DOCSLIB.ORG

The Inventory of the Olive Fremstad Collection #365

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Inventory of the Olive Fremstad Collection #365 The Inventory of the Olive Fremstad Collection #365 Howard Gotlieb Archival Research Center Fremstad, Olive 1871-1951 #12J Gift of Antonia Stone, November 1994. (The material belonged to Ms. Stone's mother.) Mme. Fremstad was a Swedish-born American dramatic soprano who specialized in Wagnerian roles but was also successful in Tosca and other Italian roles. She sang Salome in the first American performance of the Strauss opera at the Metropolitan. Her career at the Met spanned the years 1903-1914. This small collection of 2 manuscript boxes consisting of two volumes of bound songs for recitals, 1915-1916; several photographs of her in Wagnerian roles, of which some are signed, and one photograph of her at home in later life. There is a drawing of her in costume, a shawl she wore on her way to work, a ring used in Gotterdarnrnerung; a piece of green brocade belonging to her and an eyeglass case. Elenita Lindi wrote an article "Olive Fremstad" in the Winter 1960-61 issue of The American Scandinavian Review.. The copy in the collection is signed by Mme. Fremstad. A volume from her library: SONGS FROM THE NORTH, edited by Valborg Stub, 2nd ed., 1895 is catalogued for Special Collections as YM 1619 S88 S6 1895. Eight of her recordings (78 rpm) are in the Music Library. Boxl I. MUSIC: 2 leather bound volumes of printed song scores marked and with some holograph musical direction. 1. Song Recital Program I. Season 1915-1916. (#1) Carbon typescript program pasted in front of book. Consists of Schubert, Schumann, Sibelius, Grief, Wolf and Strauss. 2. Song Recital Program II. Season 1915-1916. (#2) Carbon typescript program pasted in front of book. Several of the scores in this volume are hand copies. Consists of Schubert, Brahams, Strauss, Wolf and folk songs. II. PHOTOGRAPHS OF OLIVE FREMSTAD. 1. At home seated at desk in front of window with cat on desk, from page 2. (#3) 2. As Kundry in Parsifal. Mishkin, NY. Signed inscription to ''Tinka" with several bars of music. 3. As Isolde (?) H. Mishkin, NY. 4. As Brunhilde. White, NY. Box2 5. Framed. As Elsa in Lohengrin. Signed inscription to the Rev. and Mrs. S. Halsted Watkins. 6. Framed. As Isolde. Mishkin, NY. Signed inscription to "Tink:a" with the first three bars of "Tristan and Isolde." 7. Framed. Statue of OF in costume as Elsa. Boxl III. DRAWING. 1. OF in Wagnerian costume as Brunhilde. Signed Mary F. Watkins, 1911. (#4) IV. PRINTED. 1. "Olive Fremstad" by Elenita Lindi in The American Scandinavian Review. (#5) V. MEMORABILIA. 1. White silk shawl worn by OF over her head and throat on her way to work and back. 2. Gold brocade eyeglass case (heavily worn) made from the curtain of the Metropolitan Opera House. 3. Brocade fabric, green background with pink, red, and yellow flowers interwoven. 4. Heavy metal ring used in Wagner's opera Gotterdammerung. Fremstad, Olive 12/07/99 Addenda (Purchase) Box#2 Folder# 2 I. Correspondence. A. 1 ANS to "Miss Cather." From OF re: trip to Paris and Munich. July 25th (no yearly date). .
Load more

Recommended publications
  • Centenary of "The Barber of Seville" This Week Concerts of the Week
    " ' x" ' " ' " " 8 THE SUN, SUNDAY, JANUARY 30, 1916. CENTENARY OF "THE BARBER OF SEVILLE" THIS WEEK CONCERTS OF THE WEEK. THE WEEK OF OPERA. SUNDAY Philharmonic Society, Crnrie Hall, 3 P. M. Metropolitan Opera Hotue. Symphony Society, Aeolian Hall, 3 P. M. P. M. MONDAY, "Lucia di Lammermoor." Maria Harrientos Maurice Beck, sonif recKal, Princess Theatre, 8:lo 8:1G P. 1. Opera House, 8 JO P. M. ; and Amuto. Opera concert, Metropolitan (debut) Messrs. Martinelli Aeolian Hall. 3 :30 P. M. WEDNESDAY "Cavallcriu RuMicnna." Mmo. Zarska and Braalau: MONDAY Adelaide Fischer, aonr reclUl. "Coyoscus," Mmes. Fltxiu and Pcrint; Vivian Gosnell, barytone, Aeolian Hall, 8:15 P. M. Messrs. Botta an.l De Luca. Herbert, conductor, Hotel Astor, Messrs. Martinelli and De 1. Glee Club concert, Victor lt.ii!iruroId," Mtncs. Riippold. Mutzc- - THURSDAY, 2:30 P. M. "Das TUeIdAY song recital, Fran, nauer and Ober; Messrs. Scmbacli, Weil, Goritz, Braun, Scott and Mme. Madeleine D'Espinoy, Theatre c'als, 3 P. M. M. Bohcme," Mmes. Alda and Cnjatti; Gino Ciaparelll-Viafor- a, Aeolian Hall. 8:15 P. M. THURSDAY, 8:lTi P. "La Society, Carnegie Hall, 8:16 P. M. Messrs. Caruso, Scotti and Didur. THURSDAY People's Symphony Zaubcrfloete," Mmes. Gadski, Hempel and Mason; Ethel Newcomb, pianoforte reciUl, Aeolian Hall, 3 P. M. FRIDAY "Die 3 P. M. Messrs. Urlus, Goritr, and Hraun. ijjl Marian Clark, soprano, Princess Theatre, Slvio-Hu,- " Society, Aeolian Hall, M. SATURDAY, 2 P. M. "II Barbiero dl Mme. Barricntos; New York Chamber Music 8:15 P. De Luca, De Seffurola and Malatesta. FRIDAY Philharmonic Society, Carnegie Hall, 2:80 P.
    [Show full text]
  • Die Grossen Sänger Unseres Jahrhunderts
    Jürgen Kesting DIE GROSSEN SÄNGER UNSERES JAHRHUNDERTS ECON Verlag Düsseldorf • Wien • New York • Moskau V Inhalt Zur Neuausgabe XQI Vorwort XV EINLEITUNG Eine Stimme zur rechten Zeit Vorspiel auf dem Theater 3 Dialog mit der Ewigkeit 5 Sänger und Schallplatte 6 Von verlorener und wiedergefundener Zeit 9 Von Treue und Untreue 10 Von den Perspektiven der Zeit 12 I. KAPITEL Der ferne Klang oder: Die alte Schule Belcanto 17 Nachtigall: Adelina Patti 18 • Grandeur: Lilli Lehmann 25 • The Ideal Voice of Song: Nellie Melba 32 • »Ich habe gelernt, nie zu schreien«: Ernestine Schumann-Heink 42 • Die einzigartige Stimme der Welt: Francesco Tamagno 46 Tenor-Virtuose: Fernando de Lucia 50 • La Gloria d'Italia: Mattia Battistini 57 • Der vollkommene Sänger: Pol Plancon 62 II. KAPITEL Zeitenwende oder: Die Wandlungen des Singens Vollendung und Ende des Belcanto 69 Wer hat DICH geschickt? Gott? Enrico Caruso 71 Im Schatten Carusos 83 Esultate: Giovanni Zenatello 84 • Tenore di grazia: Alessandro Bonci 86 • Femme fatale: Emma Calve 90 • Eines von drei Wundern: Rosa Ponselle 95 • Der singende Löwe: Titta Ruffo 103 Goldenes Zeitalter der Baritone 108 Sänger-Schauspieler: Antonio Scotti 109 • Energie und Stimmpracht: Pasquale Amato in • Flexibilität und Phrasierungskunst: Giuseppe de Luca 114 Dämon der Darstellung: 119 Der Mephisto von Kasan: Fedor Schaljapin 119 VI INHALT III. KAPITEL Italien: Die Geburt des Verismo Arturo Toscanini und die Folgen 131 Italienische Diven 137 Memento an den Belcanto: Giannina Russ 138 Zwei große Primadonnen 139 Mischung
    [Show full text]
  • Salome's Stage History Salome Has Truly Withstood the Test of Time in Terms of Its Ability to Captivate and Shock. a Look at T
    Salome’s Stage History Salome has truly withstood the test of time in terms of its ability to captivate and shock. A look at the opera’s stage history offers insights into how Salome established itself as an operatic tour de force. The Beginnings: Dresden (1905) and Graz (1906) Strauss’s choice for the starring role in the opera’s premiere, 37-year old Marie Wittich, protested both the ‘unsingable’ quality of the music and the opera’s inappropriate psychosexual subtext. She refused to perform the Dance of the Seven Veils or kiss the severed head of Jokanaan. ‘I won’t do it’, she objected. ‘I’m a decent woman’. 1 Other such clashes between Strauss and his original cast caused delays, and the composer threatened to hold the premiere elsewhere. When the premiere finally went ahead at the Semper Opernhaus in Dresden on 9th December 1905, it received 38 curtain calls. In the weeks that followed, the opera had been accepted at ten theatres, and within two years, it had been given in fifty other opera houses. So began the journey of Strauss’s succès de scandale, which, as the composer himself famously remarked enabled him to finance his villa in Garmisch. 1 Richard Strauss: Recollections and Reflections, ed. Willi Schuh, trans. L.J. Lawrence (London: Boosey and Hawkes, 1953), 151. (AKG images) By all accounts, Gustav Mahler was amongst several Viennese composers who were captivated by Salome, yet, at the same time, bewildered by its great success. He tried to mount the opera in Vienna, but came up against strict censorship, and Salome was not performed at the Vienna State Opera until 1918.
    [Show full text]
  • Room One: San Francisco in the New Century Grand Opera
    Enrico Caruso F869.S3.56 .G67 The Bancroft Library Room One: San Francisco in the New Century Grand Opera: The 1906 Season San Francisco had long been a haven for creativity, as literature, photography, fine arts, and music all flourished there. The economic boom of the 1890s lent the bohemian city a gaiety that did not disappear at the turn of the century: W ith fortunes made and money flowing, wealthier San Franciscans turned their attention to culture. They were determined to refine their city's reputation and make it a recognized center for the arts. Their efforts were rewarded with the engagement of the Metropolitan Opera Company's production of Bizet's "Carmen." Staged the evening of April 17, 1906 at the Grand Opera House on Mission Street, "Carmen" was the most exciting cultural event of the season. The renowned tenor Enrico Caruso played the character of Don Jose; famed soprano Olive Fremstad was cast in the title role. The Grand Opera House program for its 1906 season reflected the economic prosperity and high level of cultural interest prevalent in San Francisco at the time. Its cover is a stylish rendering of a couple in evening clothes, the woman in a long white dress and veil and the man in top hat and dress suit. The profusion of advertisements for material goods highlight the city's burgeoning consumer demands. W ealthy citizens had the funds, leisure, and inclination to don their best and patronize highbrow entertainment. Tickets to that evening's performance were expensive and difficult to find; their stubs marked both social standing and seat reservations.
    [Show full text]
  • At Home and Abroad, St. Paul's Impresario Cut a Swath
    At Home and Abroad, St. Paul’s Impresario Cut a Swath How Nettie Snyder Put the City on the Musical Map Winter 2012 Volume 46, Number 4 Roger Bergerson —Page 14 From Boom Times to the Great Depression Two Stolpestad Men in St. Paul Real Estate, 1886–1936 James A. Stolpestad Page 3 A roadside directional sign points the way to Stolpestad, a farming community located near Ringsaker in north central Norway. There the homestead of Stolpestad East Farm, center, marks the place from which Andrew Hansen Stolpestad emigrated to St. Paul in 1884. In the photo on the right, a fourth-generation descendant of Andrew, James A. Stolpestad, right, did family research on his Norwegian roots with his cousin, Signe Lund, in 1999. All three photos courtesy of James A. Stolpestad. RAMSEY COUNTY HISTORY RAMSEY COUNTY Executive Director John M. Lindley Founding Editor (1964–2006) Virginia Brainard Kunz Editor Hıstory John M. Lindley Volume 46, Number 4 Winter 2012 RAMSEY COUNTY HISTORICAL SOCIETY THE MISSION STATEMENT OF THE RAMSEY COUNTY HISTORICAL SOCIETY BOARD OF DIRECTORS ADOPTED BY THE BOARD OF DIRECTORS ON DECEMBER 20, 2007: Paul A. Verret President The Ramsey County Historical Society inspires current and future generations Cheryl Dickson to learn from and value their history by engaging in a diverse program First Vice President of presenting, publishing and preserving. William Frels Second Vice President Julie Brady Secretary C O N T E N T S Carolyn J. Brusseau Treasurer Thomas H. Boyd 3 From Boom Times to the Great Depression Immediate Past President Two Stolpestad Men in St.
    [Show full text]
  • THE RECORD COLLECTOR MAGAZINE Given Below Is the Featured Artist(S) of Each Issue (D=Discography, B=Biographical Information)
    PRINTED MATERIAL DISCOGRAPHICAL & REFERENCE BOOKS, BIOGRAPHIES; RECORD CATALOGUES & SUPPLEMENTS Books are all in good, used condition (no damage unless described). DJ = includes Paper Dust Jacket This year’s book list includes a number of important and desirable items. The minimum bids have been kept very low, considering the scarcity of some items and the cost of others which still might be in print. While bargains are indeed possible, I’d suggest, as usual, to bid realistically for those items of particular interest. Bids of any amount are, of course, welcomed. MUSICIAN BIOGRAPHIES/AUTOBIOGRAPHIES 3574. [FRANCES ALDA]. MEN, WOMEN AND TENORS. Autobiography. Riverside Press, Cambridge, MA. 1937. 307 pp. Illustrated. Quite candid jottings for the period. Fun and informative reading. Blank front page removed. Cons. 2. $7.00. 3622. MARIAN ANDERSON – A PORTRAIT (Kosti Vehanen). Whittlesey House, NY. 1941. 270 pp. Blank book plate on inside cover. Just about 1-2. $10.00. 3535. [MARIAN ANDERSON]. MY LORD, WHAT A MORNING. Autobiography. Viking Press, NY. 1956. DJ. Illustrated. 312 pp. Light DJ wear. Book gen. 1-2. $7.00. 3581. MARIAN ANDERSON – A SINGER’S JOURNEY (Allan Keiler). Scribner, NY. 2000. 447 pp. DJ. Just about 1-2. $10.00. 3542. [Sir THOMAS] BEECHAM – A CENTENARY DISCOGRAPHY (Michael Gray). Duckworth, Norwich. 1979. DJ. 129 pp. Light signs of use on DJ. Book is just about 1-2 except for numerous pencil check marks. $6.00. 3550. THE ACCOMPANIST – AN AUTOBIOGRAPHY OF ANDRÉ BENOIST (ed. John Anthony Maltese). Paganiniana Pub., Neptune City, NJ. 1978. 383 pp. Profusely illustrated. A fascinating and extremely candid look at dozens of the vocal and instrumental celebrities with whom Benoist was associated.
    [Show full text]
  • PRINTED MATERIAL DISCOGRAPHICAL & REFERENCE BOOKS, PAMPHLETS, BIOGRAPHIES; PROGRAMS Books Are All in Good, Used Condition (No Damage Unless Described)
    PRINTED MATERIAL DISCOGRAPHICAL & REFERENCE BOOKS, PAMPHLETS, BIOGRAPHIES; PROGRAMS Books are all in good, used condition (no damage unless described). “As new” should be just that. “Excellent” would be similar to 2, light dust jacket or cover marks but no problems. “Good” would be similar to 3 (use wear). Any damage or marking is mentioned. DJ = includes Paper Dust Jacket “THE RECORD COLLECTOR” MAGAZINE Given below is the featured artist(s) of each issue (D=discography, B-biographical sketch). All copies are in fine condition (with the possibility of an index mark or possible check marks, occasional underlinings, but no physical damage such as tears, loose seams, etc., unless otherwise indicated. MINIMUM BID $5.00 PER MAGAZINE 8002. II/1-6. (Jan.-June, 1947). Re-issue of first half of Volume II, originally in mimeographed format. 8006. III/3. Götterdämmerung on Records; The Victor News Letter; American Record Notes, etc. 8007. III/4. Rethberg Discography; more Götterdämmerung; Cloe Elmo; Russian Operatic Discs, etc. 8010. III/7. Dating Victor Records; A Brief Glance Back; More “Historical Record” Amendments, etc. 8011. III/8. Iris addenda; Russian Operatic Records; More on Affre; The Aldeburgh Festival, etc. 8012. III/9. Edison Disc Records; Celebrities at Birmingham; Puccini Operas; More on Götterdämmerung, etc. 8013. III/10. A Santley Curiosity; Matrix & Serial Numbers; My Most Inartistic Recording; etc. 8015. III/12. Bauer Amendments; Italian Vocal Issues Jan.-Aug. 1948; Philadelphia Record Society, etc. 8017. IV/2. Giovanni Zenatello (D); “Otello” discography, etc. 8018. IV/3. Medea Mei-Figner (D); Another Curiosity; Italian Vocal Issues, etc. 8019. IV/4 The DeReszke Mystery; Eugenia Mantelli (D and commentary), To Help the Junior Collector, etc.
    [Show full text]
  • The Music of Spain BOOKS by CARL VAN VECHTEN
    THE SIC OF SPAIN Carl \^n Vechten V2« ML 315. Vlr" """'''>*y Library CORNELL UNIVERSITY LIBRARY BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND GIVEN IN 1891 BY HENRY WILLIAMS SAGE MUSIC LIBRARY The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022415206 The Music of Spain BOOKS BY CARL VAN VECHTEN MARY GARDEN AS CARMEN, ACT IV from a photograph by Mishkin The Music of Spain Carl Van Vechten New York Alfred A. Knopf MCMXVIII CPtC COPYRIGHT, 1918, BY A1.FRED A. KNOPF, Inc. AMEBICA PBINTBD IN THE UNITED STATES OT. Pour Blanchette Preface When the leading essay of this book, " Music and Spain," first appeared it was, so far as I have been able to discover, the only commentary at- tempting to cover the subject generally in any language. It still holds that distinction, I be- lieve. Little enough has been published about Spanish music in French or German, little enough indeed even in Spanish, practically nothing in English. It has been urged upon me, therefore, that its republication might meet with some suc- cess. This I have consented to although no one can be more cognizant of its faults than I am. The subject is utterly unclassified; there is no certain way of determining values at present. It is almost impossible to hear Spanish music out- side of Spain; not easy even in Spain, unless one is satisfied with zarzuelas. Worse, it is impossible even to see most of it.
    [Show full text]
  • Prominent Women Performers in Voice, Piano and Violin, Born Since 1840
    PROMINENT WOMEN PERFORMERS IN VOICE, PIANO AND VIOLIN, BORN SINCE 1840 BY ELIZABETH ADELLE McCLURE THESIS FOR THE DEGREE OF BACHELOR OF MUSIC IN MUSIC SCHOOL OF MUSIC UNIVERSITY OF ILLINOIS 1918 Digitized by the Internet Archive in 2013 http://archive.org/details/prominentwomenpeOOmccl UNIVERSITY OF ILLINOIS J}ine_^5 THIS IS TO CERTIFY THAT THE THESIS PREPARED UNDER MY SUPERVISION BY Elizabeth Adelle McClure ENTITLED P?.P.in.ine.n^.. Jp.?^e.A...Pe^^ .yiQl.in.,....BQrA...S.lng.a..aMQ.. IS APPROVED BY ME AS FULFILLING THIS PART OF THE REQUIREMENTS FOR THE DEGREE OF Bs^Q]^elQX...Q.t..MMQXG.. Approved HEAD OF DEPARTMENT OF....SC:hool.. of ..Musio. 408271 UlUC " INTRODUCTION Women have had a certain handicap in nnieical matters, but they have furnished the great body of amateurs, without which, the profeseional artistic world would have had a sorry time. In former ages women were confined to the duties of the household. They managed their domestic duties well, regardless of the fact, that there were no women's clubs to assist them. Their educational outlook was narrow, and the fact that they were confined to their homes, gave them opportunities to study the arts, that the men of the time did not possess. Later women's opportunities enlarged and today they are thoroughly "emancipated." They attend the same colleges as their brothers, engage in the same occupations and enter the same pro- fessions. Women are given an equal chance of representation on programs as men and axe welcomed as performers, "Woman has been called the Queen of the home." However, since the arts and sciences have been open to women, they are no longer satisfied with this.
    [Show full text]
  • Letters from Olive Fremstad to Willa Cather: a View Beyond the Song of the Lark Jessica Tebo University of Nebraska - Lincoln
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Dissertations, Theses, and Student Research: English, Department of Department of English Summer 6-12-2018 Letters from Olive Fremstad to Willa Cather: A View Beyond The Song of the Lark Jessica Tebo University of Nebraska - Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/englishdiss Part of the Literature in English, North America Commons, and the Other Music Commons Tebo, Jessica, "Letters from Olive Fremstad to Willa Cather: A View Beyond The Song of the Lark" (2018). Dissertations, Theses, and Student Research: Department of English. 142. https://digitalcommons.unl.edu/englishdiss/142 This Article is brought to you for free and open access by the English, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Dissertations, Theses, and Student Research: Department of English by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. LETTERS FROM OLIVE FREMSTAD TO WILLA CATHER: A VIEW BEYOND THE SONG OF THE LARK by Jessica E. Tebo A THESIS Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Master of Arts Major: English Under the Supervision of Professor Melissa J. Homestead Lincoln, Nebraska May, 2018 LETTERS FROM OLIVE FREMSTAD TO WILLA CATHER: A VIEW BEYOND THE SONG OF THE LARK Jessica E. Tebo, M.A. University of Nebraska, 2018 Advisor: Melissa J. Homestead In 1913, Willa Cather met opera-diva Olive Fremstad and the two formed a friendship that would span at least a decade.
    [Show full text]
  • Willa Cather Foundation Collections About King Arthur, Transcendentalism, and and Archives to Tell Her Story
    Willa Cather REVIEW Volume 62 | No. 3 | Summer 2021 Cather and the Opera Bright Medusae Remembering Departed Friends Willa Cather REVIEW Volume 62 z No. 3 | Summer 2021 Cather on the Cusp of the 1920s June 4–6, 2020 • Red Cloud, Nebraska 65th annual Willa Cather Spring Conference | National Willa Cather Center 6 2 20 4 15 28 38 31 41 44 CONTENTS 1 Letters from the Executive Director and the President 28 Celebrating Women: An Art Quilt Exhibit z Diane Prenatt Un/Tethered: Willa Cather on the Cusp of the 1920s 2 31 Mary Garden and Willa Cather: A Clash of Diane Prenatt and Elaine Smith Big Careers z John H. Flannigan Spring Conference 2020: Looking Back, Looking Forward 4 From Our Collections Tracy Sanford Tucker Tracy Sanford Tucker 38 z New Titles for the Cather Bookshelf 6 Willa Cather, Olive Fremstad, and the Singer in Fiction 40 Alex Ross 41 In Memoriam: Lucia Woods Lindley and 15 The Living Picture: Creating a Multimedia Adaptation Daniel A. Lindley z Ann Romines of “A Gold Slipper” z Michael Burton 44 Remembering Our Friend Lucia 20 Youth and the Bright Medusae: Cather’s Jellyfish 48 Contributors to this Issue Elizabeth Wells On the cover: Interior detail of the old Metropolitan Opera House, New York, N.Y., demolished in 1967. Image from the Historic American Buildings Survey, ca. 1933. Prints and Photographs Division, Library of Congress. Bust of Willa Cather by Paul Swan (detail) for the Nebraska Hall of Fame, photographed by Don V. Becker, ca. 1963. Used by permission of History Nebraska; no.
    [Show full text]
  • O Pioneer? the Eurocentric Error
    claims of the criticism implicitly allied with pathologies it mimics, postmodern logic,” that art—that language can only refer to Bosworth warns, “can supply only the itself, that there is no objective reality—are opposite of what it would advertise: instead trying to insist that the mind is its own of immunity, ignorance; instead of real place and so, in some sense, safe.... mastery, the fantasy of triumph that only “Yet like echolalia and narcissism, the ignorance allows.” The Eurocentric Error Michael Lind, a contributing editor of Harper’s Magazine (Feb. 1998), on the sources of post–World War II America’s misguided infatuation with European culture: For a generation of American literary academics, the most influential postwar literary critic was not Edmund Wilson or F. O. Matthiessen, both of whom wrote brilliantly about American literature, but Lionel Trilling. To my mind, it is odd enough that T. S. Eliot, a St. Louis native who had converted himself into a cartoon of an Englishman, and Ezra Pound, an Idaho-born professor who had transformed himself into a Mediterranean fascist, were held up to my classmates and me [at the University of Texas at Austin in the late 1970s]—in lieu, I suppose, of real Europeans, whose native tongues made them less accessible to American audiences—as the fonts from which all literary wisdom flowed. But Trilling taught a generation to prefer E. M. Forster to Nelson Algren and Matthew Arnold to H. L. Mencken. He offered the children and grandchildren of immigrants to American slums from Dublin, Warsaw, and Salerno the cheap illusion of belonging to the Victorian or Edwardian gentry.
    [Show full text]