VARIETY
in itself, or containing its own end
in contradistinction to criticism,
which is auxiliary to the work of
art. The error becomes less excus–
able when one sees that Winters
later quotes a passage by Eliot in
which autotelic is plainly defined:
which leaves one to wonder just
how much of a quoted passage
Winters takes the trouble to read
before he proceeds to the attack.
This is but one example, yet it
is typical of Winters' use elsewhere
in this new book, of quotations
which have been taken out of their
context. But the example has a fur–
ther significance, for the passage in
question appeared in a literary re–
view two years before its appear–
ance in a volume. Hence one is
teased with two apparent alter–
natives again: either no one knew
that Winters had misunderstood a
word on which a whole argument
depended; or no one dared to tell
him. There is much in Winters'
tone throughout and in the letters
he writes attacking his critics to
suggest that he is not one who
will brook correction of any kind.
One suspects that Winters has
his eye on posterity. His favorite
word is
great.
He uses it hundreds
of times in his three books of critic–
i!>m, usually with reference to one
or two lyrics, and always with a
dramatic assurance which makes it
sound like cannons going off. At
the same time he shows a consistent
preference for obscure works, minor
poets, and poems hot off the type–
writer, lavishly bestowing the laurel
on his newly discovered favorites.
By applying his own moral bias
to literature, Winters deduces the
139
3 Wonderful Writers
HENRY JAMES
STORIES OF
WRITERS
&
ARTISTS
Eleven of the most fascinating long
stories James wrote-tales of the
problems and struggles of creative
personalities in a philistine world.
Introduction by F. 0. Matthiessen,
and a portrait of James.
$3.50
JAMES JOYCE
STEPHEN HERO
The first version of Joyce's great
Portrait of the Artist. Very different
from the published book, it throws
new light on Joyce as man and
writer, and is, in itself, a moving
human document-the record of a
young Irishman's battle with the
conventions that choked his spirit.
With an introduction by Theodore
Spencer. Illustrated.
$3.50
HENRY MILLER
SUNDAY AFTER THE WAR.
A new collection of stories and es–
says by our most original and icono–
clastic living writer. Includes long
sections from Miller's work-in-pro–
gress The Rosy Crucifixion; essays
on Hollywood, Greece, the role of
sex in D. H. Lawrence; etc.
$3.00
PUBLISHED BY NEW DIRECTIONS
69 West 44
New York City 18
