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George Washington Cable: Louisiana Creoles
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George Washington Cable (1844-1925) was an American author famous for his fictional treatment of the Creoles of Louisiana. Tinker was a writer and a philanthropist, who was interested in Cable and his relationship with Lafcadio Hearn (1850-1904).
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George Washington Cable (12 October 1844 – 31 January 1925) was an American novelist notable for the realism of his portrayals of Creole life in his native Louisiana. His fiction has been thought to anticipate that of William Faulkner.
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Any discussion of the literature of New Orleans needs to include George Washington Cable’s Old Creole Days (1879) and The Grandissimes (1880). In this pair of uncompromising works, which were widely reviled in the South of their day, Cable tackles the issues of slavery and white supremacy head on. Even today – as is sometimes the case with Faulkner – many southern critics and Cable’s fellow New Orleanians have not found it within themselves to fully embrace Cable. His insistence upon the inclusion of the darker, more violent side of the Southern experience unsettles his fiction with difficult knots and contradictions. The story of the enslavement of the African royal prince Bras-Coupé, tucked into the center of The Grandissimes, illustrates, (as Jay Hubbell explains in his monumental The South in American Literature), “The rudiments of the internal division between loving and hating the South that identifies Faulkner’s Quentin Compson as the quintessential Southern imagination” (xix).
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Cable's best work appeared before 1890. John March, Southerner (1895) showed his weakness in portraying an area other than Louisiana, and The Cavalier (1901), though a financial success, was an inferior swashbuckling romance. Gideon's Band (1914) authentically pictures Mississippi River life but is theatrical. After many years of illness, Louise Cable died in 1904. In 1906 Cable married Eva C. Stevenson, who died in 1923; and in that year he married Hannah Cowing, who survived his death on Jan. 31, 1925.
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Cable captured a more distinct flavor than did Page through the use of mystification and Negro folklore. As a writer, he was constantly under pressure to remove unpleasant details and soften disquieting aspects of the black experience. But Cable saw the moral wrongs and social dangers built into the reconstruction era. The mulatto struggle appeared in his Creole stories, where once again, the servants of mixed parentage found the greatest difficulty in attempting to join one society or the other.
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Mr. Cable's singing of Creole songs was very charming and novel. They were so sweet, and he sang so beautifully, that everybody was charmed, it was all so simple, and quaint, and dignified.
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