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Shalini answered on Sep 01 2021
Andrew Lytle at The Sewanee Review
Atop Monteagle Mountain at the University of the South in Sewanee, Tennessee, is the office of The Sewanee Review. Founded in 1892, the Sewanee Review (SR) has never missed an issue, distinguishing it as the oldest continuously published quarterly review in the United States. For its first half-century, the magazine existed as a general journal of the Humanities, featuring articles on literature, art, politics, and the South. In the early 1940s its focus became purely literary, and the SR now regularly publishes superb essays, literary criticism, fiction, poetry and, of course, reviews of current books. This shift in tone was facilitated expressly by the editors of the time. Indeed, a great deal of the magazine’s continued excellence has depended on its editors, without whom the SR would not have been able to solicit and select the excellent writers that have graced their pages during these past decades. For the last seventy-six years, the office of the SR has housed only five, with the most recent editor, George Core, beginning his run in 1973. Andrew Nelson Lytle, one of the South’s more distinguished (and underappreciated) men of letters, edited the Sewanee Review twice in his career, once in 1942 to 44 and then again from 1961 to 1973. During his tenure as editor, Lytle helped to resurrect the magazine from academic stagnation, financial straits and a dwindling readership while presenting some of the twentieth century’s finest critics, writers and poets.
Lytle’s career prior to his position was certainly not what one might expect from an editor. He attended Vanderbilt University in the early 1920’s, making connections with several members of the Agrarian movement, an assortment of influential professors and new writers collaborating under the banner of Southern idealism. He left Vanderbilt in 1927 after studying literature and history to attend the Yale School of Drama. Lytle’s interests remained primarily Southern, however, and in 1930 he contributed his first major essay to the
Agrarian symposium I’ll Take My Stand, which also included pieces written by Allen Tate, Robert Penn Warren, Donald Davidson and John Crowe Ransom—Lytle’s friends and teachers from Vanderbilt. Tate became acquainted with Lytle through Ransom. They first met in New York City, and over time developed a strong, almost kindred relationship, often referring to each other as “brother.” Their relationship is carefully documented in The Lytle-Tate Letters, as edited by Thomas Daniel Young, which provides their selected correspondence from the 1920s through the late 1960s. After a short stint on the Broadway circuit, Lytle published his first book, Bedford Forrest and his Critter Company, a biography of the Confederate general, in 1931.
Throughout the early thirties, as throughout his career, Lytle maintained a relatively Agrarian outlook. His first published work of fiction, “Old Scratch in the Valley,” which appeared in the Virginia Quarterly Review in 1932, is more distinctly a work of Agrarian sentimentalism than it is fiction, as Mark Lucas argues in The Southern Vision of Andrew Lytle: “No one would make great claims for the story as art….Point of view is clumsily handled; the content is self-consciously provincial in the manner of local-color writing; and there is an evasion at the climax” (52). Such essays as “The Backwoods Progression” and “The Small Farm Secures the State” follow the direction of Lytle’s earlier Agrarian writing. Lytle certainly recognized the weakness in this kind of writing when applied to literature, since he declared much later in career: “When a novel obviously makes an appeal other than its proper aesthetic one, you may be sure it has been written with the left hand” (Lytle, Forward 194).
The late thirties saw a noticeable shift in Lytle’s writing—his most famous short story, “Jericho, Jericho, Jericho,” was published by The Southern Review in 1936. While the piece loosely resembles “Old Scratch in the Valley” in design, it is devoid of any direct political attitude, replaced by a purely literary one. As Lucas notes, “ ‘Jericho, Jericho, Jericho,’ skillfully renders what is merely argued in ‘Old Scratch,” (53). He reasons that “Jericho, Jericho, Jericho” represents Lytle’s transition from Southern Agrarianism to Southern fiction. Lytle’s first novel, The Long Night, was released later that year. While its setting, dialogue and story were distinctly Southern in style, Lytle successfully portrayed the South with a sole literary intent. Lytle continued to develop his literary career in the next few years, earning a Guggenheim fellowship in 1940 and publishing his second novel, At The Moon’s Inn, in late 1941. In an effort to support his family, including his first daughter, Pamela, Lytle accepted an invitation to teach at the Sewanee Military Academy later that year.
In early 1942, Alexander Guerry, the vice-chancellor at the University of the South (at Sewanee the vice-chancellor holds the authority of chancellor while the titular chancellor is the regional bishop of the Episcopalian Church) hired Lytle to teach history at the University level. In their conversations Guerry complained frequently to Lytle about then editor, W.S. Knickerbocker, hoping the SR could become as successful as the other university quarterlies of its day. Before the early 1940’s there would have been neither sense nor purpose in the SR assigning itself purely to literature—several quarterlies were already devoted to the subject, including The Dial, Hound & Horn, The Symposium, and, most notably, the Southern Review, edited by the Fugitive-Agrarians Cleanth Brooks and Robert Penn Warren at LSU from 1935-42. Despite their successes, all of these magazines eventually folded under serious financial strain, and wartime budget cuts. George Core notes that the Southern Review was “declared superfluous by the narrow-minded and autocratic general then running Louisiana State University” (Core Editorial History 72) being the last of these quarterlies to shut down in 1942. The implications of the collapse of the Southern Review were intimately discussed in correspondence between Lytle and Allen Tate. The pair would soon collaborate to manage the SR to unparalleled success at a time when other literary magazines were being discontinued across the nation owing to the financial constraints of the war. Lytle and Tate directed the magazine to new heights both ideologically and financially, and Lytle’s contribution stands as his significant contribution to the longstanding legacy of the SR.
With the Southern Review out of the picture, Lytle sensed that the time was ripe for Tate to lead the SR into a new era, inciting Tate in a letter on January 30, 1942, to “tell him [Guerry] that now is the time for the Sewanee Review to take the place of the Southern Review, and that you might take the Academy job until Knickerbocker's contract expired, when you would be made editor of that and do more or less what you have been doing at Princeton” (Young and Sarcone 181). Tate’s time a Princeton is notable, since he served as a poet-in-residence and helped found the university’s creative writing program. Lytle knew that Tate possessed both the drive and the ability to transform the SR from what Tate would call “a graveyard for second-rate professors” (Young and Sarcone 186) into a leading national literary review.
As early as 1936, Allen Tate, a fellow Agrarian and one of the founders of The Fugitive—a magazine at Vanderbilt publishing some of the Agrarians’ best poems—had formed his own opinions about the management of literary quarterlies and a program for their continued success. Tate outlines his argument in “The Function of the Critical Quarterly,” published in the Southern Review. His argument is formed on the notion that a quarterly review is the most appropriate forum for continued critical discussion, but also the most vulnerable to financial pressure. Unlike weekly or even monthly magazines, “our best quarterlies have readers but not enough readers to pay the ‘cost of production’” (63). Moreover, many quarterlies of Tate’s era did not pay their contributors, including the SR, which led more prominent writers to more affluent magazines. These magazines “can pay better rates for manuscripts than the most flourishing quarterly can ever pay. The monthly can command first choice of the work of writers who would otherwise put their best effort into the more considered . . . performance demanded by the more critical journal” (67). In Tate’s mind, the reader of these weekly magazines is presented with nothing but a middling buffet of critical attitudes assembled by the highest bidder. Tate’s solutions are rather straightforward: the critical quarterly cannot function without a subsidy, its contributors must be paid, and the editor must work with those contributors to develop a substantial and autonomous critical program. As Tate states toward the end of his article, the “ideal task of the critical quarterly is not the give the public what it wants, or what it thinks it wants, but what—through the medium of its most intelligent members—it ought to have” (72). It is reasonable to assert that Lytle was undoubtedly conscious and supportive of Tate’s ideas given the closeness of their relationship and Lytle’s work at the SR.
Tate was also keenly aware of the opportunity Guerry held if he was willing to act. In a letter to Lytle on February 6, 1942, he notes “If Guerry has any gumption at all, he ought to see that the collapse of the SR [Southern Review]. . . gives him the whole field for the Sewanee Review. A subsidy of about $3,000 to pay contributors would be all that is needed” (Young and Sarcone 183-4). Guerry was also aware that he could hope to establish the SR as a real literary quarterly with a wide spread readership, lending respect to the University. Guerry was also in need of a new editor at the SR after the psychological collapse of W.S. Knickerbocker, the editor and head of the Sewanee English Department. Of course, $3,000 was hard to come by in early 1942, especially since the U.S. had just entered WWII a few months earlier. Despite Lytle’s advice to hire Tate, and a letter of recommendation from John Crowe Ransom, the editor of the rising Kenyon Review, Guerry was simply unable to raise the money necessary to pay contributors as Tate stipulated. Consequently, Tate refused Guerry’s offer. Guerry’s desire to create a magazine to equal the Southern Review no doubt influenced his decision to solicit Cleanth Brooks. Brooks declined, perhaps fearing that the SR would be subject to the same financial abandonment he had endured at LSU. With Guerry’s options running low, Lytle, under heavy pressure from Guerry, reluctantly agreed to fill the role of managing editor in addition to teaching history. As Core explains, Lytle was only managing editor because it was the custom at the time for the head of the English Department to also edit the magazine. Thus, while Tudor S. Long held the title of acting editor, Lytle fulfilled the role completely, beginning with the fall 1942 issue (Core, Editorial History 5). Meanwhile, Allen Tate was living only a few miles away from Lytle’s office working on a novel. Due to their proximity and personal relationship, “Tate decided (with Lytle’s concurrence) that the best thing he could do for himself and for the community of letters was to become an unusually active advisory editor” (Core Remaking 73). In fact, Tate became so involved with editing that he began to fear some resentment on Lytle’s part, despite Lytle’s assurance that this was not the case: “Of course I wanted you to help on the Review or I wouldn't have let you” (Young and Sarcone, 196). This tension may have played some role in Tate’s decision to take up a position at the Library of Congress after a year, leaving Lytle to edit on his own.
Despite these lingering issues, the shift in quality between Knickerbocker’s last issue and those published by Lytle and Tate is tremendous. As Core notes, the first issue still contains traces of Knickerbocker’s presence in articles from his backlog, including one piece by Mrs. Knickerbocker. However, the pair chose to use as their leading article a piece on Shakespeare, which probably would have placed further back into the magazine. As G.A.M. Janssens notes in The American Literary Review, Lytle drew heavily from his (and Tate’s) literary connections to solicit poems by Wallace Stevens, George Marion O’Donnell and William Meredith and essays by Arthur Mizener and Cleanth Brooks (Janssens 278). Despite his thorough account, Janssens glosses over much, describing the further development of the magazine during Lytle’s first brief editorship, claiming “the rest of the issue was not different from the earlier Sewanee Review. Lytle made an important start, but it was Tate who made this magazine” (Janssens, 278). While there is some truth in this statement, Janssens fails to recognize the further achievements made under Lytle. As Core explains, in the winter 1943 issue Lytle’s most significant change in the SR’s contents was revealed: fiction (Editorial History 7).
The addition of fiction was strongly supported by Tate. As he suggests, “good creative work is a criticism of the second rate; and the critical department ought to be run for the protection of that which in itself is the end of criticism” (Tate 64). Fiction has been a mainstay of the SR since its introduction, and it would follow that its first appearance would be especially strong. The honor was given to Leroy Leatherman’s “The Enchanted Bull.” Establishing a pattern that he would follow throughout his editorships, Lytle developed a strong and lasting professional relationship with Leatherman. The beginnings of their friendship appear to be most firmly grounded in Leatherman’s submission to the magazine. A series of letters between the two can be found in the Lytle Papers at Vanderbilt’s Andrew Nelson Lytle Collection in the Jean and Alexander Heard Library. The first of these from June 1943 from Leatherman to Lytle begins simply “Dear Sir,” and concludes by saying “Thank you for the kind words,” presumably early praise of Leatherman’s story on Lytle’s part (Lytle Papers 6/15/1943). Tate also felt the story was worth publishing as the magazine’s first. After editing “The Enchanted Bull” himself, he wrote to Leatherman in a letter housed in the Sewanee Archives: “I have decided not to send back ‘The Enchanted Bull’ for revision. I think it is good enough as it stands” (Sewanee Archives 12/16/1942). The note stands as high praise from Tate, who had a reputation as a demanding editor. Tate cemented his view in another letter to Leatherman, telling him that the story was “first-rate,” and, agreeing with Lytle, saying, “it is the quality of your tone which principally distinguishes the work at hand” (Sewanee Archives 11/30/1942). Leatherman himself remembered in another letter that “once you wrote me that tone was at the basis of my style; you didn’t know whether that was good or bad but I ought to be aware of it” (Lytle Papers 5/12/1957).
Lytle’s interest in Leatherman is clear, given the similarity of themes and style in their fiction. Lytle discusses one of his concurrent themes in his foreword to A Novel, A Novella, and Four Stories: “the loss of innocence or the initiation of youth into manhood is an archetypal experience . . . but young men of differing societies will respond in various ways. Unlike Sparta we do not formally instruct our young men. What there is of it is private and accidental” (Foreword 196). This theme is firmly developed in Leatherman’s story, which centers on young Jim Daigre, his loss of innocence and his meandering initiation into manhood. Jim’s older and worldly cousin, Corely, exposes the boy’s inexperience by asking him about his small bottle of wine: “‘Bet you don’t know what this is’ ”(SR 105 V 51) Corely tells him absolutely. Jim confirms Corley’s assertion by guessing that the bottle holds ink. As Corley laughs, Jim throws the bottle against a rock in a burst of immature anger about his own ignorance. As the narrative builds, Jim and Corley spend evenings deep in the woods searching for the bull, a mysterious and frightening beast, even to the adults of their world. Nearing the bull’s sanctuary in the forest, Jim finds himself alone against a hardened grove of trees, trembling with fear. “He walked up to the wall of the forest. Slowly the fear grew, slowly as the trees grew higher over him, formed in his head and became a human, living thing. And, slowly, that was all there was; this fear as real as any human being. It destroyed all his memory, all his knowledge” (SR 111 V 51). Jim’s entrance into the forest may be interpreted as a step toward his own initiation into society, while the bull itself represents the primal impetus toward knowledge. Immediately after Jim’s revelation he finds himself swimming with Corely. Pushing water off his body, Jim notices that “[w]here his hand had been, a new feeling came. He did not remember such a feeling at all. When Corley came and was standing, white, above him, he felt ashamed but did not know why” (SR 111 V 51). The bull elicits Jim’s new sensations of physical awareness, the same modesty produced by original sin. Unaware or perhaps unwilling to allow their boys to reach natural level of...