Reviewed by:

• Chicago Renaissance: Literature and Art in the Midwest Metropolis by Liesl Olson, and: Chicago and the Making of American Modernism: Cather, Hemingway, Faulkner, and Fitzgerald in Conflict by Michelle E. Moore
• Beth Widmaier Capo

Can beauty and business, poetry and porkpacking create a vibrant artistic culture, or are they antithetical and alienating to writers? Two recent monographs come to different answers to this question of modernism and the Chicago Renaissance. Liesl Olson’s Chicago Renaissance: Literature and Art in the Midwest Metropolis argues for Chicago’s unique contributions to modernism. Beginning with the Chicago Literary Renaissance of the 1890s through 1920s, featuring Harriet Monroe and Sherwood Anderson, and continuing through the 1930–1950 Chicago Black Renaissance of Gwendolyn Brooks and Richard Wright, Olson offers a rich cultural and literary history that contributes significantly to scholarship on American literature. She argues that Chicago was the center of American modernism. Michelle Moore’s Chicago and the Making of American Modernism: Cather, Hemingway, Faulkner, [End Page 173] and Fitzgerald in Conflict focuses on eight writers’ antipathy toward the city’s business ethos. Its contribution lies in documenting connections between these writers and their public and private references to Chicago’s commercialism.

Olson’s Chicago Renaissance offers a fascinating, extensively researched, and engagingly written argument aimed at a wide audience. This reach is signaled by interesting titles (e.g., “Porkpackers and Poetry”) and subtitles (“Naughty People”), eighty-eight images, and brief narrative “Interludes” between chapters. Olson “was in search of a book that would give [her] a sense of Chicago’s relation to the social and aesthetic revolutions of the first decades of the twentieth century” and, when she didn’t find one, wrote it herself (xv). The result, integrating archival work with close reading, argues that “Chicago was an extremely important site of modernist literary production through the first half of the twentieth century, at the center of an unfolding dialogue among writers, critics, institutions, and artists about what it means to be modern” (xvii). Its geographic location, patronage of the arts by business leaders, and lack of cultural tradition enabled artistic freedom in a multiplicity of styles. In addition to the Chicago connections, Olson focuses on how writers, including Hemingway and Stein, aimed for mainstream readers; she successfully hits this target as well (xix).

Olson, director of Chicago Studies at the Newberry Library and author of Modernism and the Ordinary (2009), makes her argument in five chapters, an introduction, conclusion, and five narrative “Interludes.” The introduction uses the World’s Columbian Exposition of 1893 to establish Chicago as a place of growth, renewal, and transformation. Brief discussions of early Chicago realist writers and their works, including Sinclair’s The Jungle (1906), Dreiser’s Sister Carrie (1900), and Cather’s The Song of the Lark (1915), demonstrate that “the greatest Chicago literature is not always about Chicago” (8) nor by writers from Chicago, and that “the subject matter of each novel is perhaps more radical than its aesthetic method” (11). Chicago modernism is not a coherent aesthetic. Chapter 1’s focus on Harriet Monroe establishes the linear organization of Chicago Renaissance but also its sense of connection and recurring characters. Highlighting Monroe’s democratic view of audience and editorial influence on modernism, Olson connects Monroe’s “openness to outside influence” (55) to Chicago’s importance [End Page 174] as a railroad crossroads. The financial support Monroe solicited from those “who had made recent fortunes from Chicago’s rapid growth” (80), including the Swift meatpacking empire, enabled her to recognize artistic labor’s value by paying contributors to Poetry, the magazine she edited. Chapter 2 describes the public reception of the 1913 Armory Show, the International Exhibition of Modern Art that introduced America to controversial avant-garde movements such as Impressionism and Cubism, and its impact on Monroe, Sherwood Anderson, and others. Lacking an artistic tradition, Chicago was more open to the radicalness of European modernism (101). Olson details the...

审核人：

• 芝加哥文艺复兴：里瑟·奥尔森（Liesl Olson）撰写的《中西部大都市的文学与艺术》，以及：芝加哥与美国现代主义的形成：米歇尔·E·摩尔（Michelle E. Moore）在冲突中的凯瑟，海明威，福克纳和菲茨杰拉德
• 贝丝·维德迈尔·卡波

Ç的美丽和业务，诗歌和porkpacking创造一个充满活力的艺术文化，或者是他们对立和疏远作家？最近的两本专着对现代主义和芝加哥文艺复兴的问题给出了不同的答案。里塞尔·奥尔森（Liesl Olson）的《芝加哥复兴：中西部大都市的文学与艺术》主张芝加哥对现代主义的独特贡献。奥尔森（Olson）从1890年代的芝加哥文学复兴到1920年代，以哈里特·梦露（Harriet Monroe）和舍伍德·安德森（Sherwood Anderson）为代表，一直持续到1930–1950年的格温道林·布鲁克斯和理查德·怀特的芝加哥黑人复兴，奥尔森提供了丰富的文化和文学历史，对美国文学。她认为芝加哥是美国现代主义的中心。米歇尔·摩尔的芝加哥与美国现代主义的形成：凯瑟（Cather），海明威（Hemingway），福克纳（Faulkner），[第173页] 和菲茨杰拉德（Fitzgerald）在冲突中着重论述了八位作家对这座城市商业精神的反感。它的贡献在于记录了这些作家与他们对芝加哥商业主义的公开和私人引用之间的联系。

奥尔森的芝加哥复兴针对广泛的受众群体提供了一个引人入胜，经过广泛研究和引人入胜的书面论点。有趣的标题（例如“ Porkpackers and Poetry”）和副标题（“ Naughty People”），88张图片以及各章之间的简短叙述性“插曲”标志着这一影响。奥尔森“正在寻找一本书，可以使她了解芝加哥与二十世纪前几十年的社会和美学革命的关系”，当她找不到书时，她自己写了这本书（xv） 。结果将档案工作与近距离阅读结合起来，认为“在整个20世纪上半叶，芝加哥是现代主义文学生产的极其重要的场所，在作家，评论家，机构和艺术家之间不断展开的对话的中心，它意味着要现代化”（xvii）。它的地理位置，商界领袖对艺术的支持以及缺乏文化传统，使得艺术自由具有多种风格。除了与芝加哥的联系外，奥尔森还关注包括海明威和斯坦在内的作家如何针对主流读者的需求。她也成功地达到了这个目标（xix）。

纽伯里图书馆芝加哥研究中心主任，《现代主义与普通》（2009年）一书的作者奥尔森在五个章节中介绍了她的论点，分别是绪论，结论和五个叙述性的“插曲”。引言使用1893年世界哥伦比亚博览会将芝加哥确立为增长，更新和转型的地方。对早期芝加哥现实主义作家及其作品的简短讨论，包括辛克莱的《丛林》（1906年），德雷塞的姐姐嘉莉（1900年）和凯瑟的《百灵鸟之歌》（1915年），都表明“芝加哥最伟大的文学作品并不总是和芝加哥有关”。 （8）也不来自芝加哥，“每部小说的主题也许比其美学方法更激进”（11）。芝加哥现代主义不是一种连贯的美学。第1章着眼于Harriet Monroe，建立了芝加哥文艺复兴的线性组织，但也建立了其联系感和反复出现的角色。奥尔森强调门罗对受众的民主观点和社论对现代主义的影响，将门罗的“对外部影响的开放性”（55）与芝加哥作为铁路十字路口的重要性[End Page 174]相联系。梦露从“那些从芝加哥的快速增长中赚到了大笔财富的人”（80）（包括斯威夫特肉类包装帝国）那里获得了财政支持，这使她能够通过向诗歌贡献者来认识艺术劳动的价值。，她编辑的杂志。第2章介绍了1913年军械库展览会的公众接待情况，这是国际现代艺术展览，向美国介绍了有争议的前卫运动，如印象派和立体派，以及对门罗，舍伍德·安德森和其他人的影响。缺乏艺术传统，芝加哥对欧洲现代主义的激进态度更为开放（101）。奥尔森（Olson）详细介绍了...