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BY COZZENS POSSESSED a Review of Reviews DWIGHT MACDONALD

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BY COZZENS POSSESSED a Review of Reviews DWIGHT MACDONALD BY COZZENS POSSESSED A Review of Reviews DWIGHT MACDONALD T HE most alarming literary news in beck. He is a "serious" writer, and never years is the enormous success of more serious than in this book. That so un- James Gould Cozzens' By Love Pos- compromising a work, written in prose of sessed.* It sold 170,000 copies in the first an artificiality and complexity that ap- six weeks of publication-more than all proaches the impenetrable-indeed often eleven of the author's previous novels put achieves it-that this should have become together. At this writing, it has been at the what the publishers gloatingly call "a run- top of the best-seller lists for two months. away best-seller" is something new. How do Hollywood and the Reader's Digest have those matrons cope with it, I wonder. Per- paid $100,000 apiece for the privilege of haps their very innocence in literary matters wreaking their wills upon it. And the New is a help-an Australian aboriginal would Yorker published a cartoon-one matron to probably find Riders of the Purple Sage as another: "I was looking forward to a few hard to read as The Golden Bowl. weeks of just doing nothing after Labor The requirements of the mass market ex- Day when along came James Gould plain a good deal of bad writing today. But Cozzens." Cozzens here isn't writing down, he is ob- There's nothing new in all this-after all, viously giving it the works: By Love Pos- something has to be the No. 1 Best-Seller sessed is his bid for immortality. It is Litera- at any given moment. What is new appears ture or it is nothing. Unfortunately none of if one considers Grace Metalious' Peyton the reviewers has seriously considered the Place, which was at the top for a full year, second alternative. The book is not only a before By Love Possessed displaced it. Pey- best-seller, it is a succes d'estime. Such re- ton Place is a familiar kind of best-seller, a views, such enthusiasm, such unanimity, pedestrian job, an artifact rather than a such nonsense! The only really hostile re- work of art (putting it mildly) that owes its view I have been able to find was by William popularity to nothing more subtle than a Buckley, Jr., of all people, in his National remarkably heavy charge of Sex; perhaps its Review. Granted that he was somewhat moti- best-known predecessor is Forever Amber, vated by a non-literary consideration-the fabricated a decade ago by another notably book is lengthily anti-Catholic-still I untalented lady. But Cozzens is not of the thought his deflation skillful and just. company of Kathleen Winsor, Edna Ferber, Looking through Alice Payne Hackett's Daphne Du Maurier, Llovd C. Douglas, Sixty Years of Best Sellers, I find among and other such humble, though well-paid, the top ten novels between 1935 and 1955 artisans. Nor can he be "placed" at the mid- just seven that I would call in any way dle level of best-sellerdom, that of writers "serious," namely: Wolfe's Of Time and the like Herman Wouk, John Hersey, and Irwin River (1935), Huxley's Eyeless in Gaza Shaw, nor even (perhaps) on the empyrean (1936), Virginia Woolf's The Years (1937), heights occupied by Marquand and Stein- Steinbeck's The Grapes of Wrath (1939), Hemingway's For Whom the Bell Tolls (1941), Norman Mailer's The Naked and ACCORDING to DWIGHT MACDONALD, the phe- nomenal success of James Gould Gozzens' By the Dead (1948), and James Jones's From Love Possessed indicates a new trend in Amer- Here to Eternity (1951). About one every ican middlebrow culture. Mr. Macdonald is a three years, with a significant falling off in New Yorker staff writer. His latest book, the last decade. It is a slim harvest, in both Memoirs of a Revolutionist, was reviewed in the November COMMENTARY. *Harcourt, Brace, 570 pp., $5.00. 36 BY COZZENS POSSESSED 37 quantity and quality, but the difference be- long and bold and delicate book, which, tween the least of these and By Love Pos- despite its length, one reads through at head- sessed is the difference between a work of long speed and is then angry with oneself art on some level and to some extent for having reached the end so precipitately." achieved, and one that falls below any rea- Mr. Fischer was more coherent but sonable literary criterion. Yet the reviewers equally emphatic. Speaking from "the Edi- almost to a man behaved as if they were tor's Easy Chair," as Harper's quaintly styles possessed. This sincere enthusiasm for a it, he headed his piece: "NOMINATION mediocre work is more damaging to literary FOR A NOBEL PRIZE," and he meant it. standards than any amount of cynical bally- For one slip or another-sentimentality, neu- hoo. One can guard against the Philistines roticism, subjectivism, sloppy plot construc- outside the gates. It is when they get into tion, or habitual use of "characters who are the Ivory Tower that they are dangerous.* in one way or another in revolt against so- ciety"-he faults all the other competitors THERE seems little doubt that By Love (the habitual-use-of- deleterious- characters Possessed has been selling on the strength rap alone disposes of Faulkner, Hemingway, of the reviews. (Word-of-mouth comment Steinbeck, Algren, Mailer, Capote, Bellow, has probably worked the other way; I've Jones, Paul Bowles, and Tennessee Wil- found only two people who liked it, and liams) until finally James Gould Cozzens the most common reply is: "I couldn't read stands out in superb isolation, a monument it.") All the commercially important jour- of normality, decency, and craftsmanship.t nals reviewed it prominently and enthusi- The provincial reviewers followed their astically. The Sunday Times and Herald leaders: "COZZENS PENS ENDURING Tribune book sections gave it front-page re- TALE" (Cleveland News), "ONE OF THE views, by Malcolm Cowley ("one of the GREAT NOVELS OF THE PRESENT country's truly distinguished novelists") and CENTURY" (San Francisco Call-Bulletin), Jessamyn West ("Rich, Wise, Major Novel "finest American novel I have read in many of Love"). Time put Cozzens on the cover a year" (Bernardine Kielty in the Ladies' -Herman Wouk was there a year or two Home Journal), "COZZENS WRITES ago-and pronounced By Love Possessed "the ABSORBING STORY IN EXCELLENT best American novel in years." Orville Pres- AND PROFOUND NOVEL" (Alice cott in the Times thought it "magnificent," Dixon Bond in the Boston Herald; her col- Edward Weeks in the Atlantic found it umn is called "The Case for Books"-is there "wise and compassionate," and Whitney an adjacent feature, 'The Case Against Balliett in the Saturday Review divined in it Books"?). Leslie Hanscom in the New York "the delicate and subtle tension between World-Telegram-there are provincials in action and thought that is the essence of big cities, too-was impressed by Cozzens' balanced fiction." "awesome scrupulosity as an artist." Mr. The most extraordinary performances Hanscom's scrupulosity as a critic inspires were those of Brendan Gill in the New Yorker and John Fischer in Harper's. The {Actually, even according to Mr. Fischer's former praised it in terms that might have absurd standards, Cozzens doesn't deserve this been thought a trifle excessive if he had eminence. He is not "a classic mind operating been writing about War and Peace: "a mas- in a romantic period" nor does his novel run counter to "the Gothic extravagance of current terpiece . the author's masterpiece . fiction"; as I shall show, his mind lacks clarity, almost anybody's masterpiece . supremely control, and form-the typical classic virtues- satisfying . an immense achievement and his prose is as Gothic as Harkness Memorial . spellbinding . masterpiece." The Quadrangle (also as unaesthetic). As for the alleged normality of his characters-"ordinary mood is lyrical, stammering with heartfelt people, living ordinary lives, in ordinary circum- emotion: "No American novelist of the stances" with whom the reader "can identify twentieth century has attempted more than himself as he never can with the characters of Mr. Cozzens attempts in the course of this an Algren or a Mailer"-they are normal only on the surface; once this is broken through, they are *A similar case of demoniacal possession took as neurotic and fantastic in their behavior as place in London in 1956 apropos of Colin Wil- other current fictional people. The chief differ- son's le Outsider. ence is that their creator often doesn't realize it. 38 COMMENTARY little awe; "Hemingway and Faulkner, move . the quintessence of our best qualities" over!" he summed up. The frankest of the (Gill). I'm unwilling to go farther than provincials was Carl Victor Little in the the Kansas City Star: "thoroughly honest, Houston Press: "The N.Y. Times, Saturday genteel, devoted to his work, and conscien- Review and other publications have taken tious." Passion seems to me just what is out of the ivory tower the most accom- most obviously missing in Arthur Winner; plished critics available to join in the halle- he's about as passionate as a bowl of oatmeal. lujahs. So about all I can do is ditto the He is, in fact, a prig. His responses to the dithyrambs." many appeals made to him in the course of The literary quarterlies have not yet been the story-he's always on top, handing down heard from, but the liberal weeklies have. advice and help, a great temptation to prig- They didn't exactly ditto the dithyrambs, ex- gishness-while decent enough in form cept for Granville Hicks in the New Leader: ("genteel") are in reality ungenerous and .
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