After a hiatus from my columns, one enforced by the necessity of writing, without distraction, my latest Cyrus Skeen mystery novel, Silver Screens, set in the Hollywood milieu (but not in Hollywood itself), it is appropriate that I return with the review of a book about the early American novel, Philip F. Gura’s Truth’s Ragged Edge: The Rise of the American Novel, which traces the beginnings of the literary form in this country and discusses its largely religious nature and later anti-American nature. He covers roughly the century just prior to the American Revolution up to the mid- to late 19th century.
Gura discusses such better known novelists as Nathaniel Hawthorne and Herman Melville, and reveals that they, too, experimented with, if not endorsed, the kind of “self-fulfillment” dramatized by their lesser known colleagues in the realm of fiction. Many of the novelists Gura discusses aren’t even on Wikipedia’s list of known 19th century writers.
All novels are “morality tales” of one kind or another, including Silver Screens. The difference, however, between Silver Screens and virtually every novel discussed by Gura is that the morality in Silver Screens is integrated with the action, whereas the morality and action in these early novels are rarely integrated and are paragons of what novelist/philosopher Ayn Rand called the soul-body dichotomy. That is, the morality is not reason-based and so is at odds with man’s nature and with reality itself.