Red Badge Of Courage And Selected Short Fiction

From Richard Fusco's Introduction toThe Red Badge of Courage and Selected Short Fiction What still fascinates is how, amid such conditions, Crane was able to informally pursue his aesthetic education and produce a novel that is one of the better summations of American sensibilities in the 1890s. His mind was, in effect, a sponge, capable of absorbing the principles of past and current literary traditions, the insights of the leading writers of the day, the beliefs held by competing philosophical schools, the dogmas held by diverse Christian sects, and the trends of political and economic thought. His artistic genius resided in his ability to knit many dissimilar and, at times, conflicting perspectives so thoroughly in a text that we pay more attention to their similarities than their differences. He paints a grim but objective portrait of war's horror in one passage inRed Badge, yet when we turn the page we find ourselves immersed in Fleming's subjective reflection about that event. Many critics have debated over the years whether Crane was essentially a Realist, a Naturalist, or an Impressionist. I and many others contend that he was all those things and much more. For Crane, the scene or the moment dictates the artistic device the writer should employ. Novels such asRed Badge, then, become compendia of many aesthetic possibilities. In a Crane text, this oscillation among so many ways of looking at the world reflects what all humans must contend with in life. The religious, political, philosophical, or artistic belief that seems best to explain one moment may prove inadequate for the next. Crane's novel about the Civil War offers a chain of partially successful attempts by Henry Fleming to comprehend his environment and purpose.The Red Badge of Couragethus not only chronicles Crane's own restless mind; it also embodies the multifaceted dilemmas with which all intellects curious about man's relationship with the universe must cope. The dominant literary figures in the United States after the Civil War were the Realists. By the 1890s, Realism's most accomplished practitioners included Mark Twain and Henry James, but William Dean Howells had become the artistic director of the school. Through his magazine columns (the most prominent was "The Editor's Study" inHarper's Monthly), through the example he set in his novels and short stories, and through the new writers whose work he promoted, Howells established a good number of artistic principles for the postbellum generation of American fictionalists. Above all other considerations, he stressed that writers ought to write about subjects, people, and environments with which they were wholly familiar. Realists should not impose their personal biases or philosophical, political, and ethical predispositions on the voice of a text's third-person narrator. The world should be described as if one were looking through a camera lens. The Realist should avoid presenting portraits of people who reside at the extreme ends of the human condition; those who occupy the center of American society are fitter subjects for literary art. Thus, the goal of the writer is to capture with fidelity that which typifies a society. These and other like precepts pervaded the literary scene that Crane encountered in New York during the early 1890s. They became salient and valuable for him after he heard Hamlin Garland lecture about Howells's work and influence in Avon, New Jersey, in 1891. Crane published a newspaper piece about the talk, which attracted Garland's notice. At that time, Garland, ten years Crane's senior, was himself an emerging Realist of the local-color school. Many American local colorists, who had their aesthetic origins in Ivan Turgenev's seminal short-story collectionSportsman's Notebook, published realistic fiction based upon their regional experiences, chronicling the lives and manners ofCrane, Stephen is the author of 'Red Badge Of Courage And Selected Short Fiction', published 2004 under ISBN 9781593081195 and ISBN 1593081197.