CHAPTER III

LITERATURE AND THE MIDDLE BORDER*

III

HAMLIN GARLAND AND THE MIDDLE BORDER

IT was not till the end of the eighties that the bitterness of the frontier began to creep into literature. Its slackness and drab poverty had got into the pages of The Hoosier Schoolmaster, as its neighborliness had got into Riley; but in these earlier studies there was no brooding sense of social injustice, of the wrongs done the Middle Border by unjust laws, of the hardships that are increased by the favoritism of government. In the year 1887, however, came a significant change of temper. Three very different writers --- Harold Frederic, Joseph Kirkland, and Hamlin Garland --- turned to the theme of farm life, and dealt with it in a mordantly realistic vein. It was the first conscious literary reaction to the subjection of agriculture to capitalistic exploitation and it was marked by the bitterness of a decaying order.

Seth's Brother's Wife, by Harold Frederic, is a drab tale of farm life in upper York State, as bitter as any tale of the western border. It is a story of defeat, of flight from country to town. The blight of failure is upon the farming community --- a blight that embitters old and young; and the sketches of country louts, of soured lives, of broken men and women, do not make pleasant reading. No gentle idyllic light rests on the landscape such as Sarah Orne Jewett discovers on the fields and villages of New England. Sabrina Fairchild, an old maid embittered by the family failure, yet clinging to the family pride and hopeful that the family prestige will be restored, is a pathetic and desolate figure, gaunt and sharp-tongued; at mortal feud with another pathetic old woman, who with her husband had emigrated from Massachusetts years before, and held herself proudly above the mean and vulgar neighborhood in which they had settled. The slack servants, gossipy and impudent, the petty lives, the grasping ways unrelieved by any grace or beauty, and set in a world of petty machine politics, make a drab and unattractive picture. Harold Frederic quite evidently hates this countryside that bred him. He will not, like Hamlin Garland, take up the battle for it against the town. He sees no hope in political programs; he is no Populistic agrarian fighting for justice; he wants only to escape from it to the city, where life may be lived more generously. The "trail of the serpent is over it all," he remarks, "rich and poor, big and little. The nineteenth century is a century of cities; they have given their own twist to the progress of the age --- and the farmer is almost as far out of it as if he lived in Alaska. Perhaps there may have been a time when a man could live in what the poet calls daily communion with Nature and not starve his mind and dwarf his soul, but this isn't the century . . . get out of it as soon as you can."1

Much less bitter and hopeless is Zury: The Meanest Man in Spring County (1887), by Joseph Kirkland, son of Matilda Kirkland, who a generation before had written sketches of the Michigan frontier. In the preface the author points out that his study is "a palpable imitation of Thomas Hardy's 'Far from the Madding Crowd,' " an "attempt to reproduce, on American soil, the unflinching realism . . . of life down in actual contact with the soil itself." It is a tale of pioneer days in Illinois, in the second quarter of the nineteenth century, and it draws a full-length portrait of the son of a Pennsylvania immigrant who struggles up from mean beginnings to prosperity. The niggardliness of frontier life is drawn unsparingly --- the harsh struggle for subsistence but there is no outcry against governmental favoritisms or the law's injustice. It is nature that must be fought and conquered, and the battle needs strong men who must subdue their finer natures and more generous impulses to the work of acquisition. Zury Prouder is a masterful fellow who bends every energy to the business of accumulation. He makes one hand wash the other, and by dint of saving and squeezing and trading and foreclosing he slowly amasses wealth and power. He is a thrifty farmer as well as a shrewd trader, but his soul is seared by the frontier meanness --- squeezed into land and stock and mortgages, consumed with the passion for grabbing. It was a reaction from the skimpiness of his youth. The bitterness of poverty had entered his heart as a boy, and his life took shape from the youthful resolve ---

"Dad, I'm goin' t'own a mortgage 'fore I die; mind what I say."
"Hope ye will, Zury," his father replies. "Yew'll have a holt of the right eend of the poker then; 'n' t'other feller he'll have a holt o' the hot part, same's we've got naow."
"You bet! An' it'll sizzle his hands, tew, afore I'll ever let up on him."

But Kirkland will not let Zury remain a crabbed and hard-fisted son of the frontier. As the frontier hardships grow less the soul that has been seared by poverty is awakened to more generous impulses. Late in life Zury is taken in hand by a Boston woman who had come out as a schoolteacher years before, and whom Zury had given up for a bride with a rich farm, but to whom he eventually returns. Under her care the plates of mail are stripped from his heart, his better nature expands, and the meanest man in Spring County ripens into a kindly and lovable old age. What poverty and hardship had warped and twisted, love straightens out and ennobles; the meanness of the frontier is washed away as the rich soil yields a more abundant life. It is not a great book, but it is vigorous and honest, and its earlier chapters contain some admirable bits of realism. As one of the first stories of the western farmer it is secure of a place in the history of our American fiction.

It was this same year, 1887, that Hamlin Garland, alone and brooding over his studies at the Boston Public Library, wrote his first sketches of life in the Middle Border. The romance was fading from the prairies when he took up his pen. The Golden West of Mark Twain and the bucolic West of Whitcomb Riley had both slipped into the past and the day that was rising was to bring its discouragements that seared men's hopes as the hot winds seared the fields of rustling corn. The burdens of the western farmer were heavy on his shoulders and he could foresee no time when they would be lighter. Depression had settled on the Middle Border, and Hamlin Garland returning to the familiar fields from his Boston studies felt the depression in every fiber of his being. This was his land and his people. The blight laid upon men and women and children by the drab pioneer life was a familiar fact to him. The Garlands and the McClintocks had suffered from it as their neighbors suffered, and a rebellious wrath filled his heart as he contemplated the Middle Border --- the barnyards where tired men did the evening chores, the ungainly houses where tired women stood over hot stoves, the fertile acres that produced more than the markets consumed. It was a life without grace or beauty or homely charm --- a treadmill existence that got nowhere. If this were the Valley of Democracy then the democracy was a mean thing and hopeless, and having himself escaped from it he would do what he could to help others escape. In the completeness of his disillusion the glamour of romance was swept away and he proposed to set down in honest plain words the manner of life lived by these Middle Border folk, and the sort of earnings won by their toil. He would speak frankly out of the common bitter experience. The way to truth was the way of realism.

To a later generation that never knew the pioneer hardships of the Middle Border, Hamlin Garland seems strangely remote and old-fashioned; yet his intellectual antecedents are both ancient and honorable. At bottom he is an idealist of the old Jeffersonian breed, an earnest soul devoid of humor, who loves beauty and is mightily concerned about justice, and who, discovering little beauty and finding scant justice in the world where fate first set him, turned rebel and threw in his lot with the poor and the exploited. As a young man, consumed with a desire to speak for his people, he espoused a somber realism, for only by and through the truth could he hope to dislodge from men's minds the misconceptions that stood in the way of justice. The Middle Border had no spokesman at the court of letters and if he could gain a hearing there he must not betray his father's household by glossing ungainly reality; he must depict the life of the western farmer as it was lived under the summer sun and the winter cold, what harvests were brought to crib and what sort of wealth was finally gathered.

And yet in the light of his total work one hesitates to call Garland a realist. Perhaps more justly he might be called a thwarted romantic, and his early rebellious realism be traced to its source in a passionate refusal to be denied the beauty that should be a portion of any rational way of living; for when later he found himself in a land of nobler horizons, unsoiled as yet by crude frontier exploitation, when he looked out upon vast mountain ranges and felt the warm sun on the gray plains, he discovered there the romance of his dreams and fell to describing the strange splendors with the gusto of a naive romantic. Main-Travelled Roads and Prairie Folks are the protest of one oppressed with the meanness of a world that takes such heavy toll of human happiness; Her Mountain Lover is the expression of a frank romantic who glories in the nobility of nature's noblemen; and The Captain of the Gray-Horse Troop is a tale in which romance is justified by ethics and the hero discovers in the protection of a weaker race the deepest satisfactions of life. Beauty is excellent, but beauty should walk hand in hand with service --- not art for art's sake, but art subdued to the higher good of humanity.

Between these extremes of a stark realism and an ethical romanticism, stand two books, separated by many years and great changes, that embody in more finished form the theme which after all was the master passion of Garland's life --- the Middle Border and the rebellions it bred. Rose of Dutcher's Coolly is a full-length portrait of an idealist in revolt against the narrowness of farm life, and A Son of the Middle Border is an idyll of the past, autobiography done in mellower years when the passions of youth have been subdued to less exigent demands. These books, together with the sketches of Main-Travelled Roads and the militant critical theory of Crumbling Idols, contain pretty much the whole of Hamlin Garland that after years have cared to remember --- the saga of the Middle Border in the days of its great rebellion when the earlier hopes of boundless prosperity were turning to ashes in the mouth.

The striking originality of Garland's work, that sets it apart from other studies of the local-color school, sprang from the sincerity of his reaction to environment. His intellectual development followed the needs of his ardent, inquisitive nature. After quitting the little Academy at Osage, Iowa, he went forth in quest of an education that should explain to him the meaning of life as he had known it. In this search he was singularly fortunate. He was his own mentor and he took what he needed. Boston had long been the Mecca of his dreams and when he found himself there --- having made a pious pilgrimage as Howells had done a generation earlier --- he threw himself upon his studies with ascetic zeal. Fortunately he enrolled in the Boston Public Library instead of at Harvard, and his formless radicalisms there found food in plenty. Though he lived in Boston some ten years and made friends, he never penetrated the inner literary sanctuary. A somewhat forlorn outsider, unknown and unvouched for, he found no welcome as Howells and Twain had found, and he never entered the pleasant circles where Holmes and Lowell and Fields and Norton and Aldrich and Howells held sway.

Perhaps that fact unconsciously determined his scornful rejection of the Boston genteel in literature; at any rate his denial of the sovereignty of the New England literary rulers left him free to follow other masters who seemed to him more significant. In his bleak little room his ear had caught the greater voices then sounding in Europe and America. His masters were men of intellectual horizons unbounded by Beacon Street and Harvard Square: Taine and Ibsen and Bjornson, Turgenev and Tolstoi, Zola and Millet, Darwin and Spencer and Fiske, Walt Whitman and Henry George, and the later Howells with his deeper sociological concern and graver realism. His three great masters came finally to be Whitman, Spencer, and Henry George. To these greater names should be added that of Edward Eggleston, who had been his boyhood idol, and that of Joseph Kirkland, who did much to stimulate and guide his earliest sketches. He did not absorb all these men had to give. He could not stretch his provincial mind suddenly to compass the intellectual realm of his masters. But something he got and that something, woven into the fabric of his thinking, was to make him free. It was the best school of the times, and from his studies Hamlin Garland emerged an uncompromising radical, one of a group of eager young men who gathered about B. O. Flower, and in the sympathetic pages of the Arena published their divers radicalisms to a hostile world. He was ready to proclaim new social and literary creeds, ready to go forth to do battle for democratic justice and a democratic art.

The gist of Garland's new literary creed is set forth in Crumbling Idols, written in the earliest years of the nineties, when Chicago was preparing the setting for the World's Fair, and gathered into book form in 1894. It is realism modified by the local-color school, by French impressionism, and by Whitman --- intensely individualistic, ardently social, and militantly democratic. It would sweep away every fetish of great reputations and authoritative schools, and insist that the artist confront the life that he knows and tell of it truthfully. Following the French example he calls this iconoclastic realism, Veritism. "The theory of the veritist," he says, "is, after all, a statement of his passion for truth and for individual expression," and he then goes on:

Art, I must insist, is an individual thing,-the question of one man fac­ing certain facts and telling his individual relations to them. His first care must be to present his own concept. This is, I believe, the essence of veritism. "Write of those things of which you know most, and for which you care most. By so doing you will be true to yourself, true to your locality, and true to your time."2

But Veritism in the hands of a disciple of Taine, Whitman, Henry George, and Herbert Spencer must take on ethical values and serve the common well-being. All art, he insists, is "sociologic," and realism is harsh because it is hopeful.

Because the fictionist of today sees a more beautiful and peaceful future social life, and, in consequence, a more beautiful and peaceful literary life, therefore he is encouraged to deal truthfully and at close grapple with the facts of his immediate present. His comment virtually amounts to satire or prophesy, or both. Because he is sustained by love and faith in the future, he can be mercilessly true. He strikes at thistles, because he knows the unrotted seed of loveliness and peace needs but sun and the air of freedom to rise to flower and fragrance.

The realist or veritist is really an optimist, a dreamer. He sees life in terms of what it might be, as well as in terms of what it is; but he writes of what is, and, at his best, suggests what is to be, by contrast. . . . He aims to hasten the age of beauty and peace by delineating the ugliness and warfare of the present; but ever the converse of his picture rises in the mind of the reader. He sighs for a lovelier life. He is tired of warfare and diseased sexualism, and Poverty the mother of Envy. He is haggard with sympathetic hunger, and weary with the struggle to maintain his standing place on this planet, which he conceives was given to all as the abode of peace. With his hate in his heart and this ideal in his brain the modern man writes his stories of life. They are not always pleasant, but they are generally true, and always they provoke thought.3

It is an excellent self-portrait of the young realist of that early time when all the rebellions of his blood cried out for expression --- the troubled years between 1887 and 1893 when the Border was rising and the son of the Border found the flames of his discontent fanned by many winds. From such roots came the most acrid tales that had as yet fruited in American fiction. Few as were the stories of Main-Travelled Roads and Prairie Folks, they constitute a landmark in our literary history, for they were the first authentic expression and protest of an agrarian America then being submerged by the industrial revolution. No other man in our literature had known so intimately the Middle Border as Hamlin Garland --- its restless swarmings from the old hive, never pausing long enough to gather the honey of the new fields, its heedless venturings for the reputed gold that lay beyond the farthest sunsets. He had responded to the spell that kept the pioneer moving West; the allurement of the untamed prairie, the poetry of dawn and twilight. But the poignant spell had been broken for him by the drab realities that lay between the dawn and the twilight --- the crushing round of toil that took such heavy toll of men's development and women's happiness. He was familiar with the blight as well as the bloom of the frontier. He had seen his uncle David McClintock broken by the Border --- the great wistful man with the soul of a musician; he had seen his mother fail under the burden --- the cheerful, uncomplaining wife, joining with her rich voice in the pioneer's song of "O'er the hills in legions, Boys!" And after the disillusion of his final defeat on the bleak Dakota plains --- by 1883 woodland and meadow were pretty much alienated from the public domains and only plains and deserts and mountain valleys and forests remained --- his eyes were opened at last. "I clearly perceived," he said afterwards, "that our Song of Emigration had been, in effect, the hymn of fugitives!" So he turned his face to the East to seek the land of desire in Boston.

That chapter of his life was ended. He had learned that the old romantic tales of the Border were lies to him, whatever they may have been to earlier generations; but he had yet to naturalize himself in the realm of ideas, and analyze the experiences of his youth in the light of current social liberalisms. He had begun that work in 1883 on his raw Dakota claim where his leisure hours were given to Taine's theory of literary determinism, and Henry George's new gospel of single-tax; and he carried it rapidly forward during three years of eager reading. During those quiet months in Boston when he was making himself at home in the world of contemporary thought, he sketched the first of the stories of western life which later he gathered together in Main-Travelled Roads and Prairie Folks. "You're the first actual farmer in American fiction," said his friend Kirkland, "now tell the truth about it." This handful of short stories, fierce in the repressed passion of the writer's heart, was Garland's reply to the old romantic myths of the West. In these acrid pages life is not bucolic, it does not chew the cud of contentment "knee-deep in June," but it is stained with dust and sweat, lacerated by raw nerves, depressed by a sense of economic failure.

Of the lives of these labor-burdened men and women he intended to tell the whole truth. But, as he confessed later, he could not. "Even my youthful zeal faltered in the midst of a revelation of the lives led by the women on the farms of the middle border. Before the tragic futility of their suffering, my pen refused to shed its ink. Over the hidden chamber of their maternal agonies I drew the veil." It was hard for him to view it all with the calm detachment of the objective realist; the Border life was too deeply and intimately personal to him, it had marked him too harshly. And yet in the sense of conveying the spirit of reality he succeeded greatly, and these earliest tales remain notable work which later years have not forgotten. The subdued words of the Prologue offer the fittest of commentaries on the spirit in which they were done.

The Main-travelled road in the West (as everywhere) is hot and dusty in summer, and desolate and drear with mud in fall and spring, and in winter the winds sweep across it; but it does sometimes cross a rich meadow where the songs of the larks and bobolinks and blackbirds are tangled. Follow it far enough, it may lead past a bend in the river where the water laughs eternally over its shallows. Mainly it is long and weariful, and has a dull little town at one end and a home of toil at the other. Like the main­travelled road of life it is traversed by many classes of people, but the poor and the weary predominate.

Main-Travelled Roads, in its harsh objectivity, belonged to the earlier eighties, to the time when the spirit of unrest was still obscurely fermenting in the western mind, before it had clarified in definite agrarian movements and measures. It is clouded by doubt and harassed by uncertainty. No hope offers a way out of the weary tangle. Its psychology is that of the first mood of dejection that came with the failure of western agriculture with its virgin fields, its new machinery, and its specialized crops, to adjust itself to the new capitalistic order. The simple agrarian mind had not learned to play the new game. The sons of the Middle Border were children of the Gilded Age as truly as Colonel Sellers or Commodore Vanderbilt; they were plungers and speculators in land and crops; but they were no match for the Main Street plungers and speculators; and when bankruptcy instead of riches rewarded their hardships, they were embittered. Out of that very natural bitterness sprang the movement of Populism that proposed to take government out of the hands of Main Street and make it serve agriculture. It was the understanding of this fact that made Howells so sympathetic a critic of Garland. But he would encourage the artist rather than the reformer.

. . . these stories are full of the bitter and burning dust, the foul and trampled slush, of the common avenues of life, the life of the men who hopelessly and cheerlessly make the wealth that enriches the alien and the idler, and impoverishes the producer.

If any one is still at a loss to account for that uprising of the farmers of the West which is the translation of the Peasants' War into modern and republican terms, let him read Main-Travelled Roads, and he will begin to understand. . . . The stories are full of those gaunt, grim, sordid, pathetic, ferocious figures, whom our satirists find so easy to caricature as Hayseeds, and whose blind groping for fairer conditions is so grotesque to the newspapers and so menacing to the politicians. They feel that something is wrong, and they know that the wrong is not theirs. The type caught in Mr. Garland's book is not pretty; it is ugly and often ridiculous; but it is heart-breaking in its rude despair.4

Too soon, however, the will to remain objective weakened and his work took on a different note. "Obscurely forming in my mind," he says of the year 1889, "were two great literary concepts --- that truth was a higher quality than beauty, and that to spread the reign of justice should everywhere be the design and intent of the artist. The merely beautiful in art seemed petty, and success at the cost of the happiness of others a monstrous egotism."5 With this ethical conception of art he returned in 1889 to the old home, after a six years' absence, to experience a poignant reaction to the change that had come over the Border. "Another dry year was upon the land and the settlers were deeply disheartened," he wrote later. "The holiday spirit of eight years before had entirely vanished. In its place was a sullen rebellion against government and against God."6

Every house I visited had its individual message of sordid struggle and half-hidden despair. . . . All the gilding of farm life melted away. The hard and bitter realities came back upon me in a flood. Nature was as beautiful as ever. The soaring sky was filled with shining clouds, the tinkle of the bobolink's fairy bells rose from the meadow, a mystical sheen was on the odorous grass and waving grain, but no splendor of cloud, no grace of sunset, could conceal the poverty of these people; on the contrary, they brought out, with a more intolerable poignancy, the gracelessness of these homes, and the sordid quality of the mechanical routine of these lives. I perceived beautiful youth becoming bowed and bent. I saw lovely girlhood wasting away into thin and hopeless age. Some of the women I had known had withered into querulous and complaining spinsterhood, and I heard ambitious youth cursing the bondage of the farm. "Of such pain and futility are the lives of the average man and woman of both city and country composed," I acknowledged to myself with candor, "Why be about it?"7

In such a mood the call of social justice was too insistent to be denied. "With William Morris and Henry George I exclaimed, `Nature is not to blame. Man's laws are to blame'!" And so the young man of twenty-nine threw himself into the agrarian cause. He took the platform with Mary Ellen Lease and was glad of the farmers' approval of the new doctrine of less corn and more hell. Under the urging of his friend Flower he planned to put the Populist movement into fiction and wrote A Spoil of Office. The familiar Iowa backgrounds are in the story --- the harsh lives and bent weary figures of men and women --- but there is also an idealized heroine who suggests what life may become when injustice is done away with and the blighting toil is lessened --- a figure who, as Grange lecturer and Farmers' Alliance speaker, may have been suggested by Mary Ellen Lease. Much inferior as it is to Main-Travelled Roads --- a social tract rather than a work of art --- we cannot well spare it from our Middle Border literature, for it has captured and preserves for later times the spirit of the passionate uprising of the farmers, and it recalls the vast hopes that fermented in that revolt --- not well grounded, perhaps, but warm and human. "The heart and center of this movement," says Ida Wilbur, "is a demand for justice, not for ourselves alone, but for the toiling poor wherever found. . . . It is no longer a question of legislating for the farmer; it is a question of the abolition of industrial slavery."8 There are echoes of an older and simpler America in these pages, of discontents that were put down but not removed --- Jacksonianisms, Greenbackisms, anti-monopolistic crusades. Yet they look forward to a time when beauty and well-being shall be the common portion of those who do the work of the world. The way, alas, is "long and weary, and thousands and millions of us must die on the road, I am afraid," says the heroine; but go forward they must, along other paths than the path of capitalism.

Less significant is Jason Edwards: An Average Man (1891), that is an elaboration of the note, "The air is full of revolt against things as they are." It is a single-tax reply to the question of a young girl, "Are there any happy people in the world-any working people, I mean? Are they all cross and tired and worried and full of care, as we are here?" The story is two chapters in the life of a working­man --- his struggle in Boston as a mechanic, and his struggle in Minnesota, whither he flees for a refuge on a homestead. Defeat awaits him in the end, and the conclusion is an illustration of Henry George's thesis that poverty is the entail of land rent. In this and in other studies done under the influence of B. O. Flower, whose appetite for reform literature was insatiable, Hamlin Garland had ceased to be an objective realist and turned propagandist, bringing down on his head the criticisms of conservative readers. One of his friends went so far as to expostulate over the folly of his course. "It is a mistake for you to be associated with cranks like Henry George and writers like Whitman," he said. "It is a mistake to be published in the Arena. Your book should have been brought out by one of the old established firms. If you will fling away your radical notions and consent to amuse the governing classes, you will succeed."9

It is the agrarian background of Garland's mind that makes him seem old-fashioned to a generation that has forgotten the agrarian roots of our past growth. He was so deeply colored by this earlier native America that he never outgrew it; and when the Populistic revolt had died down, when this last organized agrarian rebellion against the exploiting middle class had become only an episode in our history, he had outlived his day. He was too deeply stirred by Whitman's romantic faith in democracy, too narrowly a disciple of Henry George's Jeffersonian economics, to fit into an industrializing America. Despite his discipleship to European realism he refused to go with the group of young left-wing naturalists who were boldly venturing on new ways of fiction. He would not follow the path of naturalism. Of Norris's McTeague he said, "What avail is this study of sad lives? for it does not even lead to a notion of social betterment."10 He could not bring himself to accept the major criteria of naturalism as they were exemplified in the work of Zola and Strindberg and Hauptmann. A native Jeffersonian, inspired by Whitman and instructed by Henry George and Herbert Spencer, would reject the somber, mechanistic background of naturalist thought. He had learned his science of the Victorian evolutionists, with their grandiose conception of a far-flung beneficent progress from the homogeneous to the heterogeneous, and the backgrounds of his mind were radiant with promise. Neither a mechanistic science nor a regimented industrialism had risen in his outlook to bank the fires of his hope. No impersonal determinism had chilled his belief in man as a free-will agent in a moral universe. The vast bleak chemical cosmos that bewildered Theodore Dreiser did not rise before him to dwarf the individual nor overwhelm his aspirations. Like a French romantic of a hundred years before, he remained a confirmed optimist who believed that the future will correct the mistakes of the past, and the peace and beauty for which the human race longs lie immediately ahead. The art of the young man was becoming old-fashioned in the world of Stephen Crane; his ideals were Victorian in the days of Mark Hanna. And so after the agrarian revolt had failed and America lay fat and contented in the lap of McKinley prosperity, he found himself a man without a country, an alien in an industrializing order, and he turned away to the newer West and the romance he had always sought. While America was driving towards regimentation he traveled backward in time to recover a vanishing world of individualism, and the distance rapidly widened between them.

In those romantic wanderings through Colorado and California and into the far Northwest he found a new interest in the frontiers­man's exploitation of the Indian, and in The Captain of the Gray­Horse Troop and The Eagle Heart he has wedded his social ethics to French romanticism, and endowed man in a state of nature with exalted social responsibilities. The old theme is dressed in new clothes and Captain Curtis of the Gray-Horse Troop becomes an Indian agent fighting the lawless and cruel encroachment of the frontiersmen upon the Indian rights; but the theme remains. Garland hated the frontier as fiercely as Cooper hated it, and like him he loved the clean free spaces; but when after his long and somewhat futile rambles he returned to the Middle Border, he found there a new light upon the familiar fields and in that light he wrote his saga of the Garlands and the McClintocks. This was to be his great bequest to American letters. To have sought the spirit of the Middle Border in its hopes and its defeat, to have written the history of the generation that swept across the western prairies, is to compress within covers a great movement and a great experience --- one of the significant chapters in our total American history.


* In Professor Parrington's plan the section given here was to be preceded by a first section on "Edward Eggleston and Frontier Realism," and a second on "Whit­comb Riley and Folk Romance." --- Publisher.

1 Chapter IV, pp. 26-27.

2 Chapter III, p. 35.

3 Chapter IV, pp. 51-53.

4 Introduction to Main-Travelled Roads.

5 A Son of the Middle Border, Chapter XXVIII, p. 374.

6 Ibid., Chapter XXIX.

7 Ibid., Chapter XXVIII, pp. 364-365.

8 Ibid., p. 245.

9 A Son of the Middle Border, Chapter XXXI, p. 417.

10 Critic, Vol. 42, pp. 216-218.

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