Winesburg, Ohio Book

'Only the few know the sweetness of the twisted apples.'

When you stop and listen, life is a brilliant cacophony of love and pain, where we are all struggling to shed the shackles of loneliness and stand full and actualized in a society that never bothers to truly look into our hearts. Sherwood Anderson's gorgeous Winesburg, Ohio, which beautifully blurs the line between a collection of short stories and a novel, is a testament to the loneliness in our hearts, and delivers a pessimistic, yet ultimately uplifting, account of the ways in which we can be eternally trapped in internal strife by none other than our own hands. 'Many people must live and die alone, even in Winesburg,' Anderson writes, setting his tales within the comfortable boundaries of an idyllic small town'the type of quiet, peaceful place where everyone knows one another that are often glorified in early 20th century American literature'yet diving deep within the populations hearts to examine the depths of solitude and sorrow that exist in even the most idealized and comfortable of surroundings. This book came to me at what seemed like the exact time in which I could appreciate it to the fullest, a time when presenting the golden core of existance through montages of melancholy and sorrow would be the perfect way to take hold of my heart and lift me free of my own burdens and into literary bliss. Despite the increasing ability to interact on a global scale during which the book is set, the citizens of Winesburg find themselves trapped in a cage of internal anguish and alienation of their own design, and seek out those with the true creative capabilities to express the emotions they cannot manage to make plain, and Anderson delivers their stories of struggle and strife through his unflinching, connected short stories that culminate towards a dazzling depiction of the human condition.

There is something very modern about this slim novel published back in 1919, yet it retains that wonderfully nostalgic feeling that come alive in me when I read the works of authors such as Steinbeck and Faulkner, a feeling as peaceful as the a warm summers day from your childhood that makes you believe your own coming-of-age tales are as epic as the words printed upon the pages of novels that stand as monuments in the history of literature. For some reason, stories set in small towns during the early 1900s really make my heart sing out to the heavens, and with Anderson conducting the orchestra, it sings out in mighty rapture. Yet, considering the introductory story, 'The Book of the Grotesque', Anderson preforms a magic act of near metafiction that makes his style as poignant today as when it was first written by hinting that the book to come is merely the unpublished scribblings of an aging who only wishes to watch the sunlight brighten the trees outside his bedroom window. Anderson immediately reveals his hand, yet this does not diminish the potency in his every move but simply allows the reader to better appreciate each glorious depiction of sorrowful existence. [I]n the beginning when the world was young there were a great many thoughts but no such thing as a truth. Man made the truths himself and each truth was a composite of a great many vague thoughts. All about in the world were the truths and they were all beautiful…And then the people came along. Each as he appeared snatched up one of the truths and some who were quite strong snatched up a dozen of them. It was the truths that made the people grotesques….the moment one of the people took one of the truths to himself, called it his truth, and tried to live his life by it, he became a grotesque and the truth he embraced became a falsehood. The first story is the Genesis of the novel to come, the creation story behind the people who stumble about in futility as they attempt to connect with one another and make themselves understood, so trapped within their image of the 'truth' that they cannot create outside its boundaries.

Speaking of futility, I do not posses the adequate gifts of analytical prose to sum up Anderson's mighty message as this succinctly cutting passage from Ernest Boyd's incredible introduction to my 1947 Modern Library Edition: It is essentially a literature of revolt against the great illusion of American civilization, the illusion of optimism, with all its childish evasion of harsh facts, its puerile cheerfulness, whose inevitable culmination is the school of "glad" books, which have reduced American literature to the lowest terms of sentimentality. Anderson exposes life in its raw form, without the opportunity to comb its hair or apply makeup, and by avoiding the convenience of administering external interference as justification for a characters shortcomings, implies that many of our defects and dilemmas are wrought by our own hands. Failure to adequately express ourselves through socially acceptable conventions is the foible that forces us into emotional isolation and existential angst, most openly diagrammed in the character of Wing Biddlebaum who's hands and their flamboyant flailing or easy rest upon the shoulders of young boys cause him to be run out of town and spend his twilight years wandering the streets of Winesburg beset by bitter solitude ¹. There is the epic, biblical in nature as well as biblically influenced², tale of Jesse Bently attempting to assert his godliness only to be met with misunderstanding and horror by his grandchild (with the gloriously executed, tragic subplot of his daughters tearful life as her attempts to proclaim love result in an unsatisfactory, face-saving marriage of convenience); Alice Williams nude flight through the town in an effort to free herself from the promise to wait for a man that will never return to her'a promise that robs her of her golden years as she withers in loneliness'; Seth Richmonds efforts to win Helen White's heart by proclaiming he is leaving town in hopes it will make her realize how his absence will inflict misery upon her, but then having to leave before the opportunity of love can blossom; and a whole slew of others damned by their own attempts to carve their mark into the history of Winesburg.

The futility of the townsfolk to make their hearts heard is what gives George Willard, a teenage journalist at the local newspaper'the Eagle, and seemingly the pride-and-joy of Winesburg³, a central role within the book. George figures in a majority of the stories and, aside from the town, serves as the thread connecting each story. George is a figure of creation, a figure who can take a life and immortalize it within the words printed in the newspaper, so each member of the town is drawn to him during their lowest hour, only able to provide a clear depiction of their soul and struggles to him. Kate Swift, his former teacher (whose nude form inspires a holy revelation within the local preacher), recognizes this and her lust for him is a reflection of her desires to make whole the fractured souls that haunt society and she is drawn to him by his literary potential to do so. She tells George that in order to become a writer he will have to know life…It would be better to give up the notion of writing until you are better prepared. Now it's the time for living. I don't want to frighten you, but I would like to make you understand the import of what you think of attempting. You must not become a mere peddler of words. The thing to learn is to know what people are thinking about, not what they say. Anderson's novel is an exquisite expression of this sentiment, and it is only through their late-night/drunken/bitter/etc. confessions to, or interactions with, George that we can see through the veils of grotesqueries to flowering souls within.
Winesburg had disappeared and his life there had become but a background on which to paint the dreams of his manhood. Through the book's frequent glimpses at George's maturation, a sort of bildungsroman is erected. Carefully placed not in the forefront of the novel, as a book bent on sentimentality would have it, but subtly omnipresent and lurking in the background, Anderson is able to employ all the emotionally stimulating and memorable aspects assigned to the coming-of-age tale without letting its warm glow overpower the real message at hand. In effect, this becomes a literary coming-of-age for the reader with Winesburg as the canvas upon which the realization of the human condition is splattered. Through George we learn what hides in the human heart, and through George we grow to empathize with our fellow man. Like many others, George inevitably leaves Winesburg to pursue his dreams, and hopefully, unlike the rest, he will achieve them. The characters try in many ways to escape the mundane and stagnant town, often seeing Helen White as the way out. Even George seeks after her, winning her fancy under the pretext of understanding love so he can write about it in a novel. To the males of Winesburg, Helen and and her wealthy family represent a way out, a higher goal of sophistication and sensuality. However, most fail to win her hand, much like those who leave Winesburg fail to achieve their glory and riches. Perhaps, despite the meaningfulness of our unique coming-of-age moments, we fail to bring our lessons learned into adulthood and falter at the alter of life. We must properly express ourselves and let our creative powers grow to the heavens, not keep them locked up as does Enoch Robinson, slowly slipping into madness within the confines of his New York apartment speaking with the idealized imaginary friends that replace his friends of flesh-and-blood, foibles and blunders. Winesburg, Ohio is a war-cry for literature, rising bloodied and sullied from the trenched, unashamed to be seen in such a dark and animalistic state, to plunge it's bayonet through the ribcage of fictions that would glorify humanity while sweeping any inconvenient ugliness under the rug.

Anderson sets his book near the turn of the century, at a time when human interaction was expanding beyond the borders of a small town to a national, and even globalized state. Trains and telegraph wires opened the gates of transportation and communication, bringing everyone closer together regardless of physical distance. Ironically, during this booming era of national headline news, we witness characters feeling evermore isolated and alienated. This message is just as darkly poignant in todays world with the ever-booming social media that allows us to interact instantly and make our every action known to people across the globe, yet many are still beleaguered with a sense of loneliness. Regardless of the ease of communication, it is still just as difficult to make ourselves properly understood, and even sentences typed onto a blog with the warmest of intentions can be misconstrued, ignored, or taken out of context. Can we truly express who we are to anyone? You can only understand me as your perspective of me, as I in turn can only understand myself through my perspective of myself, and express myself in a manner in which I think best reflects me, but is any of this, even the culmination of all these perspectives, the true 'me'? Can we really know each other, and can we really know ourselves?

Winesburg, Ohio is easily one of my favorite books. This book makes you want to pay attention to all those around you, get to know them, recognize why they are the way they are, all just so you can show them the kindness and love they need. Like the Knights of Columbus and their pocket sized New Testaments at my beloved alma mater, I want to stand outside the doors of every major university and pass out copies of this book (did this happen at anyone else's school? I still have a few New Testaments thumping around in the trunk of my car). Anderson's prose, which is reminiscent of the greatest descriptive paragraphs found within a Steinbeck novel (of whom he was an influence upon, as well as Faulkner, Hemmingway, and even Donald Ray Pollock's Knockemstiff style was inspired by this book), perfectly captures both the beauty and the blemishes of life and paints an unforgettable portrait of the city's downtown and pastoral scenes. The book is a marvelous montage of reality, becoming greater than the sum of its parts and striking a chord deep within the readers heart that rings out on a universal level. Upon completion, it is as if you have lived a lifetime within Winesburg, and each passing citizen is an old friend. Luckily, there is room within Anderson's Winesburg for us all.
5/5

Dare to be strong and courageous. That is the road. Venture anything. Be brave enough to dare to be loved. Be something more than man or woman.

¹ The fact that Wing is unaware of the circumstances that lead to his being beaten by the drunken barkeep and chased out of town'the unhinged mouth of a youth with unfounded stories of being molested by his teacher'makes the story all that much more tragic, especially as he is embarrassed and horrified by his expressive hands in a nearly Pavlovian sense. The sexual implications of this story, as well as the general sexuality that prevails throughout Winesburg, Ohio is just another aspect that lends to the very modern feel to this classic.

² There is a subtle probing at religious morality throughout the novel, that often borders on poking fun at those with strong religious conviction. Though not in the Flannery O'Connor method of exposing those with publicly professed holiness as presenting their beliefs as a façade to hide their rotten core, yet still somehow within the same vein, Anderson presents holiness as yet another truth that if held onto as a singular lifeline casts the individual into the realm of grotesquery. 'The world is on fire', Joe Wellington tells George Willard, insisting upon that as a valuable article to include in an upcoming edition of the Eagle, 's sidewalk here and this feed store, the trees down the street there'they're all on fire. They're burning up. Decay you see is always going on. It doesn't stop.' Anderson's novel is about decay within the soul, and even holiness is just another decaying agent where the only antidote is achieved by looking into one another's hearts and responding with empathy and love.

³ George Willard's family owns a boarding house in the center of town where many of the characters either live or frequent. This is similar to Anderson's own upbringing living in a boarding house in Clyde, Ohio (Anderson's fictional Winesburg is heavily influenced by his boyhood home of Clyde, Ohio, resembling many of the locals as well as the geographic nature and arrangement and is in no way representative of the actual city of Winesburg, Ohio). George's residence there gives him the opportunity to view the comings and goings of many townsfolk and allows them easy access to vomit up their life stories into George's ears.