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Arthur Burton Rascoe , was an American journalist, editor and literary critic of the New York Herald Tribune.

He was born in Fulton, Kentucky to Matthew L. Rascoe and Elizabeth Burton Rascoe. His father chose to investigate business prospect in Oklahoma Territory, and the family eventually settled in Shawnee, Oklahoma, which, despite fears planted by friends in Fulton, was a thriving community. Housing had not kept up with the influx of citizens and the Rascoe family was left to small dismal accommodations, something Mrs. Rascoe never overcame. Burton, however, grabbed at every opportunity to find work and educate himself outside the school system. While serving as a class officer at Shawnee High School he played baseball and played quarterback on the football team after earning 30 dollars digging potatoes to purchase his uniform. He began a paper route for the Shawnee Herald but soon put himself in charge of all the other newsboys. He also worked as assistant librarian at the town's Carnegie Library, was a ghost writer for citizens who were called on to make speeches or publish articles, a stringer for the Oklahoma City Times and writing articles for the Herald, all this while attending classes. His father continued to struggle supporting his family and by 16 Burton was supporting himself. Feeling ready and recognizing his more open-minded views he left school before graduation and moved to Chicago. From 1911 until 1913, he attended the University of Chicago where he joined Sigma Nu. While still a student, he started writing for the Chicago Tribune and continued working there until 1920.

In 1922, he became literary editor of the New York Tribune. He continued in that position until a merger turned the paper into the New York Herald Tribune in 1924. The writing and editorial staff he assembled included writers who became well-respected: Isabel Paterson and Will Cuppy.

Rascoe continued to hold high-profile editorial jobs in the field of literary criticism and to write books of his own about literature and authors. In 1935 he was appointed a senior editor at Doubleday, Doran, holding this post until 1952. His best-known work, Titans of Literature, appeared in 1932. He also authored Before I Forget, an autobiography of sorts revealing much of his upbringing in Oklahoma. The book gives a good insight to life for a young man during the early days of the 20th century. Other works include Theodore Dreiser, A Bookman's Daybook , The Smart Set Anthology, edited together with Groff Conklin , The Joys of Reading: Life's Greatest Pleasure and Belle Starr, The Bandit Queen .He was also a literary critic and was a syndicated columnist throughout his career. He was best known for "A Bookman's Daybook," "The Book of the Week," and "TV First-Nighter."

Rascoe married Hazel Luke on July 5, 1913, and they had two children, Alfred Burton Rascoe, Jr., born July 2, 1914, who died by suicide in 1936, and a daughter, Ruth Helen, born 1918.

In his last few years of life, Rascoe worked as a television reviewer. He died of heart failure in New York City on March 19, 1957. Wikipedia  

✵ 22. October 1892 – 19. March 1957
Burton Rascoe: 10   quotes 0   likes

Famous Burton Rascoe Quotes

“A news sense is really a sense of what is important, what is vital, what has color and life — what people are interested in. That's journalism.”

Burton Rascoe

As quoted in Useful Quotations : A Cyclopedia of Quotations (1933) edited by Tryon Edwards, C. N. Catrevas, and Jonathan Edwards

“I felt exactly like the man in the advertisement who has not devoted fifteen minutes a day to the study of the classics. If only (I thought) I had devoted fifteen minutes a day to the cultivation of the aesthetic attitude! I could bound Afghanistan.”

Burton Rascoe

"Contemporary Reminiscences" in Arts & Decoration, Vol. 26 (1927), p. 50

“Once we understand the fundamentals of Mr. Cabell's artistic aims, it is not easy to escape the fact that in Figures of Earth he undertook the staggering and almost unsuspected task of rewriting humanity's sacred books, just as in Jurgen he gave us a stupendous analogue of the ceaseless quest for beauty. For we must accept the truth that Mr. Cabell is not a novelist at all in the common acceptance of the term, but a historian of the human soul.”

Burton Rascoe

Introduction to Chivalry (1921) by James Branch Cabell, later published in Prometheans : Ancient and Modern (1933), p. 279
Context: Once we understand the fundamentals of Mr. Cabell's artistic aims, it is not easy to escape the fact that in Figures of Earth he undertook the staggering and almost unsuspected task of rewriting humanity's sacred books, just as in Jurgen he gave us a stupendous analogue of the ceaseless quest for beauty. For we must accept the truth that Mr. Cabell is not a novelist at all in the common acceptance of the term, but a historian of the human soul. His books are neither documentary nor representational; his characters are symbols of human desires and motives. By the not at all simple process of recording faithfully the projections of his rich and varied imagination, he has written thirteen books, which he accurately terms biography, wherein is the bitter-sweet truth about human life.

“It is true, of course, that like the fruit of the tree of life, Mr. Cabell's artistic progeny sprang from a first conceptual germ — "In the beginning was the Word." That animating idea is the assumption that if life may be said to have an aim it must be an aim to terminate in success and splendor.”

Burton Rascoe

Introduction to Chivalry (1921) by James Branch Cabell, later published in Prometheans : Ancient and Modern (1933), p. 279
Context: It is true, of course, that like the fruit of the tree of life, Mr. Cabell's artistic progeny sprang from a first conceptual germ — "In the beginning was the Word." That animating idea is the assumption that if life may be said to have an aim it must be an aim to terminate in success and splendor. It postulates the high, fine importance of excess, the choice or discovery of an overwhelming impulse in life and a conscientious dedication to its fullest realization. It is the quality and intensity of the dream only which raises men above the biological norm; and it is fidelity to the dream which differentiates the exceptional figure, the man of heroic stature, from the muddling, aimless mediocrities about him. What the dream is, matters not at all — it may be a dream of sainthood, kingship, love, art, asceticism or sensual pleasure — so long as it is fully expressed with all the resources of self. It is this sort of completion which Mr. Cabell has elected to depict in all his work: the complete sensualist in Demetrios, the complete phrase-maker in Felix Kennaston, the complete poet in Marlowe, the complete lover in Perion. In each he has shown that this complete self-expression is achieved at the expense of all other possible selves, and that herein lies the tragedy of the ideal. Perfection is a costly flower and is cultured only by an uncompromising, strict husbandry.

“It is the quality and intensity of the dream only which raises men above the biological norm; and it is fidelity to the dream which differentiates the exceptional figure, the man of heroic stature, from the muddling, aimless mediocrities about him.”

Burton Rascoe

Introduction to Chivalry (1921) by James Branch Cabell, later published in Prometheans : Ancient and Modern (1933), p. 279
Context: It is true, of course, that like the fruit of the tree of life, Mr. Cabell's artistic progeny sprang from a first conceptual germ — "In the beginning was the Word." That animating idea is the assumption that if life may be said to have an aim it must be an aim to terminate in success and splendor. It postulates the high, fine importance of excess, the choice or discovery of an overwhelming impulse in life and a conscientious dedication to its fullest realization. It is the quality and intensity of the dream only which raises men above the biological norm; and it is fidelity to the dream which differentiates the exceptional figure, the man of heroic stature, from the muddling, aimless mediocrities about him. What the dream is, matters not at all — it may be a dream of sainthood, kingship, love, art, asceticism or sensual pleasure — so long as it is fully expressed with all the resources of self. It is this sort of completion which Mr. Cabell has elected to depict in all his work: the complete sensualist in Demetrios, the complete phrase-maker in Felix Kennaston, the complete poet in Marlowe, the complete lover in Perion. In each he has shown that this complete self-expression is achieved at the expense of all other possible selves, and that herein lies the tragedy of the ideal. Perfection is a costly flower and is cultured only by an uncompromising, strict husbandry.

“Perfection is a costly flower and is cultured only by an uncompromising, strict husbandry.”

Burton Rascoe

Introduction to Chivalry (1921) by James Branch Cabell, later published in Prometheans : Ancient and Modern (1933), p. 279
Context: It is true, of course, that like the fruit of the tree of life, Mr. Cabell's artistic progeny sprang from a first conceptual germ — "In the beginning was the Word." That animating idea is the assumption that if life may be said to have an aim it must be an aim to terminate in success and splendor. It postulates the high, fine importance of excess, the choice or discovery of an overwhelming impulse in life and a conscientious dedication to its fullest realization. It is the quality and intensity of the dream only which raises men above the biological norm; and it is fidelity to the dream which differentiates the exceptional figure, the man of heroic stature, from the muddling, aimless mediocrities about him. What the dream is, matters not at all — it may be a dream of sainthood, kingship, love, art, asceticism or sensual pleasure — so long as it is fully expressed with all the resources of self. It is this sort of completion which Mr. Cabell has elected to depict in all his work: the complete sensualist in Demetrios, the complete phrase-maker in Felix Kennaston, the complete poet in Marlowe, the complete lover in Perion. In each he has shown that this complete self-expression is achieved at the expense of all other possible selves, and that herein lies the tragedy of the ideal. Perfection is a costly flower and is cultured only by an uncompromising, strict husbandry.

Burton Rascoe Quotes

“American literature has been, and is, singularly deficient in established critics who have anything like a rational conception of their jobs.”

Burton Rascoe

"Fanfare", in H. L. Mencken (1920)
Context: American literature has been, and is, singularly deficient in established critics who have anything like a rational conception of their jobs. The majority, initiate in a few of the patent rituals of Aristotle and Quintilian, don the forbidding robes of high priests to Sweetness and Light, and go about their business much as if the idea were to keep all they know to themselves.

Literature

“When H. L. Mencken unpacks his idiomatic brasses, tunes up his verbal strings, and gets in readiness his phrasal wood winds to orchestrate a fugue in damnation or in praise of man, god or book, his all too meagre audience cancels all other engagements to be on hand at the initial presentation. The result, that audience knows, will be an experience of pure enjoyment.”

Burton Rascoe

" Fanfare http://englishatheist.org/mencken/Rascoe-Mencken.htm", in H. L. Mencken (1920) http://www.archive.org/details/hlmencken00newyrich
Context: When H. L. Mencken unpacks his idiomatic brasses, tunes up his verbal strings, and gets in readiness his phrasal wood winds to orchestrate a fugue in damnation or in praise of man, god or book, his all too meagre audience cancels all other engagements to be on hand at the initial presentation. The result, that audience knows, will be an experience of pure enjoyment. His musicianship is unfailing. His program is unsatisfactory only in its impermanence. Though the theme he proposes is invariably Mencken — Mencken apropos of this or that — he gives it infinite and intricate variations.

God , Books

“I am so constituted that I had rather read bad stuff than nothing.”

Burton Rascoe

As quoted in the dedication to The Pumpkin Coach (1935) by Louis Paul

Reading

“What no wife of a writer can ever understand, no matter if she lives with him for twenty years, is that a writer is working when he's staring out the window.”

Burton Rascoe

Quoted by Bennett Cerf in Shake Well Before Using http://books.google.com/books?id=gVZAAAAAIAAJ&q=%22What+no+wife+of+a+writer+can+ever+understand+no+matter+if+she+lives+with+him+for+twenty+years+is+that+a+writer+is+working+when+he%27s+staring+out+the+window%22&pg=PA118#v=onepage (1948)

Understanding

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