Transport, by Isa Glenn

Cover of first U.S. edition of 'Transport'Reading Isa Glenn’s novel, Transport, I kept thinking of the refrain from “The Love Song of J. Alfred Prufrock”: In the room the women come and go/Talking of Michelangelo. Only in the case of Transport, it’s round and round the women go, talking of every other soul trapped on a hot, slow steamer from San Francisco to Manila.

Transport is about a group of Army wives and children, along with a sprinkling of officers and enlisted men, traveling to posts in the Philippines some time in the 1920s. This was familiar territory for Glenn. The daughter of an Atlanta mayor, she married Brigadier General Samuel Bayard Schindel in 1903, when he was in his forties and she in her twenties. Glenn accompanied her husband on assignments to Philippines, China, Hawaii, and Panama, and learned well the hothouse atmosphere of rank, manners, and bottled-up ambitions and jealousies of these isolated Army posts.

After her husband died in 1921, Glenn began turning her nearly twenty years’ worth of observations into literature. Encouraged by Carl Van Vechten, she wrote her first novel, Heat, which was published by Knopf in 1926. Heat, which portrayed the failed romance of a young Army officer and an idealistic American teacher caught up in the exotic world of Manila, drew heavily upon her overseas postings with General Schindel, as did its successor, Little Pitchers (1927).

Transport was the last of her novels taken directly from her time as an Army wife. She and Schindel probably took much the same voyage when they were posted to the Philippines. It’s something of a tour de force, in that Glenn set herself a considerable technical challenge in setting the whole of the story within the confines of the promenade deck, dining saloon, library, and cabins and passageways of the transport ship and managing a cast of over twenty distinctly sketched characters. Her ability to weave their movements, conversations, and bondings and partings around her set is on a par with a ballet master’s.

And her talent for tracing the intricate fabric of Army society has something of the touch of Henry James in his later years. It’s a fine, taut, and airless weave that makes one glad to be far removed from it. Take the seemingly simple matter of selecting chairs on the promenade:

For only upon the deck of an army transport do humans act the splendid lie that all men are born free and equal. Passengers have their official assignments to staterooms, and to seatings in the dining saloon, strictly according to the Army List; but there there glorious prerogatives of rank cease. Upon the small deck there is waged a daily battle for the right to the shade, the right to the breezy side, the right to any space that any mortal could conceivably wish to occupy. Silent pressure is put upon the wary and the unwary. The wife of a high ranking officer may come to a halt squarely in front of the chair that you have risen betimes to snatch. Under her cold eye, you cast about in your mind the chances that one day her husband may be in a position to do your husband–or your brother, or your son, or yourself if you happen to be of the right sex from the military standpoint–dirt, or the reverse; and with this thought uppermost, you then do the graceful thing of arising and respectfully seating the lady in the desirable place wherefrom you had been lazily contemplating the day ahead.

However, as John Bradbury notes in Renaissance in the South: A Critical History of the Literature, 1920-1960, while Glenn’s themes, organization, and technique are “astonishingly Jamesian”, her style “is distinctly her own, sharp, pungent, often barbed with wit and satire.” While she understands the logic of Army life, she doesn’t for a second forget that it’s an artificial set of rules and rituals.

As might be expected with any volatile mix of ingredients that is bottled up and shaken about for three weeks straight, this tightly-wound little society eventually explodes. Worn down by the effort of putting up a stolid front, a passed-over major goes momentarily mad and reveals a horrifying secret he and his family have been keeping under wraps for years. The dancers retreat, regroup, and reinforce the pretences that keep this society running smoothly. By the time the ship pulls into Manila Bay, everything is back in order.

Isa GlennGlenn published a total of eight novels in the space of nine years. Two–Southern Charm (1928) and A Short History of Julia (1930)–drew upon Glenn’s early years as a budding Southern belle. Both dissected the pretensions of post-bellum Southern society as coolly and satirically as she dealt with those of the Army. East of Eden (1932) was set in the literary world of New York City she had become a part of, while The Little Candle’s Beam (1935) portrayed the “cave dwellers” of old Washington, D. C. society.

Glenn appears to have exhausted her creative energies by the end of this burst of work, for her later novels received far less notice and far fewer enthusiastic reviews. Although Bradbury calls her 1933 novel, Mr. Darlington’s Dangerous Age her “take on James’ The Ambassadors“, Newsweek dismissed it with a three-word review: “An average novel.” There are several references to a final novel, According to Mac Tavish, supposedly published in 1938, the title cannot be found in the Library of Congress or New York Public Library catalogs. She died in 1951. Most of her biographies list her birth year as 1888, which would have made her 15 when she married Schindel and 12 when she studied briefly under James McNeill Whistler. It seems more probable that she was born in 1874 as the New York Public Library’s catalog indicates. Her son, Bayard Schindel, published one novel of his own, Golden Pilgrimage, in 1929.

Transport, by Isa Glenn
New York City: Alfred A. Knopf, 1929

17 thoughts on “Transport, by Isa Glenn

  1. Just recieved a copy of Heat, and it sets off very promising. Stumbled over her name in George Hutchinson’s fabulous book about Nella Larsen. Well, just the quality of this second printing, May, 1926, from Alfred A. Knopf is delicious.

  2. Let us know what you thought of “Heat.” I just received a copy of “Mr. Darlington’s Dangerous Age” and hope to start it soon. It’s one of her later novels. I’m hoping to find an affordable copy of her last two, which are incredibly rare.

  3. Isa Glenn was my grandmother, Helen Garrard Glenn Ellyson’s sister. I am looking for anything about her and all her books

  4. i have a book by her. southern charm. it’s really old! copyright 1928. first and second printings before publication. published by alford a knoff,inc. would like to know what it’s worth. dedicated to her son, john bayard schindel.

  5. does anyone know the value of good-bye, mr. chips? copyright, 1934. reprinted june 1934-twice. reprinted july, 1934-twice. reprinted august, 1934. published june, 1934.

  6. i have another old book. shuttered windows by florence crannell means. dedicated to mather school. published 1938. another one, ghosts and goblins by wilhelmina harper. new, revised edition. 1936.

  7. Isa Glenn was my mother’s aunt. one of her books was written whilst visiting her sister & brother-in-law Helen & Gordon Ellyson, in Rio de Janeiro and describes the antics of their children, of which one was my Mother, Elizabeth Gordon Ellyson. My 91-year-old Mother and I still read from Aunt Isa’s books regularly.

  8. She was definitely born in 1874. Her youngest brother was born in 1888, but that’s immaterial. Darlington’ I have, along with Little Pitchers, Heat, and East of Eden. Also Golden Pilgrimage. I feel certain that I have another. She was my grandmother’s older sister.

  9. I am a scholar of southern literature, particularly southern women’s literature, and am currently researching the work of Isa Glenn. I have managed to obtain and read all of her novels and most of her published shorts stories. She is a fascinating and skilled writer who should be much better known, and I am hoping to introduce today’s readers to her work through a scholarly article or articles.
    In my research, I have used the small collection of Isa Glenn’s papers at Yale’s Beinecke Library, but a collection is focused on the manuscripts of her works and clippings of her published stories as well as manuscripts of her unpublished stories and the beginnings of another novel. I have also obtained many reviews of her works, census records, army records, marriage announcements—the type of documents that help establish the necessary facts.
    What is missing from my research is the kind of material that would give readers a better sense of Isa Glenn as a person and of her views about art, particularly literature. Would you know of any written sources, such as letters or diaries, or memories of those who knew her that would help round out my portrait of her as a literary artist? I can be most easily reached at [email protected]. Any suggestions or help would be most gratefully received. Thank you for your consideration.

  10. “the right to any space that any moral could conceivably wish to occupy. ”
    I don’t know if this is your typo or the original publisher’s, but shouldn’t “moral” be “mortal”?

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