Pure English: Wharton and the Elect

This chapter reads Edith Wharton's writing about race and nation alongside similarly 'ambassadorial' texts by her friend Barrett Wendell. Considering Wharton's French Ways and Their Meaning, 'Amérique en Guerre' and also Backward Glance in light of the antagonism between Wendell and Charles William Eliot, the chapter observes how each thinks about inequality, education, race, and change over time. Liberal, segregationist and eugenicist, Eliot argues for an aristocracy of merit in which the winners will be white; he stands for a liberal, democratic 'Puritan' heritage. Wendell and Wharton affiliate themselves instead with a Dutch, Cavalier tradition that claims whiteness without claiming democracy, and favours warm pleasure over icy rectitude. Sharing nostalgia for an 'Old New England' of Anglo-Saxon purity, they see racial decline where Eliot hails racial development. Less sanguine than Eliot about the possibilities of education, Wharton argues for continuity rather than rapid progress, criticizing 'Puritan' tendencies towards idealism and disruption. To Wendell's students Van Wyck Brooks and Vernon Louis Parrington, Wharton and Wendell alike offer rich source material: a story of decline and extinction, a resistance to 'Puritanism', and a realist critique of idealism. Brooks and Parrington adapt these elements as they develop the narrative about the 'genteel'.

The Reign of the Genteel

This conclusion examines some episodes in the formation of the narrative about 'the genteel tradition'. Having shown that Henry Adams, Henry James, Edith Wharton and their friend Barrett Wendell all contribute to a realist critique of a liberal idealism, American Snobs notes here that when George Santayana makes his own influential commentary on the 'genteel', he is responding to the same liberal Harvard milieu that provokes that realist critique. Wendell's Harvard students Van Wyck Brooks and Vernon Louis Parrington adapt this critique as they develop the narrative about the genteel for their own ends. Brooks, the conclusion shows, contributes to the distortions of that narrative by conflating Charles Eliot Norton's perspective with that of the much more reactionary Wendell. The book closes by considering the unsexy femininity that frequently figures the genteel, linking it to Reconstruction-era evocations of the schoolmarm and later references to sterile Anglo-Saxon womanhood that hastens racial decline. In later iterations of the narrative about the genteel, negative representations of this unsexy white femininity tend to serve progressive ends; in earlier iterations like those surveyed in American Snobs, however, such representations tend to serve a conservatism that is sceptical about democracy and understands itself as realist.

Songs of Our Fathers

This chapter focuses on Henry Cowell's advocacy of Charles E. Ives and his music between the years 1927 and 1947. Cowell's ideas about Ives can be grouped into two periods: those produced prior to the sentence he served at San Quentin State Prison for a 1936 conviction on a morals charge, and those produced after his release in 1940. This chapter first considers Cowell's portrait of Ives as a New England musical ethnographer before discussing the views of anthropologists, folklorists, and musical modernists about folk music. It then examines how Cowell became interested in folk music, along with his influence on Ives. It also looks at the notion of a usable past, advanced by Van Wyck Brooks in his essay “On Creating a Usable Past,” in which he called for a rewriting of the history of American literature. The chapter concludes with an assessment of Ives's “Concord” Sonata and Ives's commitment to freedom (in the sense of refusing to impose a fixed final form on his works).

Richard Wright and the Americanism of Lawd Today!

This essay examines Lawd Today!, Richard Wright's posthumously published novel, written in the 1930s but only made available to readers in 1963. Concentrating on the epigraphs that punctuate the novel, the essay demonstrates the significance of the social criticism of the 1910s and 1920s to Wright's formation as literary artist. In particular, Wright was drawn to the writings of the Young American critics, including Van Wyck Brooks and Waldo Frank, whose criticisms of national ideologies furthered a commitment to “Americanism” as a horizon of social and cultural renewal. Wright's intellectual immersion in early twentieth-century US social criticism gave Lawd Today! a Young American critical imprint. Drawing upon the work of Ernesto Laclau on “populism,” the essay reads Wright's novel as invested in an “Americanism” that seeks to describe common features of early twentieth-century black migrant experience in the urban North in terms of larger national and modern dynamics.