand .
W hen J o hn s a ged gr eat un cle s candalizes all o f the m b y

’
m arryin g his trained nurse G e o r g e nevertheles s 1 n 8 1 st s that

,
“
the fa m ily m ust stand t o gether and Spends a wh o le day
callin g o n pe o le t o assure the m h o w co m pletely deli ghted
“
p
the fa m i l y really is ! A gain when the so n se cretly m arries
,
a w o m an fr o m L o n g I sland the father i s sh o cked — unti l he

,
learns that his dau ghter in law is a ctually o n e o f the H o

- -
“
arths o f C nne ti ut T ha t m akes all the differen c e in

g o c c .
t he w o rld ! A n d when he fi nds his dau ghter readin g F reud ,
o ld G e o r e a ain wri tes hi s so n

g g I find a d o u b le pleasure
.
i n qu o tin g fr o m this letter : in i tself i t i s irresistible f o r

i t s hu m o r and ir o ny ; and m y usin g it m a y I h o p e let m y , , ,
readers kn o w that despite m y stri ctures o n F r a u d i sm I a m

, ,
n o t unaware o f t h at g enuin e influen ce o f F reudis m whi ch
Mr Marquand so slyly e m phasize s

. .
D ear J ohn
A t a s m a ll di nn er l ast ni ght whi ch y o ur m o ther and I g ave
,
f o r E l ean o r y o ur sister sud d en ly be gan dis cussing ps y cho l o g y

,
.
T o m y a m aze m ent sh e seem s t o have been spending a great

,
dea l o f ti m e in t h e A thenae um l ate ly reading the wo rk s o f a

ce rtain d o ct o r n a m ed S i g m un d Freud H ave yo u ever heard o f .
this m a n ? I be l ieve I re call o v er b e ar i ng s o m e o f y o ur f riend s

m enti o n hi s n a m e i n N ew Yo r k I a m writi ng b y this sa me
.
m ai l t o the T rustee s o f the A t h en azu m as k in g that a ll wo rk s

3 9 6 LU C IFER AT L AR G E
b y Freud be put int o the L o ck ed Roo m T he y are certain ly too .
str o ng f or pub l i c co nsu mpti o n .
N o w yo u have m o re in fl uen ce with E l ean o r than we

have J o hn I wish when yo u ge t this l etter yo u wo u l d as k her
, .
d o wn t o N ew York o r better co me up here and Spea k t o her

,
se n si b l
y T his l etter is
s o f co urse co m p l ete ly ,co n fi d entia l as ,
m a n t o m a n and it m i g ht be j ust a s we ll if yo u w o u l d burn it .
T his disp o siti o n t o thro w a ll reti cen ce t o the wind t o spea k ,
fra nkly o f things whi ch had better n o t be m en t i o ned m a y be h
a ll ri ght in a w a y C ertain ly it see m s hard these da y s t o fi n d a

.
o o d cl ean n o ve l so hard that I have iven up readin an y but

g ,
g g
t h e w o r k s o f C o nrad and A r chiba l d M arsha ll A t a n y rate this .
s ort o f th ing i s distinct ly no t go o d f o r wo men Yesterda y I .

,
f o und that y o ur m o ther had a ctua lly ta k en this Freud b o o k o u t

o f the A th en aeu m Sh e w a s e mbarrassed when I fo und her
.
reading it in the sm a ll m usi c ro o m and gave a s her reaso n that -

,
she wished t o k now what E l ean or wa s d o i ng I a m n o w reading .
the bo o k m yse l f f o r the same reas o n . .

9
But all the literary p ortent s s o m ewhat indicati v e o f

of
a new tenden cy in o u r fi c ti o n I b eliev e the m o st pr o m isin g ,
t o b e f o und in the w o rk o f that s m all gr o up o f o u r n o v eli s ts
wh o are b e g innin g m o re and m o re t o turn t o re g i o nal

m aterial — espec i ally that re g i o nal m aterial t o b e f o und in
o lder way s o f life o r in lif e cl o ser t o the s o il
, T hey are .
r e e m phasizin v alues whi ch gr e atly need t o b e r e e m ha

g p
- -
sized ; and they are d o in g m u ch t o stren g then a gain o u r

perishin g faith in the si m ple the a b idin g and the funda , ,
m ental T h e w o rk o f even s o m e o f o u r m o re esta b lished

.
wr i ters w o uld n ow s eem indeed o ften to b e m o st endurin g , ,
in th o s e o f their b oo k s whi ch are based up o n the unfailin g ,
ele m ental v irtues discov ered b y pe o ple w h o li v e near t o the

earth .
O n e ha s o nly t o c o m pare b y wa y o f illustrati o n so m e o f , ,
J o s eph H er ge s hei m er s earlier n o vel s (and their Sickenin gly

’
r o c o c o de scripti o ns o f j ad e tassels m o o nst o ne s satin s fl o wer

, , , ,
petal s and l o tu s buds ) with hi s T he L i m est o n e T r e e

,
a sturdily textured n o vel a b ou t K entu cky pi o neer s ( pa s si o n “

of l i vin g of the early V ir g inia arist ocra cy ; T had S t Martin s
.
’
M a da m e T o u ssa i n t s We d d i ng D ay a c o l o rful n o v el
’
of the L o uisiana b ay o us ; T he o d o re P ratt s B ig B lo w ’
a narrati v e a b o ut a co ura ge o us y o un g far m er in S o uthern

F l orida ; W arren H o ward s T he L i tt les t H o u se
’
a
r o m antic n o vel with a Maryland settin g ; P aul H o r gan s ’
T he R e t u r n O f the We e d a gr o up o f st o rie s a b o ut
N e w Mexi co ; R o bert P T ristra m C o ffi n s 7 O hn
’
a tale o f hardy Maine seafarers ; Mar garet Ca b ell S elf s ’
R e d C la y C o u n t r y a c o l o rful r o m an ce o f V irg inia

co untry life ; and S o ph u s K ei th W inth er s Ta ke A ll T o
’
N e b r a s ka a st o ry o f Midwes tern p i o neerin g and

far m li fe .
O ther ti tle s c o uld b e na m ed : E l m a G o dcha u x s S t u b b o r n

’
R o o ts a n o v el a b o ut a L ou i s iana s u gar plantati o n ;

W illia m M cN a lly s T he R o ofs O f E lm S t r e e t
’
a book
with a settin g in a s mall Minne s o ta to wn ; A lvin J o hn so n s ’
S p r in g S t o r m a tale o f hardy N ebra s ka life ; E li za b eth

C o r b ett s M o u n t R oya l
’
fo ur sh o rt n ov elette s a b o ut a
s m all I llin o i s t o wn ; S tuart D a v id E n gstr a n d s The I nva d ers ’
a narrati v e o f the S o uthwe s t ; R o ark B radfo rd s ’
T hr e e H ea d e d A n g e l
-
a n o vel w ith a T ennesse e b a ck
r o und C nrad R i hter s T h S
’
g o c e ea O f G r a ss an artisti c
s t o ry o f the So uthw est cattle co untry whi ch ha s be en co m

,
pared with M y An t o n ia ; W ellin g t o n R o e s T he Tr e e F a lls ’
Sou th a gri m depicti o n o f t he D ust B o wl ; E sther

F o r b es P a ra d ise
.
’
and F rances W i nwar s G a llo ws H i ll ’
b o th o f whi ch a r e chr o ni cle s o f the Ma s sa chusetts

B a y C o l on y .
I d o n o t say that all o f the s e b o o k s m eet with m y u n

qualified re co mm endati o n B u t ea ch in so m e way o r
.
,
an o ther su gg ests s o m ethin g o f the hard co ura g e and the full

,
ness whi ch t h e n o v e list ca n fi nd b y l o o kin g d eeply int o

A m erica n life and sear chin g f o r chara cters w h o in the w o rds
, ,
Miss Cather u s e s t o des crib e Ant o n i a lend the m s el v es to

,
T O WA R D T H E C E N T RE O F T H E ST RE A M 3 09
i mm e m o rial hu m an attitudes whi ch we rec o gni z e b y instinct

a s universal and tru e .
I t ma y b e o bj e cted o f co urse that I s ee m in gly want o u r

, ,
writers t o flee fr o m t h eir o wn ti m es t o seek an ev a s i o n o f,
present day pr o b le m s b y w o rkin g o u t pattern s o f life that

-
b el o n g t o the pa st I t m ay further b e o b j ected that o u r

.
a ge in itself s o rdid N aturalisti c and a b n o r m al

,
— m ust f o r ,
,
”
the writer who d o es n o t wan t t o flee fr o m it lend itself o f
“
ne cessi ty t o repre s entati o ns o f the s o rdid N aturalistic and , ,
a b n o r m al A n d i t m a y b e ar g ued that in either cas e

.
whether h e avo id the presen t entirely o r fail in repr e s entin g ,
i t as i t is the wri ter i s falsifyin g his intuiti o n s .
A n d yet is this tru e ?

, May a writer no t b e true to the
m at erial o f his a ge t he in cidents o f his day and still p o ssess
, ,
that greatness o f visi o n whi ch enables him t o fuse thr o u gh ,
the ale m bi c o f a p o werful i m a ginati o n b o th that m aterial ,
and th o se in cidents int o a transcendin g art ? F or realis m

,
i f that i s what o u r writer s are after is n o t truth t o a writer s ’
da y i t i s truth t o lif e — t o a ll life I t d o es n o t ne cessarily

.
inhere in any m at e rial o r in any in ciden t As H u gh W a l

, .
po le has p o inted o u t there m a y b e j ust as m u ch realis m in

,
the t a p o f b lind P e w s can e as in any nu m b er o f adul

’ “
” 11
t er i es
.
C o ns e quently m uch w o uld see m t o d e pend — al m o st

,
everythin g w o uld see m t o depend — o n the v i si on o f the

auth o r hi m self he i s t o day o ften i m p o sin g f a lsi fi ca t io ns up o n
his art b y m istakin g realis m f o r r eali sm n o les s than i f
“
he were substitutin g m audlin senti m ent f o r genuin e r o m an

t i cism . T h e i m po rtan t thin g as I see it i s that he n o t co n
, ,
fuse t he eddies with the str o n g central current o f hu m an

v alue s .
L e t him write o f hi s day if h e wants t o ; b u t let h i m d o so

with o ut fo r gettin g that his day is b ut on e in the years .
II . T he o d or e D r e iser a nd the R ise f

o A m er ica n N a t u r a lism
l
By urtes y o f M r s W o o dro w W i l so n
co . .
2
C ertain ideas whi ch I advan ce in this b oo k I have previ o us ly ,
m ade the subj e cts o f papers pub l ishe d in T he C a th o lic

Wo r ld T o the Edit o r o f that m a gazine I a m deep ly grate
.
fu l f o r perm issi o n to m ake this n ew u se o f that m ateria l .
3
T he O r d e a l of R i cha r d F ev e r e l B y co urtes y o f C har l es S cr ib .
ner s S o ns ’
.
M y brief q u o ta t i o ns fro m S tephen C rane s M a gg ie are used b y

’
4
perm issi o n o f A l fred A K n o pf I n c auth orized pub l ishers .

, .
,
o f the n o ve l .
T h e brief q u o tati o ns fro m S t ephen C rane s T h e R e d B a dg e O f

’
5
C o u r a g e are used b y per m issi o n o f the D A pp l et o n C entur y .

-
C o m pan y pub l ishers , .
I q u o te fro m S tephen C rane s T h e B l ue H o te l wi th the ’

6
perm issi o n o f A l fred A K no pf I n c the auth o rized pub .

, .
,
l i sh er s .
7
T h e f ew phrases from S tephen C rane s T h e O pen B o at are ’
used with the perm issi o n Of A l fred A K nopf I nc the a u .

, .
,
t h o r i z ed pub l ishers .
8
From Va n d ov e r a n d the B r u t e b y Frank N o rris C op yri ght ,
.
,
1 2 4 b y D o ub l eda y D o ran and C o m pa n y I n c

9 , , , .
9
Fro m M c T ea g u e b y Fran k N o rris C o p yri ght 1 8 9 9 1 9 2 7 b y
,
.
, , ,
D o ub l eda y D o ran and C o m pa n y I n c , , .
I b id p 3 2 Qu o ted in Verno n L o uis P arringto n s M a in

.
,
. .
’
C u r r e n ts i n A m e r ica n T h o u g h t v o l III p 3 3 1 , .
, . .
11
Fro m T he O c top u s b y Fran k N o rris C o p yri ght 1 9 0 1 b y ,
.
, ,
D o ub l eda y D o ran and C o m pan y I n c , , .
12
Fro m T he P i t b y Fran k N orris C o p yri ght 1 9 0 3 b y D oub l e
,
.
, ,
da y D o ran and C o m pan y I n c S ee the wh o l e passage pp

, , .
,
.
4 9 4201 -
.
T h e brief q u o tati o ns fro m J ack L o nd o n s T he S ea Wo lf are ’

-
used with the kind perm issi o n o f E l iza L o nd o n S hepard .
14
Fro m T hus Sp a ke Z a r a thus tr a b y Friedri ch N ietzs che B y ,
.
perm issi o n o f T he M a cm i ll an C o mpan y pub l ishers , .
N e wsp a p e r D a ys p 3 9 6 T h e q u o tati o ns in this vo l u m e fro m

,
. .
T he o d o re D reiser s b o o k s are used b y co urtes y o f the auth o r

’
.
I a m very gratefu l t o M r D reiser and a l s o to his pub l ishers .

, ,
S i m o n and S chuster I n c , .
AC K N O W LE D G M E N T S A N D REFERE N C E S 3 1
3
16
Qu o ted in L iv i ng A u th ors, by D i lly T ante . P . 10
9 . T he
H . W W i l so n . C o mpan y , 1 93 1 .
17
N e wsp a p er D a ys C o p y ri ght, 1 9 2 2 P . . .
59 .
18
I b id , p 3 8 0
. . .
The B o o km a n J anuary, 1 93 0 p 5 3 6 T hro u gh o ut

this vol
m I q u te fr
. . .
,
u e o o m T he B o o kma n with the gra ci o us per

m issi o n o f M r S eward C o ll ins . .
”
2°
Fro m T he o d o re D reiser b y Isid o r S chneider , . T he S a t u r d a y
R ev i e w O f L i te r a t u r e , M arch 1 0, 1
93 4 . F or a ll ofmy q u o
fro m th i s m ag azine I a m gratefu l t o
t a ti o n s M iss A m y
L ove m an the A sso ciate Edito r , .
21
B y co urtes y o f the N ew Yo rk H er a ld Tr i b u ne Qu o ted in -
.
C har l es C B a l dwin s T he M e n Who M a ke O u r N ov e ls p

’
,
. .
1 43 .
22
Fro m H o r ses a nd M en ,
by S herwo o d A nders o n . C o p yri ght ,
1
923 . P ub l ished
b y T h e Vi k ing P ress I n c N ew Y o rk , .
23
Fro m D a wn C o p yri ght 1 9 3 1 P 6 3 .
, . . .
24
N e wsp a p e r D a ys p 1 0 7 ,
. .
I b id p 6 7
.
, . .
W hat I B e l ieve b y T he od ore D re i ser T he F o r u m N o , .

,
v em b er 19 29 Qu o ted with the per m issmn o f the Edito r

, . .
27
H ey R u b A D u b D u b C o p yri ght 1 9 2 0
- -
P 7 -
.
, . . .
T he B o o km a n S epte m ber 1 9 2 8 p 2 5 .
, , . .
29
H ey R u b A D u b D u b p 1 1 7 - - -
,
. .
3 0
I b id p 1 2 0
.
,
. .
I b i d pp 2 4 2 2 4 3
.
,
.
-
.
3 2
N e wsp a p er D a ys p 1 0 6 ,
. .
3 3
H ey R u b A D u b D u b p 8 8 - - -
, . .
84
A H o o s ie r H o lid a y C o p yr i ght 1 9 1 6 P 2 53 .
, . . .
3 5
H ey R u b A D u b D u b p 1 7 - - -
, . .
3 6
N e wsp a p e r D a ys pp 1 9 6 1 9 7 ,
"
.
-
.
3 7
S e e H ey R u b A D u b D u b pp 1 2 1 6 - - -
,
.
-
.
3 8
The F i n a n ci e r Revised editi o n C o p yri ght 1 9 2 7 P ages 3 4
. .
, . .
I b id p 50 3
.
, . .
4°
A n espe cia lly go o d i ll ustrati o n o f the w a y in whi ch M r D reiser .
s o meti m es paro dies hi m se l f is that passage in 7 e n n ie G er ,
ha r d t beg inning o n p 1 2 9 and co ntinui ng t o the end o f .
the chapter .
41
I n t he Wo rs t P oss i b le T a s te b y C o re y F o rd P a ges 2 4 2 5 , .
-
.
Qu o ted b y co urtes y o f C harl es S cribner s So ns ’
.
T h e F i n a n ci e r , p . 14 1 .
43
I b id .
,
pp . 1 46- 1
4 7 .
T he T i ta n . C o p yri gh t , 19 14 . P . 1 88 .
45
H u m a n ism a nd A m er i ca , edited b y N o rm an F o erster P . . 1 63 .
perm issi o n o f
By I nc the pu b l ishers Farrar and Rinehart , , .
46
I b i d pp 1 6 4 1 6 5
.
,
.
-
.
47
P ag es 8 5 8 6 Qu o ted with the k ind perm issi o n o f C a lm a n n
-
.
L evy the pub l ishers , .
43
B ro ther L eo in C o lu m b i a M arch 1 9 3 0 B y co urtes y o f the
, , , .
Edito r .
49
N e wsp a p e r D a ys p 4 99 ,
. .
III . S o m e thi ng M ore a b ou t C a b e ll
1
I have been perm itted t o q u o te fro m the C abe ll b o o k s thro ugh
the co urtes y o f the pub l ishers R o bert M M cB r i d e 8e C o m ,
.
pan y .
2
P rinted b y the C o l o ph o n C l ub o f C l eve l and .
3
S m i r t S m i t h and S m ir e co nstitute a series
,
M r C abe ll has
,
. .
carefu lly e x p l ained the e n es i s o f these n o ve l s in a l itt l e

g
pa m ph l et en t it l ed T h e N i ght m are H a s T rip l ets D o ub l e .
da y D o ran and C o m pan y 1 9 3 7

, , .
4
Fro m T he M e n Who M a ke O u r N ov e ls b y C harl es C B a l d ,
.
w in P 75 C o p yri ght 1 9 2 4 b y D o dd M ead 8c C o mpan y

. . .
, , , ,
I nc .
B ey o n d L i fe p 4 3 ,
. .
6
I b id p 4 2 Qu o ted with the perm issi o n o f the pub l ishers
.
,
. .
,
R o bert M M cB r id e 8e C o mpan y . .
7
S tr a ws a n d P r a ye r B o o ks p 1 7 6 -
,
. .
8
Fro m T he M e n Who M a ke O u r N ov e ls b y C harl es C B a l d , .
win . P .
7 6 .
9
B eyo n d L ife, p 59 . .
10
P . 1
95 . Qu o ted throu gh the co urtes y of C har l es S cribner
’
s
S o ns
IV . F r e u d is m a nd the S tr ea m -
O f -
C o n sci o u sn ess
J B y permissi o n o f the pub l ishers the D A pp l eto n C entur y , .

-
C om
pan y .
2 Qu o te d in L iv i ng A u thors b y D i lly T ante P 2 0 2 , . . . T he

H W W i l son C 0
. . .
3 16 LU C IFER AT LA RG E
25
C i ty B lo ck, b y W a l do Frank P ages 1 2 7 1 2 8 C o p yri ght 1 9 2 2 .
-
.
, .
Qu o ted b y perm issi o n o f C harl es S crib n er s S o ns ’

.
P 2 27
. B y co urtes y o f H enr y H o l t and C o m pan y
. .
A pp o i n tm e n t i n S a ma r r a b y J o hn O H a r a P ag es 2 2 1 2 2 2
’
27
. .
,
C O pyr i gh t 1 9 3 4 b y H arco urt B ra ce and C o m pan y I n c

, , , , .
Qu o ted with th e perm issi o n o f the pub l ishers .
U lysses p 3 6 3 , Reprinted b y co urtes y o f Rand o m H o use I nc

. .
, .
,
N ew York .
29
E x p r ess i o n i n A m e r ica b y Ludwi g Lewis o hn P a g es 4 o 5 4 0 6 ,
.
f
-
.
C o p yri ght 1 9 3 2 b y H a rp er 8e B ro thers, Quo ted thro u gh , .
t h e co urtes y o f the pub l ishers .
3 °
Lines 8 5 9 2 -
.
3 1
From M a tthew Arn o l d s Resi g nat i o n 11 1 4 6 1 4 7 B y per ’
, .
-
.
m issi o n o f T h e M a cm i ll an C o m pan y pub l ishers , .
3 2
Fro m 1 9 1 9 p 1 7 5 P ub l ished b y H arco urt B race and C o m
, . .
,
pan y I nc C o p yri ght 1 9 3 2 b y J o hn D o s P ass o s

, .
, , .
3 3
L o o k H o m e w a r d A ng e l b y T h o m as W o l fe P 3 42 B y co ur
, ,
. . .
tes y o f C harl es S cribner s S o ns ’

.
3 4
Yea r B e fo r e L a s t p 4 9 Reprinted b y co urtes y o f Rando m ,
. .
H o use I nc N ew Yo r k , .
, .
3 5
I b id p 3 6 9
.
,
Reprinted b y co urtes y o f Rando m H o use I nc
. .
, .
,
N ew Y or k .
3 6
Fro m C i ty B lo ck b y W a l d o Fran k C o p yri ght 1 9 2 2 b y W a l do
, .
, ,
Fran k Qu o ted with the k ind perm issi o n o f the pub l ishers
.
,
C har l es S cribner s S o ns
’
.
3 7
O f T i m e a n d the R iv er b y T h o m as W o l fe P 86 7 B y co ur , . . .
tes y o f C harl es S cribner s S o ns ’
3 8 “
W hat H a s 1 9 3 2 D o ne f o r Literature ? b y Lewis M u m ford .
T h e A tla n tic M o n th ly D e ce m ber 1 9 3 2 M y q u o tati o ns , , .
fro m th is m aga z ine are used with the k i nd co nsent o f t h e

Edito r .
3 9
Ea ch year sees the pub l i cati o n o f at l east a s co re o f su ch v o l
u m es a s D oro th y R B li tz ste n s P sychoa na lysis E x p la i ned .
’
S i g m u nd Freud s T he P r o b le m of A n x ie ty
’
D r W i ll ia m M a lmu d s O u t li n es O f G e n e r a l P sych op a tho logy

’
e tc .
40
Fro m p b y J am es M G i ll is C S P B y permissi o n
F a lse P r o he ts, .
, . . .
o f T h e M a cm i ll an C o m pan y pub l ishers , .
T he I n te rp r e ta ti o n of D r e a ms b y S i gm und Freud P ag es , .
ff A uth o rized trans l a ti o n b y A A B ri ll L o nd o n

10
9 . . . .
A C K N O WL E D G M E N T S A N D REFERE N C E S 3 7
1
G e o rg e A ll en St Unwin Ltd 1 9 3 2 M y q u o tati o ns fro m , .

, .
this v o l u m e are used with the kind perm issi o n o f D r B ri ll . .
42
Fro m F r eu d s The o r ies O f the N e u r oses H its ch m ann trans
’
.
, .
b y P a yne 1 9 2 1 P 1 9 5 B y co urtes y o f D o dd M ead a nd

, . . .
,
C o m pa n y the pub l ishers , .
T he I n te r p r e ta t i o n O f D r ea ms p 1 6 5 ,
. .
“
I tak e ex a m p l es fro m Freud s T he I n ter pr e ta ti o n O f D r ea ms ’
.
45
Fro m M a x we ll B o denhei m s P s ycho ana lysis and A m eri can ’ “
Fi cti o n T he N a ti o n J une 7 1 9 2 2
. B y co urtes y o f the , , .
Edito r T h is passa ge is a l so q u o ted in H arr y H artwi ck s

.
’
The F o r eg r o u n d of A m e r ica n F i ct i o n pp 1 3 3 1 3 4 , .
-
.
46
Fro m N O Villa i n N ee d B e b y Var d i s Fisher P 3 2 0 C o p y ,
. . .
ri ght 1 9 3 6 Reprinte d b y permissi o n fr o m D o ub l eday

, .
,
D o ran and C o m pan y I n c , .
47
I b id p 1 6 5
.
, . .
48
M c o n Ca lf p 2 9 5 I q u o te fro m this b oo k with the co urte o us
-
,
. .
permi ssi o n o f M r D e ll . .
49
I b id p 1 2 0
.
,
. .
P ag es 9 0 9 1 B y co urtes y o f C har l es S cribner s S o ns

’
5° -
. .
51
I b id p 57
.
, . .
52
A 7 e w i n L ov e b y B en H echt P 245 P ub l ished b y C o vi ci
, . . .
,
Friede I n c Qu o ted b y perm issi o n

, . .
53
Fro m M a n ha t ta n Tr a nsfer p 2 3 4 P ub l ished b y H arper and , . .
B r o thers C o p yri ght 1 9 2 5 b y J o hn D os P ass o s

.
, , .
I b id p 2 3 5
.
,
. .
55
A H is to r y of the A m er ica n D r a m a b y A rthur H o bs o n Quinn ,
.
Vo l II p 1 99
.
, B y perm issi o n o f the pub l ishers H arper
. .
,
a nd B r o t h ers .
M y brief q u o tati o ns fro m the O N ei ll p l a y s are reprinted b y ’
co urtes y o f Rand o m H o use I n c N ew Y o r k , .

,
S e e J o hn C o rbin s O N e ill a n d f E sch ylu s Th e S a tu r da y

’
57 “ ’
.
R ev i e w O f L i te r a tu r e A pri l 3 0 1 9 3 2 , , .
58
Fro m N O Villa in N e e d B e b y Va r d i s Fisher P 2 3 9 C o p y , . . .
ri ght 1 9 3 6 Reprinted b y permissi o n fro m D o ub l eda y

, .
,
D o ran and C o m pan y I nc , .
I b id p 2 4 1
.
,
. .
6°
I b id p 1 2 6
.
,
. .
61
K i ng C ofii n b y C o nrad A i k en , P 1 00 C o p yri ght 1 9 3 5 b y . . .
, ,
C o nra d A i k en B y p er m issi o n o f the pub l ishers C har l es

.
,
S cribner s S o ns
’
.
3 1 8 LU C IFER AT LA R G E
62
A m o ng the L o s t P e op le ,
b y C o nrad A i ken P 4 3 C o p yri ght . . .
,
1 93 4 b y C o nrad A i ken B y perm issi o n o f the pub l ishers

, .
,
C harl es S cribner s S o ns
’
.
63
M ea t b y W i l bur D anie l S tee l e
,
P a ges 1 4 2 1 4 3 C o p yri ght .
-
.
,
1 28
9 b y W i l bur D anie,l S tee l e B y per m issi o n Of the pub .
li sh er s C har l es S cribner s S o ns
’
.
,
V . S he r w o o d A n d erso n : C o ng e n i ta l F r e u d ia n
1
By urtes y o f D r A A B ri ll the auth orized trans l at or
co . . .
, .
2
Qu o ted in C l eve l and B C hase s S he r w o o d A n d er so n p 7 .
’
,
. .
3
Fro m A S to r y T e lle r s S tor y b y S herwo o d A n d ers o n P ages ’
,
.
3 1 2 3 3
1 C o
-
p y ri g ht 1.
9 2 2 P ub l ishe d b y T h
, e V i k in g P ress .
,
I n c N ew Y o r k .
, .
4
Fro m M i d A m er ica n C ha n ts b y Sherwo o d A n d ers o n P 2 7
-
,
. . .
C o p yri ght 1 9 1 8 P ub l ished b y T h e V i k ing P ress I n c N ew

, .
, .
,
Yo r k .
5
Fro m A S tor y T e ller s S to ry b y S herwo o d A nders o n P 2 9 3 ’
,
. . .
C o p yri ght 1 9 2 2 P ub l ished b y T h e V i k i n g P ress I n c N ew

, .
, .
,
Y or k .
6
Fro m Win dy M cP hers o n s S o n b y S herwo od A nderso n P ’
,
. .
75 C o.p y ri g ht 1
9 2 0 P ub l ishe , d b y T h e V i k in
.
g P ress I n c , .
,
N e w Y or k .
7
I b i d fi na l para graph
.
, .
8
Fro m M a r ching M e n b y Sherwo od A n d ers o n C o p yri ght ,
.
,
1
9 7
1 P ub l ished . b y T h e V i k in g P ress I n c N ew Y o r k T h e , .
, .
reader sh o u l d refer t o the who l e passage beginnin g o n

p 1 48 . .
9
Fr o m M a r ching M e n b y S herwo o d A nders o n C o p yri ght ,
.
,
1
9 7
1 P ub l ished. b y T h e V i k i n
g P ress I nc N ew Y o r k , .
, .
P assag e q u o t ed in C hase s S he r w o o d A n d ers o n p 3 0

’
. .
,
1°
P 63 . Qu o ted with the k ind perm issi o n o f C harl es Serib
.
n er s S o ns
’
.
11
Fro m Wi nes b u rg O hi o b y S herwo o d A nderso n C o p yri ght
, ,
.
,
1
9 9
1 P ub l ished . b y T h e V i k in g P ress I n c N e w Y o rk , .
, .
12
Fro m T he T r iu m p h of t he E gg b y S herwo o d A nders o n C o p y ,
.
ri ght 1 9 2 1 P ub l ished b y T h e Vi king P ress I n c N ew

, .
, .
,
Y o rk .
is Fro m P o or Whi te b y S herwood A nders o n C o p yri ght 1 9 2 1 ,

.
, .
P ub l ished b y T h e Vi k in g P ress I n c N ew Y o r k I q u o te , .
, .
the O pening l ines o f the n ove l .

T h e A u to b i og r a p hy O f A lice B . T o kla s, p . 262 . Reprinted b y
co urtes y o f Rand o m H o use I nc N ew Yo rk , .
, .
5
I b id. Reprinted b y co urtes y o f Rand o m H o use I n c N ew , .
,
Y o rk .
S ee Ernest H e m in gwa y : A N o te b y H ar r y S yl vester T he

“
6
, .
C o m mo n we a l O ct o ber 3 0 1 9 3 6
, , .
7
Fro m I n O u r T i m e b y Ernest H e m in gwa y P ages 1 8 4 1 8 5
,
.
-
.
I a m gratefu l t o the pub l ishers C harl es Scribner s So ns f o r ,

’
perm issi o n to m ak e certain qu o tations fro m this vo l u me .
8
I b id p 2 3 5
.
, . .
9
Fro m T he S u n A lso R ises b y Ernest H e m ingwa y P 2 55 , . . .
C o p yr i g ht 1 9 2 6 b y C har l es S cribner s So ns
, , I q u o te fro m ’
.
this vo l u me b y co urtes y o f the pub l ishers .
1°
I b id
. P a g es 3 9 4 0 -
.
11
M e n Wi th o u t Wo m e n b y Ernest H e m ingwa y P 5 8 C o p y ,
. . .
ri ght 1 9 2 7 b y C harl es S cribner s S o ns M y q u o tati o n s fro m

, ,
’
.
this vo l u m e are used with the m o st gra ci o us perm issi o n o f

C harl es S cribner s S o ns
’
.
12
In the ta l e H i ll s Li ke W hite E l ephants
,
“
.
13
A F a r e w e ll to A r ms b y Er nest H e m ing wa y ,
P 3 55 Copy . . .
ri ght 1 9 2 9 b y C har l es Scribner s S o ns w ho have m o st kind ly

, ,
’
perm itted m e to q u o te fro m this nove l .
T he S u n A lso R ises p 1 3 5 ,
. .
T he A u to b i og r a p hy of A li ce B T o kla s p 2 7 1 Reprinted b y .
,
. .

, .
S ee W i ll ia m T ro y s review o f Wi nn e r Ta ke N o thi ng i n T he
’
16
N a ti o n f o r N o ve m ber 1 5 1 9 3 3 Qu o tati o ns fro m this maga , .
z ine b y per m issi o n o f the Edit o r .
17
Fro m N O Vi lla in N e ed B e b y Va r d is Fisher P 2 7 6 C o p y , . . .
ri ght 1 9 3 6 Reprinted b y perm issi o n fro m D o ub l eda y

, .
,
D o ran and C o m pan y I n c , .
18
T he A u to b i og r a p hy of A lice B T o kla s p 2 6 1 Reprinted b y .
, . .

, .
19
Fro m Verno n L o uis P arring to n s M a in C u r r e n ts i n A m e r ica n ’
T h o ug h t vo l III p 3 86
,
. B y per m i ssw n o f H arco urt B ra ce
, . .
,
and C o mpan y I nc , .
2°
Thr ee Wo r ld s b y C ar l Va n D oren
, P 1 76 B y permissi o n o f . . .
the pub l ishers H arper 8e B ro thers, .
21
A F a r e w e ll t o A r m s p 1 2 3 ,
. .
T h e S u n A lso R is es p 2 1 6 , . .
23
A F a r e we ll to A r ms, p . 14
3 .
A C K N O W LE D G M E N T S A N D R E FERE N C E S 3 21
24
I b id .
,
p . 181 .
25
I b id .
,
p . 273 .
I b id .
, p . 249 . A f ew of these sh ort q u o tati ons are qu o ted a l so
in H arr y H artwi ck s T he F o r eg r o u n d of A mer ica n F icti o n ’
.
” Qu o ted in W i ll ia m T r o y s revie w o f Wi n n er T a ke N o thin

7
’
‘
g .
T he N a ti o n N o ve mber 1 5 1 93 3 B y permi ss i o n o f C har l es

, , .
Scribner s S o ns
’
.
28
M e n Wi tho u t Wo m e n p 1 9 6 , . .
A F a r e w e ll to A r ms p 3 50 , . .
I b id p 1 4 8 .
, . .
I b id p 1 9 6 .
,
. .
I b id p 3 50
3 2
.
,
. .
T he S u n A ls o R ises p 1 5 3 , . .
D e a th i n t he A f te r n o o n b y Ernest H e m in gw ay
3 4
P 4 I q u o te ,
. . .
fro m this v o l u me with the k ind perm issi o n C har l e s

S cribner s S o ns
’
.
T he S u n A ls o R ises p 1 5 3 ,
. .
SB
A F a r e we ll to A r ms p 1 6 4 , . .
I b id p 3 2 .
, . .
3 8
I b id .
3 9
From C hro ni cl e and C o mment . T he B o o kma n, Februar y ,
1
93 0 .
A F a r e w e ll to A r ms, p . 1 96 .
b y J o seph W o o d K rutch
T he M o d e r n T e m p e r , . P a ges 9 7 9 8 -
.
W ith the k ind perm issi o n o f H arco urt B ra ce , 8: C o mpan y ,

I nc .
42
A F a r e we ll t o A r ms, p . 1 46 .
T he S u n A ls o R ises, p 1 2 3 . .
44
S ee The B o o km a n , Februar y , 1 93 0 .
45
L ec tu r es in A m e r ica , b y G ertrude S tein . P . 1
7 0 . Reprinted
by co urtes y of Rando m H o use , I n c , N ew
. Y or k .
VI I .
j o hn D os P assos a nd the M o de r n D is te mp er
1
Repr i nted b y per m i ssmn o f the pub l isher T h e Universit y o f ,
C hi cag o P ress .
2
S e e the 1 9 0 4 editi o n o f his L e t te rs P a ges 5 2 ff . .
3
Fro m N O Vi lla in N ee d B e b y Var d is Fisher P 1 6 C o p y ,
. . .
ri ght 1 9 3 6 R eprinted b y permissi o n fro m D o ub l eday

, . ,
D o ran a n d C o mpan y I nc , .
4
I b id p 2 5
.
, . .
I b id p 276 .
,
. .
M y P i cture i n the P aper — i n the v o l u m e I n ha le tr E x ha le , .
7
Reprinted b y co urtes y o f Rand o m H ouse I n c N ew Y or k , .
, .
8
A s I L a y D y i ng p 1 6 0 Repri n ted b y co urtes y o f Rando m , . .
H o u se I nc N ew Yo rk , .
, .
B y co ur t es y o f C har l es S cribner s S o ns
’
9
.
1°
Reprinte d b y co urtes y o f Rand o m H o use I n c N ew Yo rk , .
, .
P 1 99
. B y per m issi o n o f T h e V a nguard P ress
. .
12
S tu d s L o n ig a n p 1 1 9 ,
. .
13
Fro m T hr e e S o ld ie rs b y J o hn D o s P asso s P 2 50 C o p yri ght ,
. . .
,
9
1 2 1 b y D o ub l e d a y D o
, ra n a n d C o m pan y I n c , , .
14
Fro m T he T hr e e B la ck P e nnys b y J o seph H ergeshei m er P ,
. .
1 67 B y per m issi o n o f A l fred A K n o pf I n c auth orize d

. .
, .
,
pub l ishers .
15
K i ng C ofii n p 8 5 ,
. .
16
P 73 . Reprinted b y co urtes y o f Rando m H o use I nc N ew
.
, .
,
9 9 1 1 b y T h e V.i kin g P ress P ub l ished

I n c N e w Y o r k , .
, .
B y per m i ssi o n o f Frederi ck A S to k es C o m pan y . .
19
P 3 15
. B y perm is si o n o f C o ward M cC a n n I nc
.
-
, .
2°
P 3 . .
21
Fro m T hr e e S o ld i e r s, b y J o hn D o s P ass o s P 4 2 . . . C o p yri g ht,
1
9 2 1, b y D o ub l eda y D oran and C o mpan y I nc , , .
I b id p 72 .
,
. .
I b id pp 1 1 8 1 1 9
.
,
.
-
.
I b id S e e the wh o l e passag e be ginning o n p 2 7

. . .
I b id p 23 1 .
,
. .
26
I b id p 44 .
,
. .
27
Fro m M a n ha t ta n Tr a nsfer p 1 2 0 P ub l ished b y H arper 8: ,
. .
B ro thers C o p yri ght 1 9 2 5 b y J o h n D o s P ass o s

. I wish t o , ,
.
than k M essrs B ra ndt 8e B randt f o r their ki nd perm issi o n t o .
q u o te fro m [ Ma n ha tta n Tr a nsfer The 4 2 n d P a r a lle l 1 9 1 9 , , ,
and The B ig M o n ey .
28
M a n ha tta n T r a nsfe r p 1 54 , . .
29
I b id p 3 .
,
. .
3 °
I b id p 9 4 .
,
. .
3 1
I b id p 1 1 3 .
, . .
I b id p 23 0 .
,
. .
3 3
I b id p 2 9 5 .
,
. .
I b id p 2 8 9 .
,
. .
63
M is t e r P i tt
b y Zo na G a l e P 1 6 3 B y permissi o n
, . . . of the
D A pp l eto n C entur y C o mp a n y
.
-
.
“4
S o B ig p 2 7 B y co urtes y o f M iss Ferber
,
. . .
VIII . Wi llia m F a u lkne r : C r e tins, C ofii n w o r ms, -

a nd C r u e lt
y
1
Qu o ted wi th the kind perm issio n o f M r Seward C o ll ins . .
2
From the Intro du cti o n t o S tuart S herm an s O n C o n te mp or a r y ’
L i te r a t u r e B y co urtes y o f H enr y H o l t and C o mpa n y

. .
3
Fro m H enri B a r b u sse s Un d e r F ir e Reprinted b y co urtes y ’
.
o f the pub l isher E P D utto n 8e C o I nc N ew York and

, . . .
, .
, ,
J M . D e n t 8: So ns
.
(C a n ada
) Ltd , .
Qu o ted b y A l a n Re yno l ds T h o mpso n in T he C u l t o f C ru el t y .
T he B o o kma n J anuar y Februar y issue 1 9 3 2 ,

-
, .
“
See his Intro du cti o n t o the M o dern Librar y editi o n o f S a n c
tu a r y .
6
I b id Reprinted b y co urtes y o f Rando m H o use I nc N ew Yo rk
.
,
.
7
S e e t h e review b y H ar o l d S trauss T h e N ew Yo rk T i mes .
B o o k R ev ie w f o r N o ve m ber 1 1 93 6 I qu o te fro m the , .
N ew Yo rk Ti m es with the perm issi o n o f M r J D o na l d

)
. .
A da m s Edit o r o f the B o o k R ev i e w
, .
3
I ita l i cize the wo rd .
9
P 1 46
. Reprinted b y co urtes y o f Rand o m H o use I nc N ew
.
, .
,
Y o rk .
1°
I b id Reprinted b y co urtes y o f Rando m H o use I nc N ew
.
, .
,
Yor k .
P 1 86
. Reprinted b y co urt es y o f Rando m H o use I n c N ew
.
, .
,
Yo r k .
12
P 96 . Reprinted b y co urtes y o f Rando m H o use I n c N ew
.
,
Y o rk .
13
A s I L a y D yi ng p 1 7 4 Reprinted b y co urtes y o f Random
, . .
H o use I nc N ew Y o r k , .
14
S a nctu a ry M o dern Librar y editi o n p 3 7 9
, , . .
15
P 1 10
. Reprinted b y co urtes y o f Rando m H o use I nc N ew
.
,
Y o rk .
16
P 111. Reprinted b y co urtes y o f Rand o m H o use I nc N ew
.
, .
,
Yo r k .
17
P 2 07
. Reprinted b y co urtes y o f Rando m H o use I nc N ew
.
, .
,
Yo r k .
18
P 3 15
. Reprinted b y co urtes y o f Rand o m H o use I nc N ew
.
, .
,
Yo rk .
A C K N O W LE D G M E N T S A N D REFERE N C E S 3 25
19
L ig h t I n A u g u s t, p . 2 17 . Reprinted b y co u rtes y of Rand om
H ouse I nc N ew York , .
, .
Fau lkner o f M ississippi b y M arsha ll J S mi th T he B o o k

”
, . .
m a n D e ce mber 1 9 3 1 , , .
21
A G r e e n B ou g h p 2 6 ,
. .
22
P a g es 9 7 ff Reprinted with the m o st gra ci o us permi ss i o n o f
.
H arco urt B race and C o mpan y I n c , , .
P 1 52 . B y co urtes y o f H ar co urt B ra ce and C o m pan y I nc

.
, , .
24
S a r tor is p 4 1 B y co urtes y o f H arco urt B ra ce a n d C o m pan y
, . .
, ,
I nc .
A l an Re yno l ds T h o mpso n s review o f S a n ctu a ry T he B o o k ’

.
m a n A pri l 1 9 3 1 , , .
26
S a n ct u a ry M o dern Librar y editi o n p 2,
Reprinted b y , . .
co urtes y o f Rand o m H o use I n c N ew Y o r k ,

.
, .
27
I n the Wo r s t P ossi b le Tas te b y C o re y F o rd P 85 Qu o ted ,
. . .
with the perm issi o n o f the pub l ish ers C har l es S cribner s ,
’
S o ns .
28
P ag es 1 5 1 1 5 2 o f the M o dern Libra r y e d iti o n
-
Reprinted by .

, .
29
B y B enj a m in de C a sser es Qu o ted o n the j a ck et o f C a wd or . .
3 °
P . 25 1 Editi o n pub l ished b y D u ckworth H enrietta S t
.
, .
,
L ond o n .
R o bert Va n G e l der in t h e N ew Yo rk Tim es O cto ber 8 , .

,
1
93 6 .
P . 1 74 . Reprinted b y co urtesy of Random H ouse I nc , N ew

Y or k .
P 2 98
3 3
. .
3 4
Repr inted fro m P au l G reen s This B o dy the E a r t h with the ’
pe r m issi o n o f the pub l ishers H arp er 8e B ro thers T h e fl o g , .
i
g gn s cene i s o n pp
3 74 3 7 5 . .
3 5
T o the auth o r at the B read L o af S choo l o f E n g l ish , .
IX . T h o ma s Wo lfe E m b r a ces L i fe
1
1 wish a cknowl ed ge the co urtes y o f C harl es S cribner s So ns
to
’
f o r perm issi o n t o q u o te thr o ug h o ut this b o o k fro m T h o m as

W o l fe s T he S to r y of a N ov e l (C o p yri ght
’
F r o m D e a th ,
to M o r n i ng (C o p yri ght O f T i m e a n d the R ive r ,
C o p yri ht and H m C p y ri ht
( g L o o k o e wa rd
, A n g e l ( o
g , ,
1 2
9 9 )
2
Fo r rtain o f these detai l s I a m i ndeb t ed to H a m i l to n B ass o s
ce
’
T h o m as W o l fe : A P o rtrait T he N e w R ep u b lic J une

“
.
,
3
1 b id .
4
M u ch this i n fo rm ati o n I ge t fro m M r W o l fe s T he S tor y
of .
’
O f a N o ve l T h is brie f auto bi ograph y i s reveal i ng sen

.
,
sib l e a n d o f great i m po rtan ce a s the re cord o f a ver y pro m

,
ising creative m i nd W ith s o m e Sl i ght m o d i fi cati o ns it first .
appe a red a s a ser ie s o f thr ee arti cl es i n T he S a tu r d a y R ev ie w

o f L i te r a t u r e duri n D e ce m ber 1
g 93 5 , .
5
T he S to r y of a N ov e l p 3 9 ,
. .
6
Eu g e ne G a n t S ee O f T im e a n d th e R iv er p 1 50 f or a l o ng
.
,
.
,
passage enu merating Eu gene s a m biti o ns S ee a l so p 9 1 f or ’ ‘
. .
an a ccount o f h is reading .
7
O f T i m e a n d the R iv e r p 550 ,
. .
8
I b i d p 66 1.
,
. .
9
F r o m D e a t h to M o r n i n g p 5 ,
. .
O f T i m e a n d t h e R iv e r p 9 0 ,
. .
I b id p 869 .
,
. .
I b id p 23 0
.
,
. .
I b id p 68
.
,
. .
14
L o o k H o m e wa r d A ng e l p 6 0 5 M y pa ge referen ces t o this
, ,
. .
n o ve l are t o t h e G iant M o dern Librar y editi o n .
I b id S ee the passag e be gi n ni n g o n p 5 9
. . .
I b id p 5 3 2.
,
. .
17
I b id p 3 53 .
,
. .
18
I b id p 6 5 .
,
. .
19
I b id p 1 5 0.
,
. .
O f T i m e a n d t he R iv e r p 6 7 0 ,
. .
21
I b id p 7 9 2.
,
. .
22
L o o k H o m e w a r d A n g e l p 50 5 , ,
. .
23
I b i d p 5 64.
,
. .
O f Ti m e a n d the R iv e r p 2 7 0 , . .
25
L o o k H o m e w a r d A ng e l p 2 0 0 , ,
. .
O f T i m e a n d th e R iv e r p 7 0 ,
. .
P . 1 1
3 .
28
F r o m D ea th to M o r n i ng , p . 1
95 .
29
L o o k H o m e w a r d , A ng e l, p . 1 92 .
3 °
I b id , pp 2 5 1 2 5 2
. .
-
.
3 1
O f Ti m e and th e R iv e r , p .
4 .
3 2
Lo o k H o m e wa r d, A ng e l p ,
. 243 .
15
I n ha le tr E x ha le, p . 12 . Reprinte d b y co urtes y of Rand o m
H o use I nc , .
, N ew Yo r k .
16
I b id .
,
p .
3 2 .
17
I b id .
, p . 25 .
18
I n ha le tr E x ha le , pp .
57 5 8 -
. Reprinte d b y co urtesy of Rando m
H o use I nc , .
, N ew Y o rk .
19
I b id . P ag es 1 1
5 ff . Reprinted b y co urtes y of Rando m H o use ,
I nc .
, N ew Yo r k .
I b id .
,
pp 9 3 94
. 1 -
1 . Reprinted b y co u rtes y of Rando m H o use ,
I nc .
, N ew Y o r k .
T he D a r i ng Y o u ng M a n on the F lyi ng T r a p ez e pp,

. 1 28 1 29 -
.
2?
P .
7 .
23
I n ha le tr E x ha le, p .
5 8 . Reprinted b y co urtes y of Rando m
H o use I n c , .
, N ew Yo r k .
24
I b id .
25
I b id p 2 8 9 .
,
. . Reprinted b y co urtes y of Rando m H o use I n c , .
,
N ew Yo rk .
26
I b id .
, p . 2 12 . Reprinted b y co urtes y of Rand om H o use I nc , .
,
Yo rk
N ew .
Farewe ll t o A chi ll es . T he B o o kma n, J anuar y , 1 93 0 .
XI . A F o o tn o te on 7am e s T F a r r e ll
.
1
Fro m T he T o u ch o f N ature a nd S o m e Re cent B o o ks Qu o ted .
with the ki nd perm issi o n o f M r S eward C o ll ins . .
2
S ee M r M en cken the J eu n e Fi ll e and the N ew S p i ri t I n
.
, ,
”
Letters i n S tuart Sherm an s A mer i ca ns C o p yri ght 1 9 2 2
,
’
.
, ,
b y C har l es Scribner s S o ns ’
.
3
S ee A S ub l i m ated P uritan b y R o ll o W a l ter B rown T he , .
S a tu r d a y R ev i e w of L i te r a tu r e O ct o ber 6 1 9 2 8 , , .
S ee J o hn C ha m ber l ain s Intr o du cti o n t o the S tu ds L o n iga n

’
4
tri l o gy I q u o te fro m this Introdu cti o n and f ro m M r

. .
Farre ll s boo k s with the gra ci o us perm issi o n o f T h e Vanguard

’
P ress .
5
S tu ds L o n iga n p 8 ,
. .
6
I b id p 6 8 .
,
. .
7
I b id p 1 1 9
.
,
. .
8
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r n a nd t he Gyp y Th s , e, 121 Wo m e n a t P o i n t S u r T he , , 2 24
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W h a r to n E d i t h 2 9 4 , , Zo la , Em il e, 1 8, 19, 20, 2 4 , 2 7 , 42

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L U C I F E R A T L AR G E

the m ere fact that a writer t o a chieve tru ly me ritori o us

that be cau se he i s e x pre ssi ng hi mse l f h i s w o r k must have v a l ue .

Yet so s o m e o f o u r prese n t d a y criti cs wo u l d seem to wish us t o

be l ieve In their e y es se l f reve l a t i o n s the thi ng and the d is

cl o sure o f n o matter What pa l tr y phi l o s o phies i ll i cit desires a nd

u ndis cip l i ned passi o ns i s worth y o f a respe ctfu l hearing mere ly

because it i s a re cord o f sel f W e sub m it that an y su ch co n t en

ti o n a s this is the veriest bu nk — that there are purl ieus o f the

tra n s l ates into wo rds e x perien ce eith er so co mm onp l a ce or so

ca l iber o f the s o u l that i s e x pressin g itse l f i s criti cis m n o t w o rth

A C R IT I C i s an ass gnawin g at vine s S O S hensto ne th o u ght . .

A cr i t i c I s a b utcher T hus s p o ke S a m uel B utler

T o B urn s critic s were b andit s and cut thro at s ; t o D ryden

they were han gm en B en J o ns o n th o u ght the m tinkers w h o

caused m o re dam a g e than they c o uld repair S wift co nsid .

ered the m rats d o gs and dro ne s T o S ir H enry W o tt o n

they were se r v ile fo o ls w ho b rushed the cl o thes O f n o b le m en .

A n d t o W a s hin g t o n I r v m g they were free b o o ters pilla g in g

in the repu b li c Of literature .

W ith s o m e few hi g hly interestin g excepti o n s w e are t o ,

day inclined t o b e s o m ewha t le ss ra b id i n assail in g o u r criti cs .

A n d yet t o a certain extent I ﬁr m ly b elie v e w e ha v e a j ust

quarre l with s o m e o f the m W e m i gh t wi sh that certain .

critics w o uld no t try quit e so hard to o u t d o o n e an o ther in

a m assin g s uperlative s (I n o n.e re cent twel v e m o nth peri o d -

o u r attenti o n was called t o o ver o n e hundred and thirty

n o v el s ; and we were t o ld that ea ch was the b e st n o v el Of

O n the w h o l e h o we v er I a m inclined t o think that t he

pro fe s si o n o f critici s m in Am erica ha s m ade g en uine ad v ance s

do in g wor k a t pr e s en t tha t i s charact eri z ed b y an independ

w a s al m o st rare seven o r ei ght y ears a go I as k readers w ho .

m a y dis a g ree w ith m e t o fo ll o w svs te m a ti ca llv f o r a ti m e , ,

the reviews i n o u r prin ci pal papers li terar y supple m ents , ,

a n d m a azine b o o k depart m ents

co ver criti cs — a n o t n e li ible nu m ber O f the m — w h o d o

w ho are s o m eti m es d o in g a s m any a s fo ur o r ﬁ v e b o o k s a

i n g ly p o inted and co m petent w o rk .

B y and lar g e h o wever the s o undest criti cis m o f o u r day has

b een that d o ne b y o u r H u m anists T hey at least never si t .

o n a fen ce tr y in g a greeabl y t o dan gl e o n e l e g o n ea ch side

T hey d o n o t co m pr o m ise with N atura l is m m o n o pti c rea l ,

ism d efeatis m m o rbid cruelt y o r any O f the o ther tenden cie s

whi ch I deal with in m y inquiries T hey write m o re o ver .

with o ut leavin g t o o m u ch Of their se n t ence str u ct u r e t o G o d .

A n d m ere literary m edi o crity they d o n o t i mm ediatel y hai l

a s literary enius Y o un auth

B a i nes w h o write n o t be cause they kn o w h o w t o write but

be cause they feel that a husband and a l o ver and a tr i p t o

B u t H u m anis m when spe lled with a cap i ta l H is s o m e

ti m es a co ld creed As Mr Y v o r W inters says o ne s O b je c

ti o n 15 n o t to the H u m anists hu m anis m b ut t o their la ck O f

i t — t o their spiritual ban k rupt cy T heir cred o fi nds itself .

t oo div o r ced fr o m real spiritual san cti o ns t o be either as e f

f e ct i v e o r a s war m l y satisf y in g a s it m i ght be .

Mr P aul E l m er M o re f o r exa m ple quarreled with th o se

o f o u r y o un m de m s h n lude that there are abs l utely

n o standards m er ely b e cause the y have dis co vered n o a b so

lute standards B u t Mr M o re hi m self failed t o assure us

that it is a b s o lutely i mpo s s i b le t o ha v e any a bs olute stand

ards unless o ne ha s that o f the Ab s o lute H u manism d o e s . .

no t per m it us t o fo r g et that m a n is hu m an I t o u gh t als o .

t o r em ind us that he i s whether we l i k e the w o rd o r n o t at