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• W80852453 abstract "Write the idea Thomas Wolfe scribbled into one his pocket notebooks in 1925 (49). Traveling in France at the time, Wolfe committed this thought to paper in disgust for what was in his opinion the gaudy and suffocating European tradition, one that, he wrote later in 1928, what is good and great in Europe [but] also saves what is poor, so that one wades through miles junk to come to a great thing (287). This burden established tradition. Wolfe judged, appeared in European populations such as the French, who are literally unconscious about the rest the world. They know nothing its extent, the 16,000 miles sea, its grandeur, its diversity, its immensity. They are completely contained within themselves (145). Opposed to this vision stale tradition and egocentrism is Wolfe's almost mythical which grew out his paradoxical fascination and repulsion for European custom: For even the dullest American, he wrote, the sea in his mind, and the immensity his own country. America was, for Wolfe, a logical reaction against European tradition. The America Wolfe reflects in his prose, however, reacts not only to ideas established tradition in Europe, but also to the relatively young literary conception America itself. America, he wrote in a notebook, perhaps a book ten thousand pages to describe it; the description an old wall will do (N 557). (1) Wolfe's belief in the emotive power the nation, either as a whole or in its brick walls, presupposes his belief in an American tradition, however young it might be. In turn, he endeavored to offer a definite form to this burgeoning and seemingly obscure tradition. Mr. Perkins, he wrote in 1930, one has ever written a book about America--no one has ever put into it the things I know and the things everyone knows. It may be grandiose and pompous for me to think I can, but for God's sake let me try (L 287). What Wolfe finally tried was a simultaneously energetic yet recalcitrant narrative the American consciousness--a history, according to Pamela Johnson, of endeavor (153). However the attempt, its strength is its intended scope. Paschal Reeves, proposing that Wolfe's failure lay in his desire to portray the entirety what he perceived to be the American consciousness, proposes that Wolfe's reach exceeded his grasp (1). But perhaps, as Herbert Muller asserts, the author's violent endeavor was simply a function his patronage to American culture. He was, in Muller's words, a national, not a nationalist (178). In a word and as embodied in his second book, Of Time and the River, Wolfe's vision and the intended amplitude his presentation America was, from its beginnings, epic. (2) This epic presentation America essentially grows out Wolfe's self-perceived national identity. My name is Wolfe: I am an American, he wrote to himself in the summer 1936, placing the statement after a list the Great T Books The World (N 832). Having already published Look Homeward, Angel (1929). Of Time and the River (1935), and The Story a Novel (1936), Wolfe's declaration indicates the sincerity his own belief that he was now an important American novelist, or just an important American. Wolfe's representative quality, however, also embodied the more explicitly negative aspects early twentieth-century American culture, especially what Richard Kennedy labels Wolfe's cultural (AE 152). Nevertheless, this chauvinism forged in Wolfe the belief that America needed some identification with a tradition distinct from that Europe: Instead whining that we have no literary traditions, or that we must learn by keeping constantly in touch with the European models, or by keeping away from them, we should get busy telling some the stories about America that have never been told (N 288). …" @default.
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• W80852453 date "1998-03-22" @default.
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• W80852453 title "American Exodus: Movement as Motive and Structure in Thomas Wolfe's of Time and the River" @default.
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