Contemporary American Novelists (1900-1920)

by Carl Van Doren

Zona Gale

Before Main Street Sinclair Lewis, though the author of such promising novels as Our Mr. Wrenn and The Job, had been forced by the neglect of his more serious work to earn a living with the smarter set among American novelists, writing bright, colloquial, amusing chatter for popular magazines. If it seems a notable achievement for a temper like Mr. Masters's to have helped pave the way to popularity for Mr. Lewis, it seems yet more notable to have performed a similar service for Zona Gale, who for something like a decade before Spoon River Anthology had had a comfortable standing among the sweeter set. She was the inventor of Friendship Village, one of the sweetest of all the villages from Miss Mitford and Mrs. Gaskell down. Friendship lay ostensibly in the Middle West, but it actually stood—if one may be pardoned an appropriate metaphor—upon the confectionery shelf of the fiction shop, preserved in a thick syrup and set up where a tender light could strike across it at all hours. In story after story Miss Gale varied the same device: that of showing how childlike children are, how sisterly are sisters, how brotherly are brothers, how motherly are mothers, how fatherly are fathers, how grandmotherly and grandfatherly are grandmothers and grandfathers, and how loverly are all true lovers of whatever age, sex, color, or condition. But beneath the human kindness which had permitted Miss Gale to fall into this technique lay the sinews of a very subtle intelligence; and she needed only the encouragement of a changing public taste to be able to escape from her sugary preoccupations. Though the action of Miss Lulu Bett takes place in a different village, called Warbleton, it might as well have been in Friendship—in Friendship seen during a mood when its creator had grown weary of the eternal saccharine. Now and then, she realized, some spirit even in Friendship must come to hate all those idyllic posturings; now and then in some narrow bosom there must flash up the fires of youth and revolution. It is so with Lulu Bett, dim drudge in the house of her silly sister and of her sister's pompous husband: a breath of life catches at her and she follows it on a pitiful adventure which is all she has enough vitality to achieve but which is nevertheless real and vivid in a waste of dulness.

Here was an occasion to arraign Warbleton as Mr. Lewis was then arraigning Gopher Prairie; Miss Gale, instead of heaping up a multitude of indictments, categorized and docketed, followed the path of indirection which—by a paradoxical axiom of art—is a shorter cut than the highway of exposition or anathema. Her story is as spare as the virgin frame of Lulu Bett; her style is staccato in its lucid brevity, like Lulu's infrequent speeches; her eloquence is not that of a torrent of words and images but that of comic or ironic or tragic meaning packed in a syllable, a gesture, a dumb silence. Miss Gale riddles the tedious affectations of the Deacon household almost without a word of comment; none the less she exhibits them under a withering light. The daughter, she says, "was as primitive as pollen"—and biology rushes in to explain Di's blind philanderings. "In the conversations of Dwight and Ina," it is said of the husband and wife, "you saw the historical home forming in clots in the fluid wash of the community"—and anthropology holds the candle. Grandma Bett is, for the moment, the symbol of decrepit age, as Lulu is the symbol of bullied spinsterhood. Yet in the midst of applications so universal the American village is not forgotten, little as it is alluded to. If the Friendships are sweet and dainty, so are they—whether called Warbleton or something less satiric—dull and petty, and they fashion their Deacons no less than their Pelleases and Ettares. Thus hinting, Miss Gale, in her clear, flutelike way, joins the chorus in which others play upon noisier instruments.

Floyd Dell

The year which saw the appearance of Main Street and Miss Lulu Bett saw also that of The Age of Innocence, Edith Wharton's acid delineation of the village of Manhattan in the genteel seventies, given over to the "innocence that seals the mind against imagination and the heart against experience"; saw Mary Borden's The Romantic Woman, with its cosmopolitan amusement at the village of Iroquois, otherwise Chicago; and saw Floyd Dell's Moon-Calf, which, standing on the other side of controversy, lacks not only the disposition to sentimentalize the village but even the disposition to ridicule it.

Mr. Dell's emancipation is the fruit of a revolutionary detachment from village standards which is too complete to have left traces of any such rupture as is implied in almost every paragraph of Main Street. Moon-Calf, recounting the adventures of a young poet in certain river counties and towns and villages of Illinois, touches without heat upon the spiritual and intellectual limitations of those neighborhoods. It settles no old scores. It relates an unconventional career without conventional reproaches and also without conventional heroics. Felix Fay dreams and blunders and suffers but he goes on growing like a tree, pushing his head up through one level of development after another until he stands above the minor annoyances of his immaturity and looks out over a broader world. He has a soul which is naturally socialist and yet he never loses himself in proclamations or statistics. He can be fresh and hopeful and yet learn from the remarkable old men he encounters. He lives and loves with an instinctive freedom and yet he holds himself equally secure from devastating extravagances and devastating repressions. Mr. Dell writes as if he had steadier nerves than most of the naturalists; as if he regarded their war upon the village as an ancient brawl which may now be assumed to have been as much settled as it ever will be. At least, it seems scarcely worth wrangling over. The spirit seeking to release itself from trivial conditions behaves most intelligently when it discreetly takes them into account and concerns itself with them only enough to escape entanglements. Mr. Dell leaves it to the moralists and the satirists to whip offenders, while he himself goes on to construct some monument of beauty upon the ground which moralism and satire are laboring to clear.

Moon-Calf is very beautiful. Felix has a poetic gift sufficient to warm the record with fine verses and delicate susceptibilities upon which his adventures leave exquisite impressions. Even when his rebellion is at its highest pitch he wastes little energy in hating and so avoids the astringency and perturbation of a state of mind which is always perilous. To say Felix Fay is more or less to mean Floyd Dell, for the narrative is obviously autobiographic at many points. But were it entirely invention it would testify none the less to the affection with which this novelist feels his world and the lucidity with which he represents it. He has a genuine zest for human life, enjoying it, even when it invites mirth or anger, because of the form and color and movement which he perceives everywhere and particularly because of the solid texture of reality of which he is admirably aware. Hatred closes the eyes to a multitude of charms. If Mr. Dell suffered from it he could never have enriched his fabric as he has with so many circumstances chosen with an unargumentative hand; he could never have extracted so much drama out of dusty people. Had he been a sentimentalist he might have fallen into the soft processes of the local color school when it came to portraying the various communities through which Felix takes his way. Instead, the story is everywhere stiffened with intelligence. Felix has no adventures more exciting than his successive discoveries of new ideas. Even the women he loves fit into the pattern of his career as a thinking being, and he emerges, however moved, with a surer grasp of his expanding universe. That grasp would lack much of its confidence if Mr. Dell employed a style less masterly. As it is, he writes with a candid lucidity which everywhere lets in the light and with a grace which rounds off the edges that mark the pamphlet but not the work of art. He can be at once downright and graceful, at once sincere and impersonal, at once revolutionary and restrained, at once impassioned and reflective, at once enamored of truth and scrupulous for beauty.

When Felix Fay had escaped his original villages and had taken to the wider pursuit of freedom in Chicago there was another chapter of his career to be recorded; and that Mr. Dell sets down in The Briary-Bush, wherein Felix finds that the trail of freedom ends, for him, in madness and loneliness. From the first, though this moon-calf has steadily blundered toward detachment from the common order, some aching instinct has left him hungry for solid ground to stand on. The conflict troubles him. He can succeed in his immediate occupations but he cannot understand his powers or feel confident in his future. His world whirls round and round, menaces, eludes, threatens to vanish altogether. Thrown by dim forces into the arms of Rose-Ann, who seeks freedom no less restlessly than he, he is married, and the two begin their passionate experiment at a union which shall have no bonds but their common determination to be free. Charming slaves of liberty! Felix is at heart a Puritan and cannot take the world lightly, as it comes. His blunders bruise and wound him. He punishes himself for all his vagaries. Rose-Ann is not a Puritan, but she too has instincts that will not surrender, any more than Felix's, to the doctrines which they both profess: jealousy sleeps within her, and potential motherhood. She and Felix come to feel that they have shirked life by their deliberate childlessness and that life has deserted them. Yet separation proves unendurable. So they resume marriage, vowing "not to be afraid of life or of any of the beautiful things life may bring." Among these, of course, are to be children and a house.

Is this merely a return to their villages, merely domestic sentimentalism in a lovely guise? Mr. Dell has gone a little too deep to incur the full suspicion. He has got very near to the biological foundations of two lives, where, for the moment, he rests his case. There is more to come, however, in this spiritual history, whether Felix Fay knows it or not. Let the house be built and the children be born, and Felix and Rose-Ann, though citizens and parents, will still be individuals and will still have to find out whether these complicated threads of loyalty last better than the simple threads which broke. Felix, in discovering the lure of stability, has not necessarily completed the circle of his life. Freedom may allure him again.

The Briary-Bush, less varied than Moon-Calf, is decidedly profounder. It hovers over the dark waters of the unconscious on perhaps the surest wings an American novel has ever used. Though it has probed difficult natures and knows them thoroughly it does not flaunt its knowledge but brings it in only when it can throw some revealing light upon the outward perplexities of the lovers. Thus it gives depth and timbre to the story, and yet allows the characters to seem actual persons actually walking the world. At the same time, Mr. Dell does not possess a too vivid sense of externality. In both his novels all facts come through the mist of Felix's habitual confusion, and in that mist they lose dramatic emphasis; muted, they are not able to break up the agreeable monotone in which the narrative is delivered. But underneath these surfaces, seen so poetically, there is a substantial bulk of human life, immemorial folkways powerfully contending with the new rebellion of reason.