Masscult and Midcult_ Essays Against the American Grain - Dwight MacDonald [24]
The enemy outside the walls is easy to distinguish. It is its ambiguity that makes Midcult alarming. For it presents itself as part of High Culture. Not that coterie stuff, not those snobbish inbred so-called intellectuals who are only talking to themselves. Rather the great vital mainstream, wide and clear though perhaps not so deep. You, too, can wade in it for a mere $16.70 pay nothing now just fill in the coupon and receive a full year six hard-cover lavishly illustrated issues of Horizon: A Magazine of the Arts, “probably the most beautiful magazine in the world...seeks to serve as guide to the long cultural advance of modern man, to explore the many mansions of the philosopher, the painter, the historian, the architect, the sculptor, the satirist, the poet...to build bridges between the world of scholars and the world of intelligent readers. It’s a good buy. Use the coupon now.” Horizon has some 160,000 subscribers, which is more than the combined circulations, after many years of effort, of Kenyon, Hudson, Sewanee, Partisan, Art News, Arts, American Scholar, Dissent, Commentary, and half a dozen of our other leading cultural-critical magazines.
Midcult is not, as might appear at first, a raising of the level of Masscult. It is rather a corruption of High Culture which has the enormous advantage over Masscult that while also in fact “totally subjected to the spectator,” in Malraux’s phrase, it is able to pass itself off as the real thing. Midcult is the Revised Standard Version of the Bible, put out several years ago under the aegis of the Yale Divinity School, that destroys our greatest monument of English prose, the King James Version, in order to make the text “clear and meaningful to people today,” which is like taking apart Westminister Abbey to make Disneyland out of the fragments. Midcult is the Museum of Modern Art’s film department paying tribute to Samuel Goldwyn because his movies are alleged to be (slightly) better than those of other Hollywood producers—though why they are called “producers” when their function is to prevent the production of art (cf., the fate in Hollywood of Griffith, Chaplin, von Stroheim, Eisenstein and Orson Welles) is a semantic puzzle. Midcult is the venerable and once venerated Atlantic—which in the last century printed Emerson, Lowell, Howells, James, and Mark Twain—putting on the cover of a recent issue a huge photograph of Dore Schary, who has lately transferred his high-minded sentimentality from Hollywood to Broadway and who is represented in the issue by a homily, “To A Young Actor,” which synthesizes Jefferson, Polonius and Dr. Norman Vincent Peale, concluding: “Behave as citizens not only of your profession but of the full world in which you live. Be indignant with injustice, be gracious with success, be courageous with failure, be patient with opportunity, and be resolute with faith and honor.” Midcult is the Book-of-the-Month Club, which since 1926 has been supplying its members with reading matter of which the best that can be said is that it could be worse, i.e., they get John Hersey instead of Gene Stratton Porter. Midcult is the transition from Rodgers and Hart to Rodgers and Hammerstein, from the gay tough lyrics of Pal Joey, a spontaneous expression of a real place called Broadway, to the folk-fakery of Oklahoma! and the orotund sentimentalities of South Pacific.[10] Midcult is or was, “Omnibus,” subsidized by a great foundation to raise the level of television, which began its labors by announcing it would “be aimed