Remembering Harry Crosby Essay Research Paper Kay

Remembering Harry Crosby Essay, Research Paper

Kay Boyle (1) (1930)

[This passage from Kay Boyle’s tribute appeared in

the June 1930 Transition in which Crosby was remembered by friends. Boyle’s

short stories appeared in the Black Sun Press, and Boyle herself stayed with the Crosbys

in Paris. Crosby knew her well enough to cash in some stock dividends on his 1928 visit to

New York to help Boyle pay for an abortion. On several occasions – notably in letters

to his mother ion 1928 and 1929 – Crosby described her as "the best girl writer

since Jane Austen."

There was no one who ever lived more consistently in the thing that was happening then.

And with that courage to meet whatever he had chosen, with no consistency except the

consistency of his own choice, and always the courage to match it. His heart was like an

open door, so open that there was a crowd getting into it. And with his mind it was the

same way. His protection was not in closing himself up when he found he was invaded, but

in retreat. Retreat from knowing too much, from too many books, from too much of life. If

he crossed the sea, it was never a stretch he looked upon as wide rolling water, but every

drop of it stung in him because he did not know how to keep things outside himself; every

rotting bit of wreck in it was heaped on his own soul, and every whale was his own

sporting, spouting young adventure. If he went into retreat, into his own soul he would

go, trailing this clattering, jangling universe with him, this ermine-trimmed, this

moth-eaten, this wine velvet, the crown jewels on his forehead, the crown of thorns in his

hand, into retreat, but never into escape. Either they would get out and leave him, the

young boy making his own choice, or they would stay inside. But other than this there was

no middle way.

from Kay Boyle, "In Memoriam Harry Crosby," Transition No. 19-20 (June

1930), p. 222.

Kay Boyle (2) (1930)

[The following is a section of "A Paris

Letter" that appeared in Charles Henri Ford’s journal Blues in 1930.

Comparing Hemingway with Crosby in a sense pits Anglo-American modernism against

continental modernism, though Boyle’s particular indictment contrasts a literature

that can be commercialized with a literature that deliberately resists such consumption.

Boyle provocatively argues that Hemingway’s obsessions with violence are morbid while

Crosby’s spontaneity represents health and vitality. This excerpt begins as Boyle is

ending her comments on Hemingway.]

… But how can you speak of life and death when in your own heart the terms are

interchangeable? How can you say health and disease (health in a bull-fighter, in a man of

few words, a man of winter-sports and blunt speech, a normal, full-blooded, healthy man),

when oh, Hemingway, the desert of thy soul has no oasis, no blade, no spring, no shadow of

a bird?

Hemingway has left Paris, and so has Harry Crosby. But the former should have put

before him the work of someone who has retained life and health and glamor and glory for

his generation. This does not mean that the diary that Harry Crosby left will ever be the

popular thing, although it has preserved qualities that romance would go black without,

and has justified Hemingway’s blasted age. Harry Crosby’s diary lacks the

whimper, the wail, the false bravado of shrugging manly shoulders and giving up. Because

Harry Crosby took each day as a new challenge, his work is a testament where

Hemingway’s is a blasphemy. He wrote about the life he led with a strong natural