Cinematic forms in the fiction of Thomas wolfe.

Abstract

For several decades, now, studies of Thomas Wolfe have tended to be bibliographic in nature, centering upon Wolfe’s literary relationship with his editors at Scribners, Maxwell Perkins, and especially at Harpers, Edward Aswell. In fact, an army of material on this subject has found its way into print. Ranging from Leslie Field’s defense of Wolfe’s authorship, Thomas Wolfe and His Editors, to John Halberstadt’s controversial assertion that Wolfe’s posthumous novels were essentially the product of Aswell, with various scholars staking out positions in between, argument over Wolfe’s fiction have turned towards the study of his manuscripts and correspondence.i Such is as it should be, for few works can match Wolfe’s for the argumentation over authorship they provide. And certainly the wealth of material available through Wolfe’s papers and manuscripts allows for continuing studies in this area.What seems to have been lost amidst these concerns, however, is an exploration into recurring forms in Wolfe’s fiction. Especially neglected, has been the study of what can be termed as cinematic forms, which appear to be major structures in his novels. (There are more details in the proceeding)