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Last Updated on May 5, 2015, by eNotes Editorial. Word Count: 1306

In Exile’s Return, Cowley tells the story of latter-day innocents abroad: of well-educated American naifs, of the Europe they found and the America to which they returned. He accomplishes more than merely describing and explaining an era; he creates its very texture. Although it does not succeed particularly well as “a narrative of ideas” (the subtitle of the original 1934 edition), it does so as an odd hybrid in which literary history and personal memoir combine and become one and in which, as in The Education of Henry Adams (1907), authorial voice and tone play a crucial role. Cowley presents himself as a representative figure, his “I” often slipping effortlessly into “we.” In a book which deals with a literary generation that includes such major figures as James Joyce, Ernest Hemingway, and T. S. Eliot, such a tactic might appear conceited and arrogant, especially given how small are the parts these giants play in Cowley’s literary chronicle. Yet Exile’s Return is not about their successes but about what Cowley perceives as the larger failure of their era, one to which these writers, too, contributed. It is “a literary odyssey” that ended in failure, including the failure of the first-person singular “I” that disappears two-thirds of the way through the narrative, having merged with the rest of his class. The figure which began as representative and a bit arrogant and assertive becomes anonymous, dependent, even nostalgic. By initially adopting the “I” and drawing at length from letters and essays he wrote during the 1920’s, Cowley creates a sense of immediacy, but his role as participant is offset, or complemented, by his role as observer/commentator. The past is at once immediately present and rendered at a certain distance. The result is remarkably similar to what Adams achieves in his memoir: acute observations coupled with ironic self-criticism and self-detachment. Some of this self-criticism is overt, much is not, but nearly all of it focuses on the fact that in having become the author and subject of Exile’s Return, Cowley did not become the writer he had hoped to become. The author of the poetry collection Blue Juniata (1929) recognized and eventually accepted “the essential middleclass feeling that I had to support myself.” Cowley’s personal failure, his failure to become, or remain, a poet, may be read as either the most personal and most representative instance of that larger failure that, in Cowley’s view, characterizes the entire age, or as the personal animus that causes Cowley to perceive the age as he does.

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“The writers of our generation were humble in the sense that they did not hope to alter the course of events or even to build themselves an honored place in society.” Cowley’s remarks on those writers who have achieved an honored place in literary history if not in society suggest that for Cowley his humility came at too high a price. It entailed either a retreat into the past (as in Eliot and Ezra Pound) or a retreat into mere aesthetics (as in Joyce and Eliot), in which form achieves a dubious triumph over matter, art over life. Cowley is particularly critical of Joyce, of “his pride, his contempt for others, his ambition.” Cowley evidences considerably greater interest in and sympathy for a group of writers and artists about whom Americans especially knew little if anything at the time Exile’s Return was published. Led by Tristan Tzara, the Dadaists had none of Joyce’s monumental ambition, and they gain a large measure of Cowley’s approval for being merely “young and adventurous, and human.” Dada took the modernist belief in art for art’s sake to the very frontiers of intelligibility, making virtues of obscurantism, of the purity of poetry, of individualism, of amorality, and of art as...

(The entire section contains 1306 words.)

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