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ON the purely technical side the American novel has obviously made immense progress. As ordinarily encountered, it is very adeptly constructed, and not infrequently it is also well written. The old-time amorphous novel, rambling all over the place and ending with pious platitudes, has pretty well gone out. The American novelists of to-day, and especially the younger ones, have given earnest study to form—perhaps, indeed, too much. For in concentrating their powerful intellects upon it they have lost sight of something that is far more important. I allude, of course, to the observation of character. Thus the average contemporary American novel, though it is workmanlike and well-mannered, fails to achieve its first business. It does not evoke memorable images of human beings. One enjoys reading it, perhaps, but one seldom remembers it. And when it gets beyond the estate of a mere technical exercise, it only too often descends to the even worse estate of a treatise. It attempts to prove something—usually the simple fact that its author is a clever fellow, or a saucy gal. But all a novel of genuine bulk and beam ever proves is that the proper study of mankind is man—the proper study and the most engrossing.
In brief, a first-rate novel is always a character sketch. It may be more than that, but at bottom it is always a character sketch, or, if the author is genuinely of the imperial line, a whole series of them. More, it is a character sketch of an individual not far removed from the norm of the race. He may have his flavor of oddity, but he is never fantastic; he never violates the common rules of human action; he never shows emotions that are impossible to the rest of us. If Thackeray had made Becky Sharp seven feet tall, and given her a bass voice, nine husbands and the rank of lieutenant-general in the British Army, she would have been forgotten long ago, along with all the rest of “Vanity Fair.” And if Robinson Crusoe had been an Edison instead of a normal sailorman, he would have gone the same way.
The moral of all this is not lost upon the more competent minority of novelists in practice among us. It was not necessary to preach it to Miss Cather when she set out to write “My Antonía,” nor to Abraham Cahan when he tackled “The Rise of David Levinsky,” nor to Sinclair Lewis when he was at work on “Babbitt.” All such novelists see the character first and the story afterward. What is the story of “Babbitt”? Who remembers? Who, indeed, remembers the story of “The Three Musketeers”? But D’Artagnan and his friends live brilliantly, and so, too, I believe, will George F. Babbitt live brilliantly—at all events, until Kiwanis ceases to trouble, and his type ceases to be real. Most of the younger American novelists, alas, seem to draw no profit from such examples. It is their aim, apparently, to shock mankind with the vivacity of their virtuosity and the heterodoxy of their ideas, and so they fill their novels with gaudy writing and banal propaganda, and convert their characters into sticks. I read novel after novel without getting any sense of contact with actual human beings. I am, at times, immensely amused and sometimes I am instructed, but I seldom carry away anything to remember. When I do so, it is not an idea, but a person. Like everyone else, I have a long memory for persons. But ideas come and go.
All this becomes the more remarkable when one considers the peculiar richness of the American scene in sharply-outlined and racy characters. Our national ideas, indeed, are mainly third-rate, and some of them are almost idiotic, but taking one year with another we probably produce more lively and diverting people than all the rest of the world taken together. More, these lively and diverting people tend to cluster into types. Mark Twain put half a dozen of them into “Huckleberry Finn” and as many more into “Roughing It,” a novel disguised as history. Montague Glass collared a whole flock for his Potash and Perlmutter stories, and Ring Lardner has got another flock into his studies of the American bounder. But the younger novelists, or at least the overwhelming majority of them, stick to their sticks. Thus even the most salient and arresting of American types still lack historians, and seem doomed to perish and be forgotten with the Bill of Rights. Babbitt stood around for a dozen years, waiting for Lewis; the rest of the novelists of the land gaped at him without seeing him. How long will they gape at the American politician? At the American university president? At the American policeman? At the American lawyer? At the American insurance man? At the Prohibition fanatic? At the revival evangelist? At the bootlegger? At the Y. M. C. A. secretary? At the butter-and-egg man? At the journalist?