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 too arrogantly rationalist. For Sherwood Anderson, at any rate, the meaning of life is something that the rational mind can hardly lay hold upon. Only in the "moments" which are, he thinks, the prime subjects of the story teller's art, the meaning comes clamoring through the senses, through all the senses, out of the unfathomable inwardness of life.

Symbolism just now is very much the mode in the movement, but Sherwood Anderson has always been a symbolist, feeling from the outset the necessity of storming sluggish sensibilities with a new set of images, strange, extravagant and grotesque, symbols of an experience otherwise intransmissible.

I insist on this because it is absurd to approach such a book as "Dark Laughter" or, indeed, any of his books, as if they were ordinary "realistic" novels attempting to picture the detail and circumstance of contemporary society. His books are stories of house-fronts falling down; stories of men walking out of houses and closing the doors behind them; stories of men walking up railroad tracks into the night; stories of women racing through corn-rows; stories of souls fleeing out of nowhere into nothing; stories of barren breasts opened to the night; stories of arms outstretched to enfold the fugitive wind; stories of persons bathing, with a passionate eagerness to be washed and made clean, with tears and with prayers, with water and with blood, for some mystical union with the spirit of life.

Since the day when he himself decided that he cared nothing about making money, and he went out of the factory and closed the door and entered a new room, and wrote at the top of a fresh ream of paper, Incipit Vita Nova—Here beginneth a new life—he has been,