Glendower: I can call the spirits from the vasty deep.Hotspur: Why, so can I, or so can any man;But will they come, when you do call for them?
In the conditions of modern life the rule is absolute, the race which does not value trained intelligence is doomed. Not all your heroism, not all your social charm, not all your wit, not all your victories on land or at sea, can move back the finger of fate. To-day we maintain ourselves. To-morrow science will have moved forward yet one more step, and there will be no appeal from the judgment which will then be pronounced on the uneducated.
The keynote of American civilization is a sort of warm-hearted vulgarity. The Americans have none of the irony of the English, none of their cool poise, none of their manner. But they do have friendliness. Where an Englishman would give you his card, an American would very likely give you his shirt.
Down these mean streets a man must go who is not himself mean, who is neither tarnished nor afraid... He is the hero, he is everything. He must be a complete man and a common man and yet an unusual man. He must be, to use a rather weathered phrase, a man of honor, by instinct, by inevitability, without thought of it, and certainly without saying it. He must be the best man in his world and a good enough man for any world.
Its idea of production value is spending a million dollars dressing up a story that any good writer would throw away. Its vision of the rewarding movie is a vehicle for some glamour-puss with two expressions and eighteen changes of costume, or for some male idol of the muddled millions with a permanent hangover, six worn-out acting tricks, the build of a lifeguard, and the mentality of a chicken-strangler.
That's one thing I like about Hollywood. The writer is there revealed in his ultimate corruption. He asks no praise, because his praise comes to him in the form of a salary check. In Hollywood the average writer is not young, not honest, not brave, and a bit overdressed. But he is darn good company, which book writers as a rule are not. He is better than what he writes. Most book writers are not as good.
The overall picture, as the boys say, is of a degraded community whose idealism even is largely fake. The pretentiousness, the bogus enthusiasm, the constant drinking, the incessant squabbling over money, the all-pervasive agent, the strutting of the big shots (and their usually utter incompetence to achieve anything they start out to do), the constant fear of losing all this fairy gold and being the nothing they have never ceased to be, the snide tricks, the whole damn mess is out of this world.
It is a mass language only in the same sense that its baseball slang is born of baseball players. That is, it is a language which is being molded by writers to do delicate things and yet be within the grasp of superficially educated people. It is not a natural growth, much as its proletarian writers would like to think so. But compared with it at its best, English has reached the Alexandrian stage of formalism and decay.
When a book, any sort of book, reaches a certain intensity of artistic performance it becomes literature. That intensity may be a matter of style, situation, character, emotional tone, or idea, or half a dozen other things. It may also be a perfection of control over the movement of a story similar to the control a great pitcher has over the ball.