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The Aesthetic Diversity of American Proletarian Fiction

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The Aesthetic Diversity of American Proletarian Fiction University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 12-2001 The aesthetic diversity of American proletarian fiction Walter Edwin Squire University of Tennessee Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Recommended Citation Squire, Walter Edwin, "The aesthetic diversity of American proletarian fiction. " PhD diss., University of Tennessee, 2001. https://trace.tennessee.edu/utk_graddiss/6387 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Walter Edwin Squire entitled "The aesthetic diversity of American proletarian fiction." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Doctor of Philosophy, with a major in English. Mary E. Papke, Major Professor We have read this dissertation and recommend its acceptance: Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I am submitting herewith a dissertation written by Walter Squire entitled "The Aesthetic Diversity of American Proletarian Fiction." I have examined the final copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Doctor of Philosophy, with a major in English. We have read this dissertation and recommend its acceptance: Accepted for the Council: Vice Provost and Dean of Graduate St THE AESTHETIC DIVERSITY OF AMERICAN PROLETARIAN FICTION A Dissertation Presented for the Doctor of Philosophy Degree University of Tennessee, Knoxville Walter Squire December 2001 11 ACKNOWLEDGMENTS There are many students and faculty members to whom I am grateful for their advice and suggestions. I would like to thank George Hutchinson for reading early chapters of this dissertation and Dorothy Scura for introducing me to the work of Olive Tilford Dargan. I am particularly grateful to my Dissertation Committee, Stephen Blackwell, Stan Garner, and Chuck Maland, for their guidance and support. The director of this dissertation, Mary Papke, deserves special recognition for her infinite patience, encouragement, and enthusiasm throughout this entire project. Through the generous support of the Durant da Ponte American Literature Fellowship, I was able to conduct important research at the John Dos Passos Collection at the University of Virginia Library, the Margaret I. King Library at the University of Kentucky, and the Southern Historical Collection at the University of North Carolina at Chapel Hill. Numerous librarians at these institutions were extraordinarily helpful. I would like to thank the English Department and the John C. Hodges Library at the University of Tennessee for the purchase of the Liberator and Modem Quarterly,as these journals were essential to my research. I would also like to recognize my family and friends, and especially my mother, for the constant faith in my abilities that provided me the necessary motivation to continue when my self-confidence wavered. Finally, I owe the greatest debt to Allison. Without her love I would never have been able to complete this project. 111 ABSTRACT Almost as soon as a certain movement in early twentieth-century American literature began to be labeled "proletarian," numerous literary critics defined the genre as propagandistic, formulaic, and prescribed by a hegemonic and totalitarian American Communist Party. Recently, scholars of 1930s leftist literature have challenged previous dismissals of proletarianism by noting the diversity of participants and the complexity of individual works. Frequently, however, too much emphasis is placed upon the Communist Party, shared political and literary projects, and temporal parameters, all of which would suggest that proletarianism was an isolated phenomenon within the history of American literature. This study reveals that the major proponents of American proletarian literature portrayed the movement as the successor to progressive and radical tendencies throughout the history of American literature. Furthermore, during the 1930s proletarianism was a term open to debate, one whose advocates presented vastly different definitions. Similarly, those novelists whom contemporary critics most often labeled "proletarian," although they shared a support of labor and socialism, utilized disparate and frequently experimental techniques and held varied positions toward the Communist Party. Beginning with Vernon Louis Parrington, during the 1920s and 1930s a series of literary historians traced a lineage of radical American literature that culminated in the proletarian writers of their own era. In Jews Without Money, Michael Gold's IV gestures toward American literary heritage, as well as toward Shakespeare and modernist movements, bring to light subtleties and complexities in the novel that might otherwise be overlooked. Whereas Parrington, Gold, and others developed singular lines of descent for proletarian literature that might suggest that proletarianism is homogenous in form, the novels based upon the 1929 Loray Mill strike in Gastonia, North Carolina, reveal that proletarian novelists employed diverse techniques. Finally, John Dos Passos's U.S.A. trilogy demonstrates a search for new literary forms that can elucidate the effects of capitalism more effectively than those genres which already exist. The innovations of U.S.A. indicate that proletarianism was not a genre but a political commitment, and the parameters of proletarianism can be extended easily to include a wide variety of literary forms and techniques. V TABLE OF CONTENTS CHAPTER 1: The Emergence of American Proletarian Literature: Three Hypotheses . 1 Hypothesis One: The Economic Crisis . 8 Hypothesis Two: The Influence of Theory . 13 Hypothesis Three: The Proletarian Usable Past . 42 CHAPTER 2: Michael Gold . 60 "When I think it is the tenement thinking": Towards Experiential Art ..... 62 The Class and Gender Divisions of Literary Labor . 75 Influences . 101 The Synthesis of Old and New World Ideologies ................. 121 CHAPTER 3: The Gastonia Novels . 131 Reportage and the Radicalization of the Middle Class . 136 The Historical Novel and Proletarian Class Consciousness ............ 146 Class Consciousness as Perpetual Struggle . 158 Towards a Panoramic Proletarian Novel ....................... 169 CHAPTER 4: U.S.A . ................................................ 186 Proletarianism and Modernism . 187 Dialectical History . 196 Social Autobiography . 211 CONCLUSION ........................................... 227 WORKS CITED . 235 VITA . 259 1 CHAPTER 1 The Emergence of American Proletarian Literature: Three Hypotheses Describing the proletarian novel in 1981, Stanley Aronowitz claimed: A new genre of execrable "proletarian" novels was born in the early 1930s fostered to a large extent by [Michael] Gold and the Communist party. This was the novel of struggle, in which friends and enemies were clearly defined, where the outcome was predictable if the reader understood the formula, and resembled the Communist version of pulp fiction. (Aronowitz 235) Although Aronowitz's characterization of the proletarian novel was once conventional among critics of American literature, a renewed interest in left-wing American literature of the 1930s during the past two decades, resulting in an exposure of that literature's intricacies, has rendered untenable the argument that proletarian writers perpetually reiterated a prescribed model. While a few studies of early twentieth-century American left-wing literature were published from the 1950s through the 1970s,1 beginning in the 1980s a 1 For instance, see Walter B. Rideout, The Radical Novel in the United States, 1900-1954: Some Interrelations of Literature and Society (Cambridge: Harvard UP, 1956); Daniel Aaron, Writers on the Left: Episodes in American Literary Communism (1961; New York: Columbia UP, 1992); James Burkhart Gilbert, Writers and Panisans: A History of Literary Radicalism in America (New York: Wiley, 1968); David Madden, ed., Proletarian Writers of the Thinies (Carbondale: Southern Illinois UP, 1968); Melvin Landsberg, Dos Passos' Path to U.S.A.: A Political Biography 2 multitude of texts have appeared which re-examine 1930s proletarianism. 2 In 1912-1936 (Boulder: Colorado Associated UP, 1972); Richard H. Pells, Radical Visions and American Dreams: Culture and Social Thought in the Depression Years (New York: Harper, 1973); and John Pyros, Michael Gold: Dean of American Proletarian Writers (New York: Dramatikon, 1979). In addition to these critical works, see the following anthologies of 1930s journalism, literature, and literary theory: Samuel Sillen, ed., The Mike Gold Reader: From the Writings of Michael Gold (New York: International, 1954); Jack Salzman and Barry Wallenstein, eds., Years of Protest: A Collection of American Writings of the 1930's (New York: Pegasus, 1967); Joseph North, ed., New Masses: An Anthology of the Rebel Thinies (New York: International, 1969); Daniel Aaron and
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