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The American Literary Market Place and the Modernist Novel

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The American Literary Market Place and the Modernist Novel SELLING OUT: THE AMERICAN LITERARY MARKET PLACE AND THE MODERNIST NOVEL BY LISA MARIE SCHIFANO DUNICK DISSERTATION Submitted in pArtiAl fulfillment of the requirements for the degree of Doctor of Philosophy in English in the Graduate College of the University of Illinois at Urbana-ChAmpAign, 2010 Urbana, Illinois DoctorAl Committee: AssociAte Professor StephAnie Foote, ChAir Professor Robert Dale Parker AssociAte Professor MichAel Rothberg AssistAnt Professor John E. MArsh, The PennsylvAniA StAte University i ABSTRACT “Selling Out: The AmericAn LiterAry MArketplAce And the Modernist Novel” re- exAmines the “modernist Author” we think we know by rereading how four AmericAn Authors, F. Scott FitzgerAld, Ernest HemingwAy, KAy Boyle, And WilliAm FAulkner deliberAtely tried to creAte A literAry reputAtion through both their success in commerciAl publishing and their resistance to it. I do not so much refute the difference between elite And mass culture, but insteAd show how even in their fictionAlity, those very cAtegories inform the very structure of how we understAnd the cAtegories of the Author, the book, And of modernism itself. ii For MAx And Harry- Sometimes All you get is the journey, And you two were the best part of mine. iii ACKNOWLEDGEMENTS Writing may be A solitAry Activity, but this project did not hAppen without support. This project could not hAve been completed without the help of numerous librAries And librAriAns. I Am grAteful to the SpeciAl Collections Resource Center At Southern Illinois University, CArbondAle for Allowing me Access to the KAy Bole And CAresse Crosby collections. Librarian David Koch was particularly kind and helpful in sharing his stories And Answering my questions About these two literary women and their works. After his retirement, MelissA HubbArd made my work in the collections a pleasure. Sandra Spanier, of Penn StAte, helped direct me to the KAy Boyle pApers, And other members of the KAy Boyle Society, including Thomas Austenfeld And MArilyn Elkins, were instrumentAl in pointing me to other sources for this project. Kay’s son, Ian Von Frackenstein, was generous enough to Allow me to quote from his mother’s unpublished pApers. I Am indebted to the stAff at the JFK Library for facilitAting my Access to HemingwAy’s pApers And manuscripts. Judith BAughman and Jeffery Makala at the University of South Carolina librAry helped me to Access MAtthew Bruccoli’s FitzgerAld collection remotely. The stAff of the University of Virginia Library helped me to locAte correspondence between FAulkner and his publishers. I Am Also grAteful to my committee for their AssistAnce. Michael Rothberg, John MArsh, And NAomi Reed All reAd portions of this project At vArious times And Added their expertise. Robert DAle PArker helped me formulAte many of the ideAs found in the Faulkner coda And HemingwAy chApter. His keen eye And extensive notes helped me polish my writing. I Am especiAlly grAteful for the guidAnce And support of StephAnie Foote. She always seemed to know where this project wAs going fAr before I did, but her guidAnce wAs iv never prescriptive. I’m grAteful thAt she took A chAnce on A 20th century dissertAtion and Allowed me the freedom to make this project my own. Her guidAnce wAs Astute And made the final product here infinitely better. Any shArds of brilliAnce contAined within Are directly the result of these scholArs’ influence; Any mistAkes Are, of course, my own. FinAlly, I Am grAteful to those who hAd to live with me while this project wAs being completed. Aerin Hyun helped keep me sAne when I dreAmed of throwing in the towel and going bAck to retAil. MAry Rose CottinghAm’s excitement for completed chApters And publications was infectious. Max and then HArry kept me grounded. By being perfection themselves, they let me know thAt there wAs more to life thAn obsessing over the perfection of this project. BecAuse they were my bAbies, this wAs AlwAys my work, And their presence in my life made the work here better. And lAst, but never leAst, Jason— my biggest cheerleAder, who hAs been with me since dAy one of this project—the economist who now knows more About FitzgerAld And HemingwAy thAn Anyone should. I Am grAteful that he put up with trips to the deer-infested wilds of Southern Illinois And for holding down the fort while I flew off to Boston. None of this would hAve meAnt Anything without him. v TABLE OF CONTENTS “Of the Making of Books There Is No End”: Modernism, the Novel, and the Black Sun Press ......................................................................................................................................................... 1 “Literature, or whatever you call it”: Ernest Hemingway, the Novel, and the Profession of Authorship.................................................................................................................38 “‘Culture follows money’: F. Scott Fitzgerald, The Great Gatsby, and the Making of a Literary Reputation” .........................................................................................................................96 “I am not a business woman”: Kay Boyle and the Promises of Publishing .................. 154 Coda: From Flags in the Dust to Sartoris and Back: William Faulkner and the Business of Literature...................................................................................................................................... 207 Appendix A: Illustrations.............................................................................................................. 219 Works Cited....................................................................................................................................... 226 vi “Of the Making of Books There Is No End”: Modernism, the Novel, and the Black Sun Press I have always thought thAt there could be nothing so importAnt As A book cAn be. –Maxwell Perkins 1 In 1963, the AmericAn editor of one of the many small presses thAt flourished in 1920s expAtriAte PAris prepAred A manuscript entitled “Letters to the Editor” thAt compiled her correspondence with writers who hAd by then become widely known As importAnt modernist Authors. By the time CAresse Crosby, the co-founder And editor of the BlAck Sun Press, begAn circulAting this manuscript to vArious publishers, her imprint, the BlAck Sun Press, had already published texts by a variety of well known and well regarded authors, including A portion of JAmes Joyce’s Work in Progress (later pubished as Finnegan’s Wake), a first printing of Hart Crane’s The Bridge, an edition of unexpurgated stories by D.H. LAwrence, And poetry by ArchibAld MAcLeish, to nAme but A few. Her press hAd persisted for more thAn thirty yeArs, fAr outlAsting other small presses of 1920s PAris, And during its lifetime hAd rAnged from producing finely crAfted editions of importAnt modern writers to A line of pAperbAcks meAnt to compete AgAinst the populAr EuropeAn-based Tauchnitz line. Since her husband and partner’s death in 1929, Crosby single-handedly kept the BlAck Sun Press going, and she believed that the personal letters in the proposed book would illuminAte An Aspect of her role And the role of her press in the circulAtion And cAnonizAtion of modernist literAture. In a prospectus for the book, Crosby proposed a collection of letters would include 30 letters from D.H. LAwrence, five from JAmes Joyce, fifteen from HArt CrAne, twenty-eight from EzrA Pound, And twelve from Ernest HemingwAy. Her close friend, And the co-editor 1 of her literary review, Henry Miller, had agreed to do an introduction.2 The book was to be A glimpse into the publishing world thAt initiAted the publicAtion of modernist writers. The letters rAnged from personAl notes thAt Crosby believed would show reAders A new fAcet of these writers’ identities to business correspondence that revealed the logic authors used to negotiAte contrActs And the cost of creAting Art. However, the importAnce of the Authors included in this collection wAs not enough to interest any publishers. The typescript wAs rejected by Heinemann first, And when Crosby sent it to JAmes Michie of the Bodley HeAd, A supporter of Crosby’s 1953 Autobiography The Passionate Years, he also rejected the manuscript. Michie specificAlly told Crosby thAt the manuscript wAs not essentiAl to the public’s understAnding of modernism or its Authors. He wrote, “Too many of the letters Are About relAtively unimportAnt matters or About thAt importAnt but boring subject— money.”3 “Selling Out: The AmericAn LiterAry MArket PlAce And the Modernist Novel” insists thAt the importAnt subject of money is Anything but boring. RAther, this study insists thAt for writers of the 1920s And 1930s who would lAter become identified As “modernist,” literary reputation depended upon a negotiation of the different valences of “selling out.” On one hAnd, writers who wAnted to make their living by their pen needed to sell enough books to keep their nAmes, texts, And reputAtions before A purchAsing public. On the other hand, they needed to bAlAnce the necessity of vigorous book sales with the danger of appearing to sell out—to cultivAte A commerciAl cAreer. By the time An AmericAn modernist cAnon wAs estAblished in the University clAssrooms of the second hAlf of the twentieth century, the nArrAtive of A disinterested modernist Artist had was established. The out-of-hAnd rejection of Crosby’s manuscript cAme from the importAnce plAced upon 2 this version of modernist reputAtion—one thAt did not see issues of contrActs, pAyment, And other economic
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