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Modernism En Vogue: Popular Periodicals and Their Engagement with Modernist Culture Loyola University Chicago Loyola eCommons Dissertations Theses and Dissertations 2012 Modernism En Vogue: Popular Periodicals and Their Engagement with Modernist Culture Natalie Kalich Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_diss Part of the English Language and Literature Commons Recommended Citation Kalich, Natalie, "Modernism En Vogue: Popular Periodicals and Their Engagement with Modernist Culture" (2012). Dissertations. 305. https://ecommons.luc.edu/luc_diss/305 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Dissertations by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 2012 Natalie Kalich LOYOLA UNIVERSITY CHICAGO MODERNISM EN VOGUE: POPULAR PERIODICALS OF THE 1920s AND THEIR ENGAGEMENT WITH MODERNIST CULTURE A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY PROGRAM IN ENGLISH BY NATALIE M. KALICH CHICAGO, IL MAY 2012 Copyright by Natalie M. Kalich, 2012 All rights reserved. ACKNOWLEDGMENTS Contrary to my fears of long, lonely days spent writing; this dissertation process was a collaborative effort on a massive scale. Each member of my committee has contributed something invaluable individually. I simply would not be the writer I am today without Dr. Joyce Wexler, who puts the “direct” in Director. Her straightforward comments facilitated my growth as a clear, coherent writer, while she simultaneously encouraged the development of my individual voice. While I fell in love with modernism as an undergraduate, Dr. David Chinitz’s 2008 Jazz Age course awoke a passion for the vivacious culture of the 1920s that led me to this project. Moreover, his attention to detail forced me to refine aspects of my writing I had ignored for too long. Dr. Pamela Caughie sparked my interest in feminist and class theory, which form the critical foundations of my project. However, Dr. Caughie’s guidance and support extended far beyond the classroom. In her role as Graduate Programs Director she has worked tirelessly as an advocate for English Graduate Students and acted on my behalf more times than I can recall. Together, my committee has challenged and fostered my development as an academic writer and critical thinker prepared to take on the challenges of the professional world. Next, I must acknowledge the support of my department family, without whom I could not have completed this project: Julia Daniel, Lacey Conley, Allison Fagan, Erin iii Holliday-Karre, and Faith Bennett believed in me, acted as sounding boards, and shared in my triumphs (big and little) throughout this process. These women represent the five most intelligent, sassy, and witty people I have ever met, and I consider myself extremely privileged to sit at their cool kid table. “Thank you” seems completely insufficient to describe the contributions of my family, especially my parents, Ray and Veronica Kalich, and my brother Nik Kalich. They provided the financial, psychological, and emotional support I needed to see this dissertation through to completion. My extended family—my grandmother Mildred Kalich; my aunts, Lora Kyzour, Rebecca Kalich, and Roberta Kalich-Paley; the uncle Jims, Kyzour and Gephart; and my cousins Mark Davis and Aaron Paley―kept me grounded and reminded me of the world outside of academia. In a similar vein, thank you to my hometown friends: Marcie Secue, Ryann Doan, Colleen Curry, Nichole Barht, and Tara and Steve Sammon. You have known me for most of my life, and distance has proven no match for our friendships―thanks for helping me hold on to my Cleveland roots! And to the Le Janet Crew: Thank you for helping me to establish new roots in Chicago and creating a much-needed amusement park out of our building. Finally, to my “nuclear” family: Thank you, Nightmare, Poldy, and Baxter for providing very necessary “creature comforts” with your adorable faces and furry affection. But, the biggest THANK YOU of all belongs to the person who had to live with me throughout this journey—Steve Yonkof: I love you not just for who you are, but for everything you’ve done and continue to do for me, especially your uncanny ability to always make me laugh. iv This dissertation is dedicated to my grandfather, Paul J. Kalich TABLE OF CONTENTS ACKNOWLEDGMENTS iii CHAPTER ONE: INTRODUCTION 1 CHAPTER TWO: THE “AVERAGE CITIZEN” CONFRONTS “BOBBED-HAIRED THINKING”: THE SATURDAY EVENING POST’S TUMULTUOUS RELATIONSHIP WITH 1920s MODERN CULTURE 22 From Inauspicious Beginnings to Massive Success 25 “Disgruntled Aliens” and the Intelligentsia: The Post Responds to Modern Culture 27 How the Post Learned to Stop Worrying and Love Jazz 39 “By God + Lorimer, I’ll make a fortune yet”: Post Fiction and F. Scott Fitzgerald 49 “In spite of his business, he is a man”: Gilbert Seldes as Advocate for the Middle Class 68 CHAPTER THREE: DOMESTIC MODERNISM: LADIES’ HOME JOURNAL AND ITS MEDIATION OF MODERNISM TO MIDDLE-CLASS WOMEN 79 A Brief History of the Journal and the Mass-Market Magazine Industry 82 “Like What You Like, But―”: Barton W. Currie and Domestic Modernism 90 “Art and amusement―are they possible mates?”: The Journal’s Filmic Discourse 111 CHAPTER FOUR: MATCHING PEARLS TO SEQUINS: HOW BRITISH VOGUE COLLAPSED THE CULTURAL BINARY BETWEEN BLOOMSBURY AND JAZZ 132 Condé Nast’s Upper-Class Aspirations and Bloomsbury’s Intellectual Aristocracy 135 Dorothy Todd and Madge Garland’s Vogue 142 “. what I want, money”: Virginia Woolf in a Commercial Context 151 A Brave New World of Fashion and Romance 161 Sketching Out Cultural Identities: Fish and Covarrubias’s Jazz Age Pictorials 169 CHAPTER FIVE: “THE COCKTAIL WITHOUT A PADLOCK!”: VANITY FAIR’S INTOXICATING ARTICULATION OF MODERNIST CULTURE 188 The Beginnings of a Beautiful (and Profitable) Friendship: Frank Crowninshield and Condé Nast 192 Vanity Fair’s Place Among Commercial and Modernist Contemporaries 195 Vanity Fair Complicates the Gender Divide 212 Vanity Fair’s Interpretation of “American Noises” in Jazz and Poetry 223 WORKS CITED 234 VITA 247 vi CHAPTER ONE INTRODUCTION In 1919, Vanity Fair featured “Culture: Five Star Extra Edition, How to Make Sure that You are Enjoying Paintings and Verse of the New School,” by Richard Connell. The article begins by reassuring readers, “Modern Art is not so complex as the ordinary person might, at a casual glance, suppose. Ordinary persons are those who cannot appreciate it” (55). The article includes a list of “elementary principles” (55) to guide readers in the correct way to enjoy modern art. The second principle is particularly helpful in portraying the wrong and right ways to respond to modernism: How often does one see an ordinary person pause before a choice example of one of the new schools . and say, “I don’t understand it. I don’t get the idea.” Absurd! What does the artist care? He has given expression to his idea and to himself. He is too large-minded to expect you to take the same view of things as himself . The second principle, then, is “Whatever a thing seems to be to you, IT IS.” (55) In order to illustrate this point, Connell describes an artist friend who hung his photograph of a fried egg in his studio. “Ordinary persons” such as “the janitor, the installment collectors and the man who came to fix the plumbing, all agreed that it was a very life-like picture of a fried egg” (55). This, for Connell, signifies the ordinary person’s inability to appreciate modern art, especially when compared to the reactions of “our coterie of new artists” who were able to grasp “the real Inner Significance of the picture” (55). Connell then provides a list of titles the coterie audience proposed to demonstrate “Inner Significance”: “‘Internationalism Triumphant.’ ‘Susanna and the 1 2 Elders.’ ‘Fate and Hate.’ ‘A Nude Playing Parchesi [sic].’ ‘A Nude Playing.’ ‘A Nude.’ ‘Phyllis.’. ‘The Sound of Water Leaving the Bath-tub.’ ‘The Temptation of Father Scothine.’ ‘Sex’ (55). These titles highlight the overall ironic tone of the article, as they reveal the lengths to which the coterie audience goes to see the fried egg photograph as anything but what it actually is. The article satirizes modern art and its selective audience, indicating the widespread reputation this aesthetic had already achieved by 1919. While Vanity Fair was famous for exposing upper- to middle-class readers to the latest in art and culture, this piece also assumes an audience―comprised of the elite and commercial―will understand a parodic treatment of the avant garde because of its notoriety. Recent modernist scholarship has focused on the phenomenon’s development in magazines and newspapers. Consequently, textual studies scholarship, specifically periodical studies, on modernism has grown exponentially. Scholars such as Sean Latham and Robert Scholes have led the way in establishing the significance of periodical studies as it pertains to the study of modernism. In their 2006 collaborative article “The Rise of Periodical Studies” (2006), Latham and Scholes argue that magazines should be treated as “autonomous objects of study” (518), rather than “containers of discrete bits of information” (517). Treating magazines as unified texts, as opposed to mere ephemera to be dismantled according to one’s specialization, has resulted in efforts to protect these historical documents through digital archives. Latham and Scholes’s Modernist Journals Project has digitally reproduced magazines such as Blast, Others, and Coterie online to 3 show how “modernism began in the magazines” (Modernist Journals Project).1 The significance of research like Latham and Scholes’s lies in its explication of how modernists worked with editors, publishers, and other artists in order to produce works still largely attributed to individual writers.
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