The Rector Of Justin

''The Rector of Justin'' (1964) is a psychological fiction novel by Louis Auchincloss about the headmaster (or "rector") of a socially exclusive American boarding school. Over the decades, various narrators provide contrasting perspectives on rector Francis Prescott's charismatic personality and autocratic leadership style. Through the narrators' disagreements, the novel gradually unveils that White Anglo-Saxon Protestant society—of which Prescott is a reluctant mascot—has lost its innocence and abandoned its Christian values.

The novel was a commercial hit and was warmly received by most contemporary critics. It was a finalist for the Pulitzer Prize for Fiction and the National Book Award for Fiction, losing to Shirley Ann Grau's '' The Keeper of the House'' and Saul Bellow's ''Herzog'', respectively. Its loss to ''Herzog'' marked American literary fiction's transition from realist society novels about the American upper class to poetic prose, avant-garde style, and culturally diverse protagonists.

''The Rector of Justin'' is generally thought to have been modeled on Auchincloss' alma mater Groton and its founder Endicott Peabody, although Auchincloss downplayed the comparison and highlighted the influence of Learned Hand. ''Harper's Magazine'' called it "almost certainly the finest work ever written about an American preparatory school". It is often considered Auchincloss' greatest novel.

Synopsis

The story is told through six narrators: frame narrator Brian Aspinwall, a teacher at Massachusetts Episcopal boarding school Justin Martyr ("Justin" for short; named for the Christian figure)—who is asked to write a biography of its founder Francis Prescott—and writings and interviews from five people who knew him.

Brian Aspinwall

In 1939, Aspinwall begins teaching English at Justin. Prescott's contradictions fascinate him. Prescott is an intellectual, but Justin is laddish and focused on sports. Prescott's oldest friend Horace Havistock is gay, but Justin is institutionally homophobic. The school claims to be more democratic than its peers, but its students are generally rich. After the Fall of France, Havistock persuades Prescott to retire, arguing that their shared world is dying.

Horace Havistock

Havistock and Prescott went to boarding school together. A Civil War orphan whose family was respectable but not especially wealthy, Prescott resents rich boys like Havistock, who become targets for his cruel wit. Even so, Havistock befriends him. Prescott dreams of building a different kind of boarding school, focused on religious and civic virtue. He has a crisis of faith at Oxford, but reconverts to Christianity after experiencing a vision of his dead father. Havistock persuades his friend Eliza to break off her engagement with the re-energized Prescott, who will always put his career over his relationships.

David Griscam

The chairman of the Justin board, Wall Street attorney David Griscam, both idolizes and dislikes Prescott. He appreciated Justin's family atmosphere, but admits that Justin's bullying and code of silence taught him to be "underhanded". Neither Griscam nor his wife share Prescott's Episcopal faith: Griscam is agnostic, while his wife, an evangelical Christian, resents Justin's religious elitism. Griscam sends their two sons to Justin anyway, but neither succeeds there.

Appealing to Prescott's ambition, Griscam encourages Prescott to solicit donations from men whose wealth he resents. Prescott wants to expel a donor's son for academic dishonesty, but Max Totten, a cynical scholarship student, agrees to take the blame in exchange for a job at the donor's company. Although Max is expelled, he eventually takes over the family business and becomes one of Griscam's "most valued clients", while the son falls into alcoholism.

Cordelia Prescott Turnbull

Prescott's daughter Cordelia claims that Prescott started a boys' school due to his own repressed homosexual tendencies. She marries a Catholic to annoy him, but after Prescott gives his approval, she leaves her husband and moves to Paris, where she and her lover Charley Strong (a Justinian who loses his Christian faith in World War I) become part of the Lost Generation of American expatriates. Her mother visits her in Paris and reveals a deep intelligence that was repressed at Justin. Before Strong's death, Prescott reconverts him to Christianity, infuriating Cordelia. She returns to America and marries vulgar businessman Guy Turnbull, but surprisingly, Turnbull befriends Prescott, who craves his respect as a businessman and is impressed by his shameless materialism. Cordelia divorces Turnbull. Prescott confides to Aspinwall that while he has loved his daughters inadequately, he has shown them devotion.

Charley Strong

In the last surviving chapter of a manuscript that Strong burned before his death, Strong recounts his hero worship of Prescott, which may be rooted in Prescott forgiving him for an early sexual indiscretion. He sees Prescott's Christian discipline as an alternative to the rootlessness of the Lost Generation.

Jules Griscam

In a memoir written before his death, David Griscam's son Jules implies that his father sent him to Justin because David worried that his materialism would spoil his children. Jules is a poor fit for Justin and Prescott eventually expels him for lying, but David gets Jules into Harvard anyway. Jules concludes that "an act of desecration" is the only real way to get back at Prescott. He vandalizes several school relics and is arrested. When Prescott visits him in jail, Jules claims that Prescott uses religion to aggrandize himself, which wounds Prescott deeply. Jules drunkenly commits suicide, taking his lover with him.

Brian Aspinwall

After Prescott's successor softens religious discipline and accommodates practicing Catholics, Prescott plots to oust him. Aspinwall dislikes Griscam's combination of materialism and tightfistedness, but tips him off anyway. Griscam persuades Prescott to relent by introducing him to elitist and racist dissidents on the Justin board, showing that his successor is the lesser of two evils. Prescott bitterly remarks that Justin is no different from any other prep school. He dies of cancer eight months later. Aspinwall resolves to finish his Prescott biography, although he implies that to preserve the idealized memory of Prescott, it will be "in some part work[] of fiction".

Development

Concept

Louis Auchincloss was sent to his father's boarding school, Groton, and graduated in 1935. Although he later delivered the school's centennial address, he maintained a lifelong ambivalence for the institution, explaining that his first two years of prep school were a "festering misery" and that he was "at first abysmally wretched and later moderately content". He got the idea for ''The Rector of Justin'' from his high school English teacher Malcolm Strachan, whose wife was the publisher of the ''Atlantic Monthly''. Strachan had become a close confidant of Groton's founder and longtime headmaster Endicott Peabody, and planned to write a novel showing that Peabody's "theology was subtler and more complicated than any of us supposed." After Strachan's premature death, Auchincloss resolved to write the novel his way.

In 1960, Groton published a collection of essays from the school community to commemorate its 75th anniversary. In his essay, Auchincloss wrote that the alumni had many different impressions of their high school years, and speculated that the aging Peabody had been "troubled by the number of Grotons he seemed to have created and of how little any of them resembled his own." In addition, although published by the school, the essays voiced several criticisms of Groton. Ellery Sedgwick wrote that despite Groton's high-minded rhetoric, "evil and good have entered into Groton careers in a proportion astonishingly similar to their proportion in any community".''Views from the Circle'', p. 25. George Biddle said that while seven of his classmates were listed in ''Who's Who'', "nearly twice that number could, I suppose, be listed as absolute failures".''Views from the Circle'', p. 126. Auchincloss later sent two of his three sons to Groton, although his biographer cautioned that by that time it was "a far more permissive place".

Timeline

Auchincloss had wanted to write a story about a boarding school headmaster for some time, although he was saving the idea "for time when I should feel ready to handle it". In 1938, just three years after graduating from Groton, he drafted a novel in which a headmaster seeks to raise students "with the ideals of public service and a sense of noblesse oblige", but realizes that he has failed, as most of his students chase lucrative jobs on Wall Street.

Over time, Auchincloss decided that the story would need to cover a long span of time and that it would need to be either a biography or autobiography. He discarded the idea of an autobiography because a fictional Prescott would have trouble describing his effect on other people from his own perspective. In 1956, Auchincloss published a predecessor of the story in ''Harper's Magazine'' under the title "The Trial of Mr. M." The story details a retired boarding school headmaster who considers opposing his successor's reforms, but ultimately concedes that the school must adapt to the real world. Auchincloss recycles the imagery of the headmaster's lament—comparing himself to a vaudeville act in which a clown is "remorselessly" followed by a spotlight—for Prescott's final monologue in the novel.

In Auchincloss' first draft of the novel, David Griscam was the frame narrator instead of Brian Aspinwall, and the book emphasized the rivalry between Griscam and Prescott. He discarded the idea because Griscam's "personality got out of hand". He eventually came up with the idea of making the biographer a younger man who differed from Prescott in every way except their shared religious faith, which they both recognized was "almost totally lacking in the school, the faculty, the parents, and the trustees," who "care only about the appearance of faith".

Late in his life, Auchincloss (who said that he had been sexually abused by another student in high school, without the school's knowledge) admitted that he had considered broaching the topic of sexual abuse in ''The Rector of Justin'', but ultimately left it out. He felt that the literary mores of the day would not permit him to address the matter with sufficient candor. He subsequently touched upon this theme in ''The Scarlet Letters'' (2003) ''and The Headmaster's Dilemma'' (2007), as well as his 2010 autobiography.

Auchincloss submitted a draft of the novel to Houghton Mifflin in July 1963. It was published in July 1964.

Inspirations

The school

Auchincloss sought to build a composite narrative of the American boarding school between the Gilded Age and World War II, explaining that it was "the great era of headmasters". He reviewed a series of headmaster biographies from various schools, including Peabody's Groton but also St. Paul's, St. Mark's, and Lawrenceville, but dismissed them as "a dreary lot". Nonetheless, the novel frequently draws from Auchincloss' experiences at Groton in the 1930s. One critic quipped that in one scene, "the Rev. Francis Prescott, founder and first headmaster of Justin Martyr, an Episcopal school 30 miles west of Boston, was speaking about the Rev. Endicott Peabody, founder and first headmaster of Groton School, an Episcopal-oriented school 30 miles west of Boston".

The sequence where disgruntled alumnus Jules Griscam vandalizes school relics is likely based on a real-life incident from 1930 in which two Groton alumni vandalized various spots on campus after getting drunk. Peabody declined to press charges. Several years after the event, he helped officiate the wedding of one of the men responsible.

The rector

The character of Frank Prescott was often compared to Endicott Peabody, although Auchincloss protested that the two men "shared not a single characteristic". He explained that Peabody was "simple, straightforward, literal, and always sincere", while Prescott was "complex, arrogant, witty, cynical, intellectual", and "a bit of a charlatan". He admitted that he had borrowed "certain facts and dates" from Peabody's life, but maintained that Prescott was based, at least "in part", on federal judge Learned Hand, who he described as "the greatest man whom I ever had the good luck to know". However, he later recalled that Archibald MacLeish was the only person who recognized Hand's influence on Prescott.

Even so, upon its publication, the book reportedly "caused uproar among Groton alumni who saw it as an attack" on Peabody. Peabody's granddaughter Marietta offered Auchincloss some consolation by telling him that the criticism reflected how little his critics understood Peabody. In addition, Peabody's biographer Frank Ashburn commented that Frank Prescott "only remotely" resembled his subject, and Larissa MacFarquhar wrote that "Prescott is a far more convoluted and ambiguous character" than Peabody.

The novel mirrors some of the compromises Peabody made to build Groton. According to one story, in 1891, Peabody financed Groton's main dormitory by allowing donors who contributed at least $5,000 (approximately $175,000 in 2025 dollars) to nominate one student for admission, notwithstanding the waiting list. He later remarked that focusing on educating wealthy students was "one of the great mistakes that emade as Headmaster". For his own part, Auchincloss commented that Peabody had no other option, since "who else in 1881 was going to support a new school started by three young men?"

Prescott's title also refers to Peabody. While Groton did not use the term "rector" for its headmaster (the term was instead used by St. Paul's School), the school community informally referred to Endicott Peabody as "''the'' Rector".

Other characters

The character of Brian Aspinwall is modeled on Auchincloss' old mentor, Malcolm Strachan. Auchincloss admitted that Aspinwall was "much weaker and less attractive ... than Malcolm had ever been", but rejected claims that the character was a veiled attack on Strachan. He said that he wanted to make Aspinwall as different from Prescott as possible for dramatic effect.

Auchincloss based Prescott's friend Horace Havistock on University of Cambridge legal historian G. T. Lapsley. Like Havistock, Lapsley left America for Europe and was rumored to have been gay.

Themes

Auchincloss spent most of his career detailing the decline of White Anglo-Saxon Protestants' leading role in American society. He said that "to have witnessed the disintegration of an economic ruling class in the 1930s from a front row seat ... was all a novelist could ask or" In an early chapter of ''The Rector of Justin'', Horace Havistock concedes that "the world of the private school" is necessarily tied up with "the world of personal honor and a Protestant God", and that "when a civilization crumbles, it crumbles all together."

The collapse of aristocratic values

''The Rector of Justin'' explores the erosion of the WASPs' self-belief that values instilled at schools like Groton entitled them to leadership roles in the corporate world and public service, and reflects Auchincloss' growing disillusionment with WASP society in the 1930s and 1940s. Auchincloss said when he was growing up, the Eastern Establishment thought it "could be trusted to regulate itself". As an example of these values, the novel notes how after David Griscam's father went bankrupt and fled the country, his mother felt a "sacred duty" to pay off her absentee husband's debts, forcing the family to abandon its upper-class lifestyle. As a young man, Auchincloss resented the Groton-educated Franklin Delano Roosevelt's use of government to enforce morality in the corporate sphere, reasoning that it was a repudiation of Establishment values. However, during this period, he lost faith in the idea that WASPs were more moral than the general population. Another Grotonian, financier Richard Whitney, shocked high society with his 1938 embezzlement conviction; Auchincloss explored Whitney's misdeeds in his next novel, ''The Embezzler'' (1966).

Over the course of the novel, an increasingly immoral WASP establishment begins hiding behind moral individuals like Francis Prescott to obscure its own failures. Auchincloss wrote that the basic idea of the novel was "to study a saint and to leave it up to the reader whether saints are good or bad." By the end of the novel, Justinians have raised up an idealized version of Prescott to pretend that Christian values are still relevant to modern society, turning Prescott into "a symbol rather than a source of morality." They do so intentionally: Prescott's daughter implies that America's true elites carefully sidelined her father, who was "not quite to be taken seriously". Auchincloss praised the writings of Oliver La Farge, another unhappy Groton alumnus, which taught him that "Groton without Peabody" is "''just'' this 'dream', this stuffy little group of snooty, cruel boys".

Auchincloss' views evolved after the novel was published. After watching his high school classmates William and McGeorge Bundy lead America into the Vietnam War, he concluded that the novel's take on Groton ("that its graduates were ... too shallow to aspire to the school's ideals") was fundamentally incorrect. He decided that "the ideals themselves were rotten", explaining that Groton taught the Bundys to never concede defeat, even when the war could not be won. In ''The House of the Prophet'' (1980), the novel's stand-in for Walter Lippmann comments that the danger of Groton was in its culture of "pugnacity".

Elite decadence

In a 1968 essay, Auchincloss explained that "the central problem in all New England Protestant church schools of eabody'sday was the conflict between the piety and idealism of their inspirers and the crass materialism of the families" that supported them. As Gore Vidal (Exeter '43) put it, Auchincloss' books frequently trace "the collapse of the Puritan ethical system and its replacement by—as far as those of us now living can tell—nothing." Auchincloss himself was an example of this, as his father sent him to boarding school out of concern that a child who grew up "in a woman's world of cushions and caresses ... would turn into a sissy". A lapsed Presbyterian, he later wrote that most of his Groton classmates stopped going to church as adults, but hedged that while "the Ivy League of my day" may have been "godless ... it certainly did not lack ideals".

The novel reflects Auchincloss' disillusionment with American boarding schools' inability to live up to their founders' vision. Like Prescott, the real-life Endicott Peabody sought to toughen up spoiled aristocrats through harsh discipline and simple living. However, in 1960, shortly before publishing ''The Rector of Justin'', Auchincloss wrote that he saw Peabody "as a David engaged in the seemingly hopeless struggle of preserving some degree of spirituality from the Goliath of materialism that re-invaded the school with each new form of prosperous youngsters." In the novel, Prescott contemptuously remarks that Peabody's Groton is "well equipped to train young men for the steam room of the Racquet Club". Only at the end of his life does Prescott realize that his school is no different. Auchincloss may have been speaking from personal experience, as his brother left a career in the Foreign Service for "a life of pleasure and leisure". Auchincloss said that "I could have almost lived on what eexpended on shirts and cufflinks."

The ending of the novel emphasizes that the American aristocracy must reform to survive. Despite his early ambivalence for the reformist Franklin Roosevelt, Auchincloss later admitted that Roosevelt "was not a traitor to his class" but "its last great representative". Christopher Dahl writes that the novel's ending suggests "there remains some good in a flawed institution like Justin Martyr, and it is better to support [] mild reforms ... than to abandon the battle altogether."

Internal contradictions and self-delusion

Despite Prescott's best intentions, he "does not see, and [Aspinwall] only dimly glimpses," that there is a "fundamental irony implicit in attempting to foster 'democratic' ideals in n upper-classinstitution" like Justin Martyr. Auchincloss commented that he "wanted rescottto express the agony of failing ridiculously when he wanted at the very least to fail magnificently". He said that Endicott Peabody must have reached a Prescott-like epiphany about his school's failure, explaining that while Peabody must have known that "half the Groton family paid only lip service to his ideals ... and that he had failed to persuade his boys to receive Christ", nobody in the Groton community wanted to admit this to him. Auchincloss implied that he had gotten this impression from Peabody's confidant Malcolm Strachan. However, he also wrote that "if Dr. Peabody had his moments of despair, they didn't show."

The novel's main characters personify the internal contradictions of WASP society. Prescott is "a man of intellect and idealism who could be noble, generous and kind but also, by turns, cruel, callous and arbitrary", and "one of the central strengths of the novel" is that it supports "widely divergent conclusions" about Prescott, with Auchincloss "go ngout of his way to present the negative as well as positive aspects of Prescott's character". Christopher Dahl notes that the novel repeatedly provides examples of Prescott's "goodness and spiritual strength, only to follow each of them immediately with an instance of his pettiness or meanness". Robert M. Adams added that Aspinwall also displays some of the flaws of the racist and classist trustees who seek to claim Prescott as their own, as "the book is an analysis of a petrified old windbag, unwittingly revealed as such by his most devoted admirer". He suggested that the book did not make its point clear enough, expressing concern that no individual narrator clearly explained that "a private New England Episcopal prep school s not avery distinct alternative to a world of money and snobbery". Auchincloss agreed that Aspinwall was a flawed character, commenting that while Aspinwall ends the book resolving to write a biography of Prescott, "personally, I doubt if Brian would have been able to finish it."

Contemporary reception

Commercial response

''The Rector of Justin'' was a major commercial success. It spent thirty-five weeks competing for first place on the best-seller lists with Saul Bellow's ''Herzog,'' and had sold 2 million copies by 1966. It was the sixth-best-selling fiction book of 1964, although third-placed ''Herzog'' sold considerably more hardcover copies (142,000 to 80,000).

Walter Wanger optioned the film rights for MGM. He recruited George Cukor to direct, Samuel A. Taylor to write the screenplay, and Spencer Tracy and Katharine Hepburn to play the leads. However, Tracy was in poor health and the film was never made.

Critical response and awards consideration

Critics generally praised the novel. It was a finalist for the Pulitzer Prize for Fiction and the National Book Award for Fiction, losing to Shirley Ann Grau's '' The Keeper of the House'' and Bellow's ''Herzog'', respectively. Although Pulitzer jurors Lewis Stiles Gannett and Maxwell Geismar personally disliked ''Herzog'', they picked ''The Keeper of the House'' over ''The Rector of Justin'' in part because the latter was "precisely ... the kind of novel to which the prize has been awarded in the past". Geismar also dismissed Auchincloss' work as insubstantial, explaining that while he typically gave Auchincloss favorable reviews, his books were "polished entertainment and nothing else". Auchincloss admitted that it was "silly of me to mind" losing the awards, but was wounded nonetheless.

Among positive reviews, Orville Prescott (''The New York Times'') lauded Auchincloss' "deeply human" characterization, saying that the novel demonstrated an "emotional power and [] psychological fascination ... rarely found in anybody's [work]." Leon Edel (''Life (magazine), Life'') said that the book put Auchincloss "in the front rank of mid-century American novelists", praising the novel for "subtly tak ng tslegends apart before our eyes." ''Time'' wrote that the novel "finally fulfill d uchincloss'longtime promise of major distinction as a novelist", adding that "Auchincloss writes in the manner of Henry James, finding great moral dilemmas in small events". The ''Virginia Quarterly Review'' wrote that Auchincloss' "quiet authority in an age of literary hysteria is both gratifying and heartening." Paul Pickrel (''Harper's Magazine'') called the novel "almost certainly the finest work ever written about an American preparatory school". Stephen Spender said that while he thought ''Herzog'' was a more interesting book, "''The Rector of Justin'' is not just another debunking novel about a Victorian prig," because through Auchincloss' detailing of Prescott's internal contradictions, " w characters in modern fiction have been portrayed so completely in the round." Edith Copeland (University of Oklahoma) praised Auchincloss' "precise, disciplined crystalline prose under perfect control". She concluded that the novel's "characters are so complex and interesting that uchinclosshas no need of melodrama".

Several negative reviewers argued that Auchincloss was insufficiently critical of his class. Robert M. Adams (''The New York Review of Books'') said that Auchincloss' critique of the boarding school system was "fake criticism" and "afraid to ask the questions that hurt". Leigh Bienen ('' Transition'') likewise dismissed the book as "pleasant and not very profound," having achieved commercial popularity by "present nglittle threat to either reader or author". More broadly, several critics noted that Auchincloss' books consistently dealt with a small slice of American society.

Artistically, several reviewers, including Edward Weeks (''Atlantic Monthly''), wrote that the novel's six narrators were too similar; Orville Prescott's otherwise laudatory review dryly quipped that "by a happy chance and a familiar literary convention, the six observers are all expert novelists." Robert Adams added that Auchincloss' dialogue was unrealistic.

The end of an era

According to one academic, "''The Rector of Justin'' brought its author recognition and popularity, but did little in the long run to secure him a prominent place in postwar American literature". By 1985, '' Vanity Fair'' noted that Auchincloss "is never mentioned in lists of great American writers" and "has won no important prizes". In 1995, one critic even said that ''The Rector of Justin'' was the "only uchinclossbook to receive substantial critical praise". (Auchincloss was a four-time finalist for the National Book Award, but his last finalist recognition came in 1967.)

The search for a new fiction

''The Rector of Justin'' was published after at least a decade of growing discomfort with society novelists. Auchincloss' friend Gore Vidal wrote that the literary establishment had been dismissing Auchincloss' style since the early 1950s, and that critics had unfairly criticized him for "never question ng ASP society'svalues in any serious way". Auchincloss himself feared that his reputation as a society novelist was dragging down both his sales and his critical reputation. In 1953, he urged his publisher Houghton Mifflin to stop marketing him as a society writer, explaining that "the public that wants 'society' books doesn't want my sort of books. They want something more Ouida .e., melodramatic And the others are disgusted by the tag." However, starting with ''Pursuit of the Prodigal'' (1959), a finalist for the National Book Award for Fiction, and ''The House of Five Talents'' (1960), which sold 25,000 hardcover copies and was also an NBA finalist, Auchincloss' critical and commercial reputation began improving, and his books frequently made best-seller lists.

Although ''The Rector of Justin'' was warmly received by audiences and critics, even contemporary reviewers characterized Auchincloss as the last of a dying breed of society author. Virgilia Peterson (''The New York Times'') wrote that the novel was another example of Auchincloss "imperturbably writing traditional society novels despite the fact that this kind of novel and this society are both supposed to be dead." Edith Copeland agreed that Auchincloss was one of America's only remaining novelists to concentrate on "well established members of the social order".

Auchincloss repeatedly argued that his intended audience was much broader than his limited cast of characters. He noted that Proust's works also focused on a limited stratum of society and that non-WASPs like Sidney Lumet (who he said understood ''The Rector of Justin'' perfectly) could still enjoy his work. In his 1974 autobiography, he explained that while his books focused on a narrow slice of American society, he did so for convenience, as that background "is a familiar one to me and is hence more available as a model." He argued that his novels were principally about near-universal "personal, or psychological" problems and questioned why "critics did not resent Anna Karenina or Colonel Newcome." Gore Vidal added that Auchincloss' society was still relevant in 1960s and 1970s America, and that by downplaying the continuing relevance of WASPs in big business and philanthropy, literary critics revealed their own "remoteness ... from actual power".

The new fiction arrives

At the end of 1964, Francis Brown (''The New York Times'') drew a distinction between ''The Rector of Justin'' and its awards-season competitor, Bellow's ''Herzog''. He explained that the choice between the two reflected a fork in the road for American literature:

"We have writers who adhere in the main to the content, form and style of the novel and short story that are traditional and classic. We have experimentalists, here and abroad, who reject old forms, old styles. There is a conflict of philosophies: belief that life has a purpose, or if it doesn't, at least the living of life can have some joy to it, contends with insistence that there is nothing to life but the living of it, and that even that is absurd. ... 'The Rector of Justin''is all most absorbing and convincing but it is told in a form that is familiar and in a style that shows no experimental flourish. ... By contrast, 'Herzog''is as unconventional in its form as in the manner of its telling, and [], to be vulgar about it, packs a fresh and mighty wallop."

Brown was not the only critic to compare the two novels. Granville Hicks admitted that "to many people, myself included ... a bewildered intellectual in search of wholeness of spirit belongs more truly to our times than the aged headmaster of a fashionable preparatory school". Norman Mailer, whose artistic sensibilities were closer to Bellow's, argued that "the maudlin middle reaches of ''The Rector of Justin''" represented "the bankruptcy of the novel of manners". He praised the character of Moses Herzog because "it says: I am debased, I am failed, I am near to rotten, and yet something just as good and loving resides in me as the tenderest part of your childhood", and concluded that ''Herzog'' lay "at the center of the modern dilemma". In his 1966 novel ''Too Far to Walk'', John Hersey dramatized the conflict by describing ''The Rector of Justin'' as a novel that a college student is assigned to read in a political science class, in contrast to ''Herzog'', which was assigned in a religion and sexuality class flippantly dubbed "Totems and Scrotums".

Fifty years later, when tracing the development of postwar American literary fiction, Leo Robson (''The New Yorker'') concluded that ''Herzog'' helped "tip[] the balance in favor of the poetic and demotic, the Romanticism, Romantic and expansive", which in turn prompted critics to downgrade formalist and realist novels like ''The Rector of Justin''. Catherine Kord (''The Antioch Review'') agreed that "with the avant-garde seeking new ways of presenting fiction ... Auchincloss's New York can seem quaint or even marginal."

Auchincloss predicted his own critical decline, but was unable to stop it. During the 1965 awards season, he told Gore Vidal that "the year of ''The Rector of Justin'' had given way to the glorious era of ''Herzog'' and we are now dim figures of a gentile American past". He concluded that "we had our day, and though we lacked Moral Seriousness, in our Waspish way, we had style."

Modern appraisals

''The Rector of Justin'' is generally considered Auchincloss' best work. In 2008, Larissa MacFarquhar (''The New Yorker'') wrote that ''The Rector of Justin'' was Auchincloss' masterpiece "because it is one of the few times he permits his elegiac moralism to dominate a book. He loves his mad Puritans, and believes they are no more." In her 1993 biography of Auchincloss, Carol Gelderman wrote that it was one of Auchincloss' three best works, along with ''The House of Five Talents'' and ''Portrait in Brownstone''.

Even so, the novel has fallen out of fashion. In part, this is because Auchincloss' writing style is itself no longer in fashion. However, it also reflects a sentiment that novels were not Auchincloss' strong point. Vidal said that while Auchincloss was a "superb short-story writer", he was merely a "good novelist". Merle Rubin (''Los Angeles Times'') agreed that Auchincloss' short stories generally outstripped his novels, but felt that ''The Rector of Justin'' was an exception and opined that "it hardly seems fair to penalize his productivity by holding his less accomplished books against him". Frank N. Magill (Salem Press) and Mark Oppenheimer ('' Tablet'') wrote that Auchincloss' post-''Justin'' works tended to recycle the ''Justin'' formula, which (in Magill's words) "threaten dto undermine, even in retrospect, the reputation justly earned by his best work."

Auchincloss enjoyed a brief critical revival in the 1980s. In 1985, Susan Cheever ('' Vanity Fair'') called him "the most underrated writer in America", noting that he was "one of a handful of male writers whose sympathy for women is so extraordinary that his female characters are as complete and convincing as his men." She concluded that "the narrowness of his opicalfocus is a false issue", as Auchincloss reached out to broader themes about "the conflict between desire and morality". The following year, Christopher Dahl published a full-length treatment of Auchincloss' career, which pointed out that in the novel, "the costs of Christian altruism and self-sacrifice apparently paid by a good man are often borne in large measure by the people around him", particularly the women in Prescott's life. In another book-length study of Auchincloss published two years later, David Parsell said that ''The Rector of Justin'' was "unquestionably" the best American boarding school novel.

In the 21st century, critics have offered new perspectives on the novel. Grace Byron (''Los Angeles Review of Books'') suggested that Auchincloss' deliberately understated style obscured the full depth of his characters, possibly because "after so many years as a lawyer he sealed by habit the most exciting material behind attorney-client privilege". Jonathan Yardley (''The Washington Post'') argued that ''"The Rector of Justin'' is a 'prep school novel' in the same way that ''Moby-Dick'' is a 'whaling novel'". Although he was a former Groton scholarship student who described the school as a "decidedly mixed blessing[]", he called the novel a "minor masterpiece of 20th-century literature". Mark Oppenheimer praised Auchincloss' writing style, explaining that it could be from "1920, or 1940—some imagined time when sentences had the leisure to amble around, tasting and then regurgitating highbrow references and allusions, not rushing to any forced conclusion." Although he did not consider Auchincloss a great writer in general, he predicted that ''The Rector of Justin'' would "someday be recognized as a classic."

Notes

See also

* List of ''The New York Times'' number-one books of 1964
* School story

References

Sources

*
*
*
*
*
*
*
*
*
*{{Cite book , last=Tuttleton , first=James W. , author-link=James W. Tuttleton , title=A Fine Silver Thread: Essays on American Writing and Criticism , publisher=Ivan R. Dee , year=1998 , location=Chicago , pages=238–55 , chapter=Louis Auchincloss: The Image of Lost Elegance and Virtue , ref=CITEREFTuttleton1998

1964 American novels
Novels by Louis Auchincloss
American historical novels
Novels set in boarding schools
Houghton Mifflin books
Novels with multiple narrators
First-person narrative novels
Novels set in Massachusetts