7 best short stories by Ellen Glasgow. Ellen Glasgow
facing of realities. In England the demand is for a direct and sincere interpretation of life, and that is what the novelists of England, especially the younger novelists, are making. But what the American public seems to desire is the cheapest sort of sham optimism. And apparently our writers—a great many of them—are ready and eager to meet this demand.
"You know the sort of book which takes best in this country. It is the sort of book in which231 there is not from beginning to end a single attempt to portray a genuine human being. Instead there are a number of picturesque and attractive lay figures, and one of them is made to develop a whimsical, sentimental, and maudlinly optimistic philosophy of life.
"That is what the people want—a sugary philosophy, utterly without any basis in logic or human experience. They want the cheapest sort of false optimism, and they want it to be uttered by a picturesque, whimsical character, in humorous dialect. Books made according to this receipt sell by the hundreds of thousands.
"I don't know which is the more tragic, the fact that a desire for this sort of literary pabulum exists, or the fact that there are so many writers willing to satisfy that desire. But I do know that the widespread enthusiasm for this sort of writing is the reason for the inferiority of our novels to those of England. And, furthermore, I think that this evasive idealism, this preference for a pretty sham instead of the truth, is evident not only in literature, but in every phase of American life.
"Look at our politics! We tolerate corruption; graft goes on undisturbed, except for some sporadic232 attacks of conscience on the part of various communities. The ugliness of sin is there, but we prefer not to look at it. Instead of facing the evil and attacking it manfully we go after any sort of a false god that will detract our attention from our shame. Just as in literature we want the books which deal not with life as it is, but with life as it might be imagined to be lived, so in politics we want to face not hard and unpleasant facts, but agreeable illusions.
"Nevertheless," said Miss Glasgow, "I think that in literature there are signs of a movement away from this evasive idealism. It is much more evident in England than in America, but I think that in the course of time it will reach us, too. We shall cease to be 'slaves of words,' as Sophocles said, and learn that the novelist's duty is to understand and interpret life. And when our novelists and our readers of novels appreciate the advisability of this attitude, then will the social and political life of the United States be more wholesome than it has been for many a year. The new movement in the novel is away from sentimental optimism and toward an optimism that is genuine and robust."
"Then a novel may be at once optimistic and233 realistic?" I said. "That is not in accord with the generally received ideas of realism."
"It is true of the work of the great realists," answered Miss Glasgow. "True realism is optimistic, without being sentimental."
"What realists have been optimistic?" I asked.
"Well," said Miss Glasgow, "Henry Fielding, one of the first and greatest of English realists, surely was an optimist. And there was Charles Dickens—often, it is true, he was sentimental, but at his best he was a robust optimist.
"But the greatest modern example of the robust optimistic realist, absolutely free from sentimentality, is George Meredith. Galsworthy, who surely is a realist, is optimistic in such works as The Freelands and The Patricians. And Meredith is always realistic and always optimistic.
"The optimism I mean, the optimism which is a distinguishing characteristic of George Meredith's works, does not come from an evasion of facts, but from a recognition of them. The constructive novelist, the novelist who really interprets life, never ignores any of the facts of life. Instead, he accepts them and builds upon them. And he perceives the power of the will to control destiny; he knows that life is not what you get234 out of it, but what you put into it. This is what the younger English novelists know and what our novelists must learn. And it is their growing recognition of this spirit that makes me feel that the tendency of modern literature is toward democracy."
"What is the connection between democracy and the tendency you have described?" I asked.
"To me," Miss Glasgow answered, "true democracy consists chiefly in the general recognition of the truth that will create destiny. Democracy does not consist in the belief that all men are born free and equal or in the desire that they shall be born free and equal. It consists in the knowledge that all people should possess an opportunity to use their will to control—to create—destiny, and that they should know that they have this opportunity. They must be educated to the use of the will, and they must be taught that character can create destiny.
"Of course, environment inevitably has its effect on the character, and, therefore, on will, and, therefore, on destiny. You can so oppress and depress the body that the will has no chance. True democracy provides for all equal opportunities for the exercise of will. If you hang a man,235 you can't ask him to exercise his will. But if you give him a chance to live—which is the democratic thing to do—then you put before him an opportunity to exercise his will."
"But what are the manifestations of this new democratic spirit?" I asked. "Is not the war, which is surely the greatest event of our time, an anti-democratic thing?"
"The war is not anti-democratic," Miss Glasgow replied, "any more than it is anti-autocratic. Or rather, I may say it is both anti-democratic and anti-autocratic. It is a conflict of principles, a deadly struggle between democracy and imperialism. It is a fight for the new spirit of democracy against the old evil order of things.
"Of course, I do not mean that the democracy of France and England is perfect. But with all its imperfections it is nearer true democracy than is the spirit of Germany. We should not expect the democracy of our country to be perfect. The time has not come for that. 'Man is not man as yet,' as Browning said in Paracelsus.
"The war is turning people away from the false standards in art and letters which they served so long. The highly artificial romantic novel and drama are impossible in Europe to-day.236 The war has made that sort of thing absolutely absurd. And America must be affected by this just as every other nation in the world is affected. To our novelists and to all of us must come a sense of the serious importance of actual life, instead of a sense of the beauty of romantic illusions. There are many indications of this tendency in our contemporary literature. For instance, in poetry we have the Spoon River Anthology—surely a sign of the return of the poet to real life. But the greatest poets, like the greatest novelists, have always been passionately interested in real life. Walt Whitman and Robert Browning always were realists and always were optimistic. Whitman was a most exultant optimist; he was optimistic even about dying.
"Among recent books of verse I have been much impressed by Masefield's Good Friday. There is a work which is both august and sympathetic; Mr. Masefield's treatment of his theme is realistic, yet thoroughly reverent. There is one line in it which I think I never shall forget. It is, 'The men who suffer most endure the least.'
"Good Friday is a sign of literature's strong tendency toward reality. It seems to me to be a phase of the general breaking down of the barriers237 between the nations, the classes, and the sexes. But this breaking down of barriers is something that most of our novelists have been ignoring. Mary Watts has recognized it, but she is one of the very few American novelists to do so."
"But this sort of consciousness is not generally considered to be a characteristic of the realistic novelist," I said. And I mentioned to Miss Glasgow a certain conspicuous American novelist whose books are very long, very dull, and distinguished only by their author's obsession with sex. He, I said, was the man of whom most people would think first when the word realist was spoken.
"Of course," said Miss Glasgow, "we must distinguish between a realist and a vulgarian, and I do not see how a writer who is absolutely without humor can justly be called a realist. Consider the great realists—Jane Austen, Henry Fielding, Anthony Trollope, George Meredith—they all had humor. What our novelists need chiefly are more humor and a more serious attitude toward life. If our novelists are titanic enough, they will have a serious attitude toward life, and if they stand far enough off they will have humor.
"I hope," Miss Glasgow added, "that America