Study Guide to The Day of the Locust by Nathanael West

Intelligent Education

• Publisher: Influence Publishers
• Year: 2020
• ISBN:
  9781645423485
• Edition: 1
• Topic: Manuali di studio
• Subtopic: Guide di studio

A comprehensive study guide offering in-depth explanation, essay, and test prep for Nathanael West’s The Day of the Locust, one of West’s great novels that comments on the social and cultural properties of American life. As a novel of the post-Great Depression era, The Day of the Locust depicts the failure of one popular conception of the “American Dream.” Moreover, West’s novels highlight and intensify aspects of American life to show what it is, as opposed to what it ought to be, or even what it
could be. This Bright Notes Study Guide explores the context and history of Nathanael West’s classic work, helping students to thoroughly explore the reasons it has stood the literary test of time. Each Bright Notes Study Guide contains: - Introductions to the Author and the Work
- Character Summaries
- Plot Guides
- Section and Chapter Overviews
- Test Essay and Study Q&As The Bright Notes Study Guide series offers an in-depth tour of more than 275 classic works of literature, exploring characters, critical commentary, historical background, plots, and themes. This set of study guides encourages readers to dig deeper in their understanding by including
essay questions and answers as well as topics for further research.

INTRODUCTION TO NATHANAEL WEST

NOTE TO THE STUDENT

This Critical Commentary aims to enhance your appreciation of Nathanael West’s classic novel, The Day of the Locust. It will make little sense to you unless you are already familiar with the original text. Throughout his critical discussion, Professor Chatterton assumes that his comments will prompt you to refer back to West’s work. In his “Annotated Bibliography,” Professor Chatterton lists current editions of The Day of the Locust, including paperback editions most frequently used by students

- The Editors

“THE DAY OF THE LOCUST” AND THE WESTIAN WORLD

In writing his four short novels, Nathanael West conceived and created a fictional world unique in American literature and perhaps in the literature of any other culture. It is a highly selective world - one from which large areas of the American culture are eliminated altogether, in order for particular aspects of American life to emerge from the fiction highlighted and intensified. The same is true of the characters in West’s novels. For the most part they are people created specifically for the highly selective world which West has drawn for their habitation.

And this is a world incapable of producing a “hero.” It is a world sick with spiritual malaise. In West’s own words it is a “half-world.” But the half-world of West’s novels is a distillation of social and cultural properties that make American life what it is, as opposed to what it ought to be, or even what it could be.

The importance of the Westian world lies in West’s unique perception of the relationships between contemporary American life and the eternal condition of mankind. In order to understand these relationships, West was forced to look hard and deep into the external circumstances of his own life and into the recesses of his inner being. Between the two he found almost insuperable discrepancies, and out of his efforts to resolve the discrepancies came his fiction. Few other writers have striven so seriously to reconcile their inner with their outer selves. Even fewer have managed to do so without succumbing to easy rationalizations. But West saw himself and his world with stark and terrifying clarity, and the value of his fiction lies in his capacity as an artist to depict with equal clarity the irreconcilables which exist everywhere in modern man’s imperfect and sometimes bizarre relationships with his universe.

In many ways, The Day of the Locust is West’s most mature and most disturbing depiction of these irreconcilables and of their potentially destructive, even apocalyptic, power. Josephine Herbst contends that “the clue to the unique quality in the fiction of Nathanael West lies more in what he recoiled from than in what he embraced” (Nathanael West, A Collection of Critical Essays, p. 21). In this respect, The Day of the Locust offers the best insight into the unique quality of West’s fiction, since it reflects the broadest spectrum of those things which the author recoiled from, including some of those which he had already explored in his three earlier novels. At any rate, one can gain a clear view of West’s life and career only by seeing the biographical “facts” apart from those things which he simultaneously embraced and recoiled from - that is, by seeing the “outer man” and the “inner man” as different but component parts of the “whole man” as artist.

THE OUTER WORLD OF NATHANAEL WEST

Childhood (1903-1917)

Nathanael West was born Nathan (though it was later changed to Nathaniel before it became Nathanael) von Wallenstein Weinstein in New York City on October 17, 1903. His mother was Anna Wallenstein and his father Max Weinstein, both of them the offspring of families that had been closely related by blood and marriage for several generations. Both families were German-Jewish in origin, and both had been expelled for political reasons from the same area of Russia. Living in New York during the last decade of the nineteenth century, they considered themselves true and complete Americans, and they communicated among themselves in German and in English but not in Yiddish or in Russian. Anna was a devoted mother; Max a successful builder of large apartment-house complexes. Max was almost obsessed with the desire to provide for his children all the “good things” which America offered. He wanted desperately for his children to know at first hand something other than life in the big and confining city. Above all, he wanted them to be well educated in order to become thoroughly acceptable to at least the upper middle classes of American society. As a boy, therefore, young Nathan was sent away from the city to spend most of his summers with his mother on a farm in Connecticut. Here, as Jay Martin has observed, the boy began to feel “something of the primitive mystery of the American land” (Nathanael West, p. 23). At this farm, and later at summer camps in the mountains, Nathan came to love the outdoors and “to regard the wilderness as powerfully curative of the city ills” (Martin, Nathanael West, p. 23). Consumed by the wish to become “instant Americans,” the Weinsteins had consciously striven to erase their past altogether, and without the active sense of a cultural past, the Weinstein children found themselves adrift in the complex patterns of American life, which they were expected to assimilate completely and without question.

School And College Days (1908-1926)

In 1908, West began his public schooling at P.S. 81. This was the first public school in New York to be used for the training of teachers. It was also the earliest to adopt “progressive” methods of education to replace formal and conventional methods. In 1915, West made initial plans to attend P.S. 10, but instead he switched to P.S. 186, where he finished the eighth grade. From his first day in the public schools, his attitude toward institutionalized education was at best cavalier and his attendance highly irregular. His grades were seldom better than average. While his classmates were skipping grades - which was normal practice in those times - he remained in the grade that corresponded to his age. Even there he was usually listed among the “average” students instead of among the “brighter” members of the class. In 1917, he entered De Witt Clinton High School, but he attended so irregularly and failed so many courses that he took an extra year to achieve junior class standing. During these years he spent most of his summers at a conventionally organized summer camp maintained for middle-class Jewish children at Lake Paradox in the Adirondacks. In June 1920, he left high school without completing graduation requirements, and in the fall of 1921, under the name Nathaniel Weinstein, he entered Tufts College on the strength of a high school transcript which he had altered to record at least passing credit in the required high school courses. At Tufts he spent freely the generous allowances provided by his father. He dressed well and enjoyed a busy social life, but yielding to what had become a kind of habit, he rarely attended classes. At mid-term he had failed all his courses and was told to withdraw from the college. Since these F’s were only interim marks, however, they had not been placed upon any of the Tufts records. Moreover, whether by accident or by deliberate manipulation, West came into possession of a transcript of credit belonging to another Tufts student who was also named Nathan Weinstein. On the strength of this record, West entered Brown University in the spring of 1922. Without a high school diploma and without passing grades from Tufts, but by taking advantage of pure coincidence, West made arrangements to enter Brown as a mid-year sophomore. Here, too, he dressed remarkably well in Brooks Brothers clothing. He maintained an avid interest in sports, and even more avidly he pursued the arts. Using free passes that were provided him by the drama critic of the Providence Journal, he regularly attended the legitimate theaters. He rarely missed the local showing of a motion picture. Though in the spring of 1922 the authorities at Brown suspended him for excessive absences, he was readmitted in the fall. After becoming active on the staff of the campus literary magazine, he was graduated from Brown with the degree of Ph.B. in June 1924.

Paris (1926-1927)

After marking time for a year in his father’s construction business, West realized that he was rapidly losing touch with the world of arts and letters. In the fall of 1926, supported by his family, he embarked for Paris, where he hoped to be accepted as one of the young writers and artists who were known by then as the expatriates of the “lost generation.” By living this life he hoped to discover whether he could, indeed, become a successful writer of fiction. Though he worked sporadically on The Dream Life of Balso Snell, he actually did very little sustained writing in Paris. Instead, he spent most of his time observing the Parisian life of the expatriates and of the French people themselves, and he acquired a feeling for the rapidly passing phases of Dada and for the more substantial influences of surrealism upon contemporary art and literature. After only three months in Paris, he returned home in January 1927. Though his visit had lasted only a comparatively short time, its importance to his development as a novelist was out of all proportion to its brevity.

New York (1927-1933)

Novels published during this period: The Dream Life of Balso Snell (spring 1931); Miss Lonelyhearts (April 1933). Forced to come home from Europe early in 1927 as a result of a serious decline in the family construction business, West took a convenient position as night clerk at the Kenmore Hall Hotel in New York City. Much earlier, during his two years at Brown University, West had begun working on portions and fragments of a novel that eventually became The Dream Life of Balso Snell. Between 1927 and 1929 he wrote and rewrote Balso Snell over and over again, and it was not published until 1931. In March of 1929, after reading a batch of real “advice to the lovelorn” letters which a columnist known as “Susan Chester” had offered to S. J. Perelman, West began writing Miss Lonelyhearts. In the fall of 1930, he became manager of the Sutton Club Hotel, where he worked for about a year and where he provided a free hostelry for other struggling writers, including James T. Farrell and Dashiell Hammett. In 1931 he took a leave from the Sutton in order to work full time on his writing at a rented cabin in the Adirondacks. After several months of writing here and in a Bucks County farmhouse which he owned jointly with the Perelmans, West returned briefly to New York. There he continued working at the Warford House in Frenchtown during October and November of 1932. For a short time in 1932 he served with William Carlos Williams as an editor of Contact, and then, having completed Miss Lonelyhearts, he returned to his job at the Sutton Hotel. Miss Lonelyhearts was accepted and put into print by Liveright in 1933. From advance copies the novel received good reviews, but before the first printing was released the publishing firm went bankrupt. Months later, with the whole first printing bought up and released by another publisher, the earlier reviews had lost their impact upon the reading public. Of the first printing, only about 800 copies were sold, mostly at reduced rates. From the combined sales of The Dream Life of Balso Snell, Miss Lonelyhearts, and A Cool Million West was to receive only about $780.

Hollywood (1933-1940)

Novels published during this period: A Cool Million (June 1934); The Day of the Locust (May 1939). During the summer of 1933, West was in Hollywood working as a junior writer for Columbia pictures. While the movie version of Miss Lonelyhearts was being made by Darryl F. Zanuck at Twentieth Century Fox, West prepared conventional movie “treatments” for popular farces and light comedies, none of which reached production. At about the time when the badly mutilated version of Miss Lonelyhearts was released, West’s Columbia contract ended, and he went back to the East for a time before he returned to Hollywood in the spring of 1935. Previously, in the fall of 1933, during his stay on the Bucks County farm, West had begun work on A Cool Million, and it had been published in June 1934. Though its rights were sold to Columbia Pictures, the story was never filmed, and reviews of the book were so lukewarm that within a year the edition was remaindered at twenty-five cents a copy. To West’s further disappointment, he failed to get a Guggenheim fellowship upon which he had placed his hopes for assistance. Desperately in need of money, and intrigued by the idea of using Hollywood and life in moviedom as the subject of a novel, he returned to Hollywood in the late spring of 1935. For several months during this trying time he was unable to find work with any of the studios. But in January 1936 he managed to get a temporary contract as a script writer for Republic Productions. After four months here at a weekly salary of $200 a week, he signed a six months contract for $250 a week. Thereafter, while reaming out movie adaptations and continuities for Republic and other motion picture studios, he spent his spare time working on the manuscript of The Day of the Locust. In May 1938, under the title of The Cheated, his last novel was accepted for publication by Random House. While awaiting the appearance of his novel, he left his most recent job with RKO and went back to New York to collaborate with Joseph Schrank on a legitimate stage play, Good Hunting, which for a number of outre and unpredictable reasons closed after only two performances in November 1938. Absolutely broke, but with promises of a job at Universal, West drove back to Hollywood, where he anxiously wore out the weeks in waiting for the imminent publication of his “Hollywood novel.” On the proofs he altered the title from The Cheated to its permanent phrasing, The Day of the Locust, and the novel appeared on the bookstore shelves in May 1938. Though it received a considerable number of highly favorable reviews, it sold fewer than 1,500 copies and was, of course, a financial failure. Planning yet another novel, and desultorily making notes for it, West continued as a script writer for Universal and RKO, for whom he created some scripts that eventually became successful motion pictures. As usual, he appears to have been hoping to make enough money at script writing to support him while he finished the manuscript for his current novel. But in April the ordinary routines of his life and career were subordinated to his marriage to Eileen McKenney. After two or three months of delayed vacation in Oregon, they returned to Hollywood, where West became more and more successful as a script writer for the studios. On December 22, 1940, coming home with his wife from a hunting trip in Mexico, West did not see a stop sign and collided with another car. Both he and Eileen were killed almost instantly.

THE INNER TERRAIN OF NATHANAEL WEST

Heritage Without Myth (1903-1917)

To the little boy who was named Nathan Weinstein - but who would also call himself Nathaniel von Wallenstein Weinstein and later Nathanael West - the childhood years in and near New York City were times of religious and cultural confusion. During these formative years, West was caught in the extraordinarily rapid and wholesale transition of his family from their Russian - Jewish origins, which they wished to abandon entirely, to the established traditions of American urban life, all of which the family tried to absorb at once. In Russia, both the Weinsteins and the Wallensteins had preferred to live as Germans rather than as Jews or even as Russians. In America, they tried to obliterate everything Russian and Jewish in their past, in order to become thoroughly and almost instantly American.

Young Nathan seemed expected to pretend that the Russian generations on both sides of his family had been neither Russian nor Jewish but primarily German. Even their German heritage was to be minimized in order that the family could adopt uncluttered the attitudes and the folkways of the “commercial” or “work-ethic” society in America. Deprived of a cultural past, young Nathan was confronted with the necessity to absorb American values and habits of thought and behavior instantaneously and almost indiscriminately.

But unlike his father, who was eager to adopt unquestioningly everything American - names, dress, manners, customs, economics - the little boy was incapable of accepting among his own personal attributes anything that he could not test against some meaningful scale of values. In this important respect the inner world of Nathanael West came very early into direct conflict with his outer world, as represented by his family, his religion, and the society in which he was expected to find his way. As one critic has said, West “was prototypically a marginal man, perched uneasily on the edge of his society” (Jonathan Raban, “A Surfeit of Commodities,” p. 218). And in his review of Martin’s biography of West (Nation, August 17, 1970), Richard Giannone observes that in the aloneness and divisiveness of a life outside a traditional context, “West tried to make himself new out of his own weaknesses. He made of his division an artistic wholeness; ...

Table of contents

• Front Cover
• Title Page
• Copyright Page
• Contents
• 1) Introduction to Nathanael West
• 2) Textual Analysis
• 3) Essay Questions and Answers
• 4) Bibliography