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University Microfilms. a XEROX Company, Ann Arbor, Michigan the UNIVERSITY of Oklahoivla GRADUATE COLLEGE 72- 14,125 STOREY, James Bryan, 1943- THE POPULAR NOVEL AND CULTURE IN THE PROGRESSIVE ERA. The University of Oklahoma, Ph.D., 1971 History, modern University Microfilms. A XEROX Company, Ann Arbor, Michigan THE UNIVERSITY OF OKLAHOivlA GRADUATE COLLEGE THE POPULAR NOVEL AND CULTURE IN THE PROGRESSIVE ERA A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY BY JAÏŒS BRYAN STOREY Norman, Oklahoma 1971 THE POPULAR NOVEL AND CULTURE IN THE PROGRESSIVE ERA APPROVED) BY . /:25(d[Z4%%44. ..aft:! !*l0l3a;^j(3kgy DISSERTATION COMMITTEE PLEASE NOTE: Some pages have indistinct print. Filmed as received. UNIVERSITY MICROFILMS. ACKNOWLEDGMENTS I would like to express ray appreciation to the mem­ bers of the committee for their help and support in the writ­ ing of this dissertation* Each of the members of this com­ mittee played an important part in the process of ray intel­ lectual upbringing, and for this I am deeply indebted. Each of the members in some way helped to make my graduate study a most satisfying and worthwhile intellectual experience. Any weaknesses in the dissertation, however, should not reflect on the members of the committee. I would particularly like to express my most sincere gratitude to Dr. David Levy, whose unflagging encouragement, and whose ready availability for consultation and advice at all times far exceeded the requirements of his position* 111 TABLE OF CONTENTS Page INTRODUCTION ................................. 1 Chapter I, THE PERCEPTION OF CAPITALISM........ 15 II. THE BUSINESSMAN IN THE POPULAR IMAGINATION......................... 28 III. THE POPULAR HERO IN THE PROGRESSIVE ERA ................................. 5^ IV. THE HERO AS A MAN OF NATURE.......... 90 V. THE PERCEPTION OF THE W O M A N .......... 140 CONCLUSION......... .'........................ 183 BIBLIOGRAPHY ................................. 189 IV THE POPULAR NOVEL AND CULTURE IN THE PROGRESSIVE ERA INTRODUCTION I Between I9OO and I916 America underwent an important transition. The "watershed" of the 1890's had been passed, and America entered a new stage of economic and cultural devel­ opment, The century which began with the sudden rise to power of Theodore Roosevelt was very different in many crucial re­ spects from the one which had preceded it. Whereas McKinley had epitomized the President of the Gilded Age, Roosevelt was in every way the twentieth-century President. In terms of government, the patterns of problem-solv­ ing established by Roosevelt and Wilson, and their advisors, have persisted in many areas until the present time. Ap­ proaches to government, and the concerns of government experi­ enced a decided shift1 and governmental changes were paral­ leled by changes in the economy and society. The system of economic gain associated with free-enterprise capitalism was firmly and irreversibly entrenched, and business organization and methods had assumed essentially their present form. In a great many ways, the Progressive era laid the groundwork for contemporary America. 1 2 In addition to its undisputable historical signifi­ cance, there is yet another reason for the contemporary his­ torian to look at the Progressive years. The era had much in common with contemporary America. Both can be described as transition periods, and certain striking similarities are ap­ parent in the two. For instance, in both there was an urgent crisis involving industrialism and its side-effects. These periods witnessed widespread concern with the undesirable in­ fluences of the respective industrial systems, and saw private and public attention directed toward the problem of eliminat­ ing the worst abuses of the industrial-commercial system. Sec­ ond, both periods witnessed— at least on the subcultural level— powerful tides of "back to the earth" sentiment. There was a tendency to react to commercialism and materialism by reassert­ ing a new interest in nature and the wilderness. In the Progressive and contemporary eras, the woman was entering a new frontier. In the first she fought for and won the right to vote, suid in the second she began to demand the full measure of freedom and equality implied by her en­ franchisement. And finally, in both periods there was a clear­ ly perceptible feeling, although perhaps only on the subcul­ tural level, that the generation of the ruling class had aban­ doned idealism, and it was incumbent upon the young to insure its reassertion. Obviously, any one of these generalizations may apply with equal accuracy to other times in American history. But taken collectively, they seem to characterize the Progressive 3 era and the contemporary period with more than a small degree of integrity. The two periods did have much in common, and it is partly because of this that the Progressive era holds sig­ nificance for the historian. II This study, then, is based on the presupposition that the Progressive era was one of the more importsmt periods in American history in terms of the developments in government and culture. Further, the study assumes that economic and politi­ cal studies of the period do not allow the student to fully see the culture of a society as a whole any more than purely aes­ thetic, art-oriented studies present the culture as a whole. Henry Nash Smith, in his article in American Quarterly entitled "Can American Studies Develop a Method?**, pointed to this fact when he wrotei The social sciences seem to me to assume too hastily that value is to be found only in social experience, in group behavior, in institutions, in man as an average member of society. Current literary criticism assumes, also too hastily, that value lies outside society, in works of art which exist on a plane remote from the Wasteland of our actual experience.1 In giving his prescription for a method in American studies, then. Smith felt that an understanding of American culture would have to emerge from some combination of **art** and "so­ ciety." This study presupposes that "art" can be used to re­ veal something about "society." Literature, in this case popu- ^American Quarterly. IX (Summer, 1957)» 206. 4 lar literature, can be a means to understand the culture of American society at any given moment in history. Literature, one may tritely observe, is an outgrowth of society, a product not merely of individual minds, but of the total culture of a 2 given place and time. Although literature can only reveal a certain amount of reality, the bridges between literature and experience are not so unsure as to be useless.^ One scholar noted that "fiction is one of the best sources of social data, being impersonal and detached from actual life, yet deeply per- II sonal in its connotative and empathizing qualities." There is little argument, then, with the idea that literature is an excellent means by which to discover the self- image of a society. It reveals something of the hopes, fears, aspirations, and apprehensions of a society. The artist's con­ ception and representation of various aspects of the American experience, can and does tell something about the state of mind of the society. Particularly in the case of the popular novel is there an identifiable connection between literature and experience. 2 Walter F, Taylor, The Economic Novel in America (Cha­ pel HillI University of North Carolina Press, 1942), p . 317» See also William Van O'Connor, "The Novel as a Social Document," American Quarterlv. IV (Summer, 1952), 169-75* and Louis Rubin, Jr., "Tom Sawyer and the Use of Novels," American Quarterly. IX (Summer, 1957), 209-16. 3 Joseph Blotner, The Modern ^erican Political Novel (AustinI University of Texas Press, I9 6 6), p. 7. ^Dorothy Yost Deegan, The Stereotvoe of the Single Wo­ man in American Literature (New York* Columbia University Press, I95I), p. 7 . 5 Richard and Beatrice Hofstadter, in an article on the novelist Winston Churchill, pointed out that **we can assume that a popu­ lar writer's appeal is a commentary on the needs or desires of his public,The popular novelist satisfies a basic need in the society, whereas the critical, or "major" writer functions on a level which is more imaginative and complex.^ Popular literature is sentimental and simplistic, and more directly re­ flects the popular mood at a specific historical moment. Popu­ lar authors are not concerned with high aesthetic expression; they write to suit a particular taste or mood of the reading public. The popular, or hack writer, is far more preoccupied with his market than is the "great" author— although it would be foolish to maintain that the great author is oblivious to economic considerations. In fact, it can be maintanied that it is because most popular literature fails as true aesthetic expression that it is more inclined to be significant as self­ revelation or as a social document,? The concern of this study is less with breaking new ground than with presenting the Progressive era from a per­ spective hitherto unused. The perspective is both sub-literary and subcultural; but I would contend that the popular novel has considerable potential for providing insights into the Am- ^Richard and Beatrice Hofstadter, "Winston Churchilli A Study in the Popular Novel," American Quarterly. II (Spring, 1950), 13. ^Leo Marx, The Machine in the Garden (New York; Ox­ ford University Press, 1964), p, 5, ?Hofstadters, "Churchill," p, 13. 6 erlcan experience as a whole.® Richard and Beatrice Hofstadter, in their article on Churchill, commented that reading in the Progressive era had considerably more social importance them it now holds, and that "the popular novel was probably more im­ portant as a reflection of the public image. One of the leading students of popular literature was James D. Hart. Concerning the role of the popular novelist and reading tastes, Hart wrotei The taste of the largest number of readers is shaped by contemporary pressures more than is the taste of the high­ ly cultivated reader, who has a deeper background of aes­ thetic experience and knowledge to guide him.
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