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Introduction: Remake It New N o t e s Introduction: Remake It New 1 . R o b e r t R u a r k , Poor No More (New York: Henry Holt, 1959), pp. 194, 158. 2 . Ibid., pp. 232, 219–20. Also see chapter 3 . 3 . See, for example, the essays in Michael McKeon (ed.), Theory of the Novel: A Historical Approach (Baltimore, MD: Johns Hopkins University Press, 2000), none of which treats middlebrow fiction as a stage in the novel’s formal development. 4. Fredric Jameson, “Reification and Utopia in Mass Culture,” Social Text 1 (Winter 1979): 141. 5 . This is not to say that eighteenth- and nineteenth-century novels are not themselves ambivalent. For more on this, see the “Ending” chapter in this book. 6. On this definition of the fetish, see especially Octave Mannoni, “I Know Well, but All the Same . ,” trans. G. M. Goshgarian, in Molly Anne Rothenberg, Dennis A. Foster, and Slavoj Ž i ž ek (eds.), Perversion and the Social Relation (Durham, NC: Duke University Press, 2003), pp. 68–92. 7 . On the history of “highbrow” and “lowbrow,” see Lawrence W. Levine, Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America (Cambridge, MA: Harvard University Press, 1988). The OED gives the first recorded usage of “middlebrow” as occurring in the Freeman’s Journal in 1924; see “Middlebrow, n. and adj. ,” Oxford English Dictionary , accessed June 7, 2011, http://www.oed.com/view/Entry/252048 . 8 . Q. D. Leavis, Fiction and the Reading Public (London: Chatto, 1932), p. 24. 9 . S e e S t e f a n C o l l i n i , Absent Minds: Intellectuals in Britain (Oxford: Oxford University Press, 2006), p. 112. 10 . Russell Lynes, “Highbrow, Lowbrow, Middlebrow, Now,” interview by John Brooks, American Heritage 34.4 (1983), accessed Aug. 5, 2013, http://www .americanheritage.com/content/highbrow-lowbrows-middlebrow-now . 11 . See “Search Results—ProQuest Historical Newspapers: The New York Times (1851–2007)—ProQuest,” ProQuest, accessed May 5, 2011, http://search .proquest.com/hnpnewyorktimes/results/12F2716FB2B64B792BC/1/$5bqu eryType$3dadvanced:hnpnewyorktimes$3b+sortType$3drelevance$3b+searc hTerms$3d$5b$3cAND|citationBodyTags:middlebrow$3e$5d$3b+searchPa 140 Notes rameters$3d$7bchunkSize$3d20,+additionalNavigators$3drecordtypenav,+ date$3dRANGE:1920,1960,+ftblock$3d194000+1+194001$7d$3b+metaDa ta$3d$7bUsageSearchMode$3dAdvanced,+dbselections$3d1007155,+siteLi miters$3dRecordType$7d$5d?accountid=14657 . 1 2 . S e e L y n e s , “ H i g h b r o w , L o w b r o w , M i d d l e b r o w , ” Harper’s Magazine 198.1185 (1949): 19–28; [Lynes,] “Everyday Tastes from High-Brow to Low-Brow Are Classified on Chart,” Life , Apr. 11, 1949, pp. 100–1; Jay Gorney, Ethel Kerr, and Walter Kerr, “High Brow, Middle Brow, Low Brow,” T-Mss 1994–002, box 7, folder 3, New York Public Library, New York City; for reference to the dance performance, see John Martin, “The Dance: A Quartet,” New York Times, June 11, 1950, p. 101. 13 . See Dwight Macdonald, “Masscult and Midcult,” Against the American Grain (New York: Random House, 1962), pp. 3–75; Philip Roth, “Writing American Fiction,” Commentary 31.3 (1961): 223–33; John Berryman et al., “The State of American Writing: 1948: A Symposium,” Partisan Review 15.8 (1948): 855–93; William H. Whyte, The Organization Man (New York: Simon & Schuster, 1956). 14 . Clement Greenberg, “Avant-Garde and Kitsch,” in Bernard Rosenberg and David Manning White (eds.), Mass Culture: The Popular Arts in America (Glencoe, IL: Free Press, 1957), pp. 102, 103. 15. Rosenberg, “Mass Culture in America,” in Rosenberg and White, Mass Culture , p. 9. 16 . Macdonald, “A Theory of Mass Culture,” in Rosenberg and White, Mass Culture, p. 64. For Greenberg’s use of “middlebrow,” see, for example, Berryman et al. “The State of American Writing.” 17 . Macdonald, “Masscult and Midcult,” p. 3. 18 . Lynes, “Highbrow, Lowbrow, Middlebrow,” p. 23. 19 . Macdonald, “Masscult and Midcult,” p. 54. 20 . Raymond Williams, “When Was Modernism?” New Left Review , 1st ser., 175 (May–June 1989): 51. 21 . Macdonald, “Masscult and Midcult,” p. 37. 22 . Macdonald, “Masscult and Midcult,” p. 39. 23 . See, for instance, Joan Shelley Rubin, The Making of Middlebrow Culture (Chapel Hill: University of North Carolina Press, 1992). 2 4 . J a n i c e A . R a d w a y , A Feeling for Books: The Book-of-the-Month Club, Literary Taste, and Middle-Class Desire (Chapel Hill: University of North Carolina Press, 1997), p. 15. 2 5 . W i l l i a m s , Drama From Ibsen to Brecht (London: Chatto & Windus, 1968), pp. 17–18. 26 . Lynes, “Highbrow, Lowbrow, Middlebrow,” p. 19. 27 . See, for example, Radway, A Feeling for Books , p. 262, and Riesman, The Lonely Crowd , pp. 144–5. The term “professional-managerial class” comes from Barbara Ehrenreich and John Ehrenreich, “The Professional-Managerial Class,” Radical America 11.2 (1977): 6–31. 2 8 . J o h n G u i l l o r y , Cultural Capital: The Problem of Literary Canon Formation (Chicago: University of Chicago Press, 1993). Notes 141 29 . See, for example, James Jones, From Here to Eternity (New York: Dial Press, 2012), p. 503. 30 . Quoted in K. A. Cuordileone, “‘Politics in an Age of Anxiety’: Cold War Political Culture and the Crisis in American Masculinity, 1949–1960,” Journal of American History 87.2 (2000): 515–45. 3 1 . T a y l o r C a l d w e l l , Dear and Glorious Physician (Garden City, NY: Doubleday, 1959), p. 282. 32 . Dwight D. Eisenhower, “Atoms for Peace: Address before the General Assembly of the United Nations on Peaceful Uses of Atomic Energy,” Dec. 8, 1953, http://www.eisenhower.archives.gov/all_about_ike/Speeches/Atoms_for _Peace.pdf . Such rhetoric, condensing a long-standing tradition of American individualism, also proliferated in the larger print public sphere—in nonfic- tion best sellers like Whyte’s The Organization Man (1956), or Riesman’s The Lonely Crowd (1950), which championed the “autonomous” individual at the expense of the “other-directed” man, whose values are merely those of his peers—as well as in fiction. See Riesman, The Lonely Crowd , pp. 239, 17. 33 . James Michener, Tales of the South Pacific (New York: Macmillan, 1947), p. 321. 3 4 . G r a h a m G r e e n e , The Third Man , dir. Carol Reed (New York: Criterion Collection, 2007). 35 . We might note, following the lead of, for example, Klein (See Christina Klein, “ Reader’s Digest , Saturday Review , and the Middlebrow Aesthetic of Commitment,” Cold War Orientalism: Asia in the Middlebrow Imagination, 1945–1961 [Berkeley: University of California Press, 2003], pp. 61–99), that the tension between the desire for normativity and the fear of sameness, if recast as a tension between universal values and individual freedom, might be characterized as a classical tension inhering in liberal politics. Liberal politics desires to provide an ethical framework sufficiently narrow as to ensure the universal application of justice, but at the same time to be sufficiently broad in its outlook as to allow individuals as much freedom as possible. Such a poli- tics was also, of course, in the ascendant during the postwar years—as Lionel Trilling famously wrote in 1950, in the United States, “[l]iberalism is not only the dominant but even the sole intellectual tradition” (Lionel Trilling, The Liberal Imagination [New York: New York Review of Books, 2012], p. xv). 3 6 . S e e R u b i n , The Making of Middlebrow Culture , pp.14–15. Matthew Arnold, Culture and Anarchy: An Essay in Political and Social Criticism (London: Smith, Elder, 1869), p. 89. 37 . Elizabeth Long, Book Clubs: Women and the Uses of Reading in Everyday Life (Chicago: University of Chicago Press, 2003), pp. 605–6. 3 8 . L a u r e n B e r l a n t , The Female Complaint: The Unfinished Business of Sentimentality in American Culture (Durham, NC: Duke University Press, 2008), p. 211. 39. My conception of the relationship between middlebrow and modernist cul- ture is, as my use of his key term “misread” implies, indebted to the famous (or infamous) work of Harold Bloom. As Bloom does with the work of Romantic poets, so I read middlebrow literature’s caricaturing of modernism 142 Notes as a means by which middlebrow authors dealt with their anxiety over mod- ernism’s potential influence on them and a means by which middlebrow cul- ture was able to clear a space, as it were, for its own aesthetic innovations. See Harold Bloom, The Anxiety of Influence: A Theory of Poetry (New York: Oxford University Press, 1973). 40 . See Daniel Tracy, “Investing in ‘Modernism’: Smart Magazines, Parody, and Middlebrow Professional Judgment,” Journal of Modern Periodical Studies 1.1 (2010): 38–63. 41 . Van Wyck Brooks, “Reflections on the Avant-Garde,” New York Times Dec. 30, 1956, BR10. 42 . James Baldwin et al., “What’s the Reason Why: A Symposium by Best-Selling Authors,” New York Times Dec. 2, 1962, BR3. 43 . Michener, “The Capacity to Love,” rev. of Elizabeth Janeway, The Question of Gregory , New York Times , Aug. 21, 1949, BR5. 44 . Quoted in David Dempsey, “In and Out of Books,” New York Times , Dec. 25, 1949, BR8. 45 . Baldwin et al., “What’s the Reason Why,” BR56. 4 6 . M i c h e n e r , Literary Reflections: Michener on Michener, Hemingway, Capote, & Others (Austin, TX: State House Press, 1993), p. 149. 4 7 . M i c h e n e r , Literary Reflections , pp. 106, 76. 4 8 . M i c h e n e r , Literary Reflections , p.
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