Literature – Reconstructionary Tales

New Year Rabbits

(Norman Garstin, The Rain It Raineth Every Day: Penlee House Gallery & Museum)

January, so far, has consisted—almost exclusively—of rain. Oh, food and drink, books and conversation—and the rabbit-holing so familiar to researchers, following threads that snap or falter or turn out not to be threads at all. But, primarily, persistent, consistent, insistent rain – with a constant soundtrack of sirens, occasionally police, once or twice fire but mainly, almost always, ambulance. Talking, sounding, wailing, rabbiting on. Which, me being so literary these days, recalls The Good Soldier:

Leonora was standing in the window twirling the wooden acorn at the end of the window-blind cord desultorily round and round. She looked across the lawn and said, as far as I can remember:
“Edward has been dead only ten days and yet there are rabbits on the lawn.”’

I always liked ‘as far as I can remember’, so neatly placed in a novel constructed by memories, or what purport to be memories (a few lines later, Dowell will ‘remember her exact words’ about Florence and suicide). As for those Fordian rabbits, I’ve already had my say.[1]

It is, after all, as my friend Helen reminded me, the Year of the Rabbit, according to the Chinese Zodiac (the last one was 2011). At least, on 22 January, it’s farewell to Tiger and hello again to Rabbit. In a brilliant blue sky a week ago (such details tend to be firmly set in such a rain-sodden mental map), quite insubstantial clouds were drifting. Inevitably I drifted too, in the general direction of literary rabbits who were neither Joel Chandler Harris’s Brer Rabbit nor John Updike’s Rabbit Angstrom. Of Updike’s quartet, I read the first two, decades ago, but never circled round to the others. Harris’s ‘Brer Rabbit and the Tar Baby’, one of the African-American trickster tales that he popularised, was, I think, the story that I was reading part of to an American literature seminar group but laughed too much to continue.

Frobenius and Fox wrote, in their introduction to African Genesis (1937) that: ‘The Berber tales are folklore; and in the Berber jackal we meet that shrewd, amusing and unscrupulous spirit always present in peasant lore, whether it be the jackal here, the hare in South Africa (a veritable Brer Rabbit) or the cunning little fox in the Baltic countries (Reinecke Fuchs).’[2] And Guy Davenport observes that: ‘The Dogon, a people of West Africa, will tell you that a white fox named Ogo frequently weaves himself a hat of string beans, puts it on his impudent head, and dances in the okra to insult and infuriate God Almighty, and that there’s nothing we can do about it except abide him in faith and patience.
‘This is not folklore, or a quaint custom, but as serious a matter to the Dogon as a filling station to us Americans. The imagination; that is, the way we shape and use the world, indeed the way we see the world, has geographical boundaries like islands, continents, and countries. These boundaries can be crossed. That Dogon fox and his impudent dance came to live with us, but in a different body, and to serve a different mode of the imagination. We call him Brer Rabbit.’[3]

Rabbits run through many children’s minds (and those of their parents, pretty often): Charlotte Zolotow’s Mr Rabbit and the Lovely Present, Margery Williams’ The Velveteen Rabbit, Sam McBratney’s Guess How Much I Love You, Rosemary Wells’ Morris’s Disappearing Bag, Alison Uttley’s Little Grey Rabbit, Lewis Carroll, A. A. Milne, Richard Adams. In 1890, a collection of doggerel by Frederic E. Weatherley, A Happy Pair, included illustrations by Beatrix Potter, the last of which accompanied a verse called ‘Benjamin Bunny’. At the family home in Bolton Gardens, Beatrix’s pet rabbits were indeed named Peter Rabbit and Benjamin Bunny. Weatherley was then a barrister but later became a prolific songwriter, turning out something like 3000 popular songs, most notably Roses of Picardy.[4]

The poet Edmund Blunden, author of the First World War classic, Undertones of War, was nicknamed ‘Rabbit’, at least by his Colonel Harrison, though Blunden himself seemed concerned on occasion to upgrade this, recalling a moment when, together with a fellow soldier, ‘we ran (myself asthmatical, but swifter than a hare)’.[5] David Garnett was known to friends and family as ‘Bunny’, though he too slipped the snare of his nickname—if in the reverse direction—when reaching for the title of his 1932 account of learning to fly: A Rabbit in the Air.[6] The Garnett family had other dealings with rabbits. David’s aunt Olive noted in her diary for 5 May 1892 that at her brother Edward’s cottage, where he lived with his wife Constance, famous translator of Russian literature: ‘The wild creatures are becoming bold, the rabbits are actually burrowing under the parlour window & are expected to come up through the floor.’[7]

D. H. Lawrence was familiar with every aspect of the natural world – and the first sketch I ever read of his was, I think, ‘Adolf’, about the ‘tiny brown rabbit’ his father brings home one morning after his work on the nightshift. Another short piece, ‘Lessford’s Rabbits’—no pun intended?—was written soon after Lawrence met Ford, then editing the English Review.[8] Ursula Brangwen’s selection of ‘The Rabbit’ as a theme for her class’s composition goes down badly with headmaster Harby: ‘“A very easy subject for Standard Five”’—at which Ursula feels ‘a slight shame of incompetence. She was exposed before the class.’[9]

The Rainbow was, notoriously, prosecuted and all copies and sheets ordered to be destroyed, his publisher Methuen having rolled over in time-honoured fashion and apologised in all directions.[10] Douglas Goldring, who had met Lawrence when working with Ford on the English Review, also had small burrowing animals on his mind when he wrote: ‘Then what a change of front! The deafening silence, broken only by the sound of the white rabbits of criticism scuttling for cover, which formed the sequel to The Rainbow prosecution, will not soon be forgotten by those who were in London at the time. Not one of Mr. Lawrence’s fervent boosters ventured into print to defend him; not one of his brother authors (save only Mr. Arnold Bennett, to whom all honour is due) took up the cudgels on his behalf. English novelists are proverbially lacking in esprit de corps, but surely they were never so badly shown up as when they tolerated this persecution of a distinguished confrère without making a collective protest.’[11]

(Holliday Grainger as Connie Chatterley via BBC)

A dozen years later, writing the second version of his final novel, Lawrence had Parkin (later Mellors) write to Connie Chatterley: ‘“I shouldn’t care if the bolshevists blew up one half of the world, and the capitalists blew up the other half, to spite them, so long as they left me and you a rabbit-hole apiece to creep in, and meet underground like the rabbits do.—”’[12]

There’s always a risk, of course, that references and allusions like this will breed like—I don’t know what. End then with a touch of Rex Stout, who has Costanza Berin put to Archie Goodwin (Nero Wolfe’s indispensable assistant), the question: “Do you like Englishmen?”

‘I lifted a brow. “Well . . . I suppose I could like an Englishman, if the circumstances were exactly right. For instance, if it was on a desert island, and I had had nothing to eat for three days and he had just caught a rabbit—or, in case there were no rabbits, a wild boar or a walrus”’.[13]

‘If the circumstances were exactly right’. Well, yes, I think I’m gravitating to that position myself. But, of course, it’s still very early in the year. . . .

Notes

[1] Ford Madox Ford, The Good Soldier: A Tale of Passion (1915; edited by Max Saunders, Oxford: Oxford University Press, 2012), 86; Paul Skinner, “Rabbiting On”: Fertility, Reformers and The Good Soldier’, in Max Saunders and Sara Haslam, editors, Ford Madox Ford’s The Good Soldier: Centenary Essays (Amsterdam: Brill/Rodopi, 2015), 183-195.

[2] Leo Frobenius and Douglas C. Fox, African Genesis (1937; New York: Dover, 1999), 1.

[3] Guy Davenport, The Geography of the Imagination (Boston: David R. Godine, 1997), 3-4.

[4] Margaret Lane, The Tale of Beatrix Potter (1946; Harmondsworth: Penguin Books, 1962), 50-52.

[5] Edmund Blunden’s Undertones of War (1928; edited by John Greening, Oxford: Oxford University Press, 2015), 79, and half a dozen other mentions, though the poem ‘Escape’ (207) has him there as ‘Bunny’, the speaker being ‘A Colonel’. The hare runs on p. 129.

[6] William Maxwell’s young character Peter Morison, in the 1937 novel They Came Like Swallows, was also called ‘Bunny’. In the book, he’s eight years old; Maxwell himself was ten at the time in which the story is set (1918). Then, too, Edmund Wilson—a little less plausibly, somehow—also answered to that name.

[7] Barry C. Johnson, editor, Tea and Anarchy! The Bloomsbury Diary of Olive Garnett, 1890-1893 (London: Bartletts Press, 1989), 73.

[8] ‘Adolf’ is reprinted in Phoenix: The Posthumous Papers of D. H. Lawrence, edited and with an introduction by Edward D. McDonald (London: William Heinemann, 1936), 7-13; ‘Lessford’s Rabbits’ in Phoenix II: Uncollected, Unpublished and Other Prose Works by D. H. Lawrence, Collected and Edited with an Introduction and Notes by Warren Roberts and Harry T. Moore (London: William Heinemann, 1968), 18-23.

[9] D. H. Lawrence, The Rainbow, edited Mark Kinkead-Weekes, introduction and notes Anne Fernihough (Cambridge, 1989; Penguin edition with new editorial matter, 1995), 359-360: the chapter titled ‘The Man’s World’.

[10] Mark Kinkead-Weekes, D. H. Lawrence: Triumph to Exile, 1912-1922 (Cambridge: Cambridge University Press, 1996), 281-282.

[11] Douglas Goldring, ‘The Later Work of D. H. Lawrence’, Reputations: Essays in Criticism (London: Chapman & Hall, 1920), 70-71.

[12] The First and Second Lady Chatterley Novels, edited by Dieter Mehl and Christa Jansohn (Cambridge: Cambridge University Press, 1999), 564.

[13] Rex Stout, Too Many Cooks, in Too Many Cooks/ Champagne for One (New York: Bantam Dell, 2009), 17.

Questions and answers

(George Lambert, ‘Moorland Landscape with Rainstorm’: Tate)

Wet. From time to time, windy and wet, but consistently, ceaselessly wet. The rain sees no reason to pause, nor to offer any sign of awkwardness or regret at not pausing. Still, we find ourselves at the extreme backend of a year in which such weather seems entirely appropriate. ‘Family customs should not be kept up after they decompose’, Sylvia Townsend Warner wrote to William Maxwell on 31 December 1975,[1] and I see that statement applicable to so many areas of contemporary life that a sense of absurdity threatens to take over completely. Edmund Blunden recalled flares on the Ypres battlefield on New Year’s Eve, 1917: ‘Their writing on the night was as the earliest scribbling of children, meaningless; they answered none of the questions with which a watcher’s eyes were painfully wide.’[2]

Questions and answers. Writing to Robert Lowell in July 1948, Elizabeth Bishop reported: ‘I think almost the last straw here though is the hairdresser, a nice big hearty Maine girl who asks me questions I don’t even know the answers to. She told me (1) that my hair “don’t feel like hair at all,” (2) I was turning gray practically “under her eyes.” And when I’d said yes, I was an orphan, she said, “Kind of awful, ain’t it, plowing through life alone.” So now I can’t walk downstairs in the morning or upstairs at night without feeling I’m plowing. There’s no place like New England . . . ’[3]

So, post-Christmas—having added Waste Land books by Matthew Hollis and Lyndall Gordon to the piled piles, plus Basil Bunting’s Letters—and pre-New Year, deciding fun is the order of the day, I move between Edgar Jepson and Eve Babitz, with the occasional break for a walk (in the rain, naturally) and leavened with one foray into podcasts, Lara Feigel talking about her book on D. H. Lawrence with Lauren Elkin at the London Review Bookshop.

Apart from the shafting of the country, the continent, the world, the universe, there have been highlights. A few I started writing about but fell off the end of a paragraph. One was certainly the 250th birthday of Samuel Taylor Coleridge, a.k.a. Silas Tomkyn Cumberbatch (the name under which he enlisted in the dragoons). One item in the Librarian’s project of getting me out into the world was a recent revisiting of the Coleridge cottage in Nether Stowey. Her responsibilities extended to edging me towards the window when aware of me tensing in response to the small front room feeling a little crowded as we waited for the guide’s introductory talk to end. Paranoid, moi? Away with you.

Time, as several commentators have observed, has travelled just recently at both lightning speed and no speed at all, the speed of a rock immersed in molasses. I think of Guy Davenport’s story, ‘The Antiquities of Elis’ (which draws on the 6th Book of Pausanias): ‘It was Herakleitos who said that some things are too slow to see, such as the growth of grass, and some too fast, like the arrow’s flight. All things, I have often thought, are dancing to their own music.’[4] I’ve sometimes thought so – exclusively on the good days. . .

‘Did you see my blog?’
‘I did, yes.’
‘And?’
‘No Librarian. No cat. So. . . ’

Yes, we have certain standards to maintain. So, logically, as night follows day, we could not be, by any stretch of the imagination, present-day Tories.

How end a year, what message send to friends and strangers who happen by? I recur to the title of a volume by Jack Yeats, the painter, brother of that famous poet Willie: ‘Ah Well and to You Also’. That seems about right. In which case: all power to your elbow in 2023. Bonne année, Buon anno, Feliz Año Nuevo.

Notes

[1] Michael Steinman, editor, The Element of Lavishness: Letters of Sylvia Townsend Warner and William Maxwell, 1938-1978 (Washington: Counterpoint, 2001), 295.
[2] Edmund Blunden, Undertones of War (1928; Harmondsworth: Penguin, 1982), 234.
[3] Elizabeth Bishop, One Art: The Selected Letters, edited by Robert Giroux (London: Pimlico, 1996), 161.
[4] Da Vinci’s Bicycle: Ten Stories by Guy Davenport (Baltimore: Johns Hopkins University Press, 1979), 137.

Frost, wine, hyacinth girls

(John William Buxton Knight, Old December’s Bareness Everywhere: Tate)

December: how is it? Bloody cold but sometimes, walking on frosty ground under chilled blue skies, the stark trees nodding as you go – quite beautiful. In December, I – what shall I say, what did I do? Walked, read, ate, drank, wrote a little. Bought and carried home, in fact, a Christmas tree, just this afternoon. The world, despite my repeated requests, did not cease to go to hell, barely paused, in fact. Thank all the gods there are for wine.

In December, ‘Melancholy and Phlegm much increase, which are heavy, dull, and cold, and therefore it behoves all that will consider their healths, to keep their heads and bodies very well from cold, and to eat such things as be of a hot quality.’[1] Ah, yes. Though millions of poor souls in Brexit Britain can only lament and reflect that the chance would be a damned fine thing, forced as they are to choose between eating and heating – and an increasing number able to do neither.

(He came, he saw, he. . .)

Do I still hold my breath when panting runners pass me on the paths in the park? Why yes, I do, but am immeasurably improved in other areas, a few other areas, one or two other areas. Item: dinner with the doyen of Ford Madox Ford studies, Professor Max Saunders, an excellent choice for my first foray into after-dark city streets in something approaching three years. Item: another foray—and another indoor event, though this one with neither wine nor sausages—to see Lyndall Gordon, whose books on T. S. Eliot and Emily Dickinson I’d read and admired, in conversation with Noreen Masud, lecturer in Twentieth-Century Literature at the University of Bristol.

The event was prompted by the publication of Gordon’s new book, The Hyacinth Girl: T. S. Eliot’s Hidden Muse, drawing heavily on the Emily Hale letters in Princeton’s Special Collections, which were finally made available to readers in January 2020. It was a fascinating conversation, not least because of the intelligent exchanges about how we approach those artists whose attitudes or language or assumptions, are sometimes unsettling—or worse—to modern sensibilities. Considering writers of a hundred or more years ago, well, frankly, that’s most of them. We can pick at this, blush at that, throw up our hands here—or just throw up there—and then, often, we just read the work or look at the picture or listen to the music and all that other stuff is, for however short or long a time, simply blown away.

(Emily Hale and T. S. Eliot via New York Times)

So the conversation was consistently interesting – but before it even started, Niamh Cusack read, wonderfully, The Waste Land. Oh, my. ‘That was a blast’, I said to the Librarian afterwards, ‘several times, I didn’t know whether to shout or cry.’ Nor did I. How many times have I read it, all of it, bits of it? I have no idea. Many lines were familiar enough for me to realise my lips were shaping the words along with the reader. At other times, it was completely unfamiliar, a voice from a cloud. ‘I’ve never heard it read by a woman before’, the Librarian remarked. An early chunk of ‘A Game at Chess’ seemed to have passed me by entirely. Echoes and repetitions heard as if for the first time spilled over me. When Niamh Cusack pronounced Sanskrit words, I could feel the Librarian’s gaze on me but steadfastly refused to meet it. I knew she was thinking of my own pronunciation, which I’d picked up from Charles Tomlinson when he read the poem to members of the English Department however many years ago – he explained that he’d been to a performance of sacred Indian music and made his way backstage to ask (as you do): ‘How would you pronounce this?’ It’s occurred to me since that, of course, there would probably be no one way to do so, any more than would be the case if individuals in Yorkshire and Cornwall (or Mississippi and New Jersey) were asked about pronunciation. But when the lines, ‘I think we are in rats’ alley / Where the dead men lost their bones’ cropped up, I was morally obliged to meet her gaze simply because that’s my stock answer to the question, in practically any context: ‘What do you think?’

What do I think? I think that I can’t remember when I last heard words read aloud which made it genuinely difficult for me to stay in my seat. There is something extraordinary about a poem that has been so much read, read about, explained, analysed, annotated, contextualised, parodied, worshipped and damned to within an inch of its life – still striking the ear like thunder, singing in the blood, chafing the nerves and knocking the pulses.

Art, yes, I’ve heard tell of it. Isn’t that the stuff that bears endless repetition because no two readings or viewings or listenings are the same? The cornucopia, the horn of plenty, the Holy Grail, in fact. You could go on long journeys and undergo all manner of ordeals and challenges, battle with ghosts and gods, move through enchanted chambers, withstand the amorous attentions of maidens of surpassing beauty, slay monsters – or you could simply take a book off the shelf (the right book for you, mind, the right book now, at this juncture).

By a knight of ghosts and shadows,
I summoned am to tourney
Ten leagues beyond
The wild world’s end –
Methinks it is no journey.

It is, of course. It is.

Notes

[1] Richard Saunders, Apollo Anglicanus, quoted by Bonnie Blackburn and Leofranc Holford-Strevens, The Oxford Companion to the Year (Oxford: Oxford University Press, 1999), 481.

Infinite presents

(J. M. W. Turner, A Church and Village seen from a Riverside Footpath: Tate)

I was thinking about—or idly musing upon—the infinite, arrived at by the usual wandering off footpaths. Decanting a packet of ground coffee into the regular tin, I was prompted by the resulting level to look at the net weight printed on the packet. It had lessened by some ten per cent, diminished by one-tenth (‘No, we haven’t put our prices up’). But then there has been, inevitably, a strong and widespread sensation of lessening, of shrinkage over the past few years. The narrowness of nationalist discourse, the closing of borders, the hostility to refugees and migrants, together with the pandemic, lockdowns, withdrawals either voluntary or enforced, now a metaphorical or literal huddling together against cold, hunger, discomfort, all in worsening weather.

Often placed against that diminishment are, precisely, ideas of freedom, expansion, movement through time and space. Art, then, or memory, or history, or imagination. Borders, walls, boundaries, limits of any kind set aside, evaded, vaulted over. The infinite – notions of which can swing to both positive and negative poles, depending on the viewer.

I thought of Ford Madox Ford recalling his ‘most glorious memory of England’, in the 1890s, hundreds of Jewish refugees from the Russian pogroms, landing at Tilbury Docks, falling on their knees and kissing the sacred soil of Liberty. ‘It was not of course because they were Jews or were martyrs. And I daresay it was not merely because England was my country. It was pride in humanity.’ But because of ‘an Order in Council’, that route would now be narrowed or blocked: ‘This then was the last of England, the last of London . . .’ And: ‘One had been accustomed to think of London as the vastest city in the world . . . as being, precisely, London, the bloody world!’ But now? ‘Ease then was gone; freedom was no more; the great proportions were diminished . . .’[1]

(Samuel Taylor Coleridge via the BBC)

One of the most famous instances of infinitude is that of Samuel Taylor Coleridge, in Chapter XIII of the Biographia, where he summarises his distinction between imagination and fancy: ‘The primary IMAGINATION I hold to be the living Power and prime Agent of all human Perception, and as a repetition in the finite mind of the eternal act of creation in the infinite I AM.’[2] This was one of the main targets of another, later, celebrated statement, by T. E. Hulme: ‘Here is the root of all romanticism: that man, the individual, is an infinite reservoir of possibilities’ – against which, Hulme’s version of the classical: ‘Man is an extraordinarily fixed and limited animal whose nature is absolutely constant. It is only by tradition and organisation that anything decent can be got out of him.’[3]

Hulme was primarily a philosopher – a poet only in miniature. I suspect that artists generally tend more towards embracing the positive than feeling repelled or threatened by the negative. ‘We must consume whole worlds to write a single sentence and yet we never use up a part of what is available’, James Salter wrote to Robert Phelps. ‘I love the infinities, the endlessness involved . . . ’[4] Laura Cumming, writing in praise of Jan Van Eyck, observed that: ‘His art is so lifelike it was once thought divine. But he does not simply set life before us as it is – an enduring objection to realism, that it is no more than mindless copying – he adjusts it little by little to inspire awe at the infinite variety of the world and our existence within it; the astonishing fact that it contains not just all this but each of our separate selves.’[5]

In an entry dated ‘[Saturday 24 November 1984]’, Annie Ernaux wrote: ‘One image haunts me: a big window wide open and a woman (myself) gazing out at the countryside. A springtime, sun-drenched landscape that is childhood. She is standing before a window giving onto childhood. The scene always reminds me of a painting by Dorothea Tanning – Birthday. It depicts a woman with naked breasts: behind her, a series of open doors stretch into infinity.’[6]

(Dorothea Tanner, Birthday (1942): Philadelphia Museum of Art)

Is that a wish to see the world, one’s personal world, as an unending series of opened doors? Or simply an observation, a belief, a conviction that this is how the world actually is, that much of what we assume to be fixed, unalterable, closed, finite, is nothing of the sort? Some observers, actors, participants, acknowledge the infinite nature of ideas, of the abstract but, certainly in specific circumstances—the Second World War, in the case of Ronald Duncan, pacifist and farmer—choose to turn away from them: ‘We were people used to dealing with ideas which are infinitely pliable, and for the first time were in contact with things which are rigid, brittle’, Duncan wrote. ‘Contact with things is infinitely more satisfying than contact with ideas. And if we are honest we must admit that few of us are capable of holding abstract conceptions in our heads. If we manage it, it gives us little pleasure. Somehow or other we have fallen into the rot of thinking that pigs and poetry are incompatible. They are not.’[7]

Pigs and poetry. Why, yes. In immediate postwar Sussex, Ford Madox Ford bred pigs and wrote poetry—A House (1921), Mister Bosphorus and the Muses (1923)—though, admittedly, the pigs died or had to be sold off at bacon prices when Ford and Stella Bowen moved to France. Staying in the realm of the abstract—or more abstract, at least, than pigs—I think of Sarah Churchwell, already author of a book on Fitzgerald and the world of Jay Gatsby, writing in 2018: ‘Gatsby’s famous ending, in other words, describes the narrowing of the American dream, from a vision of infinite human potential to an avaricious desire for the kind of power wielded by stupid white supremacist plutocrats who inherited their wealth and can’t imagine what to do with it beyond using it to display their dominance.’[8]

There are, though, different kinds of dominance, some more insidious than others, habits so ingrained as not to be seen any longer as habits, procedures so immediate, so automatic, so normalised as to seem – natural. Annie Ernaux has written of the worldwide web as ‘the royal road for the remembrance of things past’ and adds: ‘Memory became inexhaustible, but the depth of time, its sensation conveyed through the odour and yellowing of paper, bent-back pages, paragraphs underscored in an unknown hand, had disappeared. Here we dwelled in the infinite present.’[9]

The more I look at it, the more unsettling that final phrase is. . .

Notes

[1] Ford Madox Ford, It Was the Nightingale (London: Heinemann, 1934), 85-88.

[2] Samuel Taylor Coleridge, Biographia Literaria or Biographical Sketches of My Literary Life and Opinions, edited by James Engell and W. Jackson Bate (Princeton: Princeton University Press, 1984), I, 304.

[3] T. E. Hulme, ‘Romanticism and Classicism’, in Speculations: Essays on Humanism and the Philosophy of Art, edited by Herbert Read (Second edition, London: Routledge & Kegan Paul, 1936), 116.

[4] Memorable Days: The Selected Letters of James Salter and Robert Phelps, edited by John McIntyre (Berkeley, California: Counterpoint, 2010), 39.

[5] Laura Cumming, A Face to the World: On Self-Portraits (London: Harper Press, 2010), 13.

[6] Annie Ernaux, I Remain in Darkness, translated by Tanya Leslie (London: Fitzcarraldo Editions, 2020), 37-38.

[7] Ronald Duncan, All Men Are Islands: An Autobiography (London: Rupert Hart-Davis, 1964), 245, 226.

[8] Sarah Churchwell, Behold, America: A History of America First and the American Dream (London: Bloomsbury Publishing, 2018), 141. The earlier book was Careless People: Murder, Mayhem and the Invention of The Great Gatsby (2013).

[9] Annie Ernaux, The Years, translated by Alison L. Strayer (London: Fitzcarraldo Editions, 2019), 209-210.

Out, brief candles

(Joseph Wright of Derby, Firework Display at Castel Sant’Angelo: Birmingham Museums Trust)

Walking to the Victorian cemetery, we pass a spent rocket on the pavement. I thought briefly of Mr Leopold Bloom on Sandymount shore, Gerty MacDowell leaning far, far back to watch the fireworks in the night sky and the, ah, stimulated Mr Bloom having to recompose ‘with careful hand’ his wet shirt. ‘My fireworks. Up like a rocket, down like a stick.’[1] The morning after Guy Fawkes’ Night: on the previous evening, we travelled the one hundred and twenty metres to a bonfire in the park. ‘People’, the Librarian reminded me, ‘you’re among people.’ True enough. Several hundred of them, in fact. But it was all in the open air and the only physical contact with a stranger was with the large dog that took a liking to my right leg. Positioned painfully near two young males of the species, the Librarian remarked that ‘boys are horrible’. I know, I said, I used to be one. After a slow start, the flames took a firm hold, climbed, threw glowing embers high into the air. Guy Fawkes. Of course, the effigies burned on the fires used to represent the Pope or various prominent Catholics, while, half a century before Mr Fawkes’ indiscretion, Mary Tudor, Bloody Mary, devoted a fair bit of energy, in her five-year rule as Queen of England, to the immolation of Protestants. One of the Oxford martyrs burnt at the stake in 1555, Hugh Latimer, is supposed to have said to another, Nicholas Ridley (the third was Thomas Cranmer, Archbishop of Canterbury): ‘Be of good comfort, and play the man, Master Ridley; we shall this day light such a candle, by God’s grace, in England, as I trust shall never be put out.’

Candles, ah, literary candles: Wilfred Owen, D. H. Lawrence, Virginia Woolf, Aldous Huxley, Josephine Tey, Ford Madox Ford. . .

(Matthias Stom, An Old Woman and a Boy by Candlelight: Birmingham Museums Trust)

‘Do you happen to know Haydn’s symphony? . . . It is a piece that begins with a full orchestra, each player having beside him a candle to light his score. They play that delicate, cheerful-regretful music of an eighteenth century that was already certain of its doom. . . As they play on the contrabassist takes his candle and on tiptoe steals out of the orchestra; then the flautist takes his candle and steals away . . . .The music goes on—and the drum is gone, and the bassoon . . . and the hautbois, and the second . . . violin. . . . Then they are all gone and it is dark. . . .’[2]

Well, yes. ‘For it is not unusual in human beings who have witnessed the sack of a city or the falling to pieces of a people, to desire to set down what they have witnessed for the benefit of unknown heirs or of generations infinitely remote; or, if you please, just to get the sight out of their heads.’[3]

Ford wrote that even before the outbreak of the First World War, long before our current malaise, with—on bad days—its irrefutably apocalyptic tinge. Still, on a later occasion, there’s this: ‘But I couldn’t keep on writing. I was obsessed with the idea of a country, patrie, republic, body politic, call it what you will[ . . .] Yes: I had a vision of a country.’[4]

It is often, to be sure, hard to keep on writing. Still – a vision of a country. Some people look back in search of it, others look forward, while a good many others clearly don’t care or, contrary to that Dylan song, really do need a weatherman to know which way the wind blows. Emerging reluctantly from the fictional worlds of P. G. Wodehouse and Kate Atkinson,[5] I find the political landscape essentially unchanged. (I’m reminded that one of Atkinson’s Jackson Brodie novels is called When Will There Be Good News? No answer is required, as they say.) Perhaps, after the destructive antics of Boris Johnson and the deranged flurry of Liz Truss, some hard-pressed members of the public—even members of the so-called Conservative party—experienced a fleeting frisson of relief that there was now an unelected, right-wing multimillionaire in 10 Downing Street, poised to announce massive cuts in public spending. But in any case he fell at the first hurdle, with his appalling cabinet appointments or reappointments, squandering his one clear chance in sordid little deals; then at the second hurdle of the climate emergency, the subsequent scuffles and scrambles all profoundly unconvincing.

It’s odd that so many of the people who recur obsessively to the Second World War and the defeat of Nazism now seem not to notice or to care that countries long held up as beacons of freedom and democracy are a heartbeat away from – what’s the current phrase, ‘post-fascism’? Leaving aside the worrying recent developments in Sweden, Italy and Israel, the United States is clearly at a crisis point, on the verge of knowing for sure whether or not its two hundred and fifty year old experiment with democracy has effectively ended. Here, the Home Secretary – a scandalous appointment, then a more scandalous reappointment – channels the sort of malignant rhetoric which refugees from Hitler’s regime would find only too familiar, while the Public Order Bill, designed to limit the right to protest to such an extent that it’s effectively removed altogether, might, with trifling revisions in wording, sit quite happily in the legislative registers of China, Iran or Putin’s Russia.

Ah well. If there was settled weather for a while, it is changed and changing now, for sure. As they have it in the Scottish play:

Banquo: It will be rain tonight.
First Murderer: Let it come down.
(They fall upon Banquo)

Notes

[1] James Joyce, Ulysses (1922; London: The Bodley Head, revised edition, 1969), 482, 483.

[2] Ford Madox Ford, Provence (London: Allen & Unwin, 1938), 261.

[3] Ford Madox Ford, The Good Soldier: A Tale of Passion (1915; edited by Max Saunders, Oxford: Oxford University Press, 2012), 12.

[4] Ford Madox Ford, No Enemy (1929; edited by Paul Skinner Manchester: Carcanet Press, 2002), 132.

[5] Kate Atkinson’s long novel, Life After Life (London: Transworld, 2014), is centrally concerned with bearing witness, as several characters—and the author herself—make clear: Ursula (472), Miss Woolf (457-458), ‘Author Note’ (618).

Toiling optimists

(Thomas Fenwick, Late Autumn Landscape: University of Edinburgh)

A new month, the first of the meteorological autumn. On 2 September 1774, the naturalist Gilbert White observed that: ‘Many birds which become silent about Midsummer reassume their notes again in September; as the thrush, blackbird, wood-lark, willow-wren, &c.; hence August is by much the most mute month, the spring, summer, and autumn through. Are birds induced to sing again because the temperament of autumn resembles that of spring?’[1] Birds here, particularly the bluetits, are certainly singing, though a little warily. Still, who would not be wary just now?

The trees in the parks had already been misled into thinking that autumn had arrived. The weather generally has dried again, with a warm, slightly unhealthy feel to the breeze. The constants remain. . . constant – that is, the workmen, still, after months, making those thunderous noises of drilling and hammering that you associate with the beginnings of a job like that, not the late stages. Surely by now it should be no louder than the seductive murmur of a paintbrush on skirting-board or garden fence, the feathering of a soft broom, the occasional faint squeal of a cloth on clean glass. As well as the workmen, of course, the howl of ambulance sirens and the relentless overhead roar of damned aeroplanes, each one shaving just a little more off the lifespan of homo sapiens on this earth.

As for the news—from time to time, the Librarian, referencing the late Leonard Cohen just a little too appositely, will inquire, in passing: ‘You Want It Darker’? My response is most often ‘God, no!’ while, inside my mildly floundering but at-straw-grasping mind, another refrain runs: ‘It’s not dark yet but it’s getting’ there.’[2] Really, monsieur D.? Not there yet? O, optimist! But that was, of course, twenty-five years ago, which can make all the difference in the life histories of failed states.

What do you find to boast of in our age,
To boast of now, my friendly sonneteer,
And not to blush for, later? By what line
Do you entrain from Mainz to Regions saner?
Count our achievements and uplift my heart;
Blazen our fineness. Optimist, I toil
Whilst you crow cocklike.

So Ford Madox Ford began a poem, ‘Canzone à la Sonata’, dedicated to ‘E. P.’, that is, Ezra Pound, then in Giessen, the German town in which Ford stayed while pursuing a madcap scheme to secure a divorce from his wife under German law by qualifying for citizenship of that country. It was the setting for the famous ‘Giessen roll’, Ford diving headlong to the floor and writhing about in agony in response to the archaisms in Pound’s new collection of poems. The poem’s title indicates its target: ‘canzone’, a poetic form, not a style. It guys, as Ford often did, the conventional picture of the inspired and youthful lyric poet, and queries the price of exclusion paid by the optimistic singer. His inquiring ‘By what line/ Do you entrain from Mainz to Regions saner’ alludes to the poetic line but also employs an image that Ford would recur to often: the use of the railway journey as intersection of illusory stability, permanence, stasis and radical circumstantial alteration, whether in personal relationships or the larger configurations of history. Indeed, a poem called ‘In the Train’ occurs four pages earlier than ‘Canzone’ in the published volume, High Germany. By early 1912, in fact, Ford was perfectly aware of the threat from Germany, though his own history of involvement with that country was already immensely complicated and soon to become more so.

Optimist – so many shades of meaning, interpretation, claim or confession there. People with their glasses half-full, half-empty – surely, just order another drink, to be on the safe side. The word defines not only individuals but eras: ‘It is difficult to think of an important Edwardian optimist’, Samuel Hynes wrote. ‘So that if “Edwardian” is to be used as an adjective identifying a literary tone, that tone must be one of social awareness and anxious concern.’[3]

More positively, it can evoke recovery, rebuilding, resurgence. Doris Lessing, remembering her arrival in Britain in the early 1950s, wrote: ‘There was still that post-war effervescence, the feeling that suppressed energies were exploding, the arrival of working-class or at least not middle-class talent into the arts, and, above all, the political optimism, which has so completely evaporated.’[4] More upbeat too was Margery Allingham’s view of her detective, Albert Campion, seeing in that extraordinary individual the virtues of the ordinary man (which, of course, enabled him to perform the feats of detection and deduction that qualified him to serve as her central character): ‘The optimism of a healthy mind is indefatigable, however, and as time went on even Campion began to see the events here recorded from that detached distance so often miscalled true perspective.’[5]

I am, of course, keeping my own optimism firmly within bounds: a true perspective in a healthy mind, as they say. Possibly.

Notes

[1] Gilbert White, The Illustrated History of Selborne (London: Macmillan, 1984), 94.

[2] Bob Dylan, ‘Not Dark Yet’, Track 7 on Time Out of Mind (1997).

[3] Samuel Hynes, ‘Introduction: A Note on “Edwardian”’, in Edwardian Occasions: Essays on English Writing in the Early Twentieth Century (London: Routledge & Kegan Paul, 1972), 8.

[4] Doris Lessing, Walking in the Shade (1997; London: Fourth Estate, 2013), 280.

[5] Margery Allingham, Death of a Ghost (London: Penguin Books, 1942), 176.

Striding, gliding, sliding into autumn

(Utagawa Hiroshige, Sudden Shower at Shōno: Metropolitan Museum of Art)

‘She can’t be completely stupid’, the Librarian says, in a rare moment of optimism, ‘she went to Oxford.’ And for a moment I almost wish I could find in that a good knockdown argument. Alas.

The heat, which changed many individual patterns of behaviour, was succeeded by several days of rain, which didn’t, and then by something balanced, pleasant, relaxing – or it would have been had the workmen in the neighbouring house, who have been there for months now, not chosen one morning to drill directly into my head. They showed too a remarkable willingness to persist, to graft, I suppose, thus refuting the latest reports of the witless witterings of—good grief!—the odds-on favourite for the leadership of the Conservative Party and thus, under our generally nineteenth-century political arrangements, Prime Minister of the United Kingdom of Great Britain and Northern Ireland.

Upstairs—and sometimes downstairs too—I bother archivists, occasionally in this country but far more often in the United States. The happy result of this is that, even as I pour a drink in the evening, goods news sometimes arrives from the Midwest or the west coast. An archivist has unearthed a previously unlisted letter from Ford Madox Ford to a publisher, a literary agent, a New York hostess, a budding author. I scrawl a message of heartfelt gratitude. Librarians and archivists may yet save the world.

Downstairs, I linger over Robert Lowell, Lafcadio Hearn and Mary Midgley. Dear Cal is of course his usual unfailingly cheerful self and emphatically not a daddy’s boy. ‘He was a man who treated even himself with the caution and uncertainty of one who has forgotten a name, in this case, his own.’[1] Hearn shuns the usual ragbag of common sense and scepticism by numbers: ‘I hold that the Impossible bears a much closer relation to fact than does most of what we call the real and the commonplace.’[2]

And Mary Midgley—I remember, a few years back, seeing an interview with, or brief statement from, the Green Party Brighton MP Caroline Lucas and Sophie Walker, then leader of the Women’s Equality Party. I found myself thinking, quite explicitly, My God! If we had people like that in charge of this country, there might be some hope. It wouldn’t be the complete bloody basket-case it is. Mary Midgley was a person like that: hugely intelligent, well-informed, intellectually curious. I read her memoir because my curiosity was piqued by the highly enjoyable volume by Benjamin Lipscomb, The Women Are Up To Something: How Elizabeth Anscombe, Philippa Foot, Mary Midgley, and Iris Murdoch Revolutionized Ethics (New York: Oxford University Press, 2022),[3] one of those valuable books which, like those of the wonderful Sarah Bakewell, are able to convince me—at least while I’m reading them—that I understand philosophy.

Midgley discusses, at one point, the idea that thought, like life, occurs in complex patterns, linked together, which have to be sorted out and dealt with on their merits. ‘This does not mean that our work is impossibly complicated. It does not mean that we cannot know anything until we know everything. Human cultures contain all sorts of convenient ways of breaking up the world into manageable handfuls and dealing with one part at a time. And we can keep continuously developing these ways so that they can correct one another. In this way, quite a lot of the time we do get things right. Attending to the background pattern of questions and answers does not tip us into a helpless relativism. But it is perfectly true that this approach does stop us hoping for a universal scientific formula underlying all thought. We cannot, as Descartes hoped, find a single path to infallible certainty. But then luckily we do not need to.’

Indeed. I confess, though, that one of my favourite moments in the book is an account of a discussion group which included Carmen Blacker, later a distinguished Japanese scholar. ‘It was Carmen who supplied me with the best example I have ever met of the diversity of moral views. When I raised the topic of conflicting customs, “Oh, I see”, she said. “Like, there’s a verb in classical Japanese which means to try out one’s new sword on a chance wayfarer?”’ Midgley later used this in an article with that name.[4]

Light rain, the faintest murmuring, and a soft soughing in the branches and leaves above the fence. Harry the cat is crouched at the open back door, snuffing up late August early evening English air. He has noticed, I think, that my method of serving his teatime bowl approximates more and more to that of Henry James’s butler, as recalled by Ford Madox Ford:

‘His methods of delivery were startling. He seemed to produce silver entrée dishes from his coat-tails, wave them circularly in the air and arrest them within an inch of your top waistcoat button. At each such presentation James would exclaim with cold distaste: “I have told you not to do that!” and the butler would retire to stand before the considerable array of plate that decorated the sideboard.’[5]

We are sliding into autumn. There is an acknowledged cost-of-living crisis. But then, come to that, there is a crisis in every area of public life, from education to social care, from farming to transport, from library provision to news media to the raw sewage fouling our coastal waters. Given our current electoral system, there’s little we can do at present: turn down the heating a degree or two, hope for a mild winter—and do our level best to resist trying out new swords on chance wayfarers.

Notes

[1] Robert Lowell, Memoirs, edited with a preface by Steven Gould Axelrod and Grzegorz Kosc (Faber & Faber 2022), 18.

[2] Lafcadio Hearn, ‘The Eternal Haunter’, in Japanese Ghost Stories, edited by Paul Murray (London: Penguin Books, 2019), 33.

[3] Benjamin J. B. Lipscomb, The Women Are Up To Something: How Elizabeth Anscombe, Philippa Foot, Mary Midgley, and Iris Murdoch Revolutionized Ethics (New York: Oxford University Press, 2022).

[4] Mary Midgley, The Owl of Minerva: A Memoir (London: Routledge, 2007), 72, 160.

[5] Ford Madox Ford, Return to Yesterday (London: Gollancz, 1931), 14.

Bowling mangel-wurzels across the lawn

(James Eckford Lauder, The Parable of Forgiveness: Walker Art Gallery, National Museums Liverpool)

‘It was Janet’s view’, Elspeth Barker wrote of her stubbornly individual young heroine, ‘that forgetting was the only possible way of forgiving. She did not believe in forgiveness; the word had no meaning.’[1] Janet has, you might say, a lot to put up with – and the Calvinist harangues of Mr McConochie are hardly designed to stimulate the more generous Christian virtues in the bosoms of his flock. Still, other approaches are, as they say, available.

‘After such knowledge, what forgiveness?’, T. S. Eliot wrote.[2] It’s a question that’s cropped up several times in the news just lately. In Ukraine, unsurprisingly, they ask if they can ever forgive Russia, though that question often focuses more specifically on Putin. Some Russians are themselves wondering whether they can ever forgive their President for what he has done to their country, its neighbours, its standing in the world. In England, many of the relatives of those who died in hospitals and care homes in the earlier stages of the Covid-19 pandemic, unvisited, isolated from their families because of the rules made by a government that itself habitually failed to keep them, have stated that they will not forgive the man ultimately responsible for the whole lethal mess: the Prime Minister.

Forgiveness can also be given, or withheld, on a rather smaller scale. Of their gardener—until the family moved to another house—Henry Green wrote: ‘Poole, so they say, could never forgive my mother when soon after marriage she made him bowl mangel wurzels across one lawn for her to shoot at.’[3] Smaller or more frequent, up to that final point, as Ali Smith observed: ‘many things get forgiven in the course of a life: nothing is finished or unchangeable except death and even death will bend a little if what you tell of it is told right’.[4]

The news at the moment—none of it good—is of large events on a large canvas. But those events, whatever their size and nature, began elsewhere: in a room, in a bed, on a screen, in a garden, in a bar, in a grave. The direction of travel may vary. In Ezra Pound’s Confucius, he has this:

The men of old wanting to clarify and diffuse throughout the empire that light which comes from looking straight into the heart and then acting, first set up good government in their own states; wanting good government in their states, they first established order in their own families; wanting order in the home, they first disciplined themselves; desiring self-discipline, they rectified their own hearts; and wanting to rectify their hearts, they sought precise verbal definitions of their inarticulate thoughts [the tones given off by the heart]; wishing to attain precise verbal definitions, they set to extend their knowledge to the utmost. This completion of knowledge is rooted in sorting things into organic categories.[5]

In the bath with Elizabeth Bowen (so to speak), I read about Jefferies listening to Jameson as he declaims about the New Jerusalem to the aunt and the young mother, as they wait for the young husband who will not, perhaps, come home. ‘After all, it all came back to this – individual outlook; the emotional factors of environment; houses that were homes; living-rooms; people going out and coming in again; people not coming in; other people waiting for them in rooms that were little guarded squares of light walled in carefully against the hungry darkness, the ultimately all-devouring darkness. After all, here was the stage of every drama.’[6]

Walking briefly on the main road before turning off again into quieter places, at seven o’clock in the morning, I watch car after car go by, each containing one person, and am reminded of the final question that the New Statesman asks of its interviewee on the Q & A page each week: ‘Are we all doomed?’ The answers are sometimes considered, sometimes flippant. Here, now, the world presents itself as a peculiar version of, say, a golf course produced by a team of deranged designers or architects: they create some hazards, to make the course a little more difficult or challenging or exciting or unpredictable – bunkers, some cunning slopes, water (ideally a lake deep enough to drown in), a few awkward corners where many players will slice or hook into undergrowth or trees. Then they take away all those smooth greens and fairways, leaving only the hazards. No, wait, they put back a couple of greens and call them, what, foreign holidays or television streaming services or barbecues on somebody’s terrace. Then tee off. Fore! Playing is, of course, mandatory. As Pascal didn’t quite say: you must bet; you are in the game. But you might get lucky. So – you have to ask yourself – do you feel lucky? Well, do you?[7]

(Charles Lees, ‘A Golf Match’: National Galleries of Scotland, Scottish National Portrait Gallery)

It’s often, as they say, relative. The conduct of the present English government generally disgusts me – but I live in a wealthy country which is privileged by position, climate, history and the rest. So I hold the country and its government to high standards, with correspondingly high expectations of liberal, enlightened, equitable governance – and they fall woefully short. By almost every measure of a civilized nation, the current state of the country is a disgrace. Yet I’m still hugely – relatively – lucky by many measures. I would far rather be here, an angry and disappointed Englishman, than in a score of countries that come only too swiftly to mind, where having the wrong religion, skin colour, racial heritage or gender can all too easily leave you dead in a ditch.

‘Darknesse and light divide the course of time’, Sir Thomas Browne wrote, ‘and oblivion shares with memory a great part even of our living beings; we slightly remember our felicities, and the smartest stroaks of affliction leave but short smart upon us.’[8] I don’t know. We have machines and social media to help us remember our grievances now and those strokes of affliction leave long-lasting scars, while slightly remembered felicities probably reside on Instagram or crop up as random and unprompted ‘memories’.

‘The uncritical mind is a prey to credulity’, Guy Davenport commented, ‘and without skepticism there can be no democracy.’[9] Yes, there’s that, the gullibility which people seem oddly reluctant to admit to, retrospectively. But there comes a point, certainly in those countries that have any pretensions to a democratic system, when voters can no longer claim ignorance since they know now the nature of the ones they opted for last time. And it comes to this, that huge numbers of citizens, in many countries, say, in effect: yes, these people are corrupt, hypocritical, untruthful bastards but we’re giving them our support, so they can continue to wage war against democratic freedoms or public services or immigrants or women or universities or the poor. . .

After such knowledge, what forgiveness?

Notes

[1] Elspeth Barker, O Caledonia (London: Weidenfeld & Nicolson, 2021), 116.

[2] T. S. Eliot, ‘Gerontion’, The Poems of T. S. Eliot. Volume I: Collected and Uncollected Poems, edited by Christopher Ricks and Jim McCue (London: Faber & Faber, 2015), 32.

[3] Henry Green, Pack My Bag: A Self-Portrait (1940; London: The Hogarth Press, 1992), 3.

[4] Ali Smith, How to be both (London: Hamish Hamilton, 2014), 95.

[5] Ezra Pound, Confucius. The Unwobbling Pivot; The Great Digest; The Analects (New York: New Directions, 1969), 29-31.

[6] Elizabeth Bowen, ‘Human Habitation’, in The Collected Stories of Elizabeth Bowen, with an introduction by Angus Wilson (London: Vintage, 1999), 166.

[7] Blaise Pascal, Pensées and Other Writings, translated by Honor Levi (Oxford: Oxford University Press, 2008), 154; as rendered, or polished, by John Fowles, in The Aristos (London: Pan Books, 1968), 220.

[8] Sir Thomas Browne, Hydriotaphia, or Urn-Buriall, in Selected Writings, edited by Geoffrey Keynes (London: Faber and Faber, 1970), 152.

[9] Guy Davenport, ‘Wheel Ruts’, in The Hunter Gracchus and Other Papers on Literature and Art (Washington: Counterpoint, 1996), 133.

On the other hand

There was, is, a saying:
‘Till April is dead
Change not a thread’

Perhaps less a suggestion to heavy users of social media than a body blow to personal hygiene. All Fools’ Day, I finally troubled to find out, is of French origin, the poisson d’avril—April fish—persons to be hoaxed or have a cardboard fish attached to their backs or simply to be sent on some ridiculous errand. The April fish, because of its abundance in that month, is the mackerel – and the French maquereau also meaning ‘pimp’, occasional complications, or extensions of the idea, were always likely to arise.[1]

‘Whan that Aprille with his shoures soote’ or no, rather, as has been very often quoted of late, ‘the cruellest month’. Some days begin well enough. After breakfast, sitting at the kitchen table with Wodehouse or Lawrence or Mary Wollstonecraft (‘more tea, Mary?’), the cat at the back door or already upstairs again, sprawled on the bed with the Librarian, who is speaking French back at her iPad or looking at her timetable, clouds on the breezier days moving, steadily stately galleons, above the trees and houses, maybe the quick crossword done, even a sentence written that stays written.

But the news is always there, whether just arriving or already waiting. The worst is still from Ukraine, of course, the continued targeting and murder of civilians, and names that will not be forgotten by historians of atrocity: Borodyanka, Bucha, Mariupol, Kramatorsk.

‘Far from his illness’, W. H. Auden wrote of W. B. Yeats, ‘The wolves ran on through the evergreen forests’.[2] To those deluged in grief or fighting for their lives, it’s often shocking that things go on elsewhere – perhaps not as normal, or as before, but they go on. Apsley Cherry-Gerrard, youngest member of Scott’s second Antarctic expedition, who had gone to the war with his health still shaky, was invalided out of the army with what was eventually diagnosed as ulcerative colitis. While men died in their hundreds of thousands on the other side of the channel, Cherry found himself, in 1916, alone in the family home for the first time. ‘There, in the stillness behind the high yew hedge, he watched the oaks and beeches flower and observed the progress of a family of robins nesting in the willow. He noted the arrival of a hen sparrowhawk, and listed the species of tits hovering around the fruit trees. It was a stay against the chaos of the war, and he absorbed himself in the smallness of his garden while the world went mad.’[3]

A few months after the end of that war, Aldous Huxley—who had, in fact, volunteered but was, inevitably, rejected on health grounds because of his famously poor eyesight, following a serious infection years before—wrote to his brother Julian: ‘great events are both terrifying and boring, terrifying because one may be killed and boring because they interfere with the free exercise of the mind—and after all, that freedom is the only thing in the world worth having and the people who can use it properly are the only ones worthy of the least respect: the others are all madmen, pursuing shadows and prepared at any moment to commit acts of violence. The prospects of the universe seem to me dim and dismal to a degree.’[4]

Well, yes. On the other hand – there are goldfinches in our garden. . .

Notes

[1] Bonnie Blackburn and Leofranc Holford-Strevens, The Oxford Companion to the Year (Oxford: Oxford University Press, 1999), 140, 142-143.

[2] Auden, ‘In Memory of W. B. Yeats (d. Jan. 1939)’, W. H. Auden, The English Auden: Poems, Essays and Dramatic Writings, 1927-1939, edited by Edward Mendelson (London: Faber, 1977), 241.

[3] Sara Wheeler, Cherry: A Life of Apsley Cherry-Gerrard (London: Jonathan Cape, 2001), 185.

[4] Aldous Huxley, Letters of Aldous Huxley, edited by Grover Smith (London: Chatto and Windus, 1969), 173-174

Advice Notes

(James Campbell, Waiting for Legal Advice: Walker Art Gallery)

Writing to Hugh Kenner on 30 March 1970, Guy Davenport remarked: ‘Strategy to be recommended to any bright young mind: stray, wander, and meander, and pay attention to what things look like not only from here, but also from there.’[1]

Paying attention – that’s pretty much always sound advice, and not subject to today’s date on the newspaper. Sarah Bakewell, noting that Plutarch’s Moralia was translated into French in the same year that Michel de Montaigne began writing his Essays, observed that, on the question of how to achieve peace of mind, ‘Plutarch’s advice was the same as Seneca’s: focus on what is present in front of you, and pay full attention to it.’[2]

Many of us are far readier to proffer suggestions and recommendations than to accept them from others. But of course – who knows us better than we know ourselves? Answer: it varies, from practically nobody to practically everybody. Continuity is a good thing – except when it’s not. To a young woman writer who sought her advice, Colette responded: ‘When you are capable of certifying that today’s work is equal to yesterday’s, you will have earned your stripes. For I am convinced that talent is nothing other than the possibility of resembling oneself from one day to the next, whatever else befalls you.’[3] And Joan Didion commented: ‘I think we are well advised to keep on nodding terms with the people we used to be, whether we find them attractive company or not.’[4]

Perhaps the best advice—if, practically, the most unhelpful—was Elizabeth Bishop’s take on Pascal. Writing to Robert Lowell (30 March 1959), she commented on John Keats that, ‘Except for his unpleasant insistence on the palate, he strikes me as almost everything a poet should have been in his day. The class gulf between him and Byron is enormous. As Pascal says, if you can manage to be well-born it saves you thirty years.’[5]

‘If you can manage’ – this to Mr Lowell of Boston, where a good many people were familiar with the famous verse by John Collins Bossidy:

And this is good old Boston,
The home of the bean and the cod,
Where the Lowells talk to the Cabots,
And the Cabots talk only to God.

A nice sense of humour, Ms Bishop had.

Notes

[1] Questioning Minds: The Letters of Guy Davenport and Hugh Kenner, edited by Edward M. Burns, two volumes (Berkeley: Counterpoint Press, 2018), II, 1300.

[2] Sarah Bakewell, How To Live: A Life of Montaigne in one question and twenty attempts at an answer (London: Vintage 2011), 32.

[3] Judith Thurman, Secrets of the Flesh: A Life of Colette (London: Bloomsbury Publishing, 2000), 409

[4] Slouching Towards Bethlehem, in We Tell Ourselves Stories in Order to Live: Collected Nonfiction (New York: Knopf, 2006), 106.

[5] Elizabeth Bishop, One Art: The Selected Letters, edited by Robert Giroux (London: Pimlico, 1996), 372.