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The Growing Maturity of Thomas Wolfe°S Final Novels

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The Growing Maturity of Thomas Wolfe°S Final Novels The growing maturity of Thomas Wolfe's final novels Item Type text; Thesis-Reproduction (electronic) Authors Adams, DeAnne Dorny, 1938- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 03/10/2021 20:40:44 Link to Item http://hdl.handle.net/10150/319002 THE GROWING MATURITY OF THOMAS WOLFE°S FINAL NOVELS by DeAnne 0@ray Adams A Biesis Submitted to.the Faculty of the DEPARTMENT OF ENGLISH In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 1963 STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in The University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in their judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. SIGNED; r f k ' « c. /. X. APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below: ALBERTALBERT F.; GEGENHEIMER f I Date Professot/of English TABIE OF CONTENTS Chapter INTRODUCTION ©o © © © © © © © © © © © © ONE O O O O O O O O © O © O O O'© © © TWO O © OO O © O O O OO ©OO o o o THREE o o do o © © © © © o o © © © o FOUR O © © © O O o © © OO o o o o © BIBLIOGRAPHY © © © © © © © © © © © © © © INTRODUCTION Ttmmas M® l£e 0 s ©reative Imaglmatiam, lyrieal styles aad intense emotional perception make him one of Americans finest authors« He lived in the violent atmosphere created by his m m emoti©as«==-doubt $, despair$ hope, pride, disillus.ionmeat=«=and his writings reveal these emot ions„ He traveled extensively, and as he visited each new place he carried with him his voracious appetite for life, his hunger to experience, to taste, :t© know, to feel,• He accumulated in his creative mind the histories and characteristics of numerous people, the nuances and subtleties of numerous incidents. In 1926 this vast treasure began t® pour forth as Wolfe.began writing his first novel. He never lacked for purpose or material, what he may have lacked was the knowledge of how to confine and direct the outpourings of mood, color, impression, and incident that flowed from his literary memory. He wrote of himself, of the joys and £ail= ures that had come to him, and of his hopes and defeats. He also put into his pages the stories of the people he had known in his youth. When he finally felt that his material had been shaped into a semblance of organisation, he had a manuscript which he estimated to be 350,000 words long. 1 Two publishers turned it down, saying it was 1 Thomas Wolfe, The Story of a Hovel (Mew York, 1936), p, 9, 2 m s k i l l e d 9 amateurish, t©@ aut©b 1 ©graphleal, and t©© long, before at reaehed the hands ©f a man ®h© recognised the superb prose, the depth 9 and the undeveloped power of vJ©lfe°s talento This man perceived literary genius in the work, but realised that it was not yet in pub~ lishable form, due to its length and to the lack of experience of the author in the selection of detail and incident« This editor was Maxwell Evarts.Perkins, an intuitive and far® sighted man who was associated with the. House of Scribner for thirty- seven years, "a man with a passion for good writing, a passion for the true, for the intensely- felt, the completely realised— in other words, for talento Perkins wrote to Wolfe to discuss publication of his first novelo His letter initiated one of the most famous associations in American belles-lettres^ For eight years the friendship flourished as the two men worked together to shape Wolfe°s superb prose into pub­ lishable form, Perkins became not only a strong literary influence upon Wolfe, but an enduring friend as wello His gifts of temperament and equipment made him the ideal father confessor, the listener, wise and sympathetic, whose understanding, often conveyed without words, acted as a catalyst, precipitating in many a writer the definite self-discovery which fill then had been vast but formless aspiration .A 2 Ibido., Po 10p . 3 Maxwell E 0 Perkins* Editor to Authors The Letters of Maxwell Eo Perkins (New York, 1950), po 1, The editorial %ork ea Wolfe's first manuscript (later pub= lished as Look Homeward„ Amgel) marked the beginning of a fruitful and affectionate friendship between. Wolfe and- Perk ins = 6,They spent many hours togethers wonderful hours of endless talk, .so- free and full that it combed the universe and bound the two of them together in bonds of closest .friendship* If was a friendship founded on many common tastes and interests 9 on mutual liking and admiration of each for what the other was, and on an attitude of respect whieh allowed ■ 5 unhampered expression of .opinion*" Yet only eight years later Thomas Wife- terminated his publishing relationship with Scribner®8 and found another editor* The reasons for this break in publishing relations were many, and the relative'importance of each reason in the mind of Wife is difficult to determine * It is generally thought that the primary reason was Wife°s desire to prove to his detractors that he could write without the help of Perkins, this desire had been given impetus by an article entitled. ^Genius is Not EnoughM by Bernard DeVot© in which DeVoto had sarcastically criticised Wlfe*s style and method, accusing him of being unable to write without the help of "Mr* Perkins A and the assembly line at Scribner"s*” An examination of Wlfe°s 5 Thomas W i f e * You Gaagt Go Home Again (New York, 1940), p*. 437* ^Bernard DeVoto, "Genius is t Enough 5 XIII (April 25, 1936), 3=4, 14=15* ill e@nespondenee. with Perkims ■ Imdieates' that a' difSerenee im ph3,lo=’ aopbieal attitudes toward life and the treatment of life In. literature, toward idealism, conservatism, and truth was also of great importance in the split insofar., as it affected the edit@r=author relatl©nshlp 0 Another factor dealt with the businesslike attitude that Scribner°s assumed toward their financial Involvement with Wolfe, who felt that they were taking undue advantage of his financial'naivetes . A. final factor of some importance was', the plethora of lawsuits which were plaguing Wolfe during these critical years, and the attitude off Scribner°s toward the settlement of these - suits 0 . The years shen the break occurred were years" of.extreme diffi­ culty for. Wolfe, and the strain of their frustrations,■particularly the lawsuits, is revealed in a letter Wolfe wrote to.Perkins in 1937s ». ». o and as for that powerful and magnificent talent I had two years, ago— in the name' of God, Is that to be lost entirely, destroyed under the repeated assaults and criminalities of this blackmail society under which we live? How I know what happens to the artist in.Amer^ • ' 4 - icaeM The record of how Thomas Wolfe reached; this point.' of. dis­ illusionment is contained In his letters„ Chapter One of this thesis will trace the development of the friendship and literary kinship of ^Thomas W i f e , The fetters of Thomas Wolfe (Hew York, 1946), p. 573» iv £erkirns and Wolfe, using their correspondence as a major source of inf©rmation0’ It will then disewss the various fasters in the publish­ ing break and evaluate their relative importance. Chapter Two will outline the. development and career of Wolfe8s autobiographical protagonists throughout the;.four major novels,' .The first two, look Homeward 0 A&ge1 (lf29) and Of Time and the River (1935), were published under Perkins 0 tutelage, while the second two. The Web and the Rock (1939) and You Can0t Go Home Again (1940), were published posthumously from the manuscript Wolfe wrote during and after the break with Scribner 0 s. Uppermost in the mind of Wolfe as he was writing the final two novels was his desire to prove he could write without the' help of Perkins| rankling him was DeV©t©ss implication that he, could not do so* He also felt the pressure of those critics who had been dismayed with the extreme autobiographical qualify of his two earlier novels, and he tried to eliminate that quality from his.final manu­ script , Over and over again in his letters he stated that this was the most objective thing he had ever written, however, the success of his new objectivity is still a moot question,' , To a certain 'degree, a definite objectivity can be seen; other changes as well distinguish the novels of this last manuscript from the first two novels. Chapter Two will also discuss these changes and evaluate Wolfe's success in his attempts to write without Perkins and to write objectively. The distressing period When the break occurred began in April 1936 xahea Wolf® 9s first serious quarrel with his publisher was incurred by a reduction in the royalty rate of The Story of a Move 1o For nearly two years Wolfe was in a turmoil of conflict and indecision.
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