This week gives Ring Lardner who is being honored with a volume by the Library of America (edited by Ian Frazier). We'll run one of his stories from the collection tomorrow, and later today we've got a treat from his eldest son, John. Meanwhile, check out three of his most famous stories at the LOA's website: Haircut, Where Do You Get That Noise?, and The Young Immigrunts.
He was a writer of manners, and the manners he described were those of a society markedly different from that in the novels of Edith Wharton and Henry James. He wrote about the manners of the bleachers and the clubhouse, the mezzanine and the dressing room, the barbershop and the beauty parlor, the Pullman car and the touring car, the kitchen and the diner, the bridge table and the bowling alley. He wanted us to get rich, and he showed us how foolish we often looked as we threw our new money after idle and inane pleasures and possessions; he had been truly bitter or misanthropic or hateful, he never would have succeeded in making us laugh at ourselves so heartily.
He wrote so perceptively and accurately about what he saw because he was a great journalist. This, in the end is the singular accomplishment of his life. Ring came into the profession when it was held in far too much disdain even to be considered a "profession"; it was a line of work pursued by coarse people who had a coarse talent for putting words together in a speedy way. He was one of the very first people to bring creativity and felicity of style to the press. He set an example that was eagerly followed by younger writers. His aristocratic manner and confident bearing gave the lie to the argument that journalists were by their very nature guttersnipes. The quality of his writing and the doggedness with which he kept it so high proved that good prose and journalism were not mutually exclusive. So, too, he showed that in newspapers one could do serious work and be respected for it.
And yet Lardner, who was widely admired by the likes of Virginia Woolf, Edmund Wilson, and his friend and neighbor, Scott Fitzgerald, was chided by the critical establishment for not writing a novel. Maxwell Perkins, the famous editor, once wrote:
Ring was not, strictly speaking, a great writer. The truth is he never regarded himself seriously as a writer. Healways though of himself as a newspaperman, anyhow. He had a sort of provincial scorn of literary people. If he had written much more, he would have been a great writer perhaps, but whatever it was that prevented him from writing more was the thing that prevented him from being a great writer. But he was a great man, and one of immense latent talent which got itself partly expressed.
Yardley has a thoughtful take on the matter:
Ring was scare of the mere idea of writing a novel; he had the journalist's fear of taking on something so long and complex and structurally unclear. Beyond that, so many people had by now asked him so many times when he was going to write a "real" book that he must have felt that expectations had been raised past any point he could possibly hope to match.
...It is a mystery why he never simply said: Look, no one does what I do better than I do, so why not accept me for what I am? He could also have said, with utter legitimacy, that his mind functioned best over short, intense distances and that he did not think he was capable of writing a good novel—which in fact he probably was not.
Americans equate bigness with greatness, and all around him people were saying that he had to do something big if he wanted to be great. In truth, he probably did not care all that much about being great, but neither did he want to disappoint. He was a miniaturist to whom the world seemed to be shouting "Inflate! Inflate!" and he could not handle it.
We've had Elmore Leonard on the brain, a writer famous for his ear and his ability to write dialogue. Ring Lardner built his reputation as a writer who appreciated how Americans talk. That's no small achievement. He was also, as Yardley points out, funny. We're grateful to the Library of America for celebrating an American original.