Literary currents: the fugitives and new criticism

From the Civil War into the 20th century, the southern United States had remained a political and economic backwater ridden with racism and superstition, but, at the same time, blessed with rich folkways and a strong sense of pride and tradition. It had a somewhat unfair reputation for being a cultural desert of provincialism and ignorance.

Ironically, the most significant 20th-century regional literary movement was that of the Fugitives -- led by poet-critic- theoretician John Crowe Ransom, poet Allen Tate, and novelist- poet-essayist Robert Penn Warren. This southern literary school rejected "northern" urban, commercial values, which they felt had taken over America. The Fugitives called for a return to the land and to American traditions that could be found in the South. The movement took its name from a literary magazine, The Fugitive, published from 1922 to 1925 at Vanderbilt University in Nashville, Tennessee, and with which Ransom, Tate, and Warren were all associated.

These three major Fugitive writers were also associated with New Criticism, an approach to understanding literature through close readings and attentiveness to formal patterns (of imagery, metaphors, metrics, sounds, and symbols) and their suggested meanings. Ransom, leading theorist of the southern renaissance between the wars, published a book, The New Criticism (1941), on this method, which offered an alternative to previous extra- literary methods of criticism based on history and biography. New Criticism became the dominant American critical approach in the 1940s and 1950s because it proved to be well-suited to modernist writers such as Eliot and could absorb Freudian theory (especially its structural categories such as id, ego, and superego) and approaches drawing on mythic patterns.