It is significant that these words preceded by only a few months the publication of Sinclair Lewis's "Main Street," which illustrates in a big and popular way the point in question. Work of satire that it is, it cannot but hold out a solution of the problem presented: in the sweep of the land to the Rockies lies a "dominion which will rise to unexampled greatness when other empires have grown senile."
America is young; its writers are young. But they are reflecting the many-coloured, multiform life of America, in journalism and in art. Quite naturally, they profit by all that has preceded them in other literatures. Since their work stands rooted in romanticism it may legitimately heighten the effects and lights of everyday life.
A glance at the stories republished by the O. Henry Memorial Award Committee for 1920 will reveal their varied nature. The genus Africanus is represented by "Black Art and Ambrose," which has a close second in another on the list, "The Metamorphosis of High Yaller," and a third in "The Ten-Share Horse" of E.K. Means. The tabulation reveals a number of cosmic types—Jewish, Chinese, English, French, Irish, Italian, American. The Chinese character is even more ubiquitous than in 1919, but the tales wherein he figures appear to the Committee to be the last drops in the bucket. Two exceptions occur: "Young China," by Charles Caldwell Dobie, and "Widows and Orphans," by Ellen La Motte. The former knows San Francisco Chinatown, the latter is acquainted with the Oriental at home. One of the Committee regards "The Daughter of the Bernsteins" as the best story of Jewish character. Another sees in it a certain crudeness. Its companions in the year were the tales of Bruno Lessing, Montague Glass, and—in particular—a story by Leon Kelley entitled "Speeches Ain't Business" (Pictorial Review, July).
But this note on the list is a digression. With regard to the stories reprinted, "The Last Room of All" illustrates old-world influence, surely, in its recountal of events in an age long past, the time of the Second Emperor Frederick of Swabia. In its revival of old forms, old customs, it is a masquerade. But behold that it is a gorgeous blood-coloured masquerade and that Cercamorte is a distinct portrait of the swash-buckler hero of those times.
The young Americans in "The Camel's Back" support a critical thesis made for their author that he is evolving an idiom. It is the idiom of young America. If you are over thirty, read one of this prodigy's ten-thousand word narratives and discover for the first time that you are separated by a hopeless chasm from the infant world.
"Professor Todd's Used Car" and "Alma Mater" are two of the numerous stories published in 1920 which take up the cudgels for the undertrodden college professor. Incidentally, it is interesting to read from a letter of Mr. Lewis: "The brevity—and the twist in the plot at the end—were consciously patterned on O. Henry's methods."
Without further enumeration of the human types, it is a matter of observation that they exist in many moods and ages as they exist in real life. A revenant who lived one hundred years ago might pick up this volume and secure a fairly accurate idea of society to-day. A visitor from another country might find it a guide to national intelligence and feeling.
A few stories appealed to the Committee for their poetry. "The Funeral of John Bixby," by Stephen Vincent Benét, and "The Duke's Opera," by "Jacques Belden" (the first an allegorical fantasy and the second a poetic-romance) are at the head of this division. With these should be included Don Marquis's "Death and Old Man Murtrie," for its sardonic allegory, and "The Designs of Miramon," by James Branch Cabell, for its social satire. Individual members of the Committee would have liked to include these—different members preferring different ones of the four—but the Committee as a whole saw the allegory or satire or poetry predominant over story values.
The mysterious and the tragic are found in the work of Mildred Cram and Wilbur Daniel Steele. "Odell" and "Wind" illustrate Miss Cram's particular genius in this direction: but "The Ember," it is voted, ranks first of her publications. Mr. Steele's "Both Judge and Jury" and "God's Mercy" are exotic, perhaps, but the atmosphere he creates is beguiling in comparison with that of mere everyday. "Footfalls" was selected out of an embarrassment of riches offered by this author. The best horror story of the year is Rose Sidney's "Butterflies." It is a Greek tragedy, unrelieved, to be taken or left without palliation.
Athletics, no one will deny, constitutes a definite phase of American life. The sport-struggle is best illustrated in the fiction of Lawrence Perry, whether it be that of a polo match, tennis game, or crew race. "A Matter of Loyalty" is representative of this contest, and in the combined judgment of the Committee the highest ranking of all Mr. Perry's stories. "Bills Playable," by Jonathan Brooks, conceives athletics in a more humorous spirit.