Thomas Hart Benton’s depiction of Huck and Jim
A piece in The Washington Post this morning on the new book about living next door to Harper Lee mentions the status of To Kill A Mockingbird as a, if not the, Great American Novel — and casually links to a list.
The list isn’t explained. I don’t know who compiled it, or what the criteria may have been.
But of course I’m drawn in. The list extends to 358 books (which requires straining the definition of “great”), but let’s just examine the top ten:
- The Great Gatsby, by F. Scott Fitzgerald
- To Kill A Mockingbird, by Harper Lee
- The Adventures of Huckleberry Finn, by Mark Twain
- The Catcher in the Rye, by J.D. Salinger
- The Grapes of Wrath, by John Steinbeck
- East of Eden, by John Steinbeck
- Slaughterhouse-Five by Kurt Vonnegut
- Moby Dick, by Herman Melville
- Catch-22, by Joseph Heller
- Of Mice and Men, by John Steinbeck
OK, first, it’s just not right for Steinbeck to get three out of the 10. Especially since — confession time — I’ve never read the first two. The Grapes of Wrath is one of those novels I’ve meant to read for most of my life, and I will (my wife finds it utterly incredible I still haven’t). East of Eden, not so much.
And, to confess further, despite having started it again to great fanfare, I’ve still never finished Moby Dick. It just seems to start to drag after they go to sea. (Yeah, I know that’s pretty early in the book.) Which is weird, because that’s when seafaring tales generally get good.
I think all the other works are deserving of the top ten, although I might move up some of my faves from the second ten (On the Road, The Sun Also Rises, One Flew Over the Cuckoo’s Nest, Fahrenheit 451).
But my main beef is this: How could any list of the Greatest American Novels not start with Huckleberry Finn? Hemingway famously said, ““All modern American literature comes from one book by Mark Twain called Huckleberry Finn. American writing comes from that. There was nothing before. There has been nothing as good since.” And I agree, except that I would delete the word, “modern.” It’s superfluous. All American literature, period.
It’s THE American novel. It’s episodic, picaresque structure is quintessentially American. Huck Finn, the freest character in literature, untainted by the history or culture of the Old World, couldn’t be more American. Huck can be anyone he wants to be, and slides in and out of identities throughout. And the central conflict in the novel is about the deepest, most profound issue of our history — in the sense that it has a central theme. Remember the author’s warning:
PERSONS attempting to find a motive in this narrative will be prosecuted; persons attempting to find a moral in it will be banished; persons attempting to find a plot in it will be shot.
Which is a very American sort of warning — notice in no uncertain terms that pretension will not be tolerated.
Even the novel’s weaknesses are very American. Such as the uneven tone — starting out with farcical comedy that is an extension of Tom Sawyer, moving to tragedy with the Graingerfords and other incidents, the slapstick and menace of the Duke and the Dauphin, and ending with the broad comedy of Tom’s insistence on throwing flourishes from literature into Jim’s escape from the Phelps farm — itself a deadly serious matter, which nearly leads to Tom’s death, and does result in Jim’s recapture (as a result of his own selflessness).
Sorry, that was a confusing sentence. But you see what I mean. The novel was no more constrained by a particular tone than life itself. Very free, very American. And certainly great.
OK, off the top of my head, my own list:
- The Adventures of Huckleberry Finn, by Mark Twain
- To Kill A Mockingbird, by Harper Lee
- The Great Gatsby, by F. Scott Fitzgerald
- On the Road, by Jack Kerouac
- The Sun Also Rises, by Ernest Hemingway
- One Flew Over the Cuckoo’s Nest, by Ken Kesey
- Fahrenheit 451, by Ray Bradbury
- All the King’s Men, by Robert Penn Warren
- The Red Badge of Courage, by Stephen Crane
- Catch-22, by Joseph Heller
Some runner-ups:
- The Chosen, by Chaim Potok
- Flowers for Algernon, by Daniel Keyes
- City Boy, by Herman Wouk
- The Natural, by Bernard Malamud
- A Connecticut Yankee in King Arthur’s Court, by Mark Twain
- Goodbye, Columbus, by Philip Roth
- The Last of the Mohicans, by James Fenimore Cooper
- The Godfather, by Mario Puzo
- God’s Little Acre, by Erskine Caldwell
- Stranger in a Strange Land, by Robert Heinlein
Better stop there, as my quality was slipping a bit at the end there (Heinlein is fun, but is it literature?).
I’ll come back and explain those choices a bit another day. Gotta run now…