My rating: 5 of 5 stars
The American Novel and Its Tradition (1933) by Richard Volney Chase (American Author, 1914-1962) attempts to define the American novel, and comes extremely close. What is especially nice about this book is the author’s ability to take rather complex ideas and relate them through a smooth, effortless language that makes for an enjoyable read.
The other thing about this book that sets it apart from others of its type is the range of examples Chase decides to include in his analysis of the American novel. Of course, Chase (PhD and faculty from Columbia University until his death in 1962) provides the more common titles such as The Scarlet Letter, Moby-Dick, Huckleberry Finn, The Portrait of a Lady, The Sound and the Fury, but he also includes titles that are not as well-known to most readers (i.e., the general public) such as Wieland by Brown, Satanstoe by Fenimore Cooper, The Prairie also by Cooper, Pudd’nhead Wilson by Twain, and McTeague by Frank Norris, just to name a few.
The sections that stand out most focused on Fenimore Cooper, Melville, Twain, and Faulkner, which is to be expected. The section on Norris was also well-written and informative. Much of the book focuses on romance, naturalism, and symbolism and how these relate to the American novel through culture and tradition, and the American author’s own personal growth as a novelist.
“In the face of [Van Wyck] Brooks’s desire to unite highbrow and the lowbrow on a middle ground,” writes Chase, “there remains the fact that our best novelists have been, not middlebrows, but either highbrows like [Henry] James, lowbrows like Mark Twain, Frank Norris, Dreiser, and Sherwood Anderson, or a combination of highbrow-lowbrows like Melville, Faulkner, and Hemingway” (p 10). This is what, in part, leads the American novel away from its predecessors found in England and in Europe.
Another factor that heavily influenced the American novel and its writers is the fact that America was still in its infancy (i.e., 19th century) when the American novel emerged upon its land against the more popular novels from England and Europe that had been around for some time, and America at that time still grasped for a culture and myth, per se, to call its own.
The greatness of The Sound and the Fury is achieved, where others failed, is due in part by the modern mind writing a story that has been allowed to have some distance in its historical place.
“There had to intervene,” writes Chase, “between the older American traditions and Faulkner the naturalistic novel with its license as to subject matter and the promise it offers–so infrequently fulfilled–of reviving a genuine tragic art by evoking fate in terms of heredity and environment” (p 220). In essence, America, as land and culture, still need room to grow in order to give the American author some material to use in his novels.
The chapter titled “Brockden Brown’s Melodramas” is insightful and useful in determining one possible origin of the American novel. Chase explains:
“Melodrama has offered to the American novelists a simplified set of conventions, and all through our literary history there has been produced a vast body of inferior fiction by forgotten authors who made no use of this genre beyond evocation of sensation or sentiment… Roughly one may say that tragedy does not emerge out of melodrama until a notable and fully rounded character significantly resists the dire actions of the plot… Since the naturalistic novel is close to the spirit, though certainly not the letter, of deterministic science, what happened was that a new imagination emerged which seemed to be radically different from the older one but was in many ways similar to it–in the sense that both imaginations conceive of human beings not as heroes but as victims of dire, intractable, and contradictory forces” (p 40-41).
This view is also supported indirectly by Lord Raglan in his book The Hero: A Study in Tradition, Myth and Drama (1936) where he develops a linear stream of literature through history that correspond to myth, and this pattern that has been established throughout history becomes broken when the American novelist enters.
The hero does not live out his days as a god or king. According to Raglan, the hero’s story usually ends with him meeting “a mysterious death..often at the top of a hill..his body is not buried, but nevertheless… he has one or more holy sepulchres” and he is worshiped as god (Raglan, p 175).
In contrast, the American hero becomes a human being. A victim. One who suffers, not as a god on a hill but as a person in a home. And this gravitates away from the mythological idea of what a hero should be, and what the English and European novels, for a long time, also considered as being.
For example, as is evident among the novels of the early 20th century, the hero-as-victim can be found in A Farewell to Arms and For Whom the Bell Tolls by Hemingway, or The Great Gatsby by Fitzgerald, or the heroine in Henry James‘s novel The Portrait of a Lady. In the former, the hero rises to the status of a god; in the latter, the hero falls to the status of a man.
The American Novel by Chase has a great chapter called “Three Novels of Manners” and includes analyses on Fitzgerald’s The Great Gatsby, George Washington Cable’s Grandissimes, and The Vacation of the Kelwyns by William Dean Howells.
The section directly following, “Norris and Naturalism,” is also an excellent read about books by a lesser-known writer, but who, Chase considers, as “the youthful father of fictional naturalism” who died at the age of 30, and who “wrote books that departed from realism by becoming in a unified act of the imagination at once romances and naturalistic novels” (p 187).
The last chapter, “Faulkner — The Great Years,” takes a close look at As I Lay Dying, Light in August, and The Sound and the Fury (all three novels should be read; my favorite of these being the last). To give a glimpse in Chase’s criticism: “The other ‘structural system’ is based on Freud. Benjy is the Id, Quentin the Ego, Jason the Super-Ego, Candace as sort of Libido, Dilsey the ‘warm, loving nature,’ perhaps the integrated personality” and, “The Sound and the Fury would seem to meet Philip Rahv’s requirement for the novel: that the novelist, if he is as good as ‘the great European authors,’ will use experience ‘as a concrete medium for the testing and creation of values’ ” (p 235).
For the variety found in The American Novel and Its Tradition and for the close and adept analysis by Richard Chase and for how the language flows off the page, this is a strong recommend for any reader/writer who desires to know more about American literature from its origins in the early 19th century to the mid-20th century. Enjoy.
The American novelist CG FEWSTON has been a Visiting Scholar at the American Academy in Rome (Italy), a Visiting Fellow at Hong Kong’s CityU, & he’s a been member of the Hemingway Society, Americans for the Arts, PEN America, Club Med, & the Royal Society of Literature. He’s also a been Fellow of the Royal Society of Arts, Manufactures and Commerce (RSA) based in London.
He’s the author of several short stories and novels. His works include A Father’s Son (2005), The New America: A Collection (2007), The Mystic’s Smile ~ A Play in 3 Acts (2007), Vanity of Vanities (2011), A Time to Love in Tehran (2015), Little Hometown, America (2020); A Time to Forget in East Berlin (2022), and Conquergood & the Center of the Intelligible Mystery of Being (2023).
He has a B.A. in English, an M.Ed. in Higher Education Leadership (honors), an M.A. in Literature (honors), and an M.F.A. in Creative Writing & Fiction. He was born in Texas in 1979.
“A spellbinding tale of love and espionage set under the looming shadow of the Berlin Wall in 1975… A mesmerising read full of charged eroticism.”
“An engrossing story of clandestine espionage… a testament to the lifestyle encountered in East Berlin at the height of the Cold War.”
“There is no better way for readers interested in Germany’s history and the dilemma and cultures of the two Berlins to absorb this information than in a novel such as this, which captures the microcosm of two individuals’ love, relationship, and options and expands them against the blossoming dilemmas of a nation divided.”
~ D. Donovan, Senior Reviewer, Midwest Book Review
“A Time to Forget in East Berlin is a dream-like interlude of love and passion in the paranoid and violent life of a Cold War spy. The meticulous research is evident on every page, and Fewston’s elegant prose, reminiscent of novels from a bygone era, enhances the sensation that this is a book firmly rooted in another time.”
“Vivid, nuanced, and poetic…”
“Fewston avoids familiar plot elements of espionage fiction, and he is excellent when it comes to emotional precision and form while crafting his varied cast of characters.”
“There’s a lot to absorb in this book of hefty psychological and philosophical observations and insights, but the reader who stays committed will be greatly rewarded.”
“Readers of The Catcher in the Rye and similar stories will relish the astute, critical inspection of life that makes Little Hometown, America a compelling snapshot of contemporary American life and culture.”
“Fewston employs a literary device called a ‘frame narrative’ which may be less familiar to some, but allows for a picture-in-picture result (to use a photographic term). Snapshots of stories appear as parts of other stories, with the introductory story serving as a backdrop for a series of shorter stories that lead readers into each, dovetailing and connecting in intricate ways.”
“The American novelist CG FEWSTON tells a satisfying tale, bolstered by psychology and far-ranging philosophy, calling upon Joseph Campbell, J. D. Salinger, the King James Bible, and Othello.”
“In this way, the author lends intellectual heft to a family story, exploring the ‘purity’ of art, the ‘corrupting’ influences of publishing, the solitary artist, and the messy interconnectedness of human relationships.”
GOLD Winner in the 2020 Human Relations Indie Book Awards for Contemporary Realistic Fiction
FINALIST in the SOUTHWEST REGIONAL FICTION category of the 14th Annual National Indie Excellence 2020 Awards (NIEA)
“Fewston’s lyrical, nostalgia-steeped story is told from the perspective of a 40-year-old man gazing back on events from his 1980s Texas childhood…. the narrator movingly conveys and interprets the greater meanings behind childhood memories.”
“The novel’s focus on formative childhood moments is familiar… the narrator’s lived experiences come across as wholly personal, deeply felt, and visceral.”
American Novelist CG FEWSTON
This is my good friend, Nicolasa (Nico) Murillo, CRC, who is a professional chef & a wellness mentor. I’ve known her since childhood & I’m honored to share her story with you. In life, we all have ups & downs, some far more extreme than others. Much like in Canada, in America, the legalization of marijuana has become a national movement, which includes safe & legal access to cannabis (marijuana) for therapeutic use & research for all.
“This is a wellness movement,” Nico explains. The wellness movement is focused on three specific areas: information, encouragement, & accountability.
In these stressful & unprecedented times, it makes good sense to promote & encourage the state or condition of being in good physical & mental health.
The mission of Americans for Safe Access (ASA) is to ensure safe and legal access to cannabis (marijuana) for therapeutic use and research.
TEXANS FOR SAFE ACCESS ~ share the mission of their national organization, Americans for Safe Access (ASA), which is to ensure safe and legal access to cannabis (marijuana) for therapeutic use and research, for all Texans.
Stay safe & stay happy. God bless.
Nico Murillo Bio ~ Americans & Texans for Safe Access ~ Medical Cannabis