"The only sensible ends of literature are, first, the pleasurable toil of writing; second, the gratification of one's family and friends; and lastly, the solid cash"
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A century before “content creation” became a lifestyle, Hawthorne is already puncturing the sanctimony around art. He lays out literature’s “only sensible ends” as a tidy ladder: the private grind, the social payoff, the paycheck. It’s funny because it’s bluntly anti-heroic; he refuses the usual halos (immortality, moral uplift, national destiny) and swaps them for motives that sound almost embarrassingly human. The phrase “pleasurable toil” is the tell. Writing is both joy and labor, a paradox any working artist recognizes, and Hawthorne gives it pride of place before anyone else’s approval enters the room.
Then he pivots: “gratification of one’s family and friends.” Not “the public,” not “posterity,” but the small circle that actually witnesses your life. There’s affection here, but also a wink at how reputation works: you want to matter to the people who will still show up after reviews fade. That domestic note lands sharply coming from a 19th-century novelist navigating a young American literary marketplace that offered prestige without much security.
“Lastly, the solid cash” closes like a punchline and a confession. By saving money for the end, Hawthorne keeps the moral high ground while still insisting on material reality. “Solid” does extra work: it mocks airy talk about art while acknowledging rent, food, and time. The subtext is not that money corrupts literature; it’s that pretending money is irrelevant corrupts writers. Hawthorne’s realism is its own kind of integrity, delivered with a dry smile.
Then he pivots: “gratification of one’s family and friends.” Not “the public,” not “posterity,” but the small circle that actually witnesses your life. There’s affection here, but also a wink at how reputation works: you want to matter to the people who will still show up after reviews fade. That domestic note lands sharply coming from a 19th-century novelist navigating a young American literary marketplace that offered prestige without much security.
“Lastly, the solid cash” closes like a punchline and a confession. By saving money for the end, Hawthorne keeps the moral high ground while still insisting on material reality. “Solid” does extra work: it mocks airy talk about art while acknowledging rent, food, and time. The subtext is not that money corrupts literature; it’s that pretending money is irrelevant corrupts writers. Hawthorne’s realism is its own kind of integrity, delivered with a dry smile.
Quote Details
| Topic | Writing |
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