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When Edmund Wilson slyly introduced himself, in his unsigned 1926 survey “The All-Star Literary Vaudeville,” as “a journalist whose professional activities have been chiefly concerned” with what he calls “the American literary movement of the last fifteen years,” the description was characteristic in its modesty, its candor, and its teasing edge. These were qualities that made up much of the disguise of a heavily veiled man. This was his “act,” the same act that got him into so much trouble with Nabokov, for whom his corrective impulse too often overcame his admiration. There was always something of a game in