Ann Petry and the American Dream

Abstract

Ann Petry's fiction too often has been mutilated or dismissed by use critical labels, especially Scylla and Charybdis Bone's and nationalist nomenclature. 1 Although number critics have pointed out Bone unwisely makes literary judgments on basis these sociological terms, 2 his approach continues to haunt Petry's writings, Bone, himself, speaks disparagingly siren spell assimilationism; although he views Country Place as the best novels, 3 his praise is obviously tainted. More severe is Nick Aaron Ford's view novel is greatly inferior to The because Petry is conjuring up vicarious experiences white society with which was not minutely familiar. 4 Hugh M. Gloster, on other side Straits Messina, sees Country Place as evidence Petry's tilling of broader fields than circumscribed areas racial life. 5 Luckily, Ann Petry, speaking her own work, has rejected labels and arbitrary categorization. says wrote Country Place not as part current 1945-1952, but because happened to have been in small town in Connecticut during hurricane and decided to write about violent, devastating storm and its effect on town and people who lived there. 6 Petry's matter-offact attitude does much to deflate critics who are more concerned with their theories than her novels. It also invites one to look at novels freshly and to reevaluate her work. The beginning this necessary reevaluation can be seen in Addison Gayle's recent book, The Way New World. He correctly sees Petry as rebel and iconoclast, rebelling against older fiction assimilationism and romanticism. I He limits his appraisal, however, to her protest novel, The Street. I think Ann Petry's rebellion is more profound and more extensive than Gayle or others have realized; thread deep-seated revolt and criticism runs through her white assimilationist novel as well as her race fiction. rebels against falsifications life, dreams, rationalizations, and illusions distort one's grasp reality; rebels especially against and all its attendant illusions, which blind one to stark, sordid existence is America. Like all true rebels, seeks freedom, new order beyond cages, walls, and prisons-dominant images America. Ann Petry's first novel cannot be discussed merely in environmentalist terms, as does Bone, as showing a declassed bourgeoise who is driven to murder by corrupting influence 'the street.' 8 Lutie Johnson, protagonist, is not just victim street; complex character, is both conscious and unconscious fighter and rebel, rebel, ironically, in tradition. Yet, paradoxically, turns out to be rebel against this tradition, its illusions, dreams, and false promises. Refusing to accept her life, to resign herself to Negro or female roles, Lutie Johnson struggles to fulfill rags-to-riches formula only to discover this illusion has prevented her from seeing reality her trap, itself is spring operates trap. Lutie's discovery, at end novel, also becomes reader's discovery and one Petry's major themes. Tragically, it is too late for Lutie, but can subconsciously strike out against illusion has misled her. At beginning novel, cold November wind blowing through 116th Street 9 reveals not only powerful environmental forces buffet and tear human fortune; it also reveals Lutie Johnson out in wind seeking change. is following her belief if looks hard can find place in world for herself and her eight-year-old son. Lutie has always believed in rags-to-riches story and protestant ethic hard work and success. Even before going to work at Chandlers', Lutie was model thrift and hard work; only hears Chandlers expressing what has felt before: 'Richest damn country in world . . . Hell! Make it while you're young. Anyone can do it -' (p. 43). After listening to this for year, has absorbed essence and confirmed her natural inclination. swallows idea that anybody could be rich if he wanted to and worked hard and worked it out carefully enough (p. 43). Thus, in spite her husband's inability to find work and resulting destruction their marriage, in spite her struggle working at laundry and going to night school to get low-ranking civil service job barely allows her to rent twenty-nine-dollar-amonth flat, still fantasizes is spiritual offspring Ben Franklin, with success for hard work just around corner. She shifted packages into more comfortable position and feeling hard roundness rolls through paper bag, thought immediately Ben Franklin and his loaf bread. And grinned thinking, You and Ben Franklin. . . . couldn't get rid feeling self-confidence and went on thinking if Ben Franklin could live on little bit money and could prosper, then so could she (pp. 63-64). In section on American Dream in graduate-school tome, The Literary History United States, Gilbert Chinard cites Ben Franklin as living demonstration fact in republican society, where class distinctions do not prevent recognition talent and genius, poor boy may seize opportunities and rise to positions reserved to privi-