WeRead Powered by ReaderPub
The Mentor: Makers of American Fiction, Vol. 6, Num. 14, Serial No. 162, September 1, 1918 cover

The Mentor: Makers of American Fiction, Vol. 6, Num. 14, Serial No. 162, September 1, 1918

Chapter 17: Fiction of Adventure
Open in WeRead

About This Book

The issue begins with a practical essay on the craft of fiction, emphasizing disciplined revision and outlining essential elements such as plot, verisimilitude, character portrayal, emotion, background, and style. It follows with concise biographical and critical sketches of notable novelists, including profiles that survey careers, signature works, recurring themes, and stylistic tendencies. Essays note adaptations and varied literary pursuits and place individual authors within broader trends in popular fiction. Overall, the collection combines hands-on guidance for aspiring writers with compact portraits of leading figures in modern storytelling, aimed at an interested general readership.

Fiction of Adventure

There is no questioning the force that Hamlin Garland has been in the literature of our time. He has told his story of his[Pg 23] own life and literary activities in “A Son of the Middle Border” (1917), a volume that was at once accepted as one of the foremost of American literary autobiographies. In no way detracting from the quality of Mr. Garland’s later work is the ventured opinion that he has never surpassed some of his earlier stories. His writing career began about 1890, when the first of the tales of “Main-Traveled Roads” struck a fresh note in fiction. Between 1895 and 1898 he wrote “Rose of Dutcher’s Cooley,” and, in 1902, “The Captain of the Gray Horse Troop.” These, with “Main-Traveled Roads” are still probably his most popular books. In 1900 “The Eagle’s Heart” appeared, and later “Hesper,” “The Tyranny of the Dark,” “The Long Trail,” “The Shadow World” and “Cavanagh, Forest Ranger.”

HARRY LEON WILSON’S BUNGALOW IN THE OZARK MOUNTAINS, MO.
HARRY LEON WILSON

Writing men of our generation have begun under the magic spell of Stevenson. To Lloyd Osbourne it was given to serve his apprenticeship to R. L. S., as Maupassant served his apprenticeship to Flaubert, and, while yet an apprentice, to be accepted as a collaborator. Together the stepfather and the stepson worked out “The Wrong Box” (1889), “The Wrecker” (1892), and “The Ebb Tide” (1894). Then Stevenson passed on into Shadow Land, and some years later Osbourne began alone with “The Queen Versus Billy” and “Love the Fiddler.” In the first decade of the present century the motor-car was still something of a novelty, and as such almost a virgin field for fiction. It was of its then baffling problems and incomprehensible moods that Lloyd Osbourne told in “The Motor-maniacs,” “Three Speeds Forward,” and “Baby Bullet.” Later books are “Wild Justice,” “The Adventurer,” and “A Person of Some Importance.”

WILL PAYNE
From photograph, copyright by Paul Thompson, N.Y.

SAMUEL MERWIN

A certain letter of the alphabet for a time seemed to exert a cabalistic influence on Louis Joseph Vance. “The Brass Bowl” appeared in 1907. The book of the next year was “The Black Bag.” In 1909 it was “The Bronze Bell.” There ended the use of the double B, but in 1912, Mr. Vance wrote “The Bandbox.” In the meantime had appeared “The Pool of Flame,” “The Fortune Hunter,” “No Man’s Land,” and “Cynthia-of-the-Minute.” Among the books that have followed “The Bandbox” are “The Day of Days,” “Joan[Pg 24] Thursday,” showing Mr. Vance at his best, “The Lone Wolf,” and very recently, “The False Faces,” in which the Lone Wolf returns to play a great part in the World War.

EDWIN LEFEVRE