The Novel

An unmistakable flavor of effeminacy hangs about the novel, however heroic its content. Even in the gaudy tales of a Rex Beach, with their bold projections of the Freudian dreams of go-getters, ice-wagon drivers, Ku Kluxers, Rotary Club presidents and other such carnivora, there is a subtle something that suggests water-color painting, lip-sticks and bon-bons. Well, why not? When the novel, in the form that we know to-day, arose in Spain toward the end of the sixteenth century, it was aimed very frankly at the emerging women of the Castilian seraglios—women who were gradually emancipating themselves from the Küche-Kinder-Kirche darkness of the later Middle Ages, but had not yet come to anything even remotely approaching the worldly experience and intellectual curiosity of men. They could now read and they liked to practice the art, but the grand literature of the time was too profound for them, and too somber. So literary confectioners undertook stuff that would be more to their taste, and the modern novel was born. A single plot served most of these confectioners; it became and remains one of the conventions of the form. Man and maid meet, love, and proceed to kiss—but the rest must wait. The buss remains chaste through long and harrowing chapters; not until the very last scene do fate and Holy Church license anything more. This plot, as I say, still serves, and Arnold Bennett is authority for the doctrine that it is the safest known. Its appeal is patently to the feminine fancy, not to the masculine. Women like to be wooed endlessly before they loose their girdles and are wooed no more. But a man, when he finds a damsel to his taste, is eager to get through the preliminary hocus-pocus as soon as possible.

That women are still the chief readers of novels is known to every book clerk: Joseph Hergesheimer, a little while back, was bemoaning the fact as a curse to his craft. What is less often noted is that women themselves, as they have gradually become fully literate, have forced their way to the front as makers of the stuff they feed on, and that they show signs of ousting the men, soon or late, from the business. Save in the department of lyrical verse, which demands no organization of ideas but only fluency of feeling, they have nowhere else done serious work in literature. There is no epic poem of any solid value by a woman, dead or alive; and no drama, whether comedy or tragedy; and no work of metaphysical speculation; and no history; and no basic document in any other realm of thought. In criticism, whether of works of art or of the ideas underlying them, few women have ever got beyond the Schwärmerei of Madame de Staël’s “L’Allemagne.” In the essay, the most competent woman barely surpasses the average Fleet Street causerie hack or Harvard professor. But in the novel the ladies have stood on a level with even the most accomplished men since the day of Jane Austen, and not only in Anglo-Saxondom, but also everywhere else—save perhaps in Russia. To-day it would be difficult to think of a contemporary German novelist of sounder dignity than Clara Viebig, Helene Böhlau or Ricarda Huch, or a Scandinavian novelist clearly above Selma Lagerlöf, or an Italian above Mathilda Serao, or, for that matter, more than two or three living Englishmen above May Sinclair, or more than two Americans equal to Willa Cather. Not only are women writing novels quite as good as those written by men—setting aside, of course, a few miraculous pieces by such fellows as Joseph Conrad: most of them not really novels at all, but metaphysical sonatas disguised as romances—; they are actually surpassing men in their experimental development of the novel form. I do not believe that either Evelyn Scott’s “The Narrow House” or May Sinclair’s “Life and Death of Harriet Frean” has the depth and beam of, say, Dreiser’s “Jennie Gerhardt” or Arnold Bennett’s “Old Wives’ Tale,” but it is certainly to be argued plausibly that both books show a far greater venturesomeness and a far finer virtuosity in the novel form—that both seek to free that form from artificialities which Dreiser and Bennett seem to be almost unaware of. When men exhibit any discontent with those artificialities it usually takes the shape of a vain and uncouth revolt against the whole inner spirit of the novel—that is, against the characteristics which make it what it is. Their lusher imagination tempts them to try to convert it into something that it isn’t—for example, an epic, a political document, or a philosophical work. This fact explains, in one direction, such dialectical parables as Dreiser’s “The ‘Genius,’” H. G. Wells’ “Joan and Peter” and Upton Sinclair’s “King Coal,” and, in a quite different direction, such rhapsodies as Cabell’s “Jurgen,” Meredith’s “The Shaving of Shagpat” and Jacob Wassermann’s “The World’s Illusion.” These things are novels only in the very limited sense that Beethoven’s “Vittoria” and Goldmarck’s “Ländliche Hochzeit” are symphonies. Their chief purpose is not that of prose fiction; it is either that of argumentation or that of poetry. The women novelists, with very few exceptions, are far more careful to remain within the legitimate bounds of the form; they do not often abandon representation to exhort or exult. Miss Cather’s “My Antonia” shows a great deal of originality in its method; the story it tells is certainly not a conventional one, nor is it told in a conventional way. But it remains a novel none the less, and as clearly so, in fact, as “The Ordeal of Richard Feverel” or “Robinson Crusoe.”

Much exertion of the laryngeal and respiratory muscles is wasted upon a discussion of the differences between realistic novels and romantic novels. As a matter of fact, every authentic novel is realistic in its method, however fantastic it may be in its fable. The primary aim of the novel, at all times and everywhere, is the representation of human beings at their follies and villainies, and no other art form clings to that aim so faithfully. It sets forth, not what might be true, or what ought to be true, but what actually is true. This is obviously not the case with poetry. Poetry is the product of an effort to invent a world appreciably better than the one we live in; its essence is not the representation of the facts, but the deliberate concealment and denial of the facts. As for the drama, it vacillates, and if it touches the novel on one side it also touches the epic on the other. But the novel is concerned solely with human nature as it is practically revealed and with human experience as men actually know it. If it departs from that representational fidelity ever so slightly, it becomes to that extent a bad novel; if it departs violently it ceases to be a novel at all. Cabell, who shows all the critical deficiencies of a sound artist, is one who has spent a good deal of time questioning the uses of realism. Yet it is a plain fact that his own stature as an artist depends almost wholly upon his capacity for accurate observation and realistic representation. The stories in “The Line of Love,” though they may appear superficially to be excessively romantic, really owe all of their charm to their pungent realism. The pleasure they give is the pleasure of recognition; one somehow delights in seeing a mediæval baron acting precisely like a New York stockbroker. As for “Jurgen,” it is as realistic in manner as Zola’s “La Terre,” despite its grotesque fable and its burden of political, theological and epistemological ideas. No one not an idiot would mistake the dialogue between Jurgen and Queen Guinevere’s father for romantic, in the sense that Kipling’s “Mandalay” is romantic; it is actually as mordantly realistic as the dialogue between Nora and Helmer in the last act of “A Doll’s House.”

It is my contention that women succeed in the novel—and that they will succeed even more strikingly as they gradually throw off the inhibitions that have hitherto cobwebbed their minds—simply because they are better fitted for this realistic representation than men—because they see the facts of life more sharply, and are less distracted by moony dreams. Women seldom have the pathological faculty vaguely called imagination. One doesn’t often hear of them groaning over colossal bones in their sleep, as dogs do, or constructing heavenly hierarchies or political Utopias, as men do. Their concern is always with things of more objective substance—roofs, meals, rent, clothes, the birth and upbringing of children. They are, I believe, generally happier than men, if only because the demands they make of life are more moderate and less romantic. The chief pain that a man normally suffers in his progress through this vale is that of disillusionment; the chief pain that a woman suffers is that of parturition. There is enormous significance in the difference. The first is artificial and self-inflicted; the second is natural and unescapable. The psychological history of the differentiation I need not go into here: its springs lie obviously in the greater physical strength of man and his freedom from child-bearing, and in the larger mobility and capacity for adventure that go therewith. A man dreams of Utopias simply because he feels himself free to construct them; a woman must keep house. In late years, to be sure, she has toyed with the idea of escaping that necessity, but I shall not bore you with arguments showing that she never will. So long as children are brought into the world and made ready for the trenches, the sweat-shops and the gallows by the laborious method ordained of God she will never be quite as free to roam and dream as man is. It is only a small minority of her sex who cherish a contrary expectation, and this minority, though anatomically female, is spiritually male. Show me a woman who has visions comparable, say, to those of Swedenborg, Woodrow Wilson, Strindberg or Dr. Ghandi, and I’ll show you a woman who is a very powerful anaphrodisiac.

Thus women, by their enforced preoccupation with the harsh facts of life, are extremely well fitted to write novels, which must deal with the facts or nothing. What they need for the practical business, in addition, falls under two heads. First, they need enough sense of social security to make them free to set down what they see. Secondly, they need the modest technical skill, the formal mastery of words and ideas, necessary to do it. The latter, I believe, they have had ever since they learned to read and write, say three hundred years ago; it comes to them more readily than to men, and is exercised with greater ease. The former they are fast acquiring. In the days of Aphra Behn and Ann Radcliffe it was almost as scandalous for a woman to put her observations and notions into print as it was for her to show her legs; even in the days of Jane Austen and Charlotte Brontë the thing was regarded as decidedly unladylike. But now, within certain limits, she is free to print whatever she pleases, and before long even those surviving limits will be obliterated. If I live to the year 1950 I expect to see a novel by a women that will describe a typical marriage under Christianity, from the woman’s standpoint, as realistically as it is treated from the man’s standpoint in Upton Sinclair’s “Love’s Pilgrimage.” That novel, I venture to predict, will be a cuckoo. At one stroke it will demolish superstitions that have prevailed in the Western World since the fall of the Roman Empire. It will seem harsh, but it will be true. And, being true, it will be a good novel. There can be no good one that is not true.

What ailed the women novelists, until very recently, was a lingering ladyism—a childish prudery inherited from their mothers. I believe that it is being rapidly thrown off; indeed, one often sees a concrete woman novelist shedding it. I give you two obvious examples: Zona Gale and Willa Cather. Miss Gale started out by trying to put into novels the conventional prettiness that is esteemed along the Main Streets of her native Wisconsin. She had skill and did it well, and so she won a good deal of popular success. But her work was intrinsically as worthless as a treatise on international politics by the Hon. Warren Gamaliel Harding or a tract on the duties of a soldier and a gentleman by a state president of the American Legion. Then, of a sudden, for some reason quite unknown to the deponent, she threw off all that flabby artificiality, and began describing the people about her as they really were. The result was a second success even more pronounced than her first, and on a palpably higher level. The career of Miss Cather has covered less ground, for she began far above Main Street. What she tried to do at the start was to imitate the superficial sophistication of Edith Wharton and Henry James—a deceptive thing, apparently realistic in essence, but actually as conventional as table manners or the professional buffooneries of a fashionable rector. Miss Cather had extraordinary skill as a writer, and so her imitation was scarcely to be distinguished from the original, but in the course of time she began to be aware of its hollowness. Then she turned to first-hand representation—to pictures of the people she actually knew. There ensued a series of novels that rose step by step to the very distinguished quality of “My Antonia.” That fine piece is a great deal more than simply a good novel. It is a document in the history of American literature. It proves, once and for all time, that accurate representation is not, as the campus critics of Dreiser seem to think, inimical to beauty. It proves, on the contrary, that the most careful and penetrating representation is itself the source of a rare and wonderful beauty. No romantic novel ever written in America, by man or woman, is one-half so beautiful as “My Antonia.”

As I have said, the novel, in the United States as elsewhere, still radiates an aroma of effeminacy, in the conventional sense. Specifically, it deals too monotonously with the varieties of human transactions which chiefly interest the unintelligent women who are its chief patrons and the scarcely less intelligent women who, until recently, were among its chief commercial manufacturers, to wit, the transactions that revolve around the ensnarement of men by women—the puerile tricks and conflicts of what is absurdly called romantic love. But I believe that the women novelists, as they emerge into the fullness of skill, will throw overboard all that old baggage, and leave its toting to such male artisans as Chambers, Beach, Coningsby Dawson and Emerson Hough, as they have already left the whole flag-waving and “red-blooded” buncombe. True enough, the snaring of men will remain the principal business of women in this world for many generations, but it would be absurd to say that intelligent women, even to-day, view it romantically—that is, as it is viewed by bad novelists. They see it realistically, and they see it, not as an end in itself, but as a means to other ends. It is, speaking generally, after she has got her man that a woman begins to live. The novel of the future, I believe, will show her thus living. It will depict the intricate complex of forces that conditions her life and generates her ideas, and it will show, against a background of actuality, her conduct in the eternal struggle between her aspiration and her destiny. Women, as I have argued, are not normally harassed by the grandiose and otiose visions that inflame the gizzards of men, but they too discover inevitably that life is a conflict, and that it is the harsh fate of Homo sapiens to get the worst of it. I should like to read a “Main Street” by an articulate Carol Kennicott, or a “Titan” by one of Cowperwood’s mistresses, or a “Cytherea” by a Fanny Randon—or a Savina Grove! It would be sweet stuff, indeed.... And it will come.