A survey of this sort imparts no just sense of the facts, and I own that
I am impatient of merely naming authors and books that each tempt me to
an expansion far beyond the limits of this essay; for, if I may be so
personal, I have watched the growth of our literature in Americanism with
intense sympathy. In my poor way I have always liked the truth, and in
times past I am afraid that I have helped to make it odious to those who
believed beauty was something different; but I hope that I shall not now
be doing our decentralized literature a disservice by saying that its
chief value is its honesty, its fidelity to our decentralized life.
Sometimes I wish this were a little more constant; but upon the whole I
have no reason to complain; and I think that as a very interested
spectator of New York I have reason to be content with the veracity with
which some phases of it have been rendered. The lightning--or the
flash-light, to speak more accurately--has been rather late in striking
this ungainly metropolis, but it has already got in its work with notable
effect at some points. This began, I believe, with the local dramas of
Mr. Edward Harrigan, a species of farces, or sketches of character,
loosely hung together, with little sequence or relevancy, upon the thread
of a plot which would keep the stage for two or three hours. It was very
rough magic, as a whole, but in parts it was exquisite, and it held the
mirror up towards politics on their social and political side, and gave
us East-Side types--Irish, German, negro, and Italian--which were
instantly recognizable and deliciously satisfying. I never could
understand why Mr. Harrigan did not go further, but perhaps he had gone
far enough; and, at any rate, he left the field open for others. The
next to appear noticeably in it was Mr. Stephen Crane, whose Red Badge of
Courage wronged the finer art which he showed in such New York studies as
Maggie: A Girl of the Streets, and George’s Mother. He has been followed
by Abraham Cahan, a Russian Hebrew, who has done portraits of his race
and nation with uncommon power. They are the very Russian Hebrews of
Hester Street translated from their native Yiddish into English, which
the author mastered after coming here in his early manhood. He brought
to his work the artistic qualities of both the Slav and the Jew, and in
his ‘Jekl: A Story of the Ghetto’, he gave proof of talent which his more
recent book of sketches--‘The Imported Bride groom’--confirms. He sees
his people humorously, and he is as unsparing of their sordidness as he
is compassionate of their hard circumstance and the somewhat frowsy
pathos of their lives. He is a Socialist, but his fiction is wholly
without “tendentiousness.”
A good many years ago--ten or twelve, at least--Mr. Harry Harland had
shown us some politer New York Jews, with a romantic coloring, though
with genuine feeling for the novelty and picturesqueness of his material;
but I do not think of any one who has adequately dealt with our Gentile
society. Mr. James has treated it historically in Washington Square, and
more modernly in some passages of The Bostonians, as well as in some of
his shorter stories; Mr. Edgar Fawcett has dealt with it intelligently
and authoritatively in a novel or two; and Mr. Brander Matthews has
sketched it, in this aspect, and that with his Gallic cleverness,
neatness, and point. In the novel, ‘His Father’s Son’, he in fact faces
it squarely and renders certain forms of it with masterly skill. He has
done something more distinctive still in ‘The Action and the Word’, one
of the best American stories I know. But except for these writers, our
literature has hardly taken to New York society.