Now that the busyness of Christmas has passed and the final performance in the 2nd Annual #MormonPoetrySlam has posted (see the event archive here), it’s time to determine the winner of the Audience Choice Award. For your consideration and reviewing pleasure, here are the eighteen entries, listed in order of appearance (you may need to hit “Read next page” at the bottom of the Storify to review all of eighteen).
When we hear principles taught from the pulpit, they sometimes seem remote, disconnected from reality. So speakers often add stories, sometimes fictional, to their sermons, so that we can put the principle in context. The stories produced during the Home Literature movement are often in that vein, what are sometimes called “didactic” stories, with a clear moral teaching the principle that the author wants to communicate.
In this series I’ve presented excerpts from many sermons and essays that demonstrate what Mormons have thought and discussed about literature. Today’s text is a little different, because it is an excerpt from a short story. But, it still fits, because in this story Nephi Anderson, dean of the Home Literature movement, preaches about literature—specifically what kinds of drama should be presented.
In July 1915—nearly one hundred years ago—Nephi Anderson traveled to San Francisco to attend meetings at the International Congress of Genealogy held in connection with the Pan-American and Pacific International Exposition. While there, he also attended the exposition’s Utah Day celebration and spent three days seeing the sights. Overall, he writes in his journal, he “had a splendid time.”
He was back in San Francisco five years later, vacationing and conducting some Church business. He stayed at mission headquarters on Hayes Street, where he had Thanksgiving dinner, and attended meetings in Berkeley and Oakland.
The house where Anderson stayed during this second visit (1649 Hayes Street) still stands, although it is now the Emmanuel Church of God in Christ rather than an LDS mission headquarters. I had the opportunity to drive past it last weekend when I was in San Francisco to talk about Anderson at the annual meeting for the Society for the Advancement of Scandinavian Studies. It’s in a busy neighborhood just north of Golden Gate Park, so I couldn’t find a place to park nearby. I was able to snap two pictures of it, though, before San Francisco’s traffic nudged me along.
In many ways, Anderson’s history with San Francisco is unremarkable. He was never more than a temporary resident of the city—a vacationer, a passer-through—and what he saw and thought of the city is mostly a matter of conjecture. (As a journal and letter writer, Anderson was an ardent minimalist!) Still, when Sarah Reed, Eric Jepson, and I met last Saturday at the SASS meeting to present papers on his life and work, the fact that he had been to the city and left a brief record of his visit seemed to add to the occasion. As Theric pointed out in his presentation, Anderson’s visits to the city remind us that he was not a provincial writer, holed up behind the mountains of Utah and indifferent to the world beyond Mormonism, but a man who traveled throughout the United States and Europe and became well-acquainted with the important issues and ideas of his day. In fact, it was from this perspective—Anderson as a man of his times—that each of us seemed to approach his work.
There’s much to admire about Nephi Anderson and his work, but I have always been troubled by his (mis)treatment of other religious faiths—“sectarians” as he called them—in his novels. On the one hand, I understand that his unflattering representations of Protestants and Catholics in Marcus King, Mormon (1900), The Story of Chester Lawrence (1913), and The Romance of a Missionary (1919) were responses not only to the opposition he encountered during his three missions for the Church, but also to the anti-Mormonism that was rampant in the presses of his day. On the other hand, though, I find myself wishing that he extended more charity to those who disagreed with him theologically. So much of his work, after all, seeks to redeem and ennoble characters who have been either marginalized by cultural maladies—sexism, poverty, class prejudice—or oppressed by sin and guilt. Why couldn’t he do the same for the “sectarians”?
Since reading Added Upon and writing about it in my dissertation, I’ve wanted to compile a list of works of nineteenth-century Mormon utopian literature, or works that describe or yearn for an ideal society or which advocate for action that would lead to such. I realize, though, that compiling such a list is almost a fool’s errand since so much of early Mormon literature—and I consider hymns literature—has to do with building Zion and the Millennium, the ultimate utopian dreams.
Even so, a few months ago, I spent an afternoon and came up with this list. It is incomplete, of course, and will likely remain so until I get serious about it. What I’d like to do in the meantime, though, is open it up to you who know nineteenth-century Mormon literature better than I do (my interest in it is about two years old) and ask if I’m missing anything crucial. Specifically, I’m looking for works of fiction or “proto-fiction” (allegories, fables, parables, etc.) that could be reasonably labeled “utopian” or even “millennialist.” I’m interested in poetry too if its utopian expression is out of the ordinary.
My thought, however, is that what I have below is fairly representative of what’s out there. Am I right?
If you read Nephi Anderson’s fiction for its aesthetic value, as the Mormon critics of the 1960s and 70s did, you’ll likely be disappointed—unless your aesthetic standards allow for “preachiness,” that catch-all term commonly used when describing Mormon fiction’s apparent tendency to use art as a vehicle for gospel teaching.
If you read his fiction as products of turn-of-the-century Mormon and American culture, however, you’ll likely have a more satisfying experience. Anderson, after all, was very much a man of his day—and keenly aware of the world around him. Rather than being an aesthetic failure, his work is a rich repository of responses to the cultural changes happening in Utah and the rest of the nation.
In fact, looking at Anderson’s work from this perspective helps us better understand some of his more problematic works, like his 1918 short story “Forfeits,” a second place winner in one of the monthly fiction contests the Improvement Era sponsored for a time. (If you’re unfamiliar with the story, you can check it out here.)
In the story, a young man, Gale Thompson, returns to his Utah hometown nearly five years after “seek[ing] adventure and perchance fortune in the world” (519). By chance, Gale meets up with Dick Stevens, a friend who once accompanied him in his wanderings, who has since returned home and married Gale’s sister, Laura. During this reunion, it comes out that Dick and Laura’s child—an ambiguously sexed child that both men refer to only as “it”—was born blind because of a sexually transmitted disease Dick had contracted while he and Gale lived in Chicago and “dabble[d] in forbidden things” (521). The news sobers Gale, who fears that he may still carry the disease—even though a quack city doctor once pronounced him cured. His joyful return is over in an instant:
Wm writes: Scott Hales — who most AMV readers will know from The Low-Tech World and Modern Mormon Men — spent some time earlier this year doing archival research on Mormon literature. Here’s a guest post by Scott that comes out of some of that research.
Is Nephi Anderson “Scriptus”?
by Scott Hales
In the Nephi Anderson Collection of the Church History Library is a folder that contains newspaper clippings that Nephi Anderson collected throughout his life. Most of these are of articles, letters to the editor, or poems he published in newspapers in Utah, a few eastern cities, and England. Many of them, like clippings about missionary work or anti-Mormon activity in England, are unremarkable because they represent the kind of thing you would expect Anderson to save. Others, like a few describing violent crimes (“Child Murder Near Southend—Head Broken with a Slater’s Hammer,” “Ex-Convict Found Drowned”), raise fascinating questions about why an author known for his sentimentality, “lovely spirit,” and the “gentleness and kindness in his being” would be drawn to such grisly stories. (I have my own theories about the dark imagination of Nephi Anderson, but I’ll save them for a later post.)