The Project Gutenberg EBook of Contemporary American Novelists (1900-1920) by Carl Van Doren

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Title: Contemporary American Novelists (1900-1920)

Author: Carl Van Doren

Release Date: June 8, 2004 [EBook #12563]

Language: English

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CONTEMPORARY AMERICAN NOVELISTS

1900-1920

BY

CARL VAN DOREN

1922

To

FREDA KIRCHWEY

PREFACE

The American Novel, published last year, undertook to trace the progress of a literary type in the United States from its beginnings to the end of the nineteenth century; Contemporary American Novelists undertakes to study the type as it has existed during the first two decades of the twentieth century. Readers of both volumes may note that in this later volume criticism has tended to supplant history. Only in writing of dead authors can the critic feel that any considerable portion of his task is done when he has arranged them in what he thinks their proper categories and their true perspective. In the case of living authors he has regularly to remember that he works with shifting materials, with figures whose dimensions and importance may be changed by growth, with persons who may desert old paths for new, reveal unsuspected attributes, increase or fade with the mere revolutions of time. All he can expect to do in dealing with any current type as fluid as the novel, is, seizing upon it at some specific moment, to examine the intentions and successes of outstanding or typical individuals and to make the most accurate report possible concerning them. Whatever general tendency there may be ought to appear from his examination.

The general tendency appearing most clearly among the novelists here studied is, of course, the drift of naturalism: initiated a full generation ago by several restless spirits, of whom E.W. Howe and Hamlin Garland are the most conspicuous survivors; continued by those young geniuses Stephen Crane, Frank Norris, Jack London, all dead before their time, and by Theodore Dreiser, Robert Herrick, Upton Sinclair, happily still alive; given a fresh impulse during the shaken years of the war and of the recovery from war by such satirists as Edgar Lee Masters and Sinclair Lewis and their companions in the new revolt. The intelligent American fiction of the century has to be studied—so far as the novel is concerned—largely in terms of its agreement or its disagreement with this naturalistic tendency, which has been powerful enough to draw Winston Churchill and Booth Tarkington into an approach to its practices, to drive James Branch Cabell and Joseph Hergesheimer into explicit dissent, and to throw into strong relief the balanced independence of Edith Wharton and Willa Cather. The year 1920, marking a peak in the triumph of one or two species of naturalism and in some ways closing a chapter, affords an admirable occasion to take stock. This book, indeed, was planned and begun at the close of that year and has firmly resisted the temptation to do more than glance at most of the work produced since then—even at the price of giving what must seem insufficient notice to The Triumph of the Egg and Three Soldiers and of giving none at all to that still more recent masterpiece Cytherea. While criticism pauses to take stock, creation steadily goes on.

Acknowledgments are due The Nation for permission to reprint from its pages those portions of the volume which have already been published there.

CARL VAN DOREN.

March, 1922.

CONTENTS

I OLD STYLE

1. Local Color 2. Romance

II ARGUMENT

1. Hamlin Garland 2. Winston Churchill 3. Robert Herrick 4. Upton Sinclair 5. Theodore Dreiser

III ART

1. Booth Tarkington 2. Edith Wharton 3. James Branch Cabell 4. Willa Cather 5. Joseph Hergesheimer

IV NEW STYLE

1. Emergent Types

Ellen Glasgow, William Allen White, Ernest Poole, Henry B. Fuller, Mary Austin, Immigrants.

2. The Revolt from the Village

Edgar Lee Masters, Sherwood Anderson, E.W. Howe, Sinclair Lewis, Zona Gale, Floyd Dell, F. Scott Fitzgerald, Dorothy Canfield, 1921.

CONTEMPORARY AMERICAN NOVELISTS

CHAPTER I

OLD STYLE

1. LOCAL COLOR

A study of the American novel of the twentieth century must first of all take stock of certain types of fiction which continue to persist, with varying degrees of vitality and significance, from the last quarter of the century preceding.

There is, to begin with, the type associated with the now moribund cult of local color, which originally had Bret Harte for its prophet, and which, beginning almost at once after the Civil War, gradually broadened out until it saw priests in every state and followers in every county. Obedient to the example of the prophet, most of the practitioners of the mode chose to be episodic rather than epic in their undertakings; the history of local color belongs primarily to the historian of the short story. Even when the local colorists essayed the novel they commonly did little more than to expand some episode into elaborate dimensions or to string beads of episode upon an obvious thread. Hardly one of them ever made any real advance, either in art or reputation, upon his earliest important volume: George Washington Cable, after more than forty years, is still on the whole best represented by his Old Creole Days; and so—to name only the chief among the survivors—after intervals not greatly shorter are Mary N. Murfree ("Charles Egbert Craddock") by In the Tennessee Mountains, Thomas Nelson Page by In Ole Virginia, Mary E. Wilkins Freeman by A Humble Romance and Other Stories, James Lane Allen by Flute and Violin, and Alice Brown by Meadow-Grass.

The eager popular demand for these brevities does not entirely account for the failure of the type to go beyond its first experimental stage. The defects of local color inhere in the constitution of the cult itself, which, as its name suggests, thought first of color and then of form, first of the piquant surfaces and then—if at all—of the stubborn deeps of human life. In a sense, the local colorists were all pioneers: they explored the older communities as solicitously as they did the new, but they most of them came earliest in some field or other and found—or thought—it necessary to clear the top of the soil before they sank shaft or spade into it. Moreover, they accepted almost without challenge the current inhibitions of gentility, reticence, cheerfulness. They confined themselves to the emotions and the ideas and the language, for the most part, of the respectable; they disregarded the stormier or stealthier behavior of