Prejudices, First Series. H. L. Mencken
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also show a long row of uninspired and hollow books, with no more ideas in them than so many volumes of the Ladies’ Home Journal, and no more deep and contagious feeling than so many reports of autopsies, and no more glow and gusto than so many tables of bond prices. The profound dread and agony of life, the surge of passion and aspiration, the grand crash and glitter of things, the tragedy that runs eternally under the surface—all this the critic of the future will seek in vain in Dr. Howells’ elegant and shallow volumes. And seeking it in vain, he will probably dismiss all of them together with fewer words than he gives to “Huckleberry Finn.” …
Already, indeed, the Howells legend tends to become a mere legend, and empty of all genuine significance. Who actually reads the Howells novels? Who even remembers their names? “The Minister’s Charge,” “An Imperative Duty,” “The Unexpected Guests,” “Out of the Question,” “No Love Lost”—these titles are already as meaningless as a roll of Sumerian kings. Perhaps “The Rise of Silas Lapham” survives—but go read it if you would tumble downstairs. The truth about Howells is that he really has nothing to say, for all the charm he gets into saying it. His psychology is superficial, amateurish, often nonsensical; his irony is scarcely more than a polite facetiousness; his characters simply refuse to live. No figure even remotely comparable to Norris’ McTeague or Dreiser’s Frank Cowperwood is to be encountered in his novels. He is quite unequal to any such evocation of the race-spirit, of the essential conflict of forces among us, of the peculiar drift and color of American life. The world he moves in is suburban, caged, flabby. He could no more have written the last chapters of “Lord Jim” than he could have written the Book of Mark.
The vacuity of his method is well revealed by one of the books of his old age, “The Leatherwood God.” Its composition, we are told, spread over many years; its genesis was in the days of his full maturity. An examination of it shows nothing but a suave piling up of words, a vast accumulation of nothings. The central character, one Dylks, is a backwoods evangelist who acquires a belief in his own buncombe, and ends by announcing that he is God. The job before the author was obviously that of tracing the psychological steps whereby this mountebank proceeds to that conclusion; the fact, indeed, is recognized in the canned review, which says that the book is “a study of American religious psychology.” But an inspection of the text shows that no such study is really in it. Dr. Howells does not show how Dylks came to believe himself God; he merely says that he did so. The whole discussion of the process, indeed, is confined to two pages—172 and 173—and is quite infantile in its inadequacy. Nor do we get anything approaching a revealing look into the heads of the other converts—the saleratus-sodden, hell-crazy, half-witted Methodists and Baptists of a remote Ohio settlement of seventy or eighty years ago. All we have is the casual statement that they are converted, and begin to offer Dylks their howls of devotion. And when, in the end, they go back to their original bosh, dethroning Dylks overnight and restoring the gaseous vertebrate of Calvin and Wesley—when this contrary process is recorded, it is accompanied by no more illumination. In brief, the story is not a “study” at all, whether psychological or otherwise, but simply an anecdote, and without either point or interest. Its virtues are all negative ones: it is short, it keeps on the track, it deals with a religious maniac and yet contrives to offer no offense to other religious maniacs. But on the positive side it merely skims the skin.
So in all of the other Howells novels that I know. Somehow, he seems blissfully ignorant that life is a serious business, and full of mystery; it is a sort of college town Weltanschauung that one finds in him; he is an Agnes Repplier in pantaloons. In one of the later stories, “New Leaf Mills,” he makes a faltering gesture of recognition. Here, so to speak, one gets at least a sniff of the universal mystery; Howells seems about to grow profound at last. But the sniff is only a sniff. The tragedy, at the end, peters out. Compare the story to E. W. Howe’s “The Story of a Country Town,” which Howells himself has intelligently praised, and you will get some measure of his own failure. Howe sets much the same stage and deals with much the same people. His story is full of technical defects—for one thing, it is overladen with melodrama and sentimentality. But nevertheless it achieves the prime purpose of a work of the imagination: it grips and stirs the emotions, it implants a sense of something experienced. Such a book leaves scars; one is not quite the same after reading it. But it would be difficult to point to a Howells book that produces any such effect. If he actually tries, like Conrad, “to make you hear, to make you feel—before all, to make you see,” then he fails almost completely. One often suspects, indeed, that he doesn’t really feel or see himself. …
As a critic he belongs to a higher level, if only because of his eager curiosity, his gusto in novelty. His praise of Howe I have mentioned. He dealt valiant licks for other débutantes: Frank Norris, Edith Wharton and William Vaughn Moody among them. He brought forward the Russians diligently and persuasively, albeit they left no mark upon his own manner. In his ingratiating way, back in the seventies and eighties, he made war upon the prevailing sentimentalities. But his history as a critic is full of errors and omissions. One finds him loosing a fanfare for W. B. Trites, the Philadelphia Zola, and praising Frank A. Munsey—and one finds him leaving the discovery of all the Shaws, George Moores, Dreisers, Synges, Galsworthys, Phillipses and George Ades to the Pollards, Meltzers and Hunekers. Busy in the sideshows, he didn’t see the elephants go by. … Here temperamental defects handicapped him. Turn to his “My Mark Twain” and you will see what I mean. The Mark that is exhibited in this book is a Mark whose Himalayan outlines are discerned but hazily through a pink fog of Howells. There is a moral note in the tale—an obvious effort to palliate, to touch up, to excuse. The poor fellow, of course, was charming, and there was talent in him, but what a weakness he had for thinking aloud—and such shocking thoughts! What oaths in his speech! What awful cigars he smoked! How barbarous his contempt for the strict sonata form! It seems incredible, indeed, that two men so unlike should have found common denominators for a friendship lasting forty-four years. The one derived from Rabelais, Chaucer, the Elizabethans and Benvenuto—buccaneers of the literary high seas, loud laughers, law-breakers, giants of a lordlier day; the other came down from Jane Austen, Washington Irving and Hannah More. The one wrote English as Michelangelo hacked marble, broadly, brutally, magnificently; the other was a maker of pretty waxen groups. The one was utterly unconscious of the way he achieved his staggering effects; the other was the most toilsome, fastidious and self-conscious of craftsmen. …
What remains of Howells is his style. He invented a new harmony of “the old, old words.” He destroyed the stately periods of the Poe tradition, and erected upon the ruins a complex and savory carelessness, full of naïvetés that were sophisticated to the last degree. He loosened the tightness of English, and let a blast of Elizabethan air into it. He achieved, for all his triviality, for all his narrowness of vision, a pungent and admirable style.
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