Book Review: My Impressions of the Wolfe Family and of Maxwell Perkins, by William B. Wisdom (1993)

William B. Wisdom is an important figure in Thomas Wolfe studies, as it was Wisdom that purchased Wolfe’s papers and manuscripts after Wolfe’s death and donated them to Harvard University. Two pamphlets of Wisdom’s writings about Wolfe were published by the Thomas Wolfe Society: The Table Talk of Thomas Wolfe, which recounted Wisdom’s meetings with Wolfe in New Orleans in 1937, was published in 1988, and My Impressions of the Wolfe Family and of Maxwell Perkins was published in 1993. The Table Talk of Thomas Wolfe is the more interesting volume, as it gives the reader some insights as to what Thomas Wolfe was like. 

My Impressions of the Wolfe Family and of Maxwell Perkins focuses on Wisdom’s purchasing of Wolfe’s papers and manuscripts from the Wolfe family after Thomas’s tragic early death in 1938 from tuberculosis. Wisdom was aided in his quest by Wolfe’s editor Maxwell Perkins. Perkins was more than just an editor, he was a true friend and mentor to Thomas Wolfe, and the Wolfe family put a lot of trust in Perkins. Scribner’s was the publishing house where Maxwell Perkins worked, and in addition to editing Wolfe, Perkins was also the editor for F. Scott Fitzgerald and Ernest Hemingway. It’s pretty amazing that Perkins was editing three of the greatest American authors of that era. 

Julia Wolfe was the matriarch of the Wolfe clan, and she was a shrewd businesswoman who ran a boardinghouse and owned a substantial amount of property in Asheville, North Carolina. Wisdom knew that staying on Julia’s good side was key to maintaining a good relationship with the Wolfe family. 

It’s fascinating to read about the mundane details of Wolfe’s papers, like how Wisdom bought a huge storage trunk to transport Wolfe’s papers in. Wisdom also gives the reader an idea of the other Wolfe siblings. Suffice it to say, the Wolfe family was full of colorful characters, as anyone who has read Look Homeward, Angel will know. 

What I found to be one of the most interesting parts of the book was the section where Wisdom discussed Perkins’ and Wolfe’s differences. Perkins and Wolfe were always at separate poles politically, and Wisdom writes “Wolfe as he grew older was becoming more and more affected by social consciousness, which verged toward socialism.” (p.38) In some of Wolfe’s later short stories like “I Have a Thing to Tell You” and “The Party at Jack’s,” his social consciousness comes to the forefront and emerges as a core theme. I wonder how Wolfe’s political ideas would have evolved had he lived longer, and if his emerging social consciousness would have continued to be a theme in his work. 

Book Review: Look Homeward, Angel by Thomas Wolfe (1929)

The beautiful first edition cover of Look Homeward, Angel, by Thomas Wolfe, 1929.

A stone, a leaf, a door. In Thomas Wolfe’s remarkable first novel, Look Homeward, Angel, these three images appear again and again. Wolfe was a prose writer, but his writing was also intensely poetic, as he repeatedly circled back to thoughts and images and sentences. A stone, a leaf, a door became a sort of Holy Trinity, an incantation for Wolfe to return to throughout this novel. A stone, a leaf, a door: something heavy, something light, and a way out, an escape.  

I first started reading Look Homeward, Angel more than a year ago, as I was preparing to travel to Thomas Wolfe’s hometown of Asheville, North Carolina. It was slow going at first. Wolfe’s writing style can be dense and thick, like rich chocolate cake being shoved in your mouth, and it was hard to get through more than a few pages at a time. I had hoped to finish reading the novel before I went to Asheville, but I realized I should have started it sooner. Visiting Asheville gave me a better understanding of Wolfe and his family, and seeing the places he was describing gave the novel a lift. That being said, I still put the novel down for several months, after reading about 150 pages. About three weeks ago, I decided to pick it up again, reading it in big gulps, 50 pages on an airplane flight, inhaling the last 40 pages at a coffee shop.  

Look Homeward, Angel is a beautiful, messy, sprawling novel, bursting with life on every page. The characters are vivid, the prose is rich with energy and vitality. I have to give the book 5 stars, not because it is perfect, but because it is such a wonderful showcase for Wolfe’s talents. I would suspect that Thomas Wolfe’s writing inspires “love it or hate it” feelings in most readers—much like (no relation) Tom Wolfe’s writing. Both Thomas and Tom Wolfe were maximalists: put it all in there! Give me every detail, for I’ve got to know it all! There was so much throbbing, fast-moving, undulating world for them to see, they simply had to pour it all out and set it down quick on that page!  

The main character in Look Homeward, Angel is Eugene Gant, the youngest child of W.O. and Eliza Gant. Eugene’s parents in the novel have the same occupations as Wolfe’s parents: W.O. is a stone mason who specializes in tombstones, and Eliza runs a boardinghouse. Eliza’s boardinghouse is called “Dixieland” in the novel, in real life Julia Wolfe’s boardinghouse was called “The Old Kentucky Home.” The house is now the Thomas Wolfe Memorial, and an essential site for anyone interested in Wolfe. When I visited the house, I was puzzled that the site director hadn't pointed out Tom’s bedroom to me. As we were about to leave the second floor I asked, “Which bedroom was Tom’s?” She said “Tom didn’t have one. He moved around from room to room depending on which rooms weren’t being rented.” It struck me immediately that this was a key fact about Thomas Wolfe.   

Wolfe’s writing is a master class in detail. The mention of smells sets him off on a page and a half list of perhaps one hundred different smells: “of wood smoke and burnt leaves in October...of peaches stuck with cloves and pickled in brandy...of butter and cinnamon melting on hot candied yams...the exquisite smell of the South, clean but funky, like a big woman; of soaking trees and the earth after heavy rain.” (p.69) The list is marvelous, sure it’s too much, too long, but it’s also in the accumulation of all these sense memory details that the passage gains its hypnotic, rhythmic power.  

Here’s just one paragraph, chosen roughly at random, that displays Wolfe’s skill: “Or, returning from some country walk in late autumn, he would come back from Cove or Valley with dewy nose, clotted boots, the smell of a mashed persimmon on his knee, and the odor of wet earth and grass on the palms of his hands, and with a stubborn dislike and suspicion of the scene he had visited, and fear of the people who lived there.” (p.168)  

Eugene longs for escape from the town of Altamont, as Asheville is known in the novel. He has to deal with a father who is a dramatic narcissist, and a mother who is obsessed with making money and owning property. Some critics have said that Eugene is not a fully drawn character, but I’d argue that’s partly the point. Eugene has two overbearing parents; he is struggling throughout the novel to find his own identity.  

Thomas Wolfe would be highly amused to know how much Asheville has accepted the moniker of Altamont—when I was there, I visited the Altamont Vintage antique store, and drank Altamont bottled water. I did not have need of the services of Altamont Auto Specialists, however.  

Chapter 24 features a bravura performance, as Wolfe walks us through the streets of Altamont, describing many townspeople along the way. It’s a masterpiece of many portraits drawn in miniature, with a cameo from William Jennings Bryan.  

There are many wonderful passages and lines from Look Homeward, Angel, and one of my favorites is this one: “It is the union of the ordinary and the miraculous that makes wonder.” (p.397) How beautiful.  

The United States entered World War I in April of 1917, when Eugene was 16 years old—the same age as Wolfe. Wolfe vividly describes America at that time: “War is not death to young men; war is life. The earth had never worn raiment of such color as it did that year. The war seemed to unearth pockets of ore that had never been known in the nation: there was a vast unfolding and exposure of wealth and power. And somehow—this imperial wealth, this display of power in men and money, was blended into a lyrical music. In Eugene’s mind, wealth and love and glory melted into a symphonic noise: the age of myth and miracle had come upon the world again. All things were possible.” (p.424-5)  

In the words of Wolfe’s biographer David Herbert Donald, “Wolfe’s manuscript had such difficulty finding a publisher because it was startingly idiosyncratic.” (Look Homeward: A Life of Thomas Wolfe, p.179) In late 1928, Wolfe was in Europe when he heard from his literary agent that the publisher Charles Scribner’s Sons was interested in his novel. Wolfe excitedly wrote of this prospect to his lover Aline Bernstein “However many millions {of} things and books and people there may be in the world, no one has exactly the same picture of life as I have, no one can make the same kind of picture as I can—whether it be bad or good.” (Look Homeward: A Life of Thomas Wolfe, p.195)  

At Scribner’s, Wolfe found a sympathetic editor in Maxwell Perkins. Perkins’ acceptance of Look Homeward, Angel mirrored his support a decade earlier on behalf of another young author’s bildungsroman first novel: This Side of Paradise, by F. Scott Fitzgerald. Just as This Side of Paradise launched Fitzgerald’s career as one of the most promising young American authors, Look Homeward, Angel launched Thomas Wolfe’s career in a similar way. Look Homeward, Angel was published on October 18, 1929—two weeks after Wolfe’s 29th birthday, and just before the stock market crash that heralded the beginning of the Great Depression.  

In May of 1938, Wolfe gave a speech at Purdue University, which proved to be his last public appearance before his tragic death that September. Wolfe’s speech was later published under the title “Writing and Living.” Wolfe said of Look Homeward, Angel: “It is what is called an autobiographical novel—a definition with which I have never agreed, simply because it seems to me every novel, every piece of creative writing that anyone can do, is autobiographical.” (The Autobiography of an American Novelist, p.120) In his 1936 book The Story of a Novel, Wolfe wrote: “It is literally impossible for a man who has the stuff of creation in him to make a literal transcription of his own experience. Everything in a work of art is changed and transfigured by the personality of the artist.” (The Autobiography of an American Novelist, p.20) 

I like these two ideas of Wolfe’s: that creative writing may draw its spark or inspiration from real life, but that it is inevitably changed and altered by the artist through the creative process. The process of selection, of choosing what to write about, what to include and what to exclude, changes and transforms reality. And whatever you choose to write about is in some way autobiographical because it inevitably reveals something about your personality. Your choice of material reveals what is important to you.  

Look Homeward, Angel is a striking and original debut novel, and it retains its power today, almost 100 years after it was first published.