Literature in the Making, by Some of Its Makers

by Unknown

"What I have said about the advisability of an author's leaving the scenes about which he is to write is not universally true. There are writers who do better work by staying in the place where the scenes of their stories are laid. For instance, Joel Chandler Harris did better work by staying in the South than he would have done if he had gone away."

"But wasn't that because his negro folk-tales were a sort of 'glorified reporting' rather than creative work?" I asked.

"No," said Mr. Harben; "they were creative work. Joel Chandler Harris remembered just the bare skeleton of the stories as the negro had told them to him. And he developed them imaginatively. That was creative work. And he did most of his writing, and the best of his writing, in the office of The Constitution."

"In view of what you said about the difficulty of absorbing New York life," I suggested, "I suppose that, in your opinion, the great American novel will not be written about New York."

"What do you mean by the great American novel?" asked Mr. Harben. "So far as I know there is no great English novel or great Russian novel."

"I suppose that the term means a novel inevitably associated with the national literature," I said. "You cannot think of English literature without thinking of Vanity Fair, for instance. Certainly there is no American novel so conspicuously a reflection of our national life as that novel is of English life."

"Well," said Mr. Harben, "it is difficult to think of American literature or of American life without thinking of the novels of William Dean Howells. But the great American novel, to use that term, would be less likely to come into being than the great English novel.

"You see, the United States is not as compact as England. London, it may be said, is England; it has all the characteristics of England, and in the season all England may be met there."

Mr. Harben is not in sympathy with the theories of some of our modern realists.

"The trouble with the average realist," he said, "is that he doesn't believe that the emotions are real. As a matter of fact, the greatest source of material for the novelist is to be found in the emotional and spiritual side of human nature. If writers were more receptive to spiritual and emotional impressions they would make better novels. It is the soul of man that the greatest novels are written about—there is Dostoievski's Crime and Punishment, for example!"