American Literature, American Culture

By Gordon Hutner | Go to book overview

express his feelings; by dwelling on scenes and events connected with our pride and our affections; by indulging in those little peculiarities of thought, feeling, and expression which belong to every nation; by borrowing from nature, and not from those who disfigure or burlesque her--he may and will in time destroy the ascendancy of foreign taste and opinions, and elevate his own in the place of them. These causes lead to the final establishment of a national literature, and give that air and character of originality which it is sure to acquire, unless it is debased and expatriated by a habit of servile imitation. . . . This country is not destined to be always behind in the race of literary glory. The time will assuredly come, when that same freedom of thought and action which has given such a spur to our genius in other respects, will achieve similar wonders in literature. It is then that our early specimens will be sought after with avidity, and that those who led the way in the rugged discouraging path will be honored, as we begin to honor the adventurous spirits who first sought, explored, and cleared this western wilderness. [ 1820, 1835]

Edgar Allan Poe


Marginalia

Much has been said, of late, about the necessity of maintaining a proper nationality in American Letters; but what this nationality is, or what is to be gained by it, has never been distinctly understood. That an American should confine himself to American themes, or even prefer them, is rather a political than a literary idea--and at best is a questionable point. We would do well to bear in mind that "distance lends enchantment to the view." Ceteris paribus, a foreign theme is, in a strictly literary sense, to be preferred. After all, the world at large is the only legitimate stage for the autorial histrio.

But of the need of that nationality which defends our own literature, sustains our own men of letters, upholds our own dignity, and depends upon our own resources, there cannot be the shadow of a doubt. Yet here is the very point at which we are most supine. We complain of our want of an International Copyright, on the ground that this want justifies our publishers in inundating us with British opinion in British books; and yet when these very publishers, at their own obvious risk, and even obvious loss, do publish an American book, we turn up our noses at it with supreme contempt (this is the general thing) until it (the American book) has been dubbed "readable" by some illiterate Cockney critic. Is it too much to say that, with us, the opinion of Washington Irving--of Prescott--of Bryant--is a mere nullity in comparison with that of any anonymous sub-sub-editor of the "Spectator," the "Athenæum," or the "London Punch"? It is not saying too much, to say this. It is a solemn--an absolutely awful act. Every publisher in the country will admit it to be a fact. There is not a more disgusting spectacle under the sun than our subserviency to British criticism. It is disgusting, first, because it is trucking, servile, pusillanimous--secondly, because of its gross irrationality. We know the British to bear us little but ill will--we know that, in no case, do they utter unbiassed opinions of American books--we know that in a few instances in which our writers have been treated with com

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