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The Great Gatsby and Its 1925 Contemporaries Marjorie Ann Hollomon Faust

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The Great Gatsby and Its 1925 Contemporaries Marjorie Ann Hollomon Faust View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ScholarWorks @ Georgia State University Georgia State University ScholarWorks @ Georgia State University English Dissertations Department of English 4-16-2008 The Great Gatsby and its 1925 Contemporaries Marjorie Ann Hollomon Faust Follow this and additional works at: https://scholarworks.gsu.edu/english_diss Part of the English Language and Literature Commons Recommended Citation Faust, Marjorie Ann Hollomon, "The Great Gatsby and its 1925 Contemporaries." Dissertation, Georgia State University, 2008. https://scholarworks.gsu.edu/english_diss/26 This Dissertation is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. THE GREAT GATSBY AND ITS 1925 CONTEMPORARIES By MARJORIE ANN HOLLOMON FAUST Under the Direction of Dr. Thomas L. McHaney ABSTRACT This study focuses on twenty-one particular texts published in 1925 as contemporaries of The Great Gatsby. The manuscript is divided into four categories—The Impressionists, The Experimentalists, The Realists, and The Independents. Among The Impressionists are F. Scott Fitzgerald himself, Willa Cather (The Professor’s House), Sherwood Anderson (Dark Laughter), William Carlos Williams (In the American Grain), Elinor Wylie (The Venetian Glass Nephew), John Dos Passos (Manhattan Transfer), and William Faulkner (New Orleans Sketches). The Experimentalists are Gertrude Stein (The Making of Americans), E. E. Cummings (& aka ―Poems 48-96‖), Ezra Pound (A Draft of XVI Cantos), T. S. Eliot (―The Hollow Men‖), Laura Riding (―Summary for Alastor‖), and John Erskine (The Private Life of Helen of Troy). The Realists are Theodore Dreiser (An American Tragedy), Edith Wharton (The Mother’s Recompense), Upton Sinclair (Mammonart), Ellen Glasgow (Barren Ground), Sinclair Lewis (Arrowsmith), James Boyd (Drums), and Ernest Hemingway (In Our Time). The Independents are Archibald MacLeish (The Pot of Earth) and Robert Penn Warren (―To a Face in a Crowd‖). Although these twenty-two texts may in some cases represent literary fragmentations, each in its own way also represents a coherent response to the spirit of the times that is in one way or another cognate to The Great Gatsby. The fact that all these works appeared the same year is special because the authors, if not already famous, would become famous, and their works were or would come to represent classic American literature around the world. The twenty-two authors either knew each other personally or knew each other‘s works. Naturally, they were also influenced by writings of international authors and philosophers. The greatest common elements among the poets and fiction writers are their uninhibited interest in sex, an absorbing cynicism about life, and the frequent portrayal of disintegration of the family, a trope for what had happened to the countries and to the ―family of nations‖ that experienced the Great War. In 1925, it would seem, Fitzgerald and many of his writing peers—some even considered his betters—channeled a major spirit of the times, and Fitzgerald did it more successfully than almost anyone. INDEX WORDS: Sherwood Anderson, James Boyd, Willa Cather, E. E. Cummings, John Dos Passos, Theodore Dreiser, T. S. Eliot, John Erskine, William Faulkner, F. Scott Fitzgerald, Ellen Glasgow, Ernest Hemingway, Sinclair Lewis, Archibald MacLeish, Ezra Pound, Laura Riding, Upton Sinclair, Gertrude Stein, Robert Penn Warren, Edith Wharton, William Carlos Williams, Elinor Wylie THE GREAT GATSBY AND ITS 1925 CONTEMPORARIES By MARJORIE ANN HOLLOMON FAUST A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Ph.D. In the College of Arts and Sciences Georgia State University 2008 Copyright by Marjorie Ann Hollomon Faust 2008 THE GREAT GATSBY AND ITS 1925 CONTEMPORARIES By MARJORIE ANN HOLLOMON FAUST Committee Chair: Thomas McHaney Committee: Pearl McHaney Matthew Roudané Electronic Version Approved: Office of Graduate Studies College of Arts and Sciences Georgia State University May 2008 iv DEDICATION This dissertation is dedicated to my dear mother who became tired of waiting on me to complete it and went on to heaven in 2005 to join Daddy, who preceded her in 1982. They both say, ―It‘s about time you finished school.‖ Daddy did not even make it to high school. And Mother always said she did well just to graduate from high school. Although she did not really understand what I was doing in attending school so long or why, Mother loved me and always said, ―Whatever makes you happy, Margeann.‖ Occasionally she would ask, ―Now tell me again why you‘re still going to school?‖ She was at my graduation from Georgia State University when I received my B.A. degree in 1990, and she was at my graduation when I received my M.A. degree from East Tennessee State University in 1995. She will be there in spirit when I receive my Ph.D. degree in 2008. v ACKNOWLEDGEMENTS First, I must express my gratitude to Reverend Nancy Noblin, who lent me her garage apartment rent-free, giving me the financial opportunity to earn my Ph.D. degree. Second, I owe the completion of this dissertation to my director Dr. Thomas McHaney. Through his patient recommendations and editing, the manuscript took shape and gradually developed into a finished product. In addition, I extend my appreciation to Dr. Matthew Roudané and to Dr. Pearl McHaney, members of my committee, who also lent their valuable editorial skills to this presentation. Next, I would like to thank all the librarians, many of whom remain nameless—librarians at Georgia State University; University of Georgia; Albany State University; Georgia Tech University; Library of Congress; Sue Presnell, Reference Associate, The Lilly Library, Indiana University; and Debbie Yerkes, Documents Microform Department, Thomas Cooper Library, University of South Carolina. Finally, my thanks to the presenters of the Thesis/Dissertation Formatting Workshop—Amber Amari, Academic Advisor for the Office of Graduate Services; Sara Fuchs, Digital Technologies Librarian; and Joel Glogowski, Learning Commons Librarian. vi TABLE OF CONTENTS DEDICATION iv ACKNOWLEDGEMENTS v CHAPTER 1 INTRODUCTION 1 CHAPTER 2 THE IMPRESSIONISTS 8 CHAPTER 3 THE EXPERIMENTALISTS 43 CHAPTER 4 THE REALISTS 80 CHAPTER 5 THE INDEPENDENTS 116 CHAPTER 6 CONCLUSION 151 WORKS CITED 186 APPENDICES A AUTHORS 210 B DATES OF PUBLICATION 211 1 CHAPTER 1 – INTRODUCTION This study focuses on important literary authors who each published a significant text in the year 1925. Midway between the two great wars, and between the end of World War I and the Great Depression, ―1925,‖ the critic R. P. Blackmur wrote, ―was part of the Golden Years of the modern age . when suddenly an ‗explosion of talent took place‘ in the Western world that has dwarfed everything since‖ (qtd. in Pratt xxiii). Although these twenty-two texts may in some cases represent literary fragmentations, each in its own way represents a coherent response to the spirit of the times. The fact that all these works appeared the same year is special because the authors, if not already famous, would become famous, and around the world their works were or would come to represent classic American literature. The twenty-two authors either knew one another personally or knew one another‘s work, were commonly influenced by one another and by writings of international authors and philosophers, and ―produced a body of work that promises to be read for a long time‖ (McCormick Middle 114). The greatest common elements among the poets and fiction writers are their uninhibited interest in sex, an absorbing cynicism about life, and the frequent portrayal of disintegration of the family, a trope for what had happened to the countries and to the ―family of nations‖ that experienced the Great War. An interesting fact about the six poets included here is that they were all born about the same time: William Carlos Williams (1883); Ezra Pound (1885); T. S. Eliot (1888); John Crowe Ransom (1888); Archibald MacLeish (1892); and E. E. Cummings (1894). Since ―there is not much validity in comparing themes in poetry‖ (McCormick Middle 111), all we can say is 2 that ―The Hollow Men,‖ ―Summary for Alastor,‖ The Pot of Earth, A Draft of XVI Cantos, and ―To A Face in the Crowd‖ may nonetheless be said to be poems based in large part upon ―classical, medieval, and Renaissance literature‖ and at the same time are ―experimental in language‖ in their ―exaltation of originality‖ (McCormick Middle 112) and thematically are in keeping with one or more of the modernists‘ preoccupations. The differences among the prose works are many, yet all seem to meditate on an individual life in a time of change with similar expressions of human values lost or sought. Mammonart (Sinclair) is a series of philosophical commentaries on various aspects of the human predicament; Drums (Boyd) is really no more than a bildungsroman that uses the Revolutionary war as a backdrop, a not unusual theme since ―no fewer than 123 historical novels were published between 1919 and 1932‖ (McCormick Middle 112); New Orleans Sketches (Faulkner) and In Our Time (Hemingway), each a group of experimental vignettes, feature young observers in exotic environments; The Venetian Glass Nephew (Wylie) and The Private Life of Helen of
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