In his seventy-eighth year, William Dean Howells wrote Henry James, I am comparatively dead cult with my statues cut down and grass growing over me in pale moonlight.(1) When he made that typically accurate, typically ironic self-appraisal, literary modernism was on rise. Howells' image was in process of being simplified and solidified as administrator of genteel tradition he had felt ambivalent toward his whole life. Today insights of modem era are more open to question and reputation of notoriously equable realist has never been better. One reason Howells' fortunes have improved is because contemporary literary intellectuals, in comparison to those of modernist era, have become less wary of everyday life. Mimicking Michel Foucault's eschewal of masters and geniuses in favor of solidly established non-geniuses (Ricardo rather than Smith, Bentham rather than Marx), some of today's most influential critics enjoy analyzing figures whose achievements typify rather than transcend conflicts of their particular historical moment. In last several years, Howells has thus attracted readers who have for most part purged themselves of crypto-romantic resentments that blinded modernists, and who have analyzed his status as normative literary figure of his time with relative disinterestedness. Alfred Kazin remarked that Howells it his function to mediate between moral man and immoral society.(2) It is precisely that -- Howells' significance as his culture's mediator -- that so fascinates critics today. Yet to great extent, Howells is still being brought to docket for crime he considered his primary virtue: liberalism. Many of Howells' current readers view him from perspectives that wistfully yearn toward stances of whole-souled radicalism. Such critics feel obliged to describe Howells' characteristic self-divisions and inconsistencies as if they were fatal flaws -- as if they were qualities that finally justify his twentieth-century rank as figure who can be pidgeonholed and dismissed by few misquotations (such as his notorious smiling aspects of life remark). Indeed, review of current arguments shows that most of Howells' best readers have often been content to dwell upon fact that liberal self-division is hallmark of Howells' writing. This self-division has been usually described in terms borrowed from historian Warren Susman, who has posited that after Civil War there was large shift in modal types(23) for individual development in United States. Economic prosperity and rise of mass culture, Susman argues, caused decline of productivist, largely protestant, and hard-working of and growth of consumerist, manifestly secular, and pleasure-oriented of personality.(4) If old culture of character valued consistency, moral centeredness, and expressing oneself through work, new culture of personality valued (and still values) unpredictability, charismatic waywardness, and expressing oneself through play. Susman's distinction has been directly echoed by such critics as Eric Sundquist and Richard Brodhead, among others. Sundquist has remarked that realists like Howells endlessly sought to capture in their fiction the transformation of `father' and `family' into `boss' and `corporation,'(5) and Brodhead, writing about A Modern Instance, remarks upon Howells' interest in a new kind of personality, character in which internalized cultural authority is strong enough still to impinge on self-esteem, but no longer strong enough to regulate behavior.(6) Repeatedly case has been made that Howells' engagement with centrifugal forces of new culture of consumption overwhelmed repeated and often dogmatic assertions of more centripetal ethical norms with which he often ended his books. Speaking of A Hazard of New Fortunes, Alfred Habbeger notes that closure of text -- in which Basil March insists that Margaret Vance's religious ecstasy must(7) contain answer to text's political riddles -- does not, in fact, lay to rest questions regarding social justice that are raised during course of novel. …
Read full abstract