The Day of the Locust

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The Day of the Locust
West locust.jpg
1939 first edition cover
Author Nathanael West
CountryUnited States
LanguageEnglish
Publisher Random House
Publication date
May 16, 1939
Media typePrint (hardback & paperback)
Pages238 pp
ISBN 978-0-451-52348-8
OCLC 22865781
Preceded by A Cool Million  
Text The Day of the Locust online

The Day of the Locust is a 1939 novel by American author Nathanael West set in Hollywood, California. The novel follows a young artist from the Yale School of Fine Arts named Tod Hackett, who has been hired by a Hollywood studio to do scene design and painting. While he works he plans an important painting to be called "The Burning of Los Angeles", a portrayal of the chaotic and fiery holocaust which will destroy the city. While the cast of characters Tod befriends are a conglomerate of Hollywood stereotypes, his greater discovery is a part of society whose "eyes filled with hatred", and "had come to California to die". [1] This undercurrent of society captures the despair of Americans who worked and saved their entire lives only to realize, too late, that the American dream was more elusive than they imagine. Their anger boils into rage, and the craze over the latest Hollywood premiere erupts violently into mob rule and absolute chaos.

Contents

In the introduction to The Day of the Locust, Richard Gehman writes that the novel was "more ambitious" than West's previous novel Miss Lonelyhearts , and "showed marked progress in West's thinking and in his approach toward maturity as a writer." [2] Gehman calls the novel "episodic in structure, but panoramic in form". [2]

Characters

Major characters

Secondary characters

West's characters are intentionally shallow, stereotyped stock characters, and "derive from all the B-grade genre films of the period" (Simon, 523). [3] They are what Light calls "grotesques". [4] In the first chapter of the novel, the narrative voice announces: "Yes, despite his appearance, Tod was really a very complicated young man with a whole set of personalities, one inside the other like a nest of Chinese boxes." [5]

Plot summary

Tod Hackett is the novel's protagonist. He moves from the East coast to Hollywood, California in search of inspiration for his next painting. The novel is set in the 1930s during the Great Depression. Most of the characters exist at the fringes of the Hollywood film industry, but Hollywood is merely the backdrop for Tod Hackett's revelation. Tod is employed by a Hollywood studio "to learn set and costume designing." [5] During his spare time, Tod sketches scenes he observes on large production sets and studio back lots. The novel details Tod's observation of the filming of the Battle of Waterloo. His goal is to find inspiration for the painting he is getting ready to begin, a work titled "The Burning of Los Angeles."

Tod falls in love with Faye Greener, an aspiring starlet who lives nearby but Faye only loves men who are good looking or wealthy. She is beautiful but lacks the acting talent to progress beyond roles as an extra. Tod is simply a "good-hearted man," the kind Faye likes. [6] He imagines that loving her would compare to jumping from a skyscraper and screaming to the ground. Tod wants to "throw himself [at her], no matter what the cost." [7] Throughout the novel, Tod fantasizes about having a sexual encounter with Faye as an act of rape. Every time he imagines raping her, reality interrupts his fantasy before he can complete the act. Scenes are interrupted prior to their climax frequently throughout the novel. A patron jokes that it is "the old teaser routine," when a pornographic film viewing at Mrs. Jenning's parlor ends unexpectedly due to technical difficulties. [8]

Between his work at the studio and his introduction to Faye's friends, Tod interacts with numerous Hollywood hangers-on. Characters like Abe Kusich, the dwarf; Claude Estee, the successful screenwriter; and Earle Shoop, the fake California cowboy, all of whom have difficulty changing their personas from the characters they play to who they are. As a result, there is a clear sense of acting and fakery that spills beyond the confines of Hollywood studios and into the streets of Los Angeles.

Shortly after moving into a neighborhood in the valley, Tod befriends Homer Simpson, a simple-minded bookkeeper from Iowa who moved to California for health reasons. Homer Simpson's "unruly hands" operate independently from his body, and their movements are often mechanical. [9] "They demanded special attention, had always demanded it." [10] When Homer attempts to escape California he is distracted not only by the crowd but his inability to leave the street despite Tod's help and insistent encouragement. A neighbor's son, the child actor Adore Loomis finds Homer and torments him until Homer violently lashes out against the boy. The novel's climactic riot ensues and the chaos surrounding the latest Hollywood premiere turns violent outside Mr. Khan's Pleasure Dome. Tod vividly revises "The Burning of Los Angeles" in his mind, while being pushed around in the human waves of the riot. The final scene plays out, uninterrupted. The conclusion of the novel can be read as a moment of epiphany and mental clarity for the artist, or a complete "mental breakdown" and Tod's "incorporation into the mechanized, modern world of Los Angeles." [11]

Themes

The characters are outcasts, who have come to Hollywood to fulfill a dream or wish: "The importance of the wish in West's work was first noted by W. H. Auden, who declared (in one of the interludes in The Dyer's Hand ) that West's novels were essentially "parables about a Kingdom of Hell whose ruler is not so much a Father of Lies as a Father of Wishes". [12] In this respect, James Light, in his book Violence, Dreams, and Dostoevsky: The Art of Nathanael West, suggests that The Day of the Locust falls in with a motif in West's fiction; the exposure of hopeful narratives in modern American culture as frauds. [13]

As some critics point out, West's novel was a radical challenge to modernist literature. Some modernists set themselves up in opposition to mass culture; West depicts it and makes it an integral part of the novel. [14] West's use of grotesque imagery and situations establishes the novel as a work of Juvenalian satire. His critique of Hollywood and the mentality of "the masses" depicts an America sick with vanity and the harbor of a malignant sense of perversity.

Biblical allusions

The original title of the novel was The Cheated. [15] The title of West's work may be a biblical allusion to the Old Testament. Susan Sanderson writes:

The most famous literary or historical reference to locusts is in the Book of Exodus in the Bible, in which God sends a plague of locusts to the pharaoh of Egypt as retribution for refusing to free the enslaved Jews. Millions of locusts swarm over the lush fields of Egypt, destroying its food supplies. Destructive locusts also appear in the New Testament in the symbolic and apocalyptic book of Revelation. West's use of "locust" in his title evokes images of destruction and a land stripped bare of anything green and living. The novel is filled with images of destruction: Tod Hackett's painting entitled "The Burning of Los Angeles," his violent fantasies about Faye and the bloody result of the cockfight. A close examination of West's characters and his selective use of natural images, which include representations of violence and impotence  — and which are therefore contrary to popular images linking nature and fertility  — reveals that the locust in the title is Tod. [16]

Symbols and metaphors

The novel opens with protagonist Tod Hackett sketching studio back lot scenes from a major Hollywood production. In the scene, a short fat man barks orders through a megaphone to actors playing the role of Napoleon's elite cavalry at the Battle of Waterloo. Waterloo marked the beginning of the end for Napoleon. The chaos of this scene foreshadows the beginning of the end for middle-class Americans in the novel, and the violence that ensues.

James F. Light suggests that West's use of mob violence in the novel is an expression of anxiety about the rise of fascism in Europe. Light compares anxiety in the novel to personal anxieties Jews, like Nathanael West, experienced as marginalized individuals living in America. [17] The artist Tod Hackett's vision of art, a painting titled “The Burning of Los Angeles,” devolves into a nightmare of terror. It depicts angry citizens razing Los Angeles and spreading, uncontrollably, across the American landscape. In the 1930s, theorists, politicians, and military leaders feared large crowds or mass formations would produce unpredictable and dangerous results. [18]

Reception

Novelists of his era praised Nathanael West's writing, but notoriety and critical acclaim for his works lagged behind those for his peers in terms of readers and book sales. The Day of the Locust only sold about 1480 copies following its first publishing. [2] Critics began to situate The Day of the Locust within the literary canon in the 1950s, more than a decade after a fatal car crash claimed the author's life. In 1998, the Modern Library ranked The Day of the Locust seventy-third on its list of the 100 best English-language novels of the 20th century. Time magazine included the novel in its list of 100 best English-language novels from 1923 to 2005. [19] Noted critic Harold Bloom included it in his list of canonical works in the book The Western Canon. The novel was adapted into the critically acclaimed film The Day of the Locust (1975), directed by John Schlesinger.

Adaptations

The Day of the Locust was released by Paramount Pictures in 1975. The film was directed by John Schlesinger and starred William Atherton as Tod Hackett, Donald Sutherland as Homer Simpson, Burgess Meredith as Harry Greener, and Karen Black as Faye Greener.

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References

Citations

  1. ↑ West, Nathanael (1939). The Day of the Locust. Cutchogue, NY: Buccaneer. p. 3. ISBN   0-89966-302-8.
  2. 1 2 3 West, Nathanael (1939). The Day of the Locust. Cutchogue, NY: Buccaneer. pp. xix, xxi, xi. ISBN   0-89966-302-8.
  3. ↑ Simon, Richard Keller (1993). "Between Capra and Adorno: West's Day of the Locust and the Movies of the 1930s". Modern Language Quarterly 54 (4): pg. 524
  4. ↑ Light, "...Ravaging Locust"
  5. 1 2 West, Nathanael (1939). The Day of the Locust. Cutchogue, NY: Buccaneer. p. 2. ISBN   0-89966-302-8.
  6. ↑ West, Nathanael (1939). The Day of the Locust. Cutchogue, New York: Buccaneer. p. 11. ISBN   0-89966-302-8.
  7. ↑ West, Nathanael (1939). The Day of the Locust. Cuthogue, New York: Buccaneer. p. 13. ISBN   0-89966-302-8.
  8. ↑ West, Nathanael (1939). The Day of the Locusts. Cuthogue, New York: Buccaneer. p. 22. ISBN   0-89966-302-8.
  9. ↑ West, Nathanael (1939). The Day of the Locust. Cutchogue, New York: Buccaneer. p. 27. ISBN   0-89966-302-8.
  10. ↑ West, Nathanael (1939). The Day of the Locust. Cutchogue, New York: Buccaneer. p. 31. ISBN   0-89966-302-8.
  11. ↑ Gano, Geneva M. (Spring 2009). "Nationalist Ideologies and New Deal Regionalism in The Day of the Locust". MFS 55, No.1, Pp. 45, 59.
  12. ↑ Barnard, Rita. "'When You Wish Upon a Star': Fantasy, Experience, and Mass Culture in Nathanael West" American Literature, Vol. 66, No. 2 (June 1994), pgs. 325-51
  13. ↑ Light, James F. "Violence, Dreams, and Dostoevsky: The Art of Nathanael West" College English, Vol. 19, No. 5 (February 1958), pgs. 208-13
  14. ↑ Jacobs, The Eye's Mind: Literary modernism and visual culture, pg. 243 ff
  15. ↑ Aaron, Daniel. "Review: Waiting for the Apocalypse" Hudson Review, Vol. 3, No. 4 (Winter, 1951), pp. 634–6
  16. ↑ "Answers - The Most Trusted Place for Answering Life's Questions". Answers.com.
  17. ↑ Light, James F. "Nathanael West and the Ravaging Locust", American Quarterly, Vol. 12, No. 1 (Spring, 1960), pgs. 44–54
  18. ↑ Doss, Erika (2011). "Artists in Hollywood: Thomas Hart Benton and Nathaniel West Picture America's Dream Dump". Space Between: Literature and Culture, 1914-1945. 7 (1): 14.
  19. ↑ "All Time 100 Novels". Time. October 16, 2005. Archived from the original on October 21, 2005. Retrieved May 25, 2010.
  20. ↑ "Show 44 - Revolt of the Fat Angel: Some samples of the Los Angeles sound. [Part 4]". UNT Digital Library.
  21. 1 2 Mark Deming. "Call of the West". AllMusic.
  22. ↑ De La Roca, Claudia (May 2012). "Matt Groening Reveals the Location of the Real Springfield". Smithsonian Magazine . Retrieved 6 December 2021.
  23. ↑ Y: THE LAST MAN: Safeword, pg. 24
  24. ↑ The Day of the Locust (BBC Radio 3)

Sources

Works cited
  • Simon, Richard Keller (1993). "Between Capra and Adorno: West's Day of the Locust and the Movies of the 1930s". Modern Language Quarterly. 54 (4): 524. doi:10.1215/00267929-54-4-513.
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