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The Theory and Practice of the American Proletarian Novel, Based Upon Four Selected Works Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1979 Toward a Workers' America: the Theory and Practice of the American Proletarian Novel, Based Upon Four Selected Works. Joel Dudley Wingard Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Wingard, Joel Dudley, "Toward a Workers' America: the Theory and Practice of the American Proletarian Novel, Based Upon Four Selected Works." (1979). LSU Historical Dissertations and Theses. 3425. https://digitalcommons.lsu.edu/gradschool_disstheses/3425 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “Missing Pagefs)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round Mack mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo­ graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again-beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy. Requests can be made to our Dissertations Customer Services Department. 5. Some pages in any document may have indistinct print. In all cases we have filmed the best available copy. University: M icrohms International N /EEB ROAD. ANN ARBOR Ml 4H106 IB BE DE OH D HOW. LONDON WC 1 R 4EJ ENGLAND 7927SS7 M INLAND* JOfl DUDLEY TOlfARD ft YORKERS* AKERICAl THE THEORY AND PRACTICE OF THE ANEAICAN PROLETAR1AN NOVEL* BASED UPON FOUR SELECTED VDARS. M E LOUISIANA STATE UNIVERSITY AND AGRICULTURAL AND NECHANICAL COL** PH.D.* 1*79 University Mtatxilrns International XX) N, ZEEB ROAD. ANN ARBOR. Ml 48100 TOWARD A WORKERS' AMERICA: THE THEORY AND PRACTICE OF THE AMERICAN PROLETARIAN NOVEL. BASED UPON FOUR SELECTED WORKS A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of English by Joel Dudley Wingard B.A., Muskingum College, 1968 M.A., Old Dominion University, 1973 August, 1979 Acknowledgments I am grateful to my dissertation director, Dr. Darwin Shrell, for guiding and encouraging me through the prepara­ tion of my dissertation, and for his serenity in giving that help under the burden of his duties as department chairman. I am also grateful to Dr. Lewis P. Simpson for his editorial acumen and his patience despite the heavy load of his own work. I wish to thank Dr. Burl Noggle of the History Depart­ ment of Louisiana State University, not only for serving on my dissertation committee, but for awakening me to the lit­ erary life of the thirties and for encouraging my earliest efforts with this project. I also wish to thank Dr. Max Webb for his many insights into Proletarian literature, for his very helpful suggestions regarding sources and approaches for my dissertation, and for his sensitivity to the radical cause, which has repeatedly rejuvenated my belief in the val­ ue of studying Proletarian literature. Finally, I am grate­ ful to Dr. Nicholas Canaday for his service on my dissertation committee, to Mrs. Anna Perrault, Mrs. Jane Kleiner, and Mrs. Barbara Prunty of the Louisiana State University library staff for helping me obtain materials for my research, and to Mrs. Ruth Barnes for her Invaluable aid as my typist. ii Table of Contents Acknowledgments..............................................il A b s t r a c t ...................................................... iv Introduction................................................... 1 Chapter I. The Background and Development of the Proletarian Literary Movement................ 9 II. The Theory of the Proletarian N o v e l ................ 50 III. The Proletarian Novel in Practice .................. 91 Jews Without Money.................................... 99 The Disinherited ................................... 120 TKe Land of Plenty................................... 143 Studs L o n T g a n ........................................158 IV. Conclusion............................................. 192 Bibliography................................................. 224 Vita iii Abstract In the early years of the Great Depression, numerous American writers and critics "went Left," in some cases joining the Communist Party, in most cases becoming "fellow travelers" sympathetic with Marxist politics. Their in­ creased politicization inspired them to attempt to enlist their craft in the service of society in those troubled times, specifically to use art as a weapon in the class struggle. This radical sensibility engendered a coherent body of critical theory on two subjects: the role of the literary artist in helping to hasten the proletarian revo­ lution and to shape the proletarian culture of the future, and the nature of "Proletarian literature." It also spawned some seventy novels between 1930 and 1939. Both the critics and the novelists assumed the instrumental value of litera­ ture. The revolutionary or Proletarian literary movement of the thirties was unusual in twentieth century American lit­ erary history in attempting to involve the man of letters in the socio-political sphere and in promoting the fusion of the literary artist-as-artist and artist-as-man. Comparatively little critical and scholarly attention has been paid to the Proletarian literary movement in America. iv This dissertation examines the background of that movement in terms of its roots in both the nineteenth century theory of the writer in a democracy propounded by Emerson and Whitman and the amalgam of radicalism and Bohemianism that flourished especially in the salons and flats of Greenwich Village im­ mediately before and after World War I. It also analyzes the more immediate causes of twenties discontent with bourgeois America and of early Depression conditions which drove writ­ ers to the Left. This study also collates the theoretical criticism about the Proletarian writer and the Proletarian novel that appeared in such Leftist journals as New Masses, Modern Quarterly, and Partisan Review from the late twenties, when it first began to coalesce into a revolutionary sensi­ bility, until the time of the First American Writers' Congress in April of 1935. The Proletarian literary movement reached a pinnacle at that moment. Soon afterward, forces within the movement in America as well as the shift in Comintern policy from the militant Third Period stance to the more ecumenical position of the Popular Front policy combined to deflect and weaken the drive for the creation of an American Proletarian literature. This study treats four representative Proletarian novels: Michael Gold's Jews Without Money, Jack Conroy's The Disin­ herited, Robert Cantwell's The Land of Plenty, and James T. Farrell's Studs Lonigan. It considers them in terms of the rhetorical use of fiction in the service of a political end-- v Co describe aspects of American life as revealing the class struggle and to move readers to revolutionary class-conscious­ ness. The novels are also examined in light of the prescrip­ tions of Leftist critical theory, to show the variety of approaches attempted according to different novelists' con­ ceptions of their literary and political tasks. This study concludes that there is a good deal of variety in the Proletarian novel, both as to literary practice and achievement, contrary to the general critical opinion that the politically-motivated fiction of the thirties is a uniform lump of indistinguishable propagandistic tracts. It also at­ tempts to place the radical sensibility of the thirties and the Proletarian novel back into the context of the American literary tradition, to argue that it was more broadly human­ istic in its emphases than pointedly Marxian and thus an in­ tegral part of that tradition and not the result of foreign influences at work during a time of national instability. vi Introduction This study of the
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