The Art of Letters
THE person who creates a great symphony, painting, poem, or novel is surely most truly himself or herself in that creation, which represents the best of its creator's capabilities: intelligence, intuition, passion, character, wisdom, craft, skill, imagination. Yet reading someone's journals or personal correspondence may give us a clearer picture of what the artist was "really like."Skip to next paragraph
Subscribe Today to the Monitor
The editor of any collection of personal papers faces the question of how complete the collection can or should be. There is no such thing as a complete collection of letters. Even when editors believe they've tracked down every last missive written by their subject, other letters can always turn up. And what about the letters written to the subject, letters that in many cases provide the other half of a written conversation? For the ordinary reader, a judicious selection of letters can make the differen ce between a book that is avidly read and an unwieldy monster left on the shelf.
Ernest Samuels, who wrote a biography of Henry Adams and edited the enormous, but wonderful six-volume, 4,180-page collection of his "Complete Letters," has produced a scaled-down, 586-page edition, Henry Adams: Selected Letters (Belknap Press/Harvard University, illustrated, $29.95) that serves just this purpose. Samuels has chosen 240 letters from all stages of Adams's 60-year epistolary career (1858 to 1918) and he furnishes six biographical sketches of the author at successive stages of his developme nt from young apprentice to "benevolent" (if eccentric) old "sage."
Adams's mordant self-scrutiny is as striking in the private person as in the public man: "[N]o matter how little I may ask, I must always make more demand on you than you can gratify," the widowed Adams confessed to Elizabeth Cameron, the married object of his devotions, "... whatever I profess, I want more than I can have.... I am not old enough to be a tame cat; you are too old to accept me in any other character."
Now available from Princeton University Press are the first three volumes of the projected five-volume "Hyde Edition" of The Letters of Samuel Johnson ($29.95 per volume, illustrated). Edited by Bruce Redford, this promises to be the most complete and accurate scholarly edition of Johnson's letters to date, including letters previously unknown and portions of letters previously expurgated. But, while the editor's emphasis has been on providing an edition for scholars, there is much that will appeal to th e common reader, from the forthrightness of Johnson's opinions to the majestic undulations of his prose style.
Neither a literary stylist, a sage moralist, nor a ruminative philosopher, the 19th-century French realist painter Gustave Courbet deliberately cast himself in the role of an untutored provincial upstart. Petra ten-Doesschate Chu, editor and translator of Letters of Gustave Courbet (University of Chicago Press: 726 pp., illustrated, $55), argues that a careful perusal of his correspondence proves that Courbet was not the "illiterate" many believed him to be; that, indeed, he nurtured that image as a way of publicizing his art. "It is impossible to tell you all the insults my painting of this year has won me," the 32-year-old up-and-coming enfant terrible writes to his family in 1852, "but I don't care, for when I am no longer controversial I will no longer be important."
Comprising more than 600 letters, many never before published, this collection provides a lively portrait of the turbulent world of French politics - the 1848 revolution, the Second Empire, the Paris Commune - as seen through the eyes of a populist, anti-imperialist artist. Although the primary appeal here is to the scholar, a good chronology and an index of persons mentioned in the letters enable the more casual reader to follow the events described.
One must have some interest in poets, poetics, or politics to enjoy the stimulating and engaging letters written by the poet and translator Rolfe Humphries to a circle of friends and fellow writers that included poets Louise Bogan and Theodore Roethke, and the critic Edmund Wison. Poets, Poetics, and Politics: America's Literary Community Viewed from the Letters of Rolfe Humphries, 1910-1969, edited by Richard Gillman and Michael Paul Novak (University of Kansas Press: 352 pp., illustrated, $35), introdu ces readers to an American original: an erudite, yet down-to-earth man who was never shy about expressing his views. Young Humphries learned Latin at his father's knee, as Ruth Limmer's biographical essay informs us, and he grew up to become the acclaimed translator of Virgil's "Aeneid," Ovid's "Metamorphoses," and Lucretius's "The Way Things Are."