n 7.4.- .‘.‘:.<-‘.‘.:_-... .. "' . I—. .,_. -, ' , ..._:I,‘“,‘_. ......... .-.-.-.~u-r-.-»~« -~-.----> A~-<«.-..,......,,., u. .7 ’4- A'. l IDEOLOGICAL ASPECTS OF THE AMERICAN NOVELS OF WORLD WAR II Thai: for the Dogma of Ph. D. MICHIGAN STATE UNIVERSITY Joseph John Waldmeir I959 ’ I m LB 4‘ u‘s . This is to certify that the thesis entitled Ideological Aspects of the American Novels of World War 11 presented by Joseph John Waldmeir has been accepted towards fulfillment of the requirements for Ph,D. degree in English OM U H L Major r feso Date November 28, 1959 0-169 L [BR A R Y Michigan Scan University i I We £23 I ; AJ‘,‘L’\J. L‘ ‘ IAJ , f ”1-9 n3 3 .n_;l-.‘v...) Cu . .53»: 1 , l“ . .L . n : 01 m" . John 'Nalzlmeir \ m < —»s . I‘ U“ u' J, ~ I \.’_1- my? 1 . I. _ .. . Aux. ~:‘VA ._ LL93; HAIL II Abstract This study is an attempt to set fortn and examine the pattern of affirmative social criticism discoverable within and among the ideological Norld War II novels. It is an optimistic and affirmative pattern. It is a pattern painstaxing and careful, complete with ferocious contempt for corruption and folly, but, de- nying the futility of a struggle wit» man's tendency toward evil, culminating in iaith and hope in the dignity and goodness of the individual. As the first step in tne study, I have distinguished be- tween tne ideological novels and filose whose primary concern is with the objective portrayal of combat action and psychological upheaval resulting from combat, or those whose insincerity or superficiality allows them to be classified as pseudo-ideological. And as the second step, in order better to clarify the ideological position of the war novelists, I have placed them within a historical context, within the tradition of American social criticism as it has developed from the Muckraxer 'teens, through the iconoclastic disillusionment of the world War I novels, and the crusading social optimism of the depression years; and I have attempted to delineate points of comparison and contrast along the way. The main body of the study, irom Chapter III through Chapter V, is devoted to the negative and positive aspects of tne ideology which informs the war novels. Tue novelists were violently opposed to fascism, which they found to be a moral rataer tian a political onenomenon, {sill lll‘lllllll I. l‘lllllllhl epitomized in Hitler's Germany and gussolini's Italy, but certainly not restrictcd by national boundaries. They attack the German and Italian brands of fascism unrelentingly; but with equal vigor, they attack :uericans rho, actually or incipiently, are also fascistic. They see and make sound artistic use of the ironic implications in the use of an essentially fascistic institution like the armed ser— vices to wage a war against fascism. But the novelists do not stop at a simple portrayal of the irony. They search for a positive means to resolve the dilemma from which it stems. hey settle upon the individual who, if he is aware of and willing to accept flls responsibility for the world as it is and as it may become, embodies the single, reliable resolution. They clearly believe that if the individual will not accept his responsibility ! and consequently act upon it, there is no hope; but more importantly, they have faith that the individual's experience with war will often convince him to act upon his acce itauce. And allied with this faith is hope—-a hope which can only be called alfirmative, positive, and optimistic. Chapter VI contains a summary statement of the Conclusions rrived at in the dissertation, and suggests briefly that one area of further study may be a comparison of the war novels with other postwar ‘ literature, especially with the neo—naturalistic disaffiliated or Beat novels. The study is Concerned only with American novels primarily because the novel seems to have been the principal means of expression h: r‘.‘,~_ , . ‘.—.~ for the serious ideological thinkers who wrote about the war, and secondarily, because the American novel seemed the logical choice in the necessary limitation of the discussion to manageable proportions. This hardly to say that poetry, drama, the short story, and reportage contain no ideological material worthy of study and commentary; nor that non-American-—especially German and British—-war literature should be ignored. Indeed, such work must be undertaken before any absolute statements concerning the ideological interpretation of the war by the creative intellect can be made. The present study is at least one out of a large and complex procession of steps toward the formulation of such a statement; at best, it will be an important contributing step. Copyright by Joseph John Ha ldmeir 1960 IDEOLOGICAL ASPECTS OF THE AMERICAN NOVELS OF WORLD WAR II 3y Joseph John Waldmeir A THESIS Submitted to the School of Advanced Graduate Studies of Michigan State University of Agriculture and Applied Science in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Department of English 1959 [llflflllllllllllI Chapter Intro III. IV. V. VI. iibliogr Table of Contents duction The Combat-adventure, the Psychological, and the Pseufo-lCeological Novels Esckgrgurts of Ideology: The World War I Revel and the Prolctarian Novel of the 1930's Negative As ects of Ideology: German and r L Italian Fascusm Negative Aspects of Ideology: American Positive Aspects of IdeoloCy: Individual and Social Responsibility Conclusion ‘ apny 38 62 135 170 176 ncv:list3: generobiwn a‘lur 3'00 GD'T“Ji;n 7"1V\ " [A1 L a&flmtumlgm. 13 tn: 1;;40 c; These statements are because I s , - v: ‘1 C‘ .wik. .‘ \ ‘ . n ’ . L 1.113.”) ;'1 “.3 ; in )6 LL 3;) J‘ol'u 57.1.0 7;; E‘Qui‘.l13 .roiaoci the w_r fonnc 11.: i' fiber loaded with illuoions After the Lost Gcncrwt‘on (132w ‘1 Ibid., ‘Ai. I - “:;nu;d vnrouvu 2;”:3J: :2; m "fi ET Ci [1' I} < ’, C S V {'1 dorsat Put thy wo ‘ VlVVC t11tg gavz, ' faith thuy n feilurc...nh or can i. to "cogno mat: an effgctiva le‘L thgt :n3iz ncv: been lslizf in th diynity Lra ic ye ruin;o, hws Lhc wcwkn2442o J, hos .. ,~-‘¢- LLC'ULC olllc u). a; gangs of hio L157"; v.1c.L. 7 L~3 1. 4 , .. ox, Wk origccicn Li a gem, R;erd_e wrcto ebLuL Lhc tho; Wont to W‘) I', i khBWstTc; hgggnd ;Lssiciley Lf disilluoic mh~‘ wan to w r, tiay r;Wunc;. The nufcin_ ,r‘ W , . ingaleteq x». g 1 4 . ' r . r- n l.- .3, 7, . , 1, v1. nu...) u‘u “C vii; VAJJ k... L~\~3, be; Jidt cho‘uor o: a LLck without two reuocns. of tLat :9ncrxtlcn, 9nd so I rsuzll, we were , »- ‘ ._ ‘ V ‘ lane ljo it. ihis wzs ntt true of 3‘1 :3 us, assuredlg; out it was true of most of us whf herucrcl liberal—inte;lectu:l ‘TCLEIJILDJ, of thise of us who, it wzs 8X3dttad, would ;1t"U—3 the w 1 nove_s. Most of us wort caught u, in the nvictcr c timisn of the JQEC'J. Ve were a, alled by the situz: ticn in Stain, enchanted by the lromise cf the New Deal, boundlessl; enthusiastic about the growing strenbth of organized labor, and ev oituLC ly, bitter ot;cnent3 of German and Italian f33cisn. It was thi; enthusiam, this C,timism, and this bitterness wh'i ch CELJEd the few of not do 4 eneraticn who embraced the Party Tine to he such 07 utterly undegendable Communists, and which convers e13 sent many of us into the war against fascism as crusaders in the name of social ri¢ht and justice.u The second reason for my astonishment is directly re atcd to the first. I was familiar with most of the war novels which Aldridge mentions, but I had found little evidence of the dcigot end disillusion— ment in them which he finds characteristic of the Ho 1d dir II novel generally. In fact, it had seemed to me before I read [ftzr the £23: Generation, that the converse was true, that novels Like Al Th3 Conquests, The Young Iitns, and The Naked and the Doc G 1:11 A the crusading oitimism of the late 1930's and early latt's. It hw _ (”'11) to me that Hayes, Shaw, and Mailer were ideologiw 11; in raer of h. The influence of 1930‘s social criticisn ufitn the war novel— ists (some of when, like Irwin Shaw and Alfred Hayes, wore lygo's stein; critics themselves) seems to me undeniable. But Aldridge is in con lete disawreement. "In this analys is,“ he writes in a 1 (tnctc on ”:0 llt "I am excluding the writers of the Thirties not because they did not share this same chaotic and ugrootin_exyerience [as the w1itcrs c1 the Fortieg but because I feel they had less effect and influence uAcn, and are more distantly related to, the writing of today llng " _ .‘h4... 7r Iii-1 s war, that they as liev A that it had to be wrn, that they had serious fears for the so f ety of humanity if it should have been lost. But Aldridge finds tiat hi 1 Thy CC nq11e3ts is sinily a fair imitation of Hemingway siiiuoiorasnt t at The Young Lions is little more than ,ro-Jewish gro_a3anda, and that Norman Mhiler, while a,_ ea ring to sul ort the war for ideological reasons, i Lu actu ually so unconvinced '1; of the ’ustice of the crusade that he shirt tetra in the ruiddle of J e ‘ 9 FN“ Tle N :Ate and the Dead, letting it end in futilit; and chaos. Itis study began therefore out of a disagreement with Ahdridge. C‘" I turned again to hose three novels and the others which .ldridge dealt with. I turned too, tL those novel 3 which Aldridge did not have the advantage of considering since they have 8;;eared since lQfil. I we rohed articula rly for those books and ;assages within books which I would call ide ol 051081"; that is, boohswhich tried to ex,lain why the war was fou ht whether it was worth fi htinL, how it might have been trevented, and so forth. Giadually, my losition was corroborated. I found an oytimistic, affirmative ial critic isn in the novels, built u;on faith and hoye in the dinnity and goodness of the individual. I found that the novelists do hold only contem,t for corrultion and folly, but that in the very ferocity of their criticism of these tendencies, they deny the futility of the struggle with them. I attroached the novels only in the belief that the novelists had tresented something more in the way of ideological conclusion that a "gigantic zero,” and I have found not only that this is so, but that they arrived at their conclusions gainsta king ly and carefully, and Lresented them with a clarity which can siring only from firmness of conviction. And with these findIHLS, my concern shifted nore toward what the novels are in terns of themselves, and away from what they are not in terms of Aldridge's criticism of then. The war novelists' affirmation, their anger, their sense of right and wrong, of good and evil, their sense of res;onsibility, their hoiefulness, are vastly more imiortant as subjects of discussion--esieoially against the background of uncer- tainty, :etulance, and individual futility which fills much of the non- war literature of the gast decade--than sinrlv as iroof that the think- ing of the novelists is not ultimately reducible to zero. This study then is an attemit to set forth and examine the Lattern of affirmative social criticisn discoverable within and axon; the ideological Wir novels. As a grelininary stey, I have distin¢uished between the ideological novels and those whose yrimary concern is with the objective gortrayal of combs action and isychological uyheaval resulting from combat, or those whose insincerity or sugerficiality allows them to be classified as gseudo—ideoloéical. And in order -‘ better to clarify the ideological ,osition of the war nrvelists, I have llaced them within a historical context, within the tradition of American social criticism as it has develoyed from the Nuckraker 'teens, through the iconoclastic disillusionment of the World W1r I novels, and the crusading social obtimisn of the deiressicn years; and I have attenyted to delineate ,oints of coniarison and contrast along the way. The main btdy of the study is devoted to the negative and Lositive asfects of the ideology which informs the war novels. T.e novelists were violently otxosed to fascism, which they found to be a moral rather than a ,olitical 1 enonenon, eyitonizcd in Hitler's Germany and Mussolini's Ital 3, but certainly not restricted by national bcundaries. They attick the German and Italian brands of fascism unre lenting 1y; but with equal vigor, they attack Americans who, actually or inci,iently, are also fascistic. They see and make sound artistic use of the ironic inilications in the use of an essentially fascistic institution like the armed services to wrge a war against fascism. But the novelisos do not etc, at a single ortrayol of the rs irony. They search or a iositive means to res olv the dilemma from which it stens. They settle uyon the individual who, if he is aware of and willing to accc,t his resgcnsibility for the world as it is and as it may become, embodies the single, reliable resolution. They clearly believe that if the individual will not accett his resyonsi— bility and consequently act u4on it, there is no here; but more intertantly, t have faith that the individue l's exterience with war will often convince his to act uron his acce,tance. And allied with this faith is hose-~a hobs which can only be called affirmative, tositive, and Oftinistic. The study is CL -ncerned only with American n vels irinarily because the novel seens to have been the irinciral means of extression for the serious ideological thinkers who wrote about the war, and condarily, because the Anerican novel seemed the ltgical choice in the mac essar‘ lim itati»n of the discuss ion to n: ' able .ro.ortions. J l .L (L) This is hardly to say th at ,oetry, drana, th snort story, and re,orta5o ’3 , 5 con ntain no ideolo ical materIal worthy 0: Study and commentary; 5. Charles Fenton, 1"Introduction,” in The Best Short Stories of World Lir II (Dew York, l35{) is a brief (l3 awe) discussion of tIe short story ”of the war as art form and as idetlo ical vehicle. \n __ nor that non-Anerican-—es3ecially German and British——war literature 6 should be ignored. Indeed, such studies must be undertaken before any absolute statements concerning the ideological interyretation of the war by the creative intellect can be made. The ,resent study is at least one out of a large and conflex grocession of ste,s toward the fornulation of such a statement; at best, it will be an ingortant contributing stei. Incidentally, Fenton agrees with me that deyression literature cannot be ignored in studying the backgrounds of the war novelists ideas. He writes, on rage xviii, that ‘The influence of the yroletarian writing of the 19303 has been underestimated in tie formation of these war writers.” 6. as Hilliam Bittner, ”Schweik Among the Herrenvolk," The Eation, CLXXXIV (June 22, 1957), 550—52 for a sound beginning of a study of German war novels. I am not familiar with studies of British or other national war novels. r- . A at h:‘5 C H”; E‘TER I The serious American novels of the second World War fall into three general cate3' cries combat adventure, Lsychological, and ideol03ical.l The cateig cries are not mutually exclusive; they tend decidedly to overla , hiking eosolute cate3orization a virtual imgossi- bility. But, while it is imfiossible to find a novel which is ”yurely" re resentative of any of the categories, it is ,ossible to reco3nize those novels which belong redominantlv in one or another of them. Thus, combat, either actual, retros;ective, or ex;ective, figures in all war nove els as a necessarv ingredient of the genre; but those novels which relegate combat action to a secondary, lerhays causal, losition--as for exan3le, most of the fictional studies of war on ‘ neurosis do—~are clearly distin3uishaolef rom those which are irimarily concerned with tracing and filling the outlines of combat situations. A similar comment may be redo concernin3 the relationshi; between the ideological and the combat novels, as well as between and among the novels of all of the cate3ories. However, to forestall the confusion 1. There are of course other ms iole mes ns of trvcn17at1on. John T. Frederick, "Fiction of the Second rIorld Hoa-," Collefie 3n lish, XVII (January, 1956), l9{—20h organizes his discussion accord ih3_to: l) books attei ti n;3 to iresent the total ex erience of a major base of war, 2) books dealin3 with ex‘eriences in a sin3le branch of ervice over an extended area of time and action, and 3) books limited info to a brief time and relatively few characters. bblcolm owley's me tho essentially is to reject categories alto ether so that he can convey t "general iicture that,e qo131n fron all thw ebooks, becomes their most 'myres sive feature ." (The Literar; Situation, New York, l95h, 1. 2h). Both of these mea -ns of 013an1sat1on are sourid and fruitiul, but neither of them can serve my iur;ose s as w ll as the three— art cate 3oriza tion I have arrived at, since th: en hasis here is to be on the fundamentally ideological novel. 5940C: Cu“ H which could result from such a con la" n~ it seems wiser to deal with the categories one at a time, doiinin; and exemLIifying each, and letting definitions and exam lcs, wherever ossiblc, icint l /> u; relationshi3s.” A coxbct—edVJnture novel is one in which the author's 3rinary intention see;s to be to ~res3nt a clear, rJPJistic dcscriLtion of a se3hent of CIHLTQ action. Its 3co;e is limited and controlled by the action; it Jéjiifl ventures either cookward or forward in tine or 333cc, exce t occasionally in the ninds or memories of its characters. It is not concerned with a broad, Lenoremic vie? of wcr, but with the s all, sometimes minute, s3 gents of ’t. But often, if it is an honest novel, and is written carefull3, it can cause the rector to be aware of the totality of c“tbut throu3h his acute awlreness of the "orient Jortrayed. . ?. » zurry Brown's A Vol: in ‘1 Sun“1s such a n,yel, as are Iawrence L.— l A‘3 A 7'1; 1" ‘V 4. r l 1‘7 -~.,~ S " “ ' (‘ ; Kihn 3 «313 On: your and lever cowian s zeach ed. A laid in the sun - is the story of the l:ndin; of an infantiy ‘latoon durin, the invasion , (D of Italy, and of the ;lctoon 5 movement toward the se urin3 of their objective, a farm house six miles inlani. The lctocn is a veteran of the African and Sicilian ccm_ai3ns. Its one ins: ienced men, ;. It would be ieractical even to list the autiora and titles of all of the novels belonging to each category, let alvne to summarize or discuss each of them. I have selected those which were received with the greatest agtroval by critics and reviewers, and which, at t" " tine, . admittedly most clearly illustrate my 30ints. I htie t.at not b many good novels have been overlooked; I am certain that, excc,t where they have been used to illustrate something valuable in a 3Lod book, no bad novels have been included. fit} 0-117} 3. Harry Town, 5 Talk in the Sun (iew York, 1944). b. laurence Krhn, fible One Four (DenVer,{§old], lQEP). 5. Peter Bowman, Beach Red flew York, 194;). I rxwzl-"F" Lt. Rand, is hi lled while still on the lending barge, end the role of Llatoon lee er falls to Sgt. Lorter, whose nerves are beginning to give way. The glatoon moves tut, setting directions from a heir of Italian 1.1 ’3‘ (U a {0 I3 93 soldiers who a ering ei H18 sly toward the beach in an effort to 3 they ambush CD surrender. Combat ex erience Lays off for the iletcon and destroy a erman armored car; but the action sends Porter into mcnbat fetiuue. The ilatoon leaves him behind to wait for the medics end :rtceeds under the commend of Sgt. Herd. U;on reaching the si ide cf the house 0 (.1 1.1. c+ (U ’1 objective, Nerd leads a Letrol to cover the a; and is cut down by German enfilading fire. The tletoon continues under the commend of Coriorel Tyne, and the story ends as he leads the attack on the farmhouse across an Lien field in the face of the machine gun fire that had killed WErd. The stor; is nearly as matter— —of—fectly gre sented as this ilot summery has been. Brown is interested rrims-1‘ii“; in the iresentaoiun of action; his message, if it can be so celled, is six th at, given . ' " HM - ‘10 £14.." '. .. , r -. .11 -—),‘L: W “mtg. .« an carerience‘ glbu; Oi leltlflb men, en, :GJLcoch -en oe achlchd desiite minor intcdihents like arncred cars and iossible cetesoro,hes like loss of leedershir. He is not Iro erfndizi1; for the Arericen soldier and his ”will to win"; there are no he roes in the no e1. He is singly telling ml en nly a truthful story. This is the frinci*el reason that the book is so short (l3? “3333), as it is the reason that Able One Four (l0? rages) and Beacl Red (lZB Iages) are also short. Plotting and characterization need not be nibllr con lex ii the action is inherently dranatic end if there is no grand messese or moral invelved, or if the euthcr is concerned only with ingediete causes and their effects. ’4“ "'\ "‘— ' - 1 i ‘»-1.‘\,"‘. "‘"’.‘ 1‘ .: a 5.1 u' "_ ' ..3‘- fl“ 1 _ . . A1 8. . Du oer s o1e1hdctn is e csse in Loint. another author—- - . -3 ...3~;.- .A;l,.-.3 I... 3 ...,“ -... .. ,, . wr. .... . -, -. exsn1.e closciv 111t-r s c1ct1tnsa1d LQQChV, night even flaV: dud into . 1 ‘ '\ ~ ~3-—‘ I, A xi " V R a 3 P "7. ‘\ ’1 1 ,v 44-. 7‘ ‘ n . ‘ "' I I '~ 1 r.‘ ~. 1r 1 . - his re—w r‘LJinqlr and seeling c; a ~o1‘ OI inferse ire n3»? t0 €x1e313 ‘ ' a , ‘i "In so “’er‘w'] -. ..3 : ...l '. ,, . v.1. ,,3- _, k- - ‘r‘r' 1 . 3, _ ,1 .3 _; 1 _- r g nlb CK“_ "1:1 0'- . Ll u 3.11 ‘ .L..13_ .1"; L.“ l urv;-~,1) 1-13 I: in ‘ICthbe GHQ. .-....o .LleLu "‘ 81*1ven~"3, then lets the attack tn the arnored car gush ’his is not to say that the conbat adventufe ntvelist cannot and does not lt’k into the mi ds .f his characters, * W'nitti ”n then to ex ress attitudes and ciinicns, and to c cam: 1t on their awn mental and emot’enal C“nditicns. Brown relorts the theu5hts both of Cor;. Tyne and Srt. Ward, leroitting Hard to disc corei, just before his death, Ehe funnv th’n; was that the” we 3 net verv much con— cerned with Jhat was facing them eh1ad. Lech ,0 mi his (Mn ' *sires and wishes. Itey Refit these Lersona: , their hinds, as the; ha” alwads done ever sincr trey come into the gray. The war was incidental ' Centered into them, Cf course, but it “" There had been too many years wefore the w: 1r hid cone alon 11311 ries, he ctu d wi hd raw intr. Q. c+ l——’ O o. {‘0 :5 F >3 d-b 4. D’ ii 0; v Cf . D“ ('1'( [3 s \v i ‘. 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'- ‘.— .. “"h' .. 5 r‘ q, I I -~* *‘X "a ‘ '..‘ ,n I I . — W W ‘ «'4 ‘ ‘ ' i ' "‘ ‘b.“‘ '7‘ " ' In Lu: LLnu; anhm,g1u, LLC QHJhdola 1n ax; tLIdB npvng Ipfleu I, ,, ,_‘ -,_ \ -, ~_- “-1.9“: , '.\ ‘ 1-, r n .3 r ,. w ... .: ,. ,.‘Y - _ -.m ,4. bnfllubuugb‘q 4nd Jdt+JLJgnU¢J en tu: dpthn. Eh; dUuhLIo lntgfdub . ' ». n “\J‘ "urn n " ‘m'v' " " ‘w 1" _ f.) ‘ . ~ ‘ '~ . "V —. '-‘«~ |" v 4 ~ " 1'34) . “ 1n their VLchbLJLQ thvuuhto and icsllngg 13 QLUQCrVLCLt LC thvll w . w 'L- ~ » 1"‘ r-» ’ ~ -. "*h“ 1' r “ r r ‘ . w "3-1 ‘- 'm ‘-..-\“\r)‘.‘ . ~.-~-‘ .r ‘ dcolra UC Lozurgy LrlCLJO and CLMLloC J a C“ “L Sltu¢tl n. F! ‘ L. .‘x r‘x'L ‘1 'r" TR ‘. ~ r‘ ' 3‘ . u '-. a ' 4- “-—\ -mA 5-. 1“ " F! ’i f '1 ‘0 1-. ‘ ‘ 4' , y‘ -. ‘,» ThUo) CLB dpggn c; gLWJgn 0 “exp &fbbi 41ipnc u; gnu lllchudn AD exLerianccs in the invasicn and en Latrbl, and; the navel. Thus, the ...J t} C\ 20 libido, IL. 0 ’,"V. I '4! .‘l "- ‘ - fig 2. mfi Mfirfiv wall; in the sun is toward, and only toward, the climactic skirmish at the farmhouse. and thus, finally, the advance into Gerha 3 by the tank destroyer clinexes with the a nearance o1 two Tiger tanks which ic 1;, thu1din5,‘ Huns5ry and Do; 33, and Hi demolish Toshy's 5un, killin gushing S5ec aver the edge beside Porter None of the mental and emotional cris es , none of the wk 3' we fi5ht talk, means a;ythin5 in the li5ht of the fact of combat. These are sim5ly not reflective nove ls; they are novels of action. If Brown, {ahn, and Bowman had shifted their enthasis o the reasons that the w.r Was Dein fought, and had offered a jud5nent or a considered 0 '1 05inion of those reastns, their novels cculd be ca te 5crized as id (L‘ 105ical. If on the other hand, they-had been concerned grimarily with their s-ldicr‘ minds, with war as a traumatic ex5ericnc3, we would have what I have choan to call 5sycholo5ical novels. Three navels stand out as ‘v*no 0 5i al rtudies: Vance Bourjaily's The 3nd of M3 Life,*3 fiilliam Hoffnan's The TrUmvet U — “flu-“...“. '3} fir l4 . . - l - . l blown, and Prudenc1o de rereda's fill the C rls we loved. ) ..u—-———————_—— All three books are concerned with m3ntal difficulties, with war neurosis ag5ra— vated by the 5rctlens of youthful self- consciousness. COmoat and ideology both are subservient to this 3m5hasis. If anything, the 13. Th3 End of wry Life (New York, lyhT). Aldrid5c feels that to book since This Siie of i -rad;‘ e hzm cau5ht so well the flavor of youth in wartime, and no 00-x sine 3A For ewell :3 Arts has contained so ctmxleta a record of the loss of that youth in war. Actually, Bourjailly has written the one—volume, conten orary 35uivalent of both.“ (After the last Generation, 5.121). There is little doubt that Th___.__e Egg 3:; A“ Life can be made to su55ort Aldridxe 's th3. is, but hardly conclusively enoubh to warrant such extravayent 5raise. lb. ‘18 Trumget Unblown (N3W York, lth). 15. All the Girls We Loved (New York, 1948). A5;chticgic-l n;v;; ;5 :vcn war: a; manuar; ph.n the nghfict adventur: novel, :Lr ids Junie is Jinip;¢ :nm 3::‘ ;1: d a; the Hihuil ruactign of cne individucj pr myr. Huwcxer, :«urjully , v' ‘ ," " . ‘ _ ..‘oJ . r... »' “~v - .' -»' —. . 7‘- 1.;kze L1‘gmatg, a; 141, :11: :t;m ngx— -.1w\/ 2 xreru‘,;r: cx<1 2&11.:4./ ¢11C. )gzkg~;:z3;¢v, ‘r r» «1) ‘ '0‘, nr~ ~‘q V-r, » ) , (n ? V a~~ r151- ou ttg~v p‘v L1 1 v J Fl 1 ,r Up- r WJUr1L,J . 1 r u,‘_A- CL 1J1*vvroc