Definitions: Essays in Contemporary Criticism [First Series]

by Henry Seidel Canby

This is a very different kind of truth-telling from, let us say,
Mrs. Wharton's in "The Age of Innocence" or Zona Gale's in "Miss
Lulu Bett." It does not spring from a desire to tell the truth
about human nature.

These asserters of youth are not much interested in any human nature except their own, not much, indeed, in that, but only in the friction between their ego and the world. It is passionate truth, which is very different from cool truth; it is subjective, not objective; romantic, not classical, to use the old terms which few nowadays except Professor Babbitt's readers understand. Nor is it the truth that Wells, let us say, or, to use a greater name, Tolstoy was seeking. It is not didactic or even interpretative, but only the truth about the difference between the world as it is and the world as it was expected to be; an impressionistic truth; in fact, the truth about my experiences, which is very different from what I may sometime think to be the truth about mankind.

It will be strange if nothing very good comes from this impulse, for the purpose to "tell the world" that my vision of America is startlingly different from what I have read about America is identical with that break with the past which has again and again been prelude to a new era. I do not wish to discuss the alleged new era. Like the younger generation, it has been discussed too much and is becoming evidently self-conscious. But if the autobiographical novel is to be regarded as its literary herald (and they are all prophetic Declarations of Independence), then we may ask what has the new generation given us so far in the way of literary art.

Apparently the novel and the short story, as we have known them, are to be scrapped. Plot, which began to break down with the Russians, has crumbled into a maze of incident. You can no longer assume that the hero's encounter with a Gipsy in Chapter II is preparation for a tragedy in Chapter XXIX. In all probability the Gipsy will never be heard from again. She is irrelevant except as a figment in the author's memory, as an incident in autobiography. Setting, the old familiar background, put on the story like wall- paper on a living-room, has suffered a sea change also. It comes now by flashes, like a movie-film. What the ego remembers, that it describes, whether the drip of a faucet or the pimple on the face of a traffic policeman. As for character, there is usually but one, the hero; for the others live only as he sees them, and fade out when he looks away. If he is highly sexed, like Erik Dorn, the other figures appear in terms of sex, just as certain rays of light will bring out only one color in the objects they shine against.

The novel, in fact, has melted and run down into a diary, with sometimes no unity except the personality whose sensations are recorded. Many of us have wished to see the conventional story forms broken to bits. It was getting so that the first sentence ofa short story or the first chapter of a novel gave the whole show away. We welcomed the English stories of a decade ago that began to give the complexities of life instead of the conventions of a plot. But this complete liquidation rather appals us. The novels I have mentioned so far in this article have all together not enough plot to set up one lively Victorian novel. Benet, Dos Passos, Fitzgerald—the flood-gates of each mind have been opened, and all that the years had dammed up bursts forth in a deluge of waters, carrying flotsam and jetsam and good things and mud.

It is not surprising that, having given up plot, these writers escape from other restraints also. The more energetic among them revel in expression, and it seems to make little difference whether it is the exquisite chiaroscuro of Chicago they are describing, or spots on a greasy apron. The less enthusiastic are content to be as full of gritty realistic facts as a fig of seeds; but with all of them everything from end to beginning, from bottom to top, must be said.

And just here lies the explanation of the whole matter. As one considers the excessive naturalism of the young realists and asks just why they find it necessary to be so excessively, so effusively realistic, the conviction is inborn that they are not realists at all as Hardy, Howells, even James were realists; they are romanticists of a deep, if not the deepest, dye, even the heartiest lover of sordid incident among them all.

I am aware, of course, that "romantic" is a dangerous word, more overworked than any other in the vocabulary of criticism, and very difficult to define. But in contrast with its opposites it can be made to mean something definite. Now, the romanticism of the juniors is not the opposite of realism; it sometimes embraces realism too lovingly for the reader's comfort. But it is the opposite of classicism. It is emotional expansiveness as contrasted with the classic doctrine of measure and restraint. By this, the older meaning of romanticism, we may put a tag upon the new men that will help to identify them. Their desire is to free their souls from the restraints of circumstance, to break through rule and convention, to let their hearts expand.

But they do not fly into Byronic melancholy or Wordsworthian enthusiasm for the mysterious abstract; they are far more likely to fly away from them. Byron and Wordsworth do not interest them, and Tennyson they hate. Romantic in mood, they are realistic, never classical, in their contact with experience. In poetry they prefer free verse, in prose they eschew grand phrases and sonorous words. It has been the hard realism of an unfriendly world that has scraped them to the raw, and they retaliate by vividly describing all the unpleasant things they remember. Taught by the social philosophers and war's disillusions that Denmark is decaying, they do not escape to Cathay or Bohemia, but stay at home and passionately narrate what Denmark has done to them. Romantic Zolas, they have stolen the weapons of realism to fight the battle of their ego. And the fact that a few pause in their naturalism to soar into idyllic description or the rapture of beauty merely proves my point, that they are fundamentally romantics seeking escape, and that autobiographical realism is merely romanticism a la mode.

Let us criticize it as such, remembering that we may be reading the first characteristic work of a new literary era. Let us give over being shocked. Those who were shocked by Byron, the apostle of expansiveness, merely encouraged him to be more shocking. Nor is it any use to sit upon the hydrant of this new expansiveness. If a youth desires to tell the world what has happened to him, he must be allowed to do so, provided he has skill and power enough to make us listen. And these juniors have power even when skill has not yet been granted them. What is needed is a hose to stop the waste of literary energy, to conserve and direct it. Call for a hose, then, as much as you please, but do not try to stop the waters with your Moses's rod of conservative indignation.