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The City As Metaphor in Selected Novels of James Purdy and Saul Bellow Loyola University Chicago Loyola eCommons Dissertations Theses and Dissertations 1979 The City as Metaphor in Selected Novels of James Purdy and Saul Bellow Yashoda Nandan Singh Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_diss Part of the English Language and Literature Commons Recommended Citation Singh, Yashoda Nandan, "The City as Metaphor in Selected Novels of James Purdy and Saul Bellow" (1979). Dissertations. 1839. https://ecommons.luc.edu/luc_diss/1839 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Dissertations by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1979 Yashoda Nandan Singh THE CITY AS METAPHOR IN SELECTED NOVELS OF JA..~S PURDY A...'ID SAUL BELLO\Y by Yashoda Nandan Singh A Dissertation Submitted to the Faculty of the Graduate School ', of Loyola University of Chicago in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy June 1979 ACKNOWLEDGEMENTS I am most grateful to Professor Eileen Baldeshwiler for her guidance, patience, and discerning comments throughout the writing of this dissertation. She insisted on high intellectual standards and complete intelligibility, and I hope I have not disappointed her. Also, I must thank Professors Thomas R. Gorman and Gene D. Phillips, S.J., for serving on my dissertation committee and for their valuable suggestions. A word of thanks to Mrs. Jo Mahoney for her preparation of the final typescript. ii VITA The author, Yashoda Nandan Singh, is the son of Krishna Nandan Singh and Rasheshwari Singh. He was born June 6, 1943, in Raghopur Deorhi, Bihar, India. His elementary and secondary education were obtained at St. Xavier's in Patna, India, where he was graduated in 1960. In July, 1960, he entered St. Stephen's College in Delhi, India, where he received the degree of Bachelor of Arts, cum laude, in June of 1963. In June, 1965, he was awarded the Master of Arts in English. Between January, 1966, and December, 1972, he taught English in the Humanities Division of the Indian Institute of Technology, New Delhi. In 1973, he was granted an assistantship in English at Loyola University of Chicago. He was awarded a University Dissertation Fellow­ ship for 1976-77. Since September, 1976, he has been an instructor in the English Department at Bowling Green State University, Bowling Green, Ohio, where he and his wife, Bibha Singh, are currently living. iii TABLE OF CONTENTS Page ACKNOWLEDGEMENTS ii LIFE . iii Chapter I. INTRODUCTION .•.. 1 II. THE CITY IN PURDY'S FICTION . 16 III. THE CITY IN BELLOW'S FICTION .. 54 IV. THE CITY AS METAPHOR IN PURDY AND BELLOW. 78 BIBLIOGRAPHY 88 iv CHAPTER I INTRODUCTION Modern criticism, says Mark Scharer, has shown us that to speak of content as such is not to speak of art at all, but of experience; and that it is only when we speak of the achieved content, the form, the work of art as a work of art, that we speak as critics. The difference between content, or experience, and achieved content, or art, is technique ..•• The novel is still read as though • • • technique were not a primary but supplementary element . • • Or technique is thought of in blunter terms . as such relatively obvious matters as the arrangement of events to create plot, of suspense and climax; or as the means of revealing character motivation, relationship, and development; or as the use of point of view, but point of view as some arbitrary device for the heightening of dramatic interest through the narrowing or broadening of perspective upon the material, rather than as a means toward the positive definition of theme. As for the resources of language, these, somehow, we almost never think of as a part of the technique of fiction--language as used to create a certain texture and tone which in themselves state and define themes and meaning ..• 1 I quote Scharer at some length because the motivation for writing this dissertation came initially from an awareness that there was consider- ably less critical interest in the novelist's technique and use of language to explore and define his vision of the world than in his themes or content, particularly in regard to Bellow and Purdy. By "vision of the world" I mean a writer's mode of seeing, conceiving, and ordering experiential reality or evaluation of the quality of life. Criticism almost entirely has concentrated on subjects or themes, com- bined, at times, with an examination of plot structure (mainly as a 1Mark Scherer, "Technique as Discovery," in The Theory of the Novel, ed. Philip Stevick (New York: The Free Press, 1967; rpt. from the Hudson Review I, 1948), p. 66. 1 2 vehicle of character) and remarks about "style" and imagery. Even though for over a hundred years now the city has been "the controlling center of economic, political, and cultural life that draws the most remote parts of the world into its orbit," 2 and has offered literary artists ...a a rich source of material, most critics of the novel have never considered the urban novel as a separate literary genre, and the fictional city-environment, not surprisingly, has received scant attention. Critics have been conscious of the urban setting only because the characters are shown to be struggling against the external forces around them. Until about the middle of the twentieth century the American city novel generally had for its protagonist a migrant from a rural area, a young man or woman who experienced the city's excitement and freedom as well as its corruption. 3 The protagonist held the center of the fictional stage, and, if we are to believe the critics, the writer's technique was important only insofar as it revealed character motivation and development. The urban setting was seen as an unchanging, inimical, or indifferent force to be overcome by the hero. Furthermore, even though we are repeatedly told by Gelfant, Weimer, and others that the city in the fictions of contemporary novelists such as Bellow and Purdy is a metaphor for the human condition, we seldom find analyses of how the city in contemporary novels acts as 2 Louis Wirth, "Urbanism as a Way of Life," in Cities and Society, ed. PaulK. Hatt and Albert J. Reiss, Jr. (Glencoe, Ill.: Free Press, 1957)' p. 46. 3Blanche H. Gelfant, The American City Novel (Norman: Univer­ sity of Oklahoma Press, 1954), pp. 64, 120-22; Alan H. Rose, "Sin and the City; The Uses of Disorder in the Urban Novel," Centennial Review 16 ( 1972) : 203-4. 3 a reality metaphor. 4 It is erroneously assumed that the fictional city "stands for" reality or the human condition because it reveals, in realistic terms, what evils the outside world shares with those of the fictional city; that is, the depiction of the city is literal and ac- quires "metaphoric" or symbolic" force by virtue of the recurrence of certain types of characters, events, scenes, and images. In an effort to redress the imbalance, I have attempted in this dissertation to explore and define the urban vision of Bellow and Purdy by examining their fictional technique, .e~pecially their use of language, and to determine precisely how the fictional city acts as a reality metaphor. City fiction is not new in American literature, having appeared since the 1780's when many novels were published describing life in Philadelphia, Boston, and New York. It was, however, only in the late 1880's and 1890's that the rapid, unprecedented growth of American cities led to the publication of a great number of significant urban novels such as those by William Dean Howells, Stephen Crane, and Hamlin Garland. 5 Twentieth-century literature is said to belong to the city, 4 Gelfant, p. 119; David R. Weimer, The City as Metaphor (New York: Random House, 1966), p. 6; Lucy Frost, "Violence in the Eternal City: 'Catch-22' as a Critique of American Culture," Meanjin Quarterly 30 (1971): 447-53 passim; David D. Anderson, "Chicago as Metaphor," Great Lakes Review 1 (Summer 1974): 3-15 passim; Prescott S. Nichols, "Paris as Subjectivity in Sartre's Roads to Freedom," Modern Fiction Studies 24 (Spring 1978): 3-21 passim; Marilyn S. Fries, "The City as Metaphor for the Human Condition: Alfred Doblin's Berlin Alexander­ platz (1929)," Modern Fiction Studies 2~. (Spring 1978): 41-64 passim; Hana Wirth-Nesher, "The Modern Jewish Novel and the City: Franz Kafka, Henry Roth, and Amos Oz," Modern Fiction Studies 24 (Spring 1978): 91- 109 passim. 5 George A. Dunlap, The City in the American Novel, 1789-1900 (New York: Russell and Russell, Inc., 1965), pp. 7-9. 4 for the city, in the words of Gelfant, "epitomizes the twentieth-century and focalizes the main themes of twentieth-century life." 6 If the urban novel itself is old, criticism of the urban novel 7 is relatively new. An examination of the literature reveals that American writers have held two diametrically opposed visions of the city, which Eugene Arden, Gelfant, Irving Howe, and others variously label as, on the one hand, "optimistic," "romantic," or "pastoral," and on the other hand as "pessimistic," "apocalyptic," or "evil." Arden, for example, says apropos the New York novel that he found two chief types, one which celebrated the city and the other which condemned it. 8 Of the two visions the dominant vision of the city is evil, 9 the product of a 6 Gelfant, p.
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