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Madison Barber Madison Barber, Photo: Unknown 6
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IN the summer of 1936, American literature divided resoundingly along its oldest fault line, and the resulting chasm seemed to grow wider and deeper with every saleroughly a million by the end of Decemberof a hefty new novel called Gone with the Wind. On one side of the fissure, patently serious writers and critics conceded that they were hopelessly outnumbereda fact that the representatives of literature had been bemoaning since at least the middle of the previous century, even before Nathaniel Hawthornes famous complaint that he was being driven from the literary marketplace by a damned mob of scribbling women and a public taste occupied with their trash. It was one such scribbler and her public who now thronged the opposite side
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