BOO KS
427
character, such as in the three most remarkable writers of that era:
Moravia, Alvaro, and Silone. Professor Slonim gives a good selection
from the writers under Fascism, and his own critical text makes a judi–
cious attempt to assess the literary remains of the period. With the post–
War writers, however, the wind has blown from America rather than
from France, and the influence goes much more with the Italian grain.
What the French have extolled as the "direct grip" on reality of Ameri–
can fiction is a quality already uniquely and powerfully present in Verga.
If
you compare Verga with a French writer of the same stature, say
Maupassant, the Frenchman is much more the product of literary cul–
ture and polish, whereas Verga breaks through the confinements of
literary culture and moves thus in the direction of the Americans. Thus
there is an inner logic to a collection of stories that begins with Verga
and ends with Elio Vittorini, the Italian disciple of Hemingway. The
book as a whole should be useful for revising some of our current per–
spectives on modern European literature.
The summer 1955 issue of
DISSENT
features a powerful
&
provocative study
of U .S. intellectual life by C. Wright
Mills:
On Knowledge and Power
Other articles include: America, the
Land
&
Myth by Irving Howe; A
Social Credo by Erich Fromm; Asia
&
Stalinism by Asoka Mehta' The
Chimera of Conservatism by
E.
V.
Walter; The Legend of Edmund Burke
by
Bertram Sarasonj Matusow: Boom–
erang Boy by Travers Clement.
Also:
The SOCIal Implications of Freudian
"Revisionism"-a critique of Fromm,
Horney and Sullivan, by Herbert
Marcuse.
(Copies of the spring issue featuring
Michael Harrington's critical analysis
of the American Committee for Cultural
Freedom are still available.)
Write to Dept. P, Dissent, 509 Fifth
Avenue, New York. Subscription: $2.50
per year, 75c pcr copy.
William Barrett
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