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Information to Users INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms international A Bell & Howell Information Company 300 North 2eeb Road Ann Arbor. Ml 48106-1346 USA 313'761-4 700 800.521-0600 Order Number 9427750 The forgotten radical: Hamlin Garland and the Populist revolt Martin, Quentin Ellis, Ph.D. The Ohio State University, 1994 UMI 300 N. Zeeb Rd. Ann Arbor. MI 48106 THE FORGOTTEN RADICAL: HAMLIN GARLAND AND THE POPULIST REVOLT DISSERTATION Presented in Pertial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Quentin Ellis Martin, B.A., M.A. The Ohio State University 1994 Approved by Dissertation Committee: Thomas Wood eon L Steven Fink Adviser Department of English Debra Moddelmog ACKNOWLEDGMENTS It is a pleasure to acknowledge the unflagging support and guidance provided to me by my dissertation director. Professor Thomas Woodson, and the other two members of my committee. Professor Steven Fink and Professor Debra Hoddelmog. Their insightful criticisms kept me on the right path, however much 1 tried to stray from it. 1 also wish to thank the Ohio State University Graduate School for awarding me a Presidential Fellowship, which gave me the luxury of devoting ay efforts to this project for twelve months. Finally, I offer profound thanks for the loving support of my wife and children, which helped carry me through this project. ii VITA Hay 3, 1956 .......... Born - Duluth* Minnesota 1979 .................... B.A.* Western Michigan University* Kalaszoo* Michigan 1986 .................... M.A., Western Michigan University* Kalamazoo* Michigan 1986-1989 ............. Editor, Inside Sports Magazine* Evanston, Illinois 1969-Present .......... Graduate Student* Ohio State University, Columbus, Ohio PUBLICATIONS "Einstein* Heisenberg, and Hemingway: A Note on 'The Killers.'" Ihe_Exp1icator 52 (Fall 1993): 53-57. FIELDS OF STUDY Major Field: English ill TABLE OF CONTENTS ACKNOWLEDGEMENTS ............................................... ii VITA ................................................................ ill INTRODUCTION .................................................... 1 CHAPTER PAGE I. "HO! FOR THE GOLDEN WEST": THE PROMISE OF THE NEW FRONTIER .............................................. 64 1 - The Desert in the W e s t ...................... 66 2 - The Garden in the W e s t ...................... 60 3 ~ and the Proaiae of the W e a t ........................................lOO II. "SWEAT, FLIES, HEAT, DIRT AND DRUDGERY": DROSSY REALITIES IN THE GOLDEN W E S T ........................ 110 1 - New Viewa of the New W e s t ................117 2 - Women in the New W e s t .....................126 3 - Garden or D e s e r t ? .......................... 149 III. "THOSE WHO FARMED THE FARMER": EXPLOITATION IN THE NEW W E S T ...................................... 166 1 - Jason_Edwards and the Monopoly of Land 175 2 ~ J h e R i s e g f _ Boom town and the Fradulent Booming of the L a n d ........................167 3 - "The Return of a Private," "Under the Lion's Paw,*' and the Monopoly of Honey 204 4 - A_Member_of_the_Third_Houae and the Monopoly of Transportation ............. 226 5 - Despair, Flight, and Rebellion . 236 iv IV. "THIS SPREADING RADICALISM": A_SPOIL_OF_OFFICE AND THE CREATION OF PO P U L I S M ......................... 259 1 " Spoil and "Trut Popullaa" ..............270 2 - The Grange ..................................... 277 3 - The Politicized Farmer ...................... 283 4 - The Birth of P o p u l i s m ......................295 5 - The Death of Populism ............... • 311 V. CONCLUSION ...............................................326 WORKS CITED ....................................................341 v INTRODUCTION Hamlin Garland, much like the farmers he depicts in his fiction, has fallen on hard times. For the past half- century his writings have either been ignored or adduced as examples of bankrupt literary standards. His early fiction is routinely dismissed for being "inartistic" because of its immersion in contemporary political issues. One critic, for example, writes that Garland's early novels are "forward-looking sociologically" but are "undistinguished as fiction" (Wagenknecht 206>, as if sociological and fictional concerns were mutually exclusive. Garland's later work serves as another text for literary sermons: his desertion of his acrid Middle Border subject matter in the mid-lB90s in order to write tepid Rocky Mountain romances, dim-witted books on psychic phenomena <spook-chasing, H. L. Mencken called them), and eight thick volumes of garrulous and self-advertising personal and literary reminiscences <as these efforts are frequently labelled) has been endlessly cited as a classic case of literary "decline," if not selling out. Claude Simpson's essay "Hamlin Garland's Decline" set the tone for this later Indictment. And while Simpson, in 1 1941, saluted Garland's early work and waa sympathetic to the pressures that caused Garland to search for more marketable literary material, such mitigations soon disappeared. In 1953, Simpson's assessment was directly questioned by Bernard Duffy, as the title of his essay, "Hamlin Garland's 'Decline' From Realism," indicates. Garland, Duffy argues, never "declined" from his early and commendably realistic studies of farming life in the prairie and plains states: no, he was always a literary hack, a literary opportunist whoring himself to suit any editor who would pay. He wrote dark stories in the dark days of the late 1380s and early 1890s because they had a market, and he wrote light stories from then on because they had a market. "From the beginning," Duffy claims. Garland seemed “never to hesitate over any necessary compromises" (74). The repository of received literary opinion of mid-century America, the Robert Spi1ler-edited Literary_Hlatory_of the United States (1948), also casts doubt upon Garland's early work. These earlv stories. Spiller writes (he is the author of the section on Garland), are not much more than 11lustrations of the ideas of other people, specifically "radical scientists" such as Henry George, Hippolyte Taine. and Herbert Spencer. Hence, Garland is a derivative writer and "not a profound" thinker (1 0 2 0 ). Indead, in the literary-critical ciinate of post-World War II America, when the second generation of New Critica came to the fore (Graff 67-74)» firm dlatlnctions were commonly made between "art" and "politics": art was something trans-historica1 and eternal, pare of the dirty clay of journalism, political causes, sociology, ideology, and other inherently time-bound, transient things. Some critics, of course, balked at these restrictions. Quentin Anderson, in his foreword to Warner Berthoff'a The Ferment of Realism (1965). praises Berthoff for "renew!ingl one's faith in literary history as a genre," but regrettably notes that such an approach has been "tacitly or explicitly questioned" by the critics of the day who wish "to step out of time into an eternity of forms” (vii-viii). These formalist critics, when they acknowledge Garland at all, argue that his work is damaged in proportion to the amount of politics in it. As far back as 1936, Arthur Hobson Quinn laments that in Garland's early novels, “Garland the reformer overshadowed Garland the artist" (455). In 1973, Arthur Voss notes how Garland's propensity for "social protest" damaged the artistry of his stories, oftentimes turning them into "tracts": he praises two of his stories ("Mrs. Ripley's Trip" and "The Return of a Private") "because they embody less social protest than the others" (107-08). Garland's early political writings, then, are 4 generally seen as examples of mere fictionalized journalism or propaganda which have no place among serious works of art; and his post-1895 works are seen as examples of vulgar literary opportunism, if not prostitution.Cl) Warren French's 1970 essay "What Shall We Do About Hamlin Garland?" sums up what he calls the "received opinion" about Garland. tike Duffy, French sees Garland as a literary prostitute, and compares him to P. T. Barnum, George Babbitt, and deodorant ads.[2] He argues that Garland did not write literature but rather engaged in "ephemeral
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