4. Consider these two criticisms of Mr. Hergesheimer’s work: (1) He aims to set down “relative truth ... the colors and scents and emotions of existence”; and (2) he is at times as much concerned “with the stuffs as with the stuff of life.”
5. Make a special study of his style: (1) of his use of suggestion; (2) of his choice of words; (3) of his feeling for rhythm. It is true that there is both art and artifice in his methods?
6. In what ways, if any, has he made actual contribution to American literature? Can you prophesy as to his future?
Bibliography
- The Lay Anthony. 1914.
- Mountain Blood. 1915.
- The Three Black Pennys. 1917.
- Gold and Iron. 1918. (Wild Oranges, Tubal Cain, The Dark Fleece.)
- *Java Head. 1919.
- The Happy End. 1919. (Play.)
- *Linda Condon. 1919.
- Hugh Walpole, an Appreciation. 1919.
- San Cristóbal de la Habana. 1920.
- Cytherea. 1922.
- The Bright Shawl. 1922.
Studies and Reviews
- Ath. 1919, 2: 1339. (Conrad Aiken.)
- Bookm. 50 (’19): 267. (James Branch Cabell.)
- Bookm. (Lond.) 56 (’19): 65; 58 (’20): 193. (Portraits.)
- Cur. Op. 66 (’19): 184; 68 (’20): 229; 71 (’21): 237. (Portraits.)
- Dial, 66 (’19): 449.
- Lond. Mercury, 1 (’20): 342.
- Nation, 109 (’19): 404; 112 (’21): 741. (Carl Van Doren.)
- Sat. Rev. 128 (’19): 343.
- Spec. 125 (’20): 371.
- See also Book Review Digest, 1919.
Born at Cambridge, Massachusetts, 1868. A. B., Harvard, 1890. Taught English at the Massachusetts Institute of Technology, 1890-3, and at the University of Chicago since then, becoming professor, 1905. More important for interpretation of his work is the fact that he has carefully studied modern English and Continental literatures and is deeply interested in philosophy and the social sciences.