[ 159 ] ss Notes [][][][] introduction 1. See Jane Tompkins, Sensational Designs; Nina Baym, Woman’s Fiction; Joan Hedrick, Harriet Beecher Stowe; Carolyn Karcher, First Woman of the Republic; JudithFetterley,TheResistingReader;AmyKaplan,TheSocialConstructionofAmerican Realism; Mary Kelley, Private Woman, Public Stage. 2. See Richard Hofstadter, The Age of Reform; Gabriel Kolko, The Triumph of Conservatism; James Weinstein, The Corporate Ideal in the Liberal State; Warren Susman, Culture as History; and Martin Sklar, The Corporate Reconstruction of American Capitalism. 3. George Hutchinson, in The Harlem Renaissance in Black and White, traces the influence of pragmatist aesthetics on Harlem Renaissance writers and critics, particularly Alain Locke. My argument regarding pragmatist aesthetics is deeply indebted to Hutchinson’s work. 4. For a more detailed investigation of Progressive women writers, see Carol J. Batker’s Reforming Fictions. 5. See Lisa Botshon and Meredith Goldsmith’s Middlebrow Moderns: American Women Writers of the 1920s; Deborah Lindsay Williams’s Not in Sisterhood; and Julia Ehrhardt’s Writers of Conviction. 6. Kevin J. H. Dettmar and Stephen Watt, eds., Marketing Modernisms; Jani Scadura and Michael Thurston, eds., Modernism, Inc.; Jay Satterfield, “The World’s Best Books”: Taste, Culture, and the Modern Library; Mark Morrisson, The Public Face of Modernism; Catherine Turner, Marketing Modernism between the Two World Wars. 160 ] 7. Frederic Jameson, “Beyond the Cave: Demystifying the Ideology of Modernism ”; Paul Morrison, The Poetics of Fascism. 8. A selected list of studies of authorship includes William Charvat’s Literary Publishing in America 1790–1850; James West’s American Authors and the Literary Marketplace since 1900, Christopher Wilson’s The Labor of Words; and Susan Coultrap-McQuin’s Doing Literary Business. 9. Joan Shelley Rubin’s 1992 The Making of Middlebrow Culture initiated critical attention to middlebrow culture in the first half of the twentieth century; Janice Radway’s 1997 A Feeling for Books: The Book-of-the-Month Club, Literary Taste, and Middle-Class Desire further stimulated academic interest. Recent studies include investigations of British middlebrow culture, of popular American women writers of the 1920s, and of the creation of “middle” America. See Nicola Humble, The Feminine Middlebrow Novel, 1920s to 1950s; Lisa Botshon and Meredith Goldsmith, Middlebrow Moderns; and Jennifer Parchesky, Melodramas of Everyday Life. 10. See Gordon Hutner’s essay “In the Middle: Fiction, Borders, and Class.” chapter one 1. Cather, forced to replace the story, added “Flavia and her Artists,” a devastatingsatireonahorriblysuper ficialartisteandherlong-sufferinghusband.“Flavia” was Canfield’s mother’s name, and the story’s marital portrait closely suggests Canfield’s own parents, whom Cather had had ample time to observe when James Hulme Canfield was the president of the University of Nebraska. Cather thus got the last word, but she also got fifteen years of estrangement. She and Canfield were not reconciled until after James Hulme Canfield’s death. 2. Malcolm Cowley, the early chronicler of modernism in books like Exile’s Return , invoked her to dismiss the New Humanists; in 1929, the year of The Sound and the Fury, A Farewell to Arms, and Look Homeward, Angel, he wrote that “the academic Humanists bring out a symposium proving, among other things, that there are no good American writers except maybe Dorothy Canfield” (After the Genteel Tradition 196).MarkMadiganarguesthather“authenticnarrativesofeverydayAmericanlife were deemed unfashionable, her narrative technique was considered too conventional , and she was relegated to a marginal position in the literary pantheon” (6). 3. For example, Canfield published her own response to the anti-immigrant hysteria of “middle America” in a short story in the muckraking Everybody’s Magazine . An outsider visits a New England town in decay. A young woman, saddled with the care of her invalid mother, is forced into the role of New England spinster , living in a town with no economy and no discernible future, and the visitor bemoans her fate. On returning to the town years later, however, she finds her married and thriving. How was this traditional local-color story transformed? The young woman aids an Italian immigrant in his escape from indenture and marries him, and he adapts her barren farmland to the production of goat cheese for other Italians in the city. The story ends with a My Antonia–like image of fecundity as the family comes home from work in the pasture. notes to chapter one [18.212.102.174] Project MUSE (2024-03-28 12:19 GMT) [ 161 4. Bok’s attitude has often been seen as the approach of all women’s magazines. Helen Damon...