surrounds it.” From the point of view of art and ideas, there have never been in American literature works so defiant of the accepted laws of decorum, perspective and harmony. INDEX Adams, Henry, 11, 69. Advertising in America, 146, 147. Æsthete, the modern American, 274-277. “Age of Innocence, The,” 57. “Ambassadors, The,” 53. America, restlessness in, viii; pessimism in, viii, ix, 8, 135; considered an unromantic, 130 _n._; sacrifice of the minority in, 146; advertising in, 146-148; the land of the superlative, 147; crude conditions in parts of, 155, 156; the land of the strenuous life, 186, 186 _n._; conditions in, since the Great War, 259-261; the modern novel as representative of conditions in, 282, 283; standardization in, 282. American æsthete, the modern, 274-277. American background, the emptiness of, 48-50. American culture, an arraignment of, 17, 18. American language, 150. American literary ideals, revolution in, 3-6; the new, 7. American literature, recent, pessimism in, viii, ix, 257, 260; spirit of pioneers in, 5-7. _American Mercury_, the, 10. “American Tragedy, An,” 79, 110 _n._, 115-122. American writers, later generation of, characteristics of, 23, 24. Americans, optimism and contentment of, 13; provided with comfort and material ease, 131, 132; outside their homes, 132, 133; their religion, 133; the material organization of their life, 134; in politics, 134, 135. Anderson, Sherwood, 22, 53, 57; and Freudism, 31; influence of Walt Whitman on, 154, 155; his primitivism, 154, 155, 155 _n._, 156; his writing a groping toward the Unknown, 155; his career, 155, 158, 159, 166-168; the Freudian novelist _par excellence_, 156; his “Windy McPherson’s Son,” 156, 157, 168-171; little filial respect in his tales, 157; a dreamer, 159-161, 175; his feeling for the small craftsmen, 161, 162; his world of fancy, 162-164; his itch for writing, 164, 166; his sensitiveness to words, 165; excludes manufacturers of paper from his curses, 165, 166; his apprenticeship at writing, 167; his indifference to comfort while writing, 167; his “Marching Men,” 171-180; as an artist, 176, 199; his “Poor White,” 181, 182; his “Winesburg, Ohio,” 182-187; suppressed sensibilities in his stories, 187; his description of the tortures of inhibition, 188-191; engaged on problems of sexual inhibition, 191; his “Many Marriages,” 191-196; his “Dark Laughter,” 196-199; Negro songs in his novels, 197; on New Orleans, 198, 199; his definition of art, 199. Andreiev, 23. “Arrowsmith,” a satire of medical fakes, 148, 149; summarized, 149; written haphazardly, 150; the language of, 150.