At the age of sixteen, De Casseres started working as an assistant to Charles Emory Smith, editor of the Philadelphia Press, for $4 per week.[6][7] At the Press, De Casseres rose from his position as an assistant to become a "copy boy," editorial paragrapher, dramatic critic, proofreader, and (briefly) city editor.[8][9][10][11] During his ten years at the press, De Casseres had a few publications, including one of his first signed editorials, an article that appeared in Belford's Magazine praising Thomas Brackett Reed.[12]
In 1899, De Casseres moved from Philadelphia to New York, he worked as a proofreader first for The New York Sun until 1903 and then for the New York Herald, where he remained until 1916.[11][13] Although his employment at The Sun lasted for only four years, he continued to have periodic letters, poems, and reviews published in the book review section. He also wrote reviews for The New York Times and The Bookman.[13]
De Casseres' first notable work was an article on "Thomas Hardy's Women," which was published in the October 1902 issue of The Bookman.[14] Upon receiving a copy of the article from De Casseres, Hardy wrote back and thanked him "for writing so sympathetic an article."[15] By 1904, De Casseres was starting to receive notice in newspapers and magazines as having "an aptitude for saying clever aphoristic things."[16] An essay on Hawthorn written in the same year and published in The Critic received a fair amount of attention, with portions of the piece being reprinted in various other publications such as the New York Times Book Review, and was cited in a Hawthorn bibliography published the following year.[17][18][19] In 1922, some of De Casseres's early essays were collected in his book Chameleon: Being the Book of My Selves.
In 1906, De Casseres moved to Mexico City, where he worked on the newspaper El Diario along with his friend, the cartoonist Carlo de Fornaro.[20]
In 1915, De Casseres published his first book, a collection of poetry titled The Shadow-Eater,[21] to mixed reviews. Blanche Shoemaker Wagstaff called the volume "a welcome tribute to individualism and defiance" and the poems themselves "metaphysical meteors, searching, cataclysmic and rich in satire."[22] A review in The New York Times favorably compared De Casseres to Walt Whitman, claiming "if his alien, highly individual genius remains unrecognized, criticism will lie upon the public, not upon him."[23] Others, however, received it less favorably. Clement Wood, writing in the New York Call, mocked both De Casseres' book and Wagstaff's review, writing, "It must be admitted that Mr. De Casseres often uses good rhythms; what they are about is another thing. They are mainly about Nothing, as far as we can gather."[24] By 1923, when the book was reissued by the American Library Service, a reviewer for Poetry wrote that De Casseres had lost "the simple sincerity of utterance which is the birthright of the true prophet."[25]
Starting in 1918, De Casseres reviewed books for The Sun, the editor of which (Grant M. Overton) described him as having "a dramatic gift" as a reviewer.[26][27] During the same period, he reviewed books for The Bookman, which advertised that "the best of Mr. De Casseres's work appears in the Bookman" – to which The Sun responded with the claim that "the most glorious book review ever published on any page was Mr. De Casseres's in Books and the Book World, of Broome Street Straws by Robert Cortes Holliday."[28][29][30] De Casseres also wrote humorous articles and reviews for the New York Herald and The New York Times.[31]
Politics
De Casseres was interested in politics from an early age. His first signed editorial, published in 1890 when De Casseres was 17, praised the administrative changes Thomas Brackett Reed had recently made as Speaker of the House.[12]
De Casseres described himself as a defender of American liberty and individualism, and supported the preservation of civil liberties while opposing collectivist ideologies like communism and fascism. While he supported capitalism, he also opposed "efforts of capitalism to monopolize the necessities of life".[32][33] In October 1909, a letter to the editor of The Sun in which De Casseres called socialism the "illusion of the twentieth century" sparked a series of responses in the same publication and others.[34][35][36][37] His frequent comments against socialism peppered the articles that he wrote for popular magazines and journals as well.[38][39] As a Hearst columnist, De Casseres routinely railed against socialism, communism, and other forms of collectivism,[40] and he excoriated those who promoted such political structures, including H. G. Wells,[41]Upton Sinclair,[42] and Franklin Delano Roosevelt.[43]
De Casseres was also a staunch opponent of Prohibition. He used his position as a well-known editorialist to criticize, often satirically, prohibition policies.[44][45] In particular, he wrote about the effect of Prohibition on New York City, especially its ineffectiveness of actually preventing drinking.[46][47] De Casseres was widely reported as the first person to take a legal drink after the ratification of the Twenty-first Amendment, he having previously arranged to receive a "flash" telegram from Utah, the last state to ratify the amendment.[48][49]
At various times De Casseres defended free speech. In 1909, he signed onto a petition calling out the police departments of New York City, Brooklyn, Yonkers and East Orange for their respective activities in preventing anarchist Emma Goldman from speaking in those cities.[50]
Personal life
De Casseres met Adele Mary Jones (née Terrill) in 1902. They were both staying at the same boarding house and only saw each other a few times before Bio (as she preferred to be called) moved West with her husband Harry O. Jones in early 1903.[51] Over the next 16 years, De Casseres and Bio Jones corresponded frequently, developing a long-distance romantic relationship, until Jones divorced her husband in 1919 and married De Casseres the same year.[52] They remained married until De Casseres' death in 1945.
In 1931, De Casseres published a collection of letters the couple sent each other during their courtship, titled The Love Letters of a Living Poet, which highlights the unusual nature of their relationship. In one of the letters, De Casseres describes a dream in which "after thirty years together we were both cremated and our ashes mixed inextricably" and "cast into the depths of the sea" where eventually they are "returned to the ecstatic hermaphroditic union of a great biological-mystical fable."[53]
De Casseres died at his home on Manhattan's Riverside Drive at the age of 72.[54] After his death, Bio De Casseres published his final collection of essays, titled Finis, for which she wrote a brief preface. She also authored several works of her own.
Social influence
De Casseres held "an aggressively individualist form of anarchist politics derived primarily from a discomfiting reading of Nietzsche."[2] His views on the idea of the Superman were influential on contemporary writers such as Eugene O'Neill, who called De Casseres an "American Nietzsche" in the foreword to Anathema: Litanies of Negation,[55] and Jack London, who wrote that "no man in my own [philosophical] camp stirs me as does Nietzsche or as does De Casseres."[56] In The Mutiny of the Elsinore, London named a character with a nihilistic point of view "De Casseres" based on their mutual admiration for French philosopher Jules de Gaultier.[57]
According to Marie Saltus, writer and philosopher Edgar Saltus would read the newspaper immediately each morning only if it contained a book review or an article by De Casseres, although the two never met.[58]
Artistically, De Casseres has been described as adopting proto-Dada rhetoric as early as 1910.[59]
Bibliography
De Casseres wrote a variety of articles, essays and books on a wide-ranging topics including criticism, international relations and philosophy, as well as drama, fiction and poetry, often adopting a fin de siècle style.[60] De Casseres was "an outspoken foe of communism" and, like fellow journalistH. L. Mencken, he was particularly interested in the writings of Nietzsche, having written several articles and books about the philosopher's ideas, including a foreword to Germans, Jews and France,[61] a compilation of Nietzsche's correspondence.
The poem "Moth-Terror" is perhaps De Casseres' most famous work. It was originally collected in the Second Book of Modern Verse (edited by De Casseres' colleague Jessie Rittenhouse) and has been included in various other anthologies since then.[62]
In 1935, De Casseres self-published a three-volume collection of his work through Blackstone Publishers. Gordon Press reprinted the set in 1976.
Short works
"A Conversation between George Bernard Shaw and the Dictionary," The Smart Set, December 1914
"Variation on an Old Theme," The Smart Set, September 1917
"The Resignation of New York," The Smart Set, October 1917
"The Psychology of the Avenue," The Smart Set, May 1918
^ abcStratton, Matthew (2014). The Politics of Irony in American Modernism. Fordham University Press.
^BENJAMIN DE CESSARES. Papers.(PDF) (Rare Books and Manuscripts Division Accession Sheet), Accessioned by Robert Sink, New York Public Library, March 1982, 47 M 52; 63 M 41A; 73 M 47, archived(PDF) from the original on 4 May 2014, retrieved 4 May 2014{{citation}}: CS1 maint: location missing publisher (link) CS1 maint: others (link)
^Halmann, Ulrich, ed. (1987), Eugene O'Neill: Comments on the Drama and the Theater, Gunter Narr Verlag Tübingen, pp. 71–2, 181–2, 187
^"Benjamin De Casseres, Editorial Writer, Dies". Milwaukee Sentinel. Milwaukee, WI. December 7, 1945. pp. 2–6. Retrieved 2016-03-21. De Casseres, an authority on national and international affairs, rose from a proofreader with the Philadelphia Press in 1892, to an estimable position in the literary and newspaper world.
^Stratton, Matthew (2014). The Politics of Irony in American Modernism. Fordham University Press. ISBN9780823255450. A prolific writer over four decades, De Casseres's career spanned a wide range of places and positions: he began as a copy boy on a Philadelphia newspaper and, after almost a year in Mexico City starting a newspaper entitled El Diario, he ended as a nationally syndicated Hearst columnist
^"DeCasseres Tells How the Movies Get Men to Play City Editor". The Fourth Estate. New York City: Ernest F. Birmingham. November 4, 1922. p. 29. Retrieved 2016-03-21. DeCasseres was a reporter most of his newspaper career being a city editor for about a minute years ago on the old Philadelphia Press.
^ abBergman, Bernard A. (December 12, 1924). "The American Bernard Shaw". The Wisconsin Jewish Chronicle. Milwaukee, WI. p. 2. Archived from the original on June 30, 2016. Retrieved 2016-03-21. De Casseres was born in Philadelphia, in 1873. When he was 13 he started to work as a cigar salesman. Three years later he graduated to the Philadelphia Press, where he entered upon the exalted duties of office boy. For ten years he was on the Press, as editorial paragrapher, dramatic critic, and finally as proof-reader. In 1899 he came to New York as a proof-reader on the Sun, and in 1903 went over to the Herald in the same capacity.
^ abDe Casseres, Benjamin (October 1890). "Hon. Thomas B. Reed". Belford's Magazine. Vol. V, no. 29. pp. 775–777. Retrieved 2016-03-21.
^Peter Hulme, "Joel’s Revolutionary Table: New York and Mexico City in Turbulent Times", Comparative American Studies An International Journal15:3-4:117-145 (2017) doi:10.1080/14775700.2017.1551600, p. 119
^"The Shadow-Eater". Project Gutenberg. May 2, 2021. Archived from the original on 2021-05-21. Retrieved May 21, 2021.
^Wagstaff, Blanche Shoemaker (November 1915). "Benjamin De Casseres". The Poetry Journal. Vol. IV, no. 3. pp. 103–106. Retrieved 2016-05-28.
^"The Shadow-Eater". The New York Times Book Review. pp. 111–112. Retrieved 2016-05-28.
^Wood, Clement (February 7, 1916). "At Large—One Great Anarch"(PDF). The New York Call. Sec. 2, p. 15. Retrieved 2016-05-28.
^"The Shadow-Eater". Poetry. Vol. 22, no. 5. August 1923. pp. 284–5. JSTOR20574186.
^"Book "Reviewing"". Books and the Book World. The Sun. New York. December 15, 1918. p. 8. Archived from the original on December 20, 2016. Retrieved November 8, 2016.
^De Casseres, Benjamin (December 28, 1919). "Mr. Holliday Is Deified". Books and the Book World. The Sun. New York. p. 12. Archived from the original on December 20, 2016. Retrieved November 8, 2016.
^McIntyre, O. O. (February 3, 1920). "New York City". The Washington Herald. Washington, D.C. p. 4. Archived from the original on November 9, 2016. Retrieved 2016-11-08. Ben De Casseres, an erudite ex-printer and poet, is writing funny articles for the [New York] Herald and Times.
^Lloyd, W. Llewellyn (December 1909). "Socialism, the Reality". The Dental Scrap Book. Vol. 3, no. 2. p. 14. Retrieved 2016-05-28.
^"Absorption: A Universal Law". Mind. Vol. XII, no. 5. August 1903. pp. 369–374. This is the dream of Socialism. It is founded on the incontrovertible proposition that all things tend toward a common center, no matter how great may appear to be their surface diversity and differentiation from a common standard.
^De Casseres, Benjamin (1921-01-29). "Dumplings from the Great Word Potpie". Judge. Vol. 80, no. 2048. p. 30. I may be a lost soul among the literati, but the more I study socialism the harder I find it to keep down my capitalistic suppressed desires.
^Petersen, Arnold (1943). Karl Marx and Marxian Science. New York: New York Labor News Company. pp. 70–71, 74. Archived from the original on April 6, 2015. Retrieved 2016-05-28. There lie before me two outstanding examples of this type of anti-Marxist gutter criticism. One is from one of the ill-smelling Hearst papers (Milwaukee Sentinel, March 27, 1938), and the other from the foul Coughlin periodical, Social Justice (March 14, 1938). In the former that characteristic representative of bourgeois decadence, Benjamin De Casseres, wields his poison pen, if not artistically, at least effectively and with almost complete disregard of the facts and the truth.
^Stratton, Matthew (2014). "The I in Irony: The Case of Benjamin De Casseres". The Politics of Irony in American Modernism. New York: Fordham University Press. Note 105. ISBN9780823255467. Retrieved 2016-05-28. Sinclair's version of Socialism was simply not as hostile to basic notions of the individual as is commonly understood but took a more systemic and economic view of the situation than rhetorical bomb-throwers like De Casseres.
^De Casseres, Benjamin (1920-07-31). "Intermezzo, Robin, Lulu and William". Judge. Vol. 79, no. 2022. p. 23. Retrieved 2016-05-28. The original idea of my progressive boss in starting "Between Covers" was to give me a job. Prohibition had made terrible inroads into my income, as my ten elixirs a day now cost $7.50 instead of the old $1.50.
^Per Serritslev Petersen (2011), "Jack London's Dialectical Philosophy between Nietzsche's Radical Nihilism and Jules de Gaultier's Bovarysme", Partial Answers: Journal of Literature and the History of Ideas, 9 (1): 73, doi:10.1353/pan.2011.0009, S2CID145361207
^Saltus, Marie (1925), Edgar Saltus: The Man, P. Covici, p. 302
^Moffitt, John F., Alchemist of the Avant-Garde: The Case of Marcel Duchamp, Albany: SUNY Press, pp. 179–80
