Mr. Masters himself has not always remembered the harder and better lesson. During a half dozen years he has published more than a half dozen books which have all inherited the credit of the Anthology but which all betray the turbulent, nervous habit of experimentation which makes up a large share of his literary character. There comes to mind the figure of a blind-folded Apollo, eager and lusty, who continually runs forward on the trail of poetry and truth but who, because of his blindfoldedness, only now and then strikes the central track. Five of Mr. Masters's later books are collections of miscellaneous verse; during the fruitful year 1920 he undertook two longer flights of fiction. In Mitch Miller he attempted in prose to write a new Tom Sawyer for the Spoon River district; in Domesday Book he applied the method of The Ring and the Book to the material of Starved Rock. The impulse of the first must have been much the same as Mark Twain's: a desire to catch in a stouter net than memory itself the recollections of boyhood which haunt disillusioned men. But as Mr. Masters is immensely less boylike than Mark Twain, elegy and argument thrust themselves into the chronicle of Mitch and Skeet, with an occasional tincture of a fierce hatred felt toward the politics and theology of Spoon River. A story of boyhood, that lithe, muscular age, cannot carry such a burden of doctrine. The narrative is tangled in a snarl of moods. Its movement is often thick, its wings often gummed and heavy.
The same qualities may be noted in Domesday Book. Its scheme and machinery are promising: a philosophical coroner, holding his inquest over the body of a girl found mysteriously dead, undertakes to trace the mystery not only to its immediate cause but up to its primary source and out to its remotest consequences. At times the tale means to be an allegory of America during the troubled, roiled, destroying years of the war; at times it means to be a "census spiritual" of American society. Elenor Murray, in her birth and love and sufferings and desperate end, is represented as pure nature, "essential genius," acting out its fated processes in a world of futile or corrupting inhibitions. But Mr. Masters has less skill at portraying the sheer genius of an individual than at arraigning the inhibitions of the individual's society. When he steps down from his watch-tower of irony he can hate as no other American poet does. His hates, however, do not always pass into poetry; they too frequently remain hard, sullen masses of animosity not fused with his narrative but standing out from it and adding an unmistakable personal rhythm to the rough beat of his verse. So, too, do his heaps of turgid learning and his scientific speculations often remain undigested. A good many of his characters are cut to fit the narrative plan, not chosen from reality to make up the narrative. The total effect is often crude and heavy; and yet beneath these uncompleted surfaces are the sinews of enormous power: a greedy gusto for life, a wide imaginative experience, tumultuous uprushes; of emotion and expression, an acute if undisciplined intelligence, great masses of the veritable stuff of existence out of which great novels are made.
Sherwood Anderson
Spoon River Anthology has called forth a smaller number of deliberate imitations than might have been expected, and even they have utilized its method with a difference. Sherwood Anderson, for example, in Winesburg, Ohio speaks in accents and rhythms obstinately his own, though his book is, in effect, the Anthology "transprosed." Instead of inventing Winesburg immediately after Spoon River became famous he began his career more regularly, with the novels Windy McPherson's Son and Marching Men, in which he employed what has become the formula of revolt for recent naturalism. In both stories a superior youth, of rebellious energy and somewhat inarticulate ambition, detaches himself in disgust from his native village and makes his way to the city in search of that wealth which is the only thing the village has ever taught him to desire though it is unable to gratify his desires itself; and in both the youth, turned man, finds himself sickening with his prize in his hands and looks about him for some clue to the meaning of the mad world in which he has succeeded without satisfaction. Sam McPherson, after a futile excursion through the proletariat in search of the peace which he has heard accompanies honest toil, settles down to the task of bringing up some children he has adopted and thus of forcing himself "back into the ranks of life." Beaut McGregor, refusing a handsome future at the bar, sets out to organize the workers of Chicago into marching men who drill in the streets and squares at night that they may be prepared for action if only they can find some sort of goal to march upon.
These novels ache with the sense of a dumb confusion in America; with a consciousness "of how men, coming out of Europe and given millions of square miles of black fertile land mines and forests, have failed in the challenge given them by fate and have produced out of the stately order of nature only the sordid disorder of man." Out of this ache of confusion comes no lucidity. Sam McPherson is not sure but that he will find parenthood as petty as business was brutal; Beaut McGregor sets his men to marching and their orderly step resounds through the final chapters of his career as here recorded, but no one knows what will come of it—they advance and wheel and retreat as blindly as any horde of peasants bound for a war about which they do not know the causes, in a distant country of which they have never heard the name. Mr. Anderson worked in his first books as if he were assembling documents on the eve of revolution. Village peace and stability have departed; ancient customs break or fade; the leaven of change stirs the lump.
From such arguments he turned aside to follow Mr. Masters into verse with Mid-American Chants and into scandal with Winesburg, Ohio. But touching scandal with beauty as his predecessor touched it with irony, Mr. Anderson constantly transmutes it. The young man who here sets out to make his fortune has not greatly hated Winesburg, and the imminence of his departure throws a vaguely golden mist over the village, which is seen in considerable measure through his generous if inexperienced eyes. A newspaper reporter, he directs his principal curiosity towards items of life outside the commonplace and thus offers Mr. Anderson the occasion to explore the moral and spiritual hinterlands of men and women who outwardly walk paths strict enough.
If the life of the tribe is unadventurous, he seems to say, there is still the individual, who, perhaps all the more because of the rigid decorums forced upon him, may adventure with secret desires through pathless space. Only, the pressure of too many inhibitions can distort human spirits into grotesque forms. The inhabitants of Winesburg tend toward the grotesque, now this organ of the soul enlarged beyond all symmetry, now that wasted away in a desperate disuse. They see visions which in some wider world might become wholesome realities or might be dispelled by the light but which in Winesburg must lurk about till they master and madden with the strength which the darkness gives them. Religion, deprived in Winesburg of poetry, fritters its time away over Pharisaic ordinances or evaporates in cloudy dreams; sex, deprived of spontaneity, settles into fleshly habit or tortures its victim with the malice of a thwarted devil; heroism of deed or thought either withers into melancholy inaction or else protects itself with a sullen or ridiculous bravado.
Yet even among such pitiful surroundings Mr. Anderson walks tenderly. He honors youth, he feels beauty, he understands virtue, he trusts wisdom, when he comes upon them. He broods over his creatures with affection, though he makes no luxury of illusions. Much as he has detached himself from the cult of the village, he still cherishes the memories of some specific Winesburg. Much as he has detached himself from the hazy national optimism of an elder style in American thinking, he still cherishes a confidence in particular persons. Winesburg, Ohio springs from the more intimate regions of his mind and is consequently more humane and less doctrinaire than his earlier novels. It has a similar superiority over the book he wrote for 1920, Poor White, which returns to the device of a bewildered strong man rising from a dull obscurity, successful but unsatisfied. At the same time Poor White proceeds from an imagination which had been warmed with the creation of Winesburg and its people and is richer, fuller, deeper than the angular sagas of McPherson and McGregor. It does not yet show that Mr. Anderson can construct a large plot or that his vision comes with a steady gleam; it shows, rather, that he is still fumbling in the confusion of current life to get hold of something true and simple and to make it clear.
Perhaps he tried in Poor White to manipulate a larger bulk than he is yet ready for. Perhaps because he was aware of that he has worked in his latest book, The Triumph of the Egg, with a variety of brief themes and has excelled even Winesburg in both poetry and truth. At least it is certain that he keeps on advancing in his art. Although life has not hardened for him, and he sees it still flowing or whirling, he steadily sharpens his outlines and perfects the fierce intensity of his style. Will his wisdom ever catch up with his passion and his observation? In each successive book he has revealed himself as still hot with the fever of his day's experiences. He has yet to show that he can go through the confusion of new spiritual adventures and then set them down, remembering, in tranquillity.
E.W. Howe