Literary Prizes? The last refuge of the illiterates – Regalia
For Release Thursday, May 26th, 1926
To the Pulitzer Prize Committee,
Courtesy of Mr. Frank D. Fackenthal, Secretary,
New York City
I wish to acknowledge your choice of my novel ‘Arrowsmith’ for the Pulitzer Prize. That prize I must refuse, and my refusal would be meaningless unless I explained the reasons.
All prizes, like all titles, are dangerous. The seekers for prizes tend to labor not for inherent excellence but for alien rewards: they tend to write this, or timorously to avoid writing that, in order to tickle the prejudices of a haphazard committee. And the Pulitzer Prize for novels is peculiarly objectionable because the terms of it have been constantly and grievously misrepresented.
Those terms are that the prize shall be given ‘for the American novel published during the year which shall best present the wholesome atmosphere of American life, and the highest standard of American manners and manhood’. This phrase, if it means anything whatever, would appear to mean that the appraisal of the novels shall be made not according to their actual literary merit but in obedience to whatever code of Good Form may chance to be popular at the moment.
That there is such a limitation of the award is little understood. Because of the condensed manner in which the announcement is usually reported, and because certain publishers have trumpeted that any novel which has received the Pulitzer Prize has thus been established without qualification as the best novel, the public has come to believe that the prize is the highest honor which an American novelist can receive.
The Pulitzer Prize for Novels signifies, already, much more than a convenient thousand dollars to be accepted even by such writers as smile secretly at the actual wording of the terms. It is tending to become a sanctified tradition. There is a general belief that the administrators of the prize are a pontifical body with the discernment and power to grant the prize as the ultimate proof of merit. It is believed that they are always guided by a committee of responsible critics, though in the case both of this and other Pulitzer Prizes, the administrators can, and sometimes do, quite arbitrarily reject the recommendations of their supposed advisers.
If already the Pulitzer Prize is so important, it is not absurd to suggest that in another generation it may, with the actual terms of the award ignored, become the one thing for which any ambitious novelist will strive; and the administrators of the prize may become a supreme court, a college of cardinals, so rooted and so sacred that to challenge them will be to commit blasphemy. Such is the French Academy, and we have had the spectacle of even an Anatole France intriguing for election.
Only by regularly refusing the Pulitzer Prize can novelists keep such a power from being permanently set up over them.
Between the Pulitzer Prizes, the American Academy of Arts and Letters and its training-school, the National Institute of Arts and Letters, amateur boards of censorship, and the inquisition of earnest literary ladies, every compulsion is put upon writers to become safe, polite, obedient, and sterile. In protest, I declined election to the National Institute of Arts and Letters some years ago, and now I must decline the Pulitzer Prize.
I invite other writers to consider the fact that by accepting the prizes and approval of these vague institutions we are admitting their authority, publicly confirming them as the final judges of literary excellence, and I inquire whether any prize is worth that subservience.
I am, sirs,
From The Fashionable Lampoon Issue 11 – Magnifico
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