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Эптон Синклер Против Литературного Рынка: Рецепция Трактатов «Медная Марка», «Искусство Маммоны» И «Деньги Пишут!» В Американской Прессе 1920-Х Годов

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Эптон Синклер Против Литературного Рынка: Рецепция Трактатов «Медная Марка», «Искусство Маммоны» И «Деньги Пишут!» В Американской Прессе 1920-Х Годов ВЕСТНИК ПЕРМСКОГО УНИВЕРСИТЕТА. РОССИЙСКАЯ И ЗАРУБЕЖНАЯ ФИЛОЛОГИЯ 2019. Том 11. Выпуск 2 УДК 821(7/8).09 doi 10.17072/2073-6681-2019-2-94-101 ЭПТОН СИНКЛЕР ПРОТИВ ЛИТЕРАТУРНОГО РЫНКА: РЕЦЕПЦИЯ ТРАКТАТОВ «МЕДНАЯ МАРКА», «ИСКУССТВО МАММОНЫ» И «ДЕНЬГИ ПИШУТ!» В АМЕРИКАНСКОЙ ПРЕССЕ 1920-х ГОДОВ Екатерина Витальевна Кешарпу аспирант кафедры истории зарубежной литературы Московский государственный университет им. М. В. Ломоносова 119991, Россия, г. Москва, Ленинские горы, 1. [email protected] SPIN-код: 9683-3837 ORCID: http://orcid.org/0000-0001-7873-0896 ResearcherID: A-3345-2019 Статья поступила в редакцию 10.01.2019 Просьба ссылаться на эту статью в русскоязычных источниках следующим образом: Кешарпу Е. В. Эптон Синклер против литературного рынка: рецепция трактатов «Медная марка», «Искусство Маммоны» и «Деньги пишут!» в американской прессе 1920-х годов // Вестник Пермского университета. Рос- сийская и зарубежная филология. 2019. Т. 11, вып. 2. С. 94–101. doi 10.17072/2073-6681-2019-2-94-101 Please cite this article in English as: Kesharpu E. V. Epton Sinkler protiv literaturnogo rynka: retseptsiya traktatov «Mednaya marka», «Iskusstvo Mam- mony» i «Den’gi pishut!» v amerikanskoy presse 1920-kh gg. [Upton Sinclair against the Literary Market: the Recep- tion of the Treatises ‘The Brass Check’, ‘Mammonart’ and ‘Money Writes!’ in the American Press, 1920s]. Vestnik Permskogo universiteta. Rossiyskaya i zarubezhnaya filologiya [Perm University Herald. Russian and Foreign Philolo- gy], 2019, vol. 11, issue 2, pp. 94–101. doi 10.17072/2073-6681-2019-2-94-101 (In Russ.) Исследование посвящено анализу критических откликов на три трактата Эптона Синклера – «Медная марка» (The Brass Check, 1920), «Искусство Маммоны» (Mammonart, 1925) и «Деньги пи- шут!» (Money Writes!, 1927)) в американской прессе 1920-х гг. Трактаты были задуманы автором как планомерная атака на литературный рынок Америки (журналисты, издатели, редакторы, критики, исторические деятели культуры, современные писатели), поэтому особенно интересна их рецепция в периодике, которая представляет собой реакцию литературного мира на выдвинутые Синклером об- винения в коррумпированности, предвзятости и угодничестве «маммоне». В статье поднимается про- блема непростых взаимоотношений писателя и литературного рынка, в особенности в том случае, если писатель плывет против течения, ставит перед собой амбициозную задачу очистить рынок от грязной коммерции, утвердить ценность порядочности, товарищества, служения высшим идеалам. Исследование выполнялось с опорой на социоанализ П. Бурдье: Синклер и его оппоненты (журнали- сты, критики, редакторы, издатели) предстают как агенты поля литературы, занимающие определен- ную позицию, связанные друг с другом структурными отношениями и конкурирующие не только за финансовый, но и за символический капитал, за авторитет и право устанавливать свои стандарты. Показаны различные способы и тактики ведения «информационной войны»: капиталистическая пресса объявила Синклеру бойкот, отказываясь печатать его статьи, уничтожала его репутацию при- цельной критикой; Синклер издавал свои книги и памфлеты самостоятельно, заручался поддержкой единомышленников-социалистов, в том числе за рубежом. Несмотря на то что затеянная Синклером война с коррупцией в журналистике и литературе была, по сути, проиграна, данные трактаты вызвали в обществе бурную дискуссию. Ключевые слова: история литературы США; Эптон Синклер; «Медная марка»; «Искусство Маммоны»; «Деньги пишут!»; рецензии; американская периодика 1920-х гг.; поле литературы; аген- ты поля литературы; символический капитал. © Кешарпу Е. В., 2019 94 Kesharpu E. V. Upton Sinclair against the Literary Market… Эптон Синклер был одним из немногих аме- Эти трактаты объявляли войну всему литера- риканских писателей, которые в начале XX в. турно-журналистскому миру, и, поскольку «ни у открыто выступали против коммерциализации кого из издателей не хватит на это духу» [Sinclair литературы, а не встраивались в систему взаимо- 1921: 3], Синклер издавал их самостоятельно. выгодных отношений с издателями и редактора- Книга «Медная марка» была наиболее успешной ми. Поставив себя вне литературного рынка, он в коммерческом плане и вызвала наибольший все равно был вынужден сталкиваться с рыноч- резонанс. На более чем четырехстах страницах ными реалиями. В данном исследовании мы по- Синклер пишет о многочисленных случаях под- ставили задачу проанализировать отношения тасовки, сокрытия и преувеличения фактов в Синклера и литературного рынка США начала американских капиталистических газетах, обви- XX в. с опорой на идеи П. Бурдье. При таком няя их в том, что они имеют списки влиятельных подходе к материалу писатель, издатели, редак- людей, против которых они никогда не станут торы, новостные агентства, критики, другие пи- публиковать компрометирующие материалы, что сатели рассматриваются как агенты литератур- они игнорируют стачки, забастовки и другие со- ного поля. Их рыночные стратегии определяются бытия, имеющие значение для социалистическо- исходной позицией, начальным капиталом (фи- го движения. Он называет в числе обвиняемых нансовым и символическим, т. е. авторитетом таких гигантов, как нью-йоркские газеты среди других агентов поля) и структурными свя- «Times», «Herald», «Tribune», а также новостное зями с другими агентами литературного поля и агентство «Associated Press», обвинения против поля власти (политическими партиями, финансо- которого были особенно серьезными [Sinclair выми магнатами и т. п.). Конфронтация Синкле- 1920: 165–175]. Синклер стремился расширить ра с американским литературным рынком была влияние своих идей на значительном простран- важным этапом в его писательской карьере, хотя стве «поля литературы» и развернул масштабную в прессе она освещалась только со стороны оп- кампанию по распространению книги: в 1920 г. он понентов писателя либо замалчивалась. Мы по- издал ее восемь раз и продал 144 000 экземпля- старались восстановить последовательность стра- ров2. Будучи заинтересован в том, чтобы обна- тегических ходов Синклера и его противников, руженные им факты коррумпированности прес- проанализировать ход этой кампании, которая сы стали известны как можно большему числу повлияла на репутацию писателя и спровоцирова- людей, он требовал соблюдения в отношении ла общественные дебаты вокруг проблемы ком- «Медной марки» норм авторского права, но мерциализации журналистики и литературы. оставлял возможность каждому желающему ее В 1920–1927 гг. Эптон Синклер создал цикл печатать и распространять [Harris 1975: 177– трактатов «Мертвая рука» (Dead Hand), который 178]. Этим воспользовалась кливлендская ком- он, следуя традиции «разгребателей грязи», за- мунистическая газета «Toiler», где публикова- думал как планомерную атаку на различные со- лась реклама «Медной марки»: «История о том, циальные институции американского общества. как капиталистический класс управляет амери- В течение десяти лет он собирал материал, ча- канскими газетами» – с назначенной ценой за стично из личного опыта, частично по отзывам книгу 60 центов3. свидетелей, о фактах коррупции в церкви, шко- Синклер предполагал, что «Медная марка» лах и институтах, в прессе и журналах, в истории будет проигнорирована прессой, однако, желая литературы и современном литературном мире возразить против этого утверждения автора, га- Америки. В результате своих расследований зеты вначале публиковали о книге сдержанные Синклер опубликовал пять трактатов, три из ко- отзывы. Первой откликнувшейся газетой была торых были посвящены литературному и журна- «New York Tribune»: ее книжный обозреватель листскому ремеслу: в первом из них, «Медная Хейвуд Браун (Heywood Brown) весной–летом марка»1 (The Brass Check, 1920), он пишет о про- 1920 г. регулярно уделял по две-три колонки дажности представителей американской прессы текста «Медной марке»4: здесь были и контрар- – редакторов, издателей и владельцев газет и гументы в ответ на обвинения Синклера, и мяг- журналов; во втором, «Искусство Маммоны» кая критика книги, и даже реклама «Медной (Mammonart, 1925), анализирует мировую лите- марки»5 (оплаченная Синклером). Браун писал: ратуру, доказывая тезис о том, что писатели все- «Наша газета гораздо более честная, чем о ней гда зависят от власти и служат поддержанию ее думает мистер Синклер. У него нет права жало- авторитета; третий трактат, «Деньги пишут!» ваться на точку зрения ее редактора <…> За всю (Money Writes!, 1927а), выявляет финансовую долгую историю моей работы в газете, мне ни ра- мотивацию в деятельности коллег и современни- зу не сказали “Не пиши этого”, “Не поддерживай ков Синклера – американских писателей и лите- эту точку зрения”» [Some of Our Past… 1920: 5]. ратурных критиков. Книжный обозреватель «Tribune» решился даже 95 Кешарпу Е. В. Эптон Синклер против литературного рынка… на такие слова: «Хотя “Медная марка” не являет- письма и отправлял телеграммы редакторам и ся самой благоразумной книгой на свете, она профессору Ли, но не получил ни одного ответа. представляет собой интересный, хоть и предвзя- Тогда он самостоятельно издал брошюру «Пре- тый обзор американских газет. Мы рекомендуем ступления “Times”: проверка газеты на порядоч- ее к прочтению» [Some of Our Past… 1920: 5]. ность» [The Crimes of the “Times”: A Test of Однако через короткое время газеты осознали Newspaper Decency 1921], в которой опубликовал опасность книги Синклера и с ноября 1920 г. выступление Ли, свое письмо в «Times», которое начали на своих страницах ожесточенную трав- не было напечатано, и дальнейшую переписку с лю как «Медной марки», так и ее автора, воз- газетой
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