In a major statement on the relation of art and politics in
America, Tom Lutz identifies a consistent ethos at the heart of
American literary culture for the past 150 years. Through readings
of Sherwood Anderson, Willa Cather, Hamlin Garland, Ellen Glasgow,
Sarah Orne Jewett, Sinclair Lewis, Edgar Lee Masters, Claude McKay,
Edith Wharton, Anzia Yezierska, and others, Lutz identifies what he
calls literary cosmopolitanism: an ethos of representational
inclusiveness, of the widest possible affiliation, and at the same
time one of aesthetic discrimination, and therefore exclusivity.At
the same time that it embraces the entire world, in Lutz's view,
literary cosmopolitanism necessitates an evaluative stance, and it
is this doubleness, this combination of egalitarianism and elitism,
that animates American literature since the Civil War. The
nineteenth century's realists and sentimentalists, the writers of
the Harlem Renaissance and of the Southern Renaissance, the
firebrands who brought in the new canon and the traditionalists who
struggled to save the old all ascribe, Lutz argues, to the same
cosmopolitan values, however much they disagree on what these
values demand of those who hold them.
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