Unless He is Going to Dig

New at IWP Books: Desmond MacCarthy, Criticism, 1932. Chapters on Samuel Butler, George Santayana, Boswell, Literary Booms, Literary Snobs, James Joyce, Proust, Defoe, Aldous Huxley, and More. From the Chapter “A Critic’s Day Book”:

I still read for pleasure — that is a statement which would strike most people as hardly worth making. Yet I could assure them that if it caught the eye of a fellow-reviewer he would drop this book in astonishment. Very likely on second thoughts he wouldn’t believe it. Several most capable reviewers have, I happen to know, almost entirely lost the faculty of reading. They can now only read to review. Why should a gardener take up a spade unless he is going to dig, or a dentist a pair of forceps unless he is going to pull out a tooth?

Intelligence

Tyler Piccotti on Artemus Ward.

Albert Jay Nock on Artemus Ward (1924) and on Artemus Ward’s America (1934). From 1924:

Ward is the property of an order of persons — for order is the proper word, rather than class or group, since they are found quite unassociated in any formal way, living singly or nearly so, and more or less as aliens, in all classes of our society — an order which I have characterized by using the term intelligence. If I may substitute the German word Intelligenz, it will be seen at once that I have no idea of drawing any supercilious discrimination as between, say, the clever and the stupid, or the educated and the uneducated. Intelligenz is the power invariably, in Plato’s phrase, to see things as they are, to survey them and one’s own relations to them with objective disinterestedness, and to apply one’s consciousness to them simply and directly, letting it take its own way over them uncharted by prepossession, unchanneled by prejudice, and above all uncontrolled by routine and formula. Those who have this power are everywhere; everywhere they are not so much resisting as quietly eluding and disregarding all social pressure which tends to mechanize their processes of observation and thought. Rabelais’s first words are words of jovial address, under a ribald figure, to just this order of persons to which he knew he would forever belong, an order characterized by Intelligenz; and it is to just this order that Ward belongs.

Straight to the Spot

For Patrick Kurp.

New at IWP Books: Desmond MacCarthy, Portraits, 1931.

Arthur Krystal (A Word or Two Before I Go, 2023):

Thirty years ago I contemplated writing about the British critic and raconteur Desmond MacCarthy. Accordingly, I headed off to Broadway and Thirteenth Street. In those days the literary criticism at the Strand was stuck in with Literature, which was somewhere toward the back of the store, near the left wall. Before I reached the rows designated by the letter M, a book fell from an upper shelf, just missing my head. I knew it was from a high shelf because of the loud clap it made on hitting the floor. It was Desmond MacCarthy: The Man and His Writings, a collection of essays put together by the British biographer David Cecil and published in 1984 by Constable and Company Limited. It wasn’t the book I was looking for, but what were the chances of this one dropping at my feet, not just in a demure way, but seemingly pushed from a spot it shouldn’t have been in the first place at the exact moment I was passing by? This was no random occurrence. The universe and I may not have been reconciled, but at least we were in sync.

But to what purpose? I never did write a piece about MacCarthy, even though I soon found the book I was looking for in a used bookstore in Englewood, New Jersey. Titled simply Criticism, it was published in 1932 by Putnam and printed in England, and its preface concludes with a nod to Logan Pearsall Smith for help with the selections. Both books were a small revelation. Most critics write as though they know a lot more than their readers, but MacCarthy scribbled or typed as though we all belong to the same bookish fellowship. His prose conveys a modesty that complements rather than distracts from his considerable learning: “When I come across a profound piece of criticism into which the critic has, I feel, been led by surrendering to his own temperament, I wonder if my own method of criticizing is not mistaken.” Striving to read impartially, he tamped down his biases and predilections in order to go “straight to the spot where a general panorama of an author’s work is visible.”

Criticism by Desmond MacCarthy, Soon at IWP Books.

Trivia

New at IWP Books: Logan Pearsall Smith, All Trivia, 1933.

Arthur Krystal (A Word or Two Before I Go, 2023) on L.P.S.:

Shoulders and elbows were also necessary to secure my 1922 second edition of Trivia by Logan Pearsall Smith, published in 1917 by Doubleday, Page & Company, as well as my 1921 first edition of More Trivia, published by Harcourt, Brace, and Company. I hadn’t heard of Logan Pearsall Smith (the best name ever for an essayist, though he mainly composed vignettes in “moral prose,” some no more than half a page long) until Gore Vidal wrote a piece about him for the New York Review of Books in 1984. Smith may not be to everyone’s taste, but to me he was the adult in the room: sensible, sensitive, and looking in my mind like Leslie Howard. Well, he didn’t as it turns out (Google Images set me straight), but he looks every inch a man of letters, without my knowing, of course, what that looks like.

Paging through the essays today, I see that reading him at too young an age is an affectation, while reading him in old age calls into question the slightness of many of the pieces. There may be no happy medium. Here is the entire last entry of More Trivia; it’s called “The Argument”: “This long speculation of life, this thinking and syllogising that always goes on inside me, this running over and over of hypothesis and surmise and supposition—one day this Infinite Argument will have ended, the debate will forever be over, I shall have come to an indisputable conclusion, and my brain will be at rest.”

F. P. A.

From F.P.A., the Life and Times of Franklin Pierce Adams by Sally Ashley (1986):

As the months passed, the top of Frank’s rolltop desk became cluttered with clippings and newspapers, notebooks, and bits of paper, half-finished verses and cascades of mail from readers. As he worked, he smoked big black cigars and ashes fell everywhere, including all over his clothes, speckling them with little brown holes. His was an untidy mien, although he was unexpectedly fastidious, as when he compulsively scrutinized the column over the linotyper’s shoulder to catch last-minute mistakes, or displayed an intense concern with its cosmetics, how it looked with different sized type, boxes, italics, printer’s symbols, its paragraphs and verses clustered with an eye to attractive arrangement. He always filled his fountain pen with green ink and wrote his copy painstakingly with a distinctive wedding invitation handwriting. (p. 63)

In 1920, thirty-nine-year-old F.P.A.’s unique fame soared, more than the sum of its parts. Fifty years later Groucho Marx remembered that “in those days we all tried to get a piece into his column. When I finally got a little piece in it, just a little one, not more than an inch, I thought I was Shakespeare.” Morrie Riskind, who, with George S. Kaufman, wrote the scripts for the hilarious Marx Brothers movies, said, “It would be almost impossible [now] to realize the influence Frank Adams had in New York at that time. If Frank recommended a book, people bought the book. If he recommended a show, you went to see the show. He had a tremendous influence. It was the thing everybody read. You could become well known just by getting your name in there.” And after nurturing by F.P.A., a grateful John O’ Hara dedicated his first novel, Appointment in Samarra, “To F.P.A.” (p. 117)

F.P.A. easily tired of phonies and blowhards. One evening at dinner when Ellis Lardner asked him the kind of person he preferred, he answered, “People without pretense.” He took every opportunity to ridicule the self-righteous or those who pretended to know right from wrong in murky matters of the heart. “What has taken all our waking time,” he wrote, “is the compilation of a list of Ten Lists of ‘Ten Books I Enjoyed Most’ I enjoyed most. Thus far our favorite list is that of Professor Stuart P. Sherman. He says he enjoys Boswell’s Life of Johnson and Milton’s Samson Agonistes. Now, it takes all kinds of readers to make a world, and among them may be those who ‘enjoy’ Boswell; but it seems to us that anybody who says he ‘enjoys’ Samson Agonistes would rather do calisthenics in the bathroom mornings than play golf or tennis. To our unbigoted notion any list of Enjoyable Books that fails to include Davy and the Goblin is just ridiculous. … Reading of most of these lists leads to the conviction that they should be entitled ‘Ten Books I Want People to Think I Enjoyed Most.'” (p. 165)

…one morning he suggested that Hitler’s calendar should omit the months of “Jewn” and “Jewly.” (p. 201)

Tobogganing

New in Books: Tobogganing on Parnassus, Franklin P. Adams, 1911. On F.P.A.: “In those days of wildly competing newspapers and hired girls, no New York City name was better known than Franklin Pierce Adams, no printed space more coveted than the top of his column, The Conning Tower….” The column ran from 1904 to 1937; “no other by-line before or since has matched that record of thirty-three straight years; F.P.A. was the Lou Gehrig of newspaper columnists, and while his column at its height was syndicated in only six papers, everybody read it.” (Sally Ashley, Franklin Pierce Adams, 1986)