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Updated: May 23, 2025
The female lobbyist is a character that "once-upon-a-time" flourished at the national and in State capitals, but modern methods have made her, to a large degree, superfluous, and now the high-priced lawyer, representing the Trust, deals directly with the party boss instead of the individual lawmaker. It is cheaper and quicker. Mr. Tarkington's friends, Boss Gorgett and Mrs.
Tarkington's plot drags the cub back to normality. Both processes are the same. Perhaps Mr. Tarkington would not deliberately say that snobbery and poetry are equivalent offenses, but he does not particularly distinguish. Sympathize as he may with these two aberrant youths, he knows no other solution than in the end to reduce them to the ranks.
Tarkington's term in the Indiana legislature, is a study in complacency. Setting out to take the world of politics as he finds it, he comes perilously near to ending on the note of approval for it as it stands as good, on the whole, as any possible world. His satire, at least, is on the side of the established order.
Viewed critically this attitude of Mr. Tarkington's is of course not even a compliment to Indiana, any more than it is a compliment to women to take always the high chivalrous tone toward them, as if they were flawless creatures; any more than it is a compliment to the poor to assume that they are all virtuous or to the rich to assume that they are all malefactors of a tyrannical disposition.
Tarkington's "Monsieur Beaucaire," and the next evening he brought up the subject for discussion with various ladies and gentlemen of the company. Had it been a matter of lobsters he might have had an apathetic response. But the homely mince pie roused to riotous enthusiasm. Each player protested that he or she knew of a place from which came a mince pie surpassing all others.
According to all the codes of the more serious kinds of fiction, the unwillingness or the inability to conduct a plot to its legitimate ending implies some weakness in the artistic character; and this weakness has been Mr. Tarkington's principal defect. Nor does it in any way appear that he excuses himself by citing the immemorial license of the romancer. Mr.
Tarkington's more serious plots and not merely those earlier ones which he constructed a score of years ago when the mode in fiction was historical and rococo. Van Revel in The Two Van Revels, convinced and passionate abolitionist, nevertheless becomes as hungry as any fire-eater of them all the moment Polk moves for war on Mexico, though to Van Revel the war is an evil madness.
Booth Tarkington's "Alice Adams" to bring in a new title is a good illustration of a story where for once a popular novelist slurred over the popular elements in order to concentrate upon a study of character. His book received tardy recognition but it disappointed his less critical admirers. Mr. White's "Andivius Hedulio" depends for its popularity upon curiosity and escape.
If Indiana plays microcosm to Mr. Tarkington's art, he owes it to his state to find more there than he has found or has cared to set down; he owes it to his state now and then to quarrel with the dominant majority, for majorities occasionally go wrong, as well as men; he owes it to his state to give up his method of starting his narrative himself and then calling in popular sentimentalism to advise him how to bring it to an end.
And what can a critic say of such blatant nonsense as arises from the frenzy of propaganda in Ramsey Milholland? Perhaps it is truer to call Mr. Tarkington's plots sophomoric than to call them adolescent.
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