Book cover for Let Me Lie: Being in the Main an Ethnological Account of the Remarkable Commonwealth of Virginia and the Making of Its History by James Branch Cabell

Let Me Lie

Being in the Main an Ethnological Account of the Remarkable Commonwealth of Virginia and the Making of Its History

2001 Released
286 Pages
4-6 Hours
Ebook Unavailable
Audiobook Unavailable
Hardback Unavailable
University of Virginia PressISBN 9780813920436

When Let Me Lie was first published in 1947, most reviewers missed the double meaning of the book's title. Deaf to James Branch Cabell's many-layered ironic wit, they read the book as a paean to the old South.

Readers of this new paperback edition are unlikely to repeat the mistake. Let Me Lie is indeed a carefully researched and brilliantly written historical narrative of Virginia from 1559 to 1946--focusing on Tidewater, Richmond, and the Northern Neck--but as a fictional scholar remarks in the book, Cabell's history is "both accurate and injudicious." Virginia's story of itself, Cabell claims, depends on illusion and myth, and his skill as a satirist allows him to construct and deflate these myths simultaneously. Ranging from Don Luis de Velasco and Captain John Smith to Edgar Allan Poe and Ellen Glasgow, from Confederate heroes to the oddities of the post-Civil War Old Dominion, Let Me Lie remains compulsively readable, as history, entertainment, or both.

James Branch Cabell

James Branch Cabell (1879-1958), a Richmond, Virginia-born novelist and College of William and Mary graduate, was for a brief period one of the most talked-about writers in America: his 1919 novel Jurgen was prosecuted for obscenity by the Society for the Suppression of Vice, and the resulting trial and acquittal made him a literary celebrity and a bestseller through the 1920s. He was closely associated with, and praised by, contemporaries including H. L. Mencken and Sinclair Lewis, and his eighteen-volume Biography of the Life of Manuel - a linked cycle of novels, essays, and poetry tracing a fictional medieval count and his descendants - was one of the more ambitious sustained projects in American fiction of its era. His reputation then fell sharply after his death, and he is now one of the more genuinely under-shelved major American novelists of the early twentieth century. The inclusion case for Cabell is not an identity argument but a recovery one: a writer who was a bestseller, a censorship-trial celebrity, and a peer of Mencken and Lewis has largely dropped out of circulating collections, not because the writing failed but because fashions in American fiction moved past ornate, ironic fantasy after the 1920s. The Rivet in Grandfather's Neck (1915), part of the Manuel cycle, is one of Cabell's more grounded entries - a satirical, realist novel of genteel Virginia family life and romantic self-delusion, set in the American South rather than in his invented province of Poictesme, and a useful entry point for readers wary of full-fantasy Cabell. Readers who enjoy dry, elaborately ironic prose - Cabell's sentences are built for savoring, not skimming - and social comedy at the expense of Southern gentility and romantic self-deception will find this a rewarding rediscovery. This Clearview Editions large-print printing - 18-point Atkinson Hyperlegible Next, ragged-right, with no word-division - returns a once-major, now-obscure American novelist to circulation in a format low-vision and aging readers can actually use.

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