THE NEW NATIONALISM
Of all that living Americans are doing for the literature of our common tongue it is as yet impossible to speak adequately. Since 1870 a new spirit of nationalism has entered into American literature, which has not yet been thoroughly studied in America or appreciated in England. So far from having no national literature, America has now, perhaps, the most intimately national body of fiction in the modern world. Before the Civil War there was practically no deliberate and systematic study of local and racial idiosyncrasies. Hosea Biglow was a mask, not a character, and Parson Wilbur was a literary device. Even Hawthorne thought primarily of the element of imagination in his romances—the universal, not the local, element. His leading characters are psychological creations, with nothing specifically American about them; his local colour and local character-study, though admirable, are incidental, or at any rate stand on a secondary plane. In the South there was no literature at all, local or otherwise, with the one startling exception of Uncle Tom's Cabin.[1] But since 1870, and mainly, indeed, within the past twenty years, a marvellous change has come over the scene. Not only the national but the local self-consciousness of America has sprung to literary life, until at the present day there is scarcely a corner of the country, scarcely an
- ↑ For the reasons of this barrenness, see an essay on Two Studies in the South in Professor Brander Matthews's Aspects of Fiction. New York: Harper. 1896.
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