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Robert Penn Warren THE LEGACY OF ROBERT PENN WARREN I Edited by David Madden J With an Introduction by James H. Justus Robert Perm Warren and the "New Paradigm" A Case Study of the Birds VICTOR STRANDBERG Vvhen I went to Japan several years ago to teach American litera- ture at Kobe College, I was uncertain what the curriculum would be, so I thought I could best cover all contingencies by bringing with me the most recent Norton Anthology of American Literature (4th ed., 1994), on the theory that Norton editions of anything figure to be the best in the busi- ness. In Japan, a casual perusal of the book left my high esteem for it in- tact until I turned to the anthology's section on Robert Penn Warren's poetry to begin formulating some ideas, and it was at this point that I en- countered what I am calling the New Paradigm—a term that I realize may sustain a variety of definitions. In the context that I am describing, the New Paradigm is a term of reproach for inadequate or even irresponsible scholarship, and reproach most specifically for the theory of criticism that lies behind the inadequate and/or irresponsible performance. What raised the red flag for me was the assertion by the Norton editors that Warren's career as a "major" poet "began" with the publication of Audubon in 1969, when the poet was in his mid-sixties. A closer look revealed that the only poems published in the Norton Anthology were in fact those that appeared after its 1969 time marker. Even more remarkably, neither the editorial introduction nor the book's bibliography even mentioned a title of any Warren volume before VICTOR STRANDBERG 1968 (except for one passing mention of Promises).1 The injustice thus in- flicted on Warren's earlier career will be obvious to anyone familiar with the whole range of his poetry, but let me render a short roll call of major works thereby cast into oblivion: Promises, good enough to win the Pul- itzer Prize in 1957 but not good enough to register with Warren's "Major Poetry," it would seem; Selected Poems (1944), the fruition of a quarter century of creativity, reaching from the poet's youth into early middle age; You, Emperors, and Others (1960), the book that closed out the most dra- matic development in Warren's verse, the identity crisis involving the per- sona he calls "you"; and Tale of Time (1966), with its unforgettable entries occasioned by the death of the poet's mother. In fact, one cannot begin to give a meaningful account of Robert Penn Warren as a poet without touching upon certain crucial works that date back to his beginnings: "Kentucky Mountain Farm" and "The Return: An Elegy," in his first volume, Thirty-Six Poems (1935); the longer entries in Eleven Poems on the Same Theme (1942); "The Ballad of Billie Potts," the most crucial single poem in all Warren's poetry (1943); "Ballad of a Sweet Dream of Peace" in Promises (1956); the "Mortmain" sequence on the death of his father in You, Emperors, and Others (1960); and the title sequence, "Tale of Time," along with the "Delight" sequence in Tale of Time (1966). And, capping off the list, an adequate sampling of Warren's major poetry would have to include a page or two of the best poetry in Brother to Dragons—perhaps the Minotaur segment or the coming of the annus mirabilis. Underscoring the "major" importance of these works is the fact that, two years before the 1969 time marker when (the Norton editors say) Warren "began" to publish his "Major Poetry," Warren was awarded the highest honor an American poet could receive, the Bollingen Prize for Poetry. Clearly, something was badly wrong with the Norton Anthology's judg- i. The Norton Anthology of American Literature, 4th ed., vol. 2 (New York: W. W. Nor- ton, 1994). The Robert Penn Warren entry occupies pp. 2396—409; the bibliography for these pages is on p. 2857. The previous (third) edition of this anthology, dated 1989, is iden- tical to the fourth edition with regard to the Warren entries. For a review of Warren's pre- 1969 poetry, the Norton editors recommend the Selected Poems of 1985—an anorexically thin sampling, as any serious review of the subject quickly makes evident. Robert Perm Warren and the "New Paradigm" 157 ment about what constitutes Warren's "major" poetry—a mishap that now raises doubts in my mind about its reliability with writers that I do not know so well. Regarding Robert Penn Warren, the question I could not understand during my visit to Japan was how, with an abundance of scholarship available, the Norton editors could consign so much of War- ren's major poetic achievement into oblivion. Eventually a suspicion crossed my mind. For the first time, I consulted the Norton Anthology's bibliography at the back of the book, and there my suspicion was con- firmed: the editors mentioned only a single book-length study in their bib- liography, declaring this work "the best book" on Warren's poetry. That one privileged work of criticism applies its subtitle, "Robert Penn War- ren's Major Poetry," solely to Warren's poetry from 1969 onward, as fol- lows: "[Warren's] greatness as a writer [of poetry] . began with Audubon: A Vision (1969)." This critic is entitled to have his opinion, of course, but we are entitled to wonder why so greatly arguable a thesis gains exclusive rights in the Norton Anthology, whose opening commen- tary on Warren reads as follows: "In 1969 . Robert Penn Warren pub- lished his long poem, Audubon: A Vision, the book which announced that here was a major poet."2 So far as the Norton Anthology is concerned, that one critic's opinion appears to have decided the issue of what is worth re- printing from Warren's six decades as a poet, with the result that thou- sands of the anthology's users around the world will consider only the final one-fourth of Warren's poetic career worthy of their attention. I must confess a private interest in this argument. My book The Poetic Vision of Robert Penn Warren (1977) covers the whole career of Robert Penn Warren up into Now and Then in 1976, and I do admit to some puz- zlement about being totally excised from the scholarly record in the Nor- ton bibliography, along with other writers of book-length studies whose existence is not acknowledged, such as Floyd Watkins and Randolph Run- yon. But the larger issue is the truncation of Warren's poetic career. It is 2. Calvin Bedient's book In the Heart's Last Kingdom: Robert Penn Warren's Major Poetry (Cambridge, Mass.: Harvard University Press, 1984) is the only book-length study men- tioned in the Norton Anthology's bibliography. The only other entries for scholarship are a collection of interviews and two essay collections, edited by Harold Bloom and William Bedford Clark. 158 VICTOR STRANDBERG as though one could appreciate T. S. Eliot only by way of Four Quartets— with "Prufrock, "The Waste Land," "The Hollow Men," and Ash Wednesday shucked off as "minor" entries—or, to follow the lead of the Norton Anthology, not mentioned at all. Or one might say it is like ap- proaching Wordsworth only through The Prelude, with the Lucy poems, "Tintern Abbey," and the "Intimations Ode" designated as literally not worthy of being mentioned. In suggesting that a New Paradigm of literary criticism lies behind this short-changing of Warren's achievement as a poet, I shall take a moment to mark three mileposts in my education in this subject. My first serious doubt about our most prestigious publishing houses occurred years ago when I talked with the first and greatest historian of the Holocaust, Raoul Hilberg, whose magisterial The Destruction of the European Jews was about to be reissued in a revised, three-volume edition. He had been thinking of using a university press, he told me, until he noticed that some bad books about the Holocaust were coming off the Harvard, Yale, Princeton, and Oxford presses. Finally, when—in his words, and with his emphasis—"an unbelievably bad book" came off the University of Princeton Press, he went back to a commercial publisher. My second milepost of illumination about the New Paradigm was a book by a noted feminist scholar who gained wide approval for her con- tention that Nathaniel Hawthorne's high reputation was the result of a patriarchal conspiracy that puffed his work because of his male gender while suppressing more worthwhile books by contemporary women.3 My colleague Buford Jones, a lifelong scholar of Hawthorne, points out in re- buttal that Hawthorne's reputation was established during his decade of total anonymity, when reviewers like John Neal and John Greenleaf Whittier praised his stories without any inkling as to whether the writer was a man or a woman. My third milepost was a book that I reviewed, Creating Faulkner's Rep- utation, which claimed that Faulkner's popularity was engineered by a 3. See Jane Tompkins' chapter I, "Masterpiece Theater: The Politics of Hawthorne's Literary Reputation," in Sensational Designs: The Cultural Wor^ of American Fiction, ijfjo— 1860 (Oxford and New York: Oxford University Press, 1985). Robert Penn Warren and the "New Paradigm" 159 cabal of Southern conservatives and New York Jewish intellectuals (led by Robert Penn Warren, Allen Tate, and Irving Howe) who were looking for a front man to propagate conservative values wherewith to fight the Cold War.4 Although admirable scholarship fills this book with regard to publishing statistics and background correspondence, the writer in his nearly three hundred pages never once considers the possibility that the excellence of Faulkner's writing might have some bearing on his reputa- tion.
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