Category / Modern Library

by Edward Champion

Lord Jim (Modern Library #85)

In the latest Modern Library Reading Challenge installment, our intrepid reader takes on Conrad’s masterpiece, contemplating honor, Jim’s emo whining, and the many eccentric characters on the high seas.

(This is the sixteenth entry in the The Modern Library Reading Challenge, an ambitious project to read the entire Modern Library from #100 to #1. Previous entry: Ragtime)

Much like today’s tawdry Hollywood movies, Lord Jim was based on a true story — back in the days when it actually meant something. On August 7, 1880, a ship called the Jeddah, on its way from Singapore to Arabia and carrying 950 Muslim pilgrims, had an accident. The British officers abandoned the ship near Cape Gardafui. But the Jeddah did not sink. Captain Clark was on his way out of the British Consulate when another captain reported that the Jeddah had been salvaged and towed. Clark got off lightly. His certificate was stripped for three years. But the Jeddah‘s first mate, Augustine Podmore Williams, received a harsher sentence.

This tale of lost honor and irresponsible officials eluding their duties so captivated Conrad’s imagination that he began drafting a short story in a thick album bound in leather that had belonged to his grandmother. The Jeddah became the Patna. (And the Patna would show at the end of Alien 3, lest you thought that film franchise was solely Nostromo.) Zdzislaw Najder’s very large biography, Joseph Conrad: A Chronicle, informs us that Conrad kept tabs on his word count in the margins. Serializing the yarn in a magazine was the idea, and his labor on the Lord Jim prototype intersected with the completion of “Youth” — a story that also featured the well-known Charles Marlow. Yet at this stage in the Lord Jim writing, Marlow hadn’t yet found his loquacious entry point. What Conrad would not know is that Marlow would become as ubiquitous in his work as the creepy adjusters you see in today’s subdivisions who show up minutes after a fire to stake out a husked out building. While Marlow may not have been driven by the adjuster’s compulsion to itemize and sweep in, he did share the common trait of being a remarkably patient listener to a tragic tale.

After some early starts, there was a six month break. Around this time, Conrad was also at work on Heart of Darkness (yet another deck for Marlow to walk on), which appeared in three parts in Blackwood’s Magazine (and which will be discussed in a future Modern Library installment). Factor in an especially vituperative article from Eliza Orzeskowa (“The Emigration of Talent”) that accused Conrad of deserting the Polish homeland and diminishing his talents and one gets the sense that Conrad wasn’t exactly doing the happy dance around 1899.

Conrad had to go sailing on a boat (La Reine) he had purchased with his pal Stephen Crane to unlock Lord Jim‘s secret: namely, the shift from omniscient narration to Marlow, who is arguably one of the most formidable ramblers in all of literature. (Indeed, there is a strange pleasures reading Lord Jim in the 21st century and contemplating the type of audience who would sit through such a protracted tale without offering a question or an interruption. I’ve done the math here, and Marlow’s tale is probably a lot longer than Christian Marclay’s The Clock. When you factor in our short attention span age, the time investment and patience is tenfold more remarkable. Today, I have no doubt that people would be live-tweeting Marlow or checking their BlackBerries. And we haven’t even discussed bathroom breaks.) Conrad’s “long short story” of 20,000 words eventually expanded to six times the calculated length. This didn’t stop him from additional dips into continuous partial attention. He even collaborated with Ford Madox Ford on The Inheritors in early 1900.

In addition to bracing the pressure of Blackwood’s serializing Lord Jim, Conrad also faced the death of his BFF GFW Hope’s seventeen-year-old son on the high seas (with some evidence of a covered up sexual assault, thus accounting for the book’s dedication), and, like many writers then and since, tremendous financial uncertainty. The plan had been for “Tuan Jim: A Sketch” to be part of a collection, but this idea became spottier as the story mushroomed.

One can offer the theory (and biographer Jeffrey Meyers certainly has*) that Conrad needed to be oblivious to keep up with the time-consuming nature of novel writing, claiming to be just about finished when there was still a good deal of work that needed to be done. Yet Conrad plowed forward, fighting off bronchitis, malaria, and even gout. Indeed, if one isn’t humbled by the fact that Conrad wrote this sweeping masterpiece in his third learned language, there’s the impressive manner in which Conrad doggedly used a paperweight to keep down his sheets while working with an inflamed wrist.

Conrad’s grief over his good friend Crane’s untimely death on June 5, 1900 made its way into Lord Jim‘s last ten chapters. And given how these heavy feelings fueled such a heavy book, there is little doubt that Conrad had reached a point where he wanted to be done with Lord Jim, as he was to remark in a July 20, 1900 letter to John Galsworthy:

The end of L.J. has been pulled off with a steady drag of 21 hours. I sent wife and child out of the house (to London) and sat down at 9 am, with a desperate resolve to be done with it. Now and then I took a walk round the house out at one door in at the other. Ten-minute meals. A great hush. Cigarette ends growing into a mound similar to a cairn over a dead hero. Moon rose over the barn looked in at the window and climbed out of sight. Dawn broke, brightened. I put the lamp out and went on, with the morning breeze blowing the sheets of MS all over the room. Sun rose. I wrote the last word and went to the dining room. Six o’clock. I shared a piece of cold chicken with Escamillo [Conrad’s dog, named after Carmen] (who was very miserable and in want of sympathy having missed the child dreadfully all day). Felt very well only sleepy; had a bath at seven and at 8:30 was on my way to London.

The thing that gets me is how Conrad felt the need to punctuate the end of his industry with a cold piece of chicken. But Conrad would initially dismiss Lord Jim as “a lump of clay.” While Lord Jim was to be favorably received, it wasn’t exactly a blockbuster. The first batch of 2,100 copies sold out in two months. The next printing of 1,050 copies took four years. Some reviewers complained. Many raved. Henry James sent Conrad a letter of congratulations.

* * *

If I am to be truthful here, I must confess that I had to start Lord Jim a second time before I really got into Jim’s woeful adventures from Patna to Patusan. My first reading attempt pushed me to the 200 page mark, but I zoned out, Conrad’s paragraphs washing over my eyes like imposing ebbtides. At first I feared that Conrad, whose Heart of Darkness I had loved so much in high school, did for me what Thomas Pynchon does for other people when they resent not being able to finish Gravity’s Rainbow. But when I put aside some professional obligations and realized that Lord Jim required my total attentions, I found myself stirred and fascinated by Jim’s remarkable obstinacy, his failure to shake off the shame from the bulkhead accident and move on. Here’s a guy who skips town anytime some stranger brings up the Patna incident. You almost want him to go all Dustin Hoffman (as opposed to James Marsden) in Straw Dogs rather than sit there passively while others deface his honor. Jim would never be able to get away with these chicken sprints in the age of Google.

Other characters tolerate this curious strain of romantic heroism. Poor Marlow, who you figure should know better, gets Jim a gig in the most munificent manner possible, pointing out to the troubled young hipster (sorry, but I can’t help but think of emo layabouts when imagining Jim in my mind’s eye) just how much he’s put his ass on the line:

“Look at the letter I want you to take. I am writing to a man of whom I’ve never asked a favour, and I am writing about you in terms that one only ventures to use when speaking of an intimate friend. I make myself unreservedly responsible for you. That’s what I am doing. And really if you will only reflect a little what that means…”

Jim gets the gig, offering a jolly “Jove!” in response to this generosity. (It’s worth noting that Jim is very big on “Jove!” I’m guessing that “Jove!” was the “Fuck yeah!” of its day.** And, on second thought, I don’t blame Marlow too much. If I was in the company of an exuberant lad who liked to yell “Jove!” all the time, I’d probably buy him a few beers with the remaining shekels in my reticule.) But he blows the job (and costs the man his business) when the second engineer of the Patna shows up. “I couldn’t stand the familiarity of the little beast,” writes Jim back to Marlow.

But given how Conrad offers us so many eccentric characters of the sea, is Jim’s bitching really called for? Especially when Jim’s stolid near Bartleby-like temperament causes people he knows to die after Stein appoints Jim as manager of his trading post in Patusan. We see any number of idiosyncratic types throughout Lord Jim: the German skipper who demands liquor by the light of the Patna‘s binnacle, the captain who is part of the Patna investigation and suicidally throws himself overboard as though “he had suddenly perceived the gates of the other world flung open wide for his reception,” Marlow’s brief chief mate Selvin who, upon not receiving a letter from his wife, “would go quite distracted with rage and jealousy, lose all grip on the work, quarrel with all hands, and either weep in his cabin or develop such a ferocity of temper as all but drove the crew to the verge of mutiny,” the butterfly-collecting merchant Stein, and the monstrous buccaneer Gentleman Brown who forces Jim’s hand in Patusan. Given his close proximity to goofballs and mountebanks, one would think that Jim would have something bigger on his mind than his own fragile ego.

If Jim is considered “a solitary man confronted by his fate,” then it interesting how he attempts to reconcile his honor with Cornelius, the “unspeakable” man embezzling and appropriating from Stein whom Jim replaces in Patusan. Cornelius treats his station and his girl quite unwell. But can we commend Jim for trying to be civil with Cornelius when he asks if he is unwell? Perhaps. But doesn’t Cornelius, for all of his odious qualities, carry some slim honor? Sure, the man has bamboozled Stein. He’s clearly stealing more than a few office supplies. But there’s something equally absurd to Jim in the way Cornelius offers to smuggle Jim out through the river for a mere eighty dollars. Cornelius certainly has a point when he declares to Marlow, “What did Mr. Stein mean sending a boy like that to talk big to an old servant? I was ready to save him for eighty dollars. Only eighty dollars. Why didn’t the fool go? Was I to get stabbed myself for the sake of a stranger?”

In light of the “Look at that wretched cur” farcical business at the Patna inquiry, whereby Marlow remarks on a weaving yellow dog and the oversensitive Jim believes that Marlow is talking shit about him, what makes Cornelius’s griping about sacrifice any less ignoble than Jim’s? And in disseminating Jim’s tale of dishonor to unknown listeners in the shadows, isn’t Marlow also sullying Jim’s honor? Certainly not in our eyes, if we look upon the tale from the outside. But Jim would most certainly think so, if he knew the full extent of Marlow’s goodnatured gossiping. We also have no idea how reliable Marlow is — especially since we are getting boatloads of hearsay. In fact, only “one privileged man” gets to hear the final word of the story, which is mostly second-hand from a fairly unreliable source.

Perhaps as Marlow says, the problem resides in the externals:

The conquest of love, honour, men’s confidence — the pride of it, the power of it, are fit materials for a heroic tale; only our minds are struck by the externals of such a success, and to Jim’s success there were no externals.

* — You may have observed that I haven’t really probed into Joseph Conrad’s bad behavior in this Modern Library installment. Given that there are three more Conrad volumes on the list, I’m thinking I’ll probably be addressing Conrad’s boorishness at some future point. However, since we’re on the subject, I feel compelled to point out that, should you check out Jeffrey Meyers’s Joseph Conrad: A Biography from the Mid-Manhattan branch of the New York Public Library, you will find this amusing marginalia on Page 187 suitably illustrating the author vs. work predicament:

Annotator 1: Ingrate! mistreats his wife I am trying to find something beneficial
Annotator 2: His writing!

Annotator 1: Constantly borrowing money
Annotator 2: So what?

** — Aside from “Jove,” “tumult” is another word Conrad is quite fond of — for abundantly clear reasons. I am also highly inclined to devise some Brooklyn answer to “tiffin” that I can work into my life and vernacular.

Next Up: Elizabeth Bowen’s The Death of the Heart!

by Edward Champion

Ragtime (Modern Library #86)

In our latest Modern Library Reading Challenge essay, we ask why EL Doctorow’s novel has relied so heavily on Kleist and whether Ragtime truly respects its readership.

(This is the fifteenth entry in the The Modern Library Reading Challenge, an ambitious project to read the entire Modern Library from #100 to #1. Previous entry: The Old Wives’ Tale)

In 1975, the New York Times‘s Christopher Lehmann-Haupt initiated his review with this typically hyperbolic sentence: “E. L. Doctorow’s ‘Ragtime’ is a highly original experiment in historical fiction.” Unfortunately, because Lehmann-Haupt possessed middling erudition, he could not ken that Doctorow had, in fact, ripped off Heinrich von Kleist for his novel’s most memorable character.

In a 1978 interview with Jared Lubarsky, Doctorow declared, “I realized as I went along that the model for this book, in terms of its narrative distance, was the chronicle fiction of the German master Heinrich von Kleist. His novella ‘Michael Kohlhaas’ was very much in my mind when I found the black man Coalhouse Walker, driving up the hill in his Ford.” In 1983, Doctorow was somewhat more honest about his carjacking with the notably sharper Larry McCaffery:

Several years ago my wife related a true story she’d heard about a housemaid in our neighborhood who bore a child and then buried it in a garden. I knew when I heard this I’d use it someday. I found myself using it in Ragtime, where I never knew in advance what was going to happen. Suddenly there was Mother discovering the little brown newborn in the flower bed. There was Sarah coming to live in the house with this baby. Obviously, she would have tried to kill the child only from overwhelming despair or sense of betrayal. So there had to be a father. I had introduced Houdini driving up Broadview Avenue. He came along in his shining Ford, an older man, and he said, “I’m looking for a young woman of color.” Where had he been? I decided he was a musician, a man who lived on the road, going where he found work. Now he was back to make amends. He starts to court Sarah and when she refuses to see him, he plays the piano for the family in their parlor. And that’s how I found the central image of the book. Then I began to think about the implications of a black man owning his own car in the early 1900’s. I knew Sarah would forgive him and they would be reconciled. But that car: What would happen to that lovely car of his is what happened to Michael Kohlhaas’s horses. I had always wanted to rework the circumstances of Kleist’s story. I felt the premise was obviously relevant, appropriate — the idea of a man who cannot find justice from a society that claims to be just. So there it was — I’d finally found the use for that legend I’d hoped to find — but not until the moment I needed it.

Yet four years later, in a Yale Vernacular interview with Liesl Schillinger, Doctorow downplayed “reworking the circumstances” to being “very much inspired by Kleist.” And in a 1988 interview with Herwig Friedl and Dieter Schulz, Doctorow would identify his theft as “a quite deliberate hommage. You know, writers lift things from other writers all the time.” That same year, Doctorow would offer an altogether different defense to Winifred Farrant Bevilacqua: “somewhere along the line as I was writing Ragtime I realized I was writing chronicle-fiction with a certain mocking or ironic tone but nevertheless with the same distance with the characters that you find in chronicle-fiction, that is to say, a distance not as great as a historian, not as close as the post-Flaubertian novelist, but somewhere in the middle and maybe that’s why I remembered that I’d always wanted to use ‘Michael Kohlhass’ in some way, it was a story for me.” But by 1997, Doctorow (sounding more like Cory than Edgar) said to Michael Silverblatt, “The source of what you use finally doesn’t matter….The sources don’t matter as much as the act of composing.”

As The New York Observer noted on March 23, 1998, there was clearly more going on than composing. Doctorow had ripped off many key elements of “Kohlhaas.” Both Kohlhaas and Coalhouse are stopped by men who demand toll. Both figures seek a vigilante form of justice, enlisting men to their eventual deaths when denied proper recourse. Both feature the horse and the car returned in perfect condition. Doctorow’s Booker Washington fills in for Kleist’s Martin Luther. Both feature very specific imagery of significant others receiving a blow to the chest from a weapon (and, as the Observer points out with its citations, the passages from both narratives are quite similar).

But let us inform our good thief Edgar why the sources do matter. According to Broadway World, the 1998 Broadway adaptation of Ragtime grossed close to $80 million during its two year run. The 2009 Broadway revival of Ragtime, which featured a working Model T automobile (the very story element that Doctorow ripped off and altered for his use) as a dominant part of the set, grossed more than $5 million. Not bad for a musical that was budgeted at $11 million and faced declining revenue due to the recession. That’s an $85 million gross over a little more than a decade on a musical based on a novel that ripped off another narrative. If Doctorow can be compared to a robber baron (in Ragtime, he does seem strangely at home writing about JP Morgan and Henry Ford), it’s a remarkably barren robbery.

Doctorow would prove quite defensive and more than a bit smug when called on the carpet more directly. “I find it surprising that this is being brought up 22 years after the event,” he would tell the Observer, seemingly not seeing why a highly successful Broadway adaptation might shine a brighter Klieg on the Kleist pillaging. “I have a sense of a readership that is sophisticated and understands how literature works. There are others who may be naïve about that. And that naïveté is taught by example.”

* * *

But was the 1975 novel really all that sophisticated? I read Ragtime twice for this essay. While I enjoyed it slightly more on the second read, I had severe doubts about Doctorow respecting a readership who “understands how literature works.” Ragtime‘s parody of a junior high school textbook grew tedious. I do everything in my power to accept a book for what it is (Updike’s Rules for Reviewing and all), but I wanted to feel these figures rather than look upon them as one-dimensional. Even Harold Bloom, writing in an introduction for a 2004 study guide, confessed that Ragtime “is far from being Doctorow’s most eminent work.” Was Ragtime a second-rate Doctorow?

Nearly four decades after its publication, one of the book’s biggest surprises is how patronizing Doctorow is. Above all, Doctorow is driven by the need to repeat and explain, as if his readership is a simpering mass of small children, perhaps plagued by amnesia or an uncanny inability to look up a vaguely arcane word, that he must speak down to. We are introduced to “the famous architect Stanford White” in the first chapter. A mere two chapters later, Jacob Riis decides to “interview the eminent architect.” Two chapters after that, we encounter Mrs. Stuyvesant Fish, who is “throwing a commemorative ball in honor of her friend the late Stanford White, the architect of her home. He had designed her home in the style of a doge palace. A doge was the chief magistrate in the republic of Genoa or Venice.”

It’s regrettable that this generic repetition extends to generic and sometimes cartoonish character description. Of the great Booker T. Washington, we are offered this redundancy: “He was an orator and his voice was strong.” Of Houdini, Doctorow writes, “Pound for pound he was as strong as any man he had ever run up against.” That’s pulpish, but somewhat fair. So why then do we need to be explicitly reminded about this already established strength only two sentences later? “He was immensely muscular and agile and professionally courageous.”

Of a strike, Doctorow offers this homely description: “The bosses want you weak, therefore you have to be strong. The people who will help us today will need our help tomorrow.” The reader who flips the next page will read the page that comes after this one. E.L. Doctorow has written a masterpiece. He has written a masterpiece because the book is on the Modern Library list. The Modern Library list, which is still regarded highly by certain literary geeks, is one method of locating masterpieces. Autistic readers are most welcome. Insert your logical fallacy or your X=Y observation of choice here.

Doctorow’s doggerel is hardly confined to phrases or sentences. Here is the man attempting to mythologize American heft as Taft ascends to the White House:

All over the country men began to look at themselves. They were used to drinking great quantities of beer. They customarily devoured loaves of bread and ate prodigiously of the sausage meats of poured offal that lay on the lunch counters of the saloons. The august Pierpont Morgan would routinely consume seven- and eight-course dinners. He ate breakfasts of steak and chops, eggs, pancakes, broiled fish, rolls and butter, fresh fruit and cream. The consumption of food was a sacrament of success. A man who carried a great stomach before him was thought to be in his prime.

If this is deliberate comedy, then it becomes tedious by the third sentence and spoiled by the fifth sentence’s desperate laundry list retreat. If this is intended as literature, then the third sentence’s passive voice and eyesore adverb infringes upon lexical decency. If this is intended as wisdom, then the concluding homily is no different from a barfly’s botched wisdom.

There’s also something of a creepy misogyny running ragged through Ragtime. It’s there early on in the lurid manner with which Harry Thaw demands proof of his wife’s “devotion and it turned out nothing else would do but a fellatio.” But not long after we first meet Emma Goldman, Doctorow depicts Goldman giving Evelyn Nesbit a sensual massage with dimebag imagery: “Goldman rubbed the oil into her skin until her body found its own natural rosy white being and began to stir with self-perception.” Mother’s Younger Brother, who has been stalking Nesbit, bursts out of the closet mid-jerk, firing off “great filamented spurts of jism that traced the air like bullets and then settled slowly over Evelyn in her bed like fallng ticker tape.” As if this silly masturbatory fantasy isn’t enough, Evelyn is next seen taking Mother’s Younger Brother as her new lover. The reason? “It was characteristic of Evelyn that she could not resist someone who was strongly attracted to her.”

And it is characteristic of Doctorow that, with the possible exception of Mother (and even this is dubious, as I shall soon demonstrate), he cannot write about women without objectifying them. Mameh, wife to Tateh, is forced to let her landlord “have his way on a cutting table” and is never seen again. When Evelyn eventually leaves Mother’s Younger Brother, she is never heard from again. Why can’t these women be interesting or useful to the narrative outside of the boudoir? Sarah, lover to Coalhouse Walker, spends most of her time mute and sequestered from the family when Coalhouse arrives. We do see Sarah laughing not long after a fortuitous development, but her happiness flows “in the milk of her breasts.” When Sarah finally does speak, she is bludgeoned by thugs. (And, again, keep in mind that this one-dimensional character is Doctorow’s appropriation from Kleist.)

Doctorow would likely defend such slips as a wry reflection of history’s male-centric sweep (“something I was always planning to do”), from which the narrative “we” (which undoubtedly includes the mysterious boy digging through trash at the family hotel) likely originates from. But when I remembered how William Kennedy’s Ironweed (a much superior novel) worked a time period and a setting somewhat close to Ragtime without this fatal flaw, I became even more bothered by Doctorow’s dickering. Even after her apparent transformation into someone slightly more autonomous, Mother is viewed with her underclothes sticking to her limbs, “recognized in her wet form the ample woman in the Winslow Homer painting who is being rescued from the sea by towline.” Why couldn’t Doctorow, a novelist who clearly loved writing about Houdini’s escape or Theodore Dreiser adjusting his seating position, find his own precise way out of this patriarchal predicament? If history is merely an alluring flipbook of silhouettes to find one’s fortunes and invent a baronetcy (the true underlying pull in this novel), then surely the decent thing for a novelist to do — even one claiming to specialize in mock chronicle-fiction — is to avoid having one’s German chocolate cake and eating it too.

Next Up: Joseph Conrad’s Lord Jim!

by Edward Champion

The Old Wives’ Tale (Modern Library #87)

In this latest installment of the Modern Library Reading Challenge, our fearless reader contends with Arnold Bennett’s Asperger’s-like kitsch.

(This is the fourteenth entry in the The Modern Library Reading Challenge, an ambitious project to read the entire Modern Library from #100 to #1. Previous entry: The Call of the Wild)

I am fairly certain that I found The Old Wives’ Tale compelling for reasons that Arnold Bennett did not intend. After my great excitement with Jack London, Bennett was something of a letdown, reading more like fossilized culch than a lively adventure from the 20th century, although I experienced a great deal of pleasure as characters began to die and as they became needlessly blamed for other deaths. Consider the manner in which Sophia, assigned to watch over her bedridden father, sneaks away for a few minutes to chat with the strapping Gerald Scales. When she returns, something terribly odd occurs:

After having been unceasingly watched for fourteen years, he had, with an invalid’s natural perverseness, taken advantage of Sophia’s brief dereliction to expire. Say what you will, amid Sophia’s horror, and her terrible grief and shame, she had visitings of the idea: he did it on purpose!

As I continued to push through this 600 page novel, surprised by such lively spurts written in a mode I initially appraised as kitschy, there was a part of me that longed for the invention of time travel. I might roll a joint and get it into Bennett’s hands before he banged out another overly serious manuscript. His eccentricities, however, were also part of the charm. I must confess that I couldn’t quite shake Bennett.

* * *

Bennett was hot shit at one point in time. I suspect his inclusion on the Modern Library list involves some guilt over his swift fall from grace. In 1923, Virginia Woolf got nasty with an essay entitled “Mr. Bennett and Mrs. Brown”: “he is trying to hypnotize us into the belief that, because he has made a house, there must be a person living there.” And many seemed to believe her. The literary critic FR Leavis dismissed Bennett in a sentence. The situation became so desperate that Margaret Drabble felt compelled to publish an appreciative 400 page Bennett biography in 1974.

I asked several literary friends if they had read Bennett. But only one had. And this friend made strong suggestions that Anna of the Five Towns was one of the more dispiriting reads in her formative years. I was roundly rebuked for daring to mention Bennett, the name as ancient and as displeasing to her ears as Linda Ronstadt, and was banned from discussing literary matters with my friend for a week. It’s very possible that I’m one of the few Americans under the age of 40 who has actually finished one of Bennett’s novels. (Apparently, I am not the first to raise this observation. Shortly after drafting this essay, I discovered that Wendy Lesser, writing in The New York Times in 1997, had also pointed out Bennett’s stunning precipitation. Fourteen years later, the Bennett situation is considerably worse.)

In recent years, Bennett has found a few (still living) defenders in Drabble, Francine Prose, and Philip Hensher. And while two of these boosters can be rightly praised as skilled novelists, by all reports, this collective humor-impaired trio cannot be said to be especially vivacious at social gatherings. That’s part of the problem. To get Bennett, you have to take him somewhat seriously. And that means abdicating a healthy skepticism deeply valued by any freethinker who grew up in a post-Nixon or a post-Thatcher world. These days, Arnold Bennett is best known for an omelette recipe established at the Savoy. It’s worth observing that Bennett did not come up with the recipe. He was too busy writing a novel. There are certainly worse fates for an author. But despite my gripes, I still believe Bennett deserves more than a mere legacy of haddock and peppercorns.

* * *

The Old Wives’ Tale is a strange novel, imperious and engaging at times, but I cannot call it a classic — despite its admirable narrative ambition in tracking two sisters, Sophia and Constance Baines, and their families from youth to old age. It is plagued by inhebetating verbosity (“The horror of what had occurred did not instantly take full possession of them, because the power of credence, of imaginatively realizing a supreme event, whether of great grief or of great happiness, is ridiculously finite”). It feels the need to bully the reader into excitement with obnoxious exclamation marks (“This was what he had brought her to, then! The horrors of the night, of the dawn, and of the morning! Ineffable suffering and humiliation, anguish and torture that could never be forgotten!”). It is often condescending towards its characters, using bizarre interrogatory to suggest feeling (“But why, when nearly three months had elapsed after her father’s death, had she spent more and more time in the shop, secretly aflame with expectancy?”).

There is something needlessly systematic and almost Asperger’s-like in Bennett’s fixations. Here is Bennett describing the inner life of Constance’s son:

He had apparently finished his home-lessons. The books were pushed aside, and he was sketching in lead-pencil on a drawing block. To the right of the fireplace, over the sofa, there hung an engraving after Landseer, showing a lonely stag paddling into a lake The stag at eve had drunk or was about to drink his fill, and Cyril was copying him. He had already indicated a flight of birds in the middle distance; vague birds on the wing being easier than detailed stags, he had begun with the birds.

Bennett is more interested in positioning objects rather than being explicit about what his characters feel. His fixation on external imagery prevents him from contending with emotions. And this inferential approach does have its drawbacks. Even in describing the engraving, Bennett isn’t quite sure: “had drunk or was about to drink his fill.” Shortly after this moment, Cyril feels his mother’s hand on his shoulder and, before he replies, Bennett writes: “Before speaking, Cyril gazed up at the picture with a frowning, busy expression, and then replied in an absent-minded voice.” Frowning, busy expression? My mind drew uncomfortable parallels with the autistic passages contained in Tao Lin’s Richard Yates. One could make the argument that Bennett’s superficial imagery reflects both Cyril’s transformation into a young artist or the overall shift from bucolic business to a more modern age. Yet this aesthetic approach is hardly confined to Cyril. Of one of Sophia’s clients in France: “There was a self-conscious look in his eye.” Near novel’s end, Bennett even makes a big show of how characters look at others: “Peel-Swynnerton had just time to notice that she was handsome and pale, and that her hair was black, and that she was gone again, followed by a clipped poodle that accompanied her.” Considering these odd emphases and the sweeping melodramatic statements contained elsewhere in the book, it became necessary to investigate the man further.

* * *

Arnold Bennett began writing The Old Wives’ Tale on October 8, 1907. We know this because he wasted no time marking the notches in his journal:

Yesterday I began The Old Wives’ Tale. I wrote 350 words yesterday afternoon and 900 this morning. I felt less self-conscious than I usually do in beginning a novel. In order to find a clear 3 hours for it every morning I have had to make a time-table, getting out of bed earlier and lunching later.

The next day (October 10, 1907), Bennett offers this exacting news, worthy of Trollope or a chartered accountant: “I walked 4 miles between 8:30 and 9:30, and then wrote 1,000 words of the novel.”

Bennett would finish his novel less than a year later, noting on August 30, 1908: “Finished The Old Wives’ Tale at 11:30 A.M. today. 200,000 words. Now I can begin to keep this journal again.”

Bennett was indeed a man of his word. The volume I am presently consulting from, which contains all of Bennett’s journal entries, is more than 1,000 pages. While assembling this essay over several days, I have been on the lookout for a cockroach, hoping to test the density of Bennett’s private thoughts against a very 21st century dilemma. Unfortunately, the apartment is clean, the exterminator who last doused the place (along with my own independent boric appliqué) was too efficient, and I have not seen any insect life in the order of Blattaria for many weeks. Now I can begin to write this essay again.

As Bennett was working on The Old Wives’ Tale, he worked with an industry that might put Joyce Carol Oates to shame. He wrote two short novels (Helen of the High Road and Buried Alive), any number of articles and short stories, a scenario, a play, and a few popular works of reductionist philosophy (throughout his life, Bennett was a one man self-help book factory, writing such prescriptive pabulum as How to Live on 24 Hours a Day and Self and Self-Management; he even had the temerity to argue that men were superior to women). As he was to explain in an April 9, 1908 journal entry:

Habit of work is growing on me. I could get into the way of giving to my desk as a man goes to whiskey, or rather to chloral. Now that I have finished all my odd jobs and have nothing to do but 10,000 words of novel a week and two articles a week, I feel quite lost, and at once begin to think without effort, of ideas fora new novel. My instinct is to multiply books and articles and plays. I constantly gloat over the number of words I have written in a given period.

One curious quality about this period is Bennett’s reticence to name-check his fetching French wife Marguerite. I should hasten to add that Bennett’s “habit of work” came only a few months after his marriage. Bennett does register that he walked with his wife in the pouring rain on October 16, 1907, but he is more devoted to discussing how he enjoys “splashing waterproof boots into deep puddles” than Marguerite’s feelings on the matter. When Marguerite does show up in Bennett’s journal, it is mostly through “we” rather than “Oui!” And even then, Bennett is more driven by his inner “I” than any subtle references to Marguerite’s enticing third eye. By January 4, 1908, he is preoccupied by what he misinterprets as “unconscious and honest sexuality” from a Scottish woman in a London hotel.

I mention Bennett’s myopic matrimony not because I want to gossip about an English novelist who has been dead for a good eighty years (well, that’s not entirely true; on the other hand, since Bennett was writing a column of book gossip for New Age under a pseudonym during the same period, perhaps I am unintentionally avenging his targets, even though they are now all dead and have long stopped caring), but because his treatment of Marguerite is remarkably similar to the transactional manner that salesman Samuel Povey treats Constance Baines after they are married in The Old Wives’ Tale:

The basis of this contentment was the fact that she and Samuel comprehended and esteemed each other, and made allowances for each other. Their characters had been tested and had stood the test. Affection, love, was not to them a salient phenomenon in their relations. Habit had inevitably dulled its glitter.

* * *

What does a reader do with Arnold Bennett in 2011? Bennett undoubtedly had the stuff to stir the reader, but it’s difficult to let some of his more impetuous ideas about human behavior slide. This was a weakness cited by his most ardent defenders. Even Rebecca West was to confess that Bennett struck her “as being one of the most observant and unobservant persons I have ever known. He would remember the order of the shops in an unimportant street in a foreign city for years, but he was curiously blind about human beings. He would know a man and a woman for years and see them constantly without realizing that they were engaged in a tragical love affair; he could meet a man shaken by a recent bereavement and notice nothing unusual about him til he was told.”

Yet despite Bennett’s obvious blind spots, I feel a charitable impulse for the man. Few of today’s novelists are willing to write in such a reckless yet revealing manner. Were he working today, Bennett’s work would be rent in an MFA minute. But without this rampant rashness, Bennett would not have kept up his voice.

Next Up: E.L. Doctorow’s Ragtime!

by Edward Champion

The Call of the Wild (Modern Library #88)

In our next installment of the Modern Library Reading Challenge, we uncover why Jack London’s wild and romantic view is still necessary within the comfort zone of the 21st century.

(This is the thirteenth entry in the The Modern Library Reading Challenge, an ambitious project to read the entire Modern Library from #100 to #1. Previous entry: Loving)

In June 1902, Cosmopolitan published “Diable — A Dog” (the original title “Bâtard” had been softened by squeamish editors) by an emerging young writer named Jack London. This gripping tale involves a dog (“illegitimate” like London: his father a timberwolf, his mother a husky) battling his vicious master Leclère as the two wander the Yukon — seemingly with the sole purpose of rending each other at any opportunity. London describes how “hate bound them together as love could never bind,” not unlike Edward Albee’s George and Martha or Eminem and Kimberly Scott. And like the most extreme bonds of blinding enmity, for Diable and Leclère, this leads to a fatal end.

In December of that year and in a lonely place, London began work on a 4,000 word short story — a companion piece to “Bâtard” involving a civilized dog named Buck, who is also a mongrel, and his adventures in the Alaskan wilderness. Two months later, London had a novel. But he he would make a catastrophic business decision: $2,000 in cash from Macmillan for all rights with a further $750 to the Saturday Evening Post. Given the millions of copies that Call would go on to sell, and given London’s constant financial woes, this transaction may very well be American literature’s answer to the Dutch snapping up Manhattan from the Lenape for a mere 60 guilders.

Despite this bad business, Call would cement London’s literary reputation. And I am pleased to report that, a little less than three decades after I first read it, Call holds up remarkably well on a second and third read — so much so that I was compelled to read White Fang, a London biography, numerous critical responses, and countless other texts directly and indirectly related to Call before a kind friend cut me off from this London monomania in the manner of a respectful bartender telling an exuberant customer to go home and sleep it off. Additional friends encouraged me to read sections of White Fang aloud to an especially finicky cat and were surprised when I found that I could not stop. I could go on reading London for days. The man is that good.

My obsession likely emerged from the startling rediscovery that London’s prose remains alive in a way one would not expect from a novel published in 1903, especially since London found his inspiration to write from a somewhat incongruous source: Ouida‘s Signa. Soon after Buck is kidnapped from the “big house in the sun-kissed Santa Clara Valley,” where he lives with Judge Miller and his family, London masterfully establishes the way that the setting is changing by throwing the reader off with subtle syntactic shifts:

Several times during the night he sprang to his feet when the shed door rattled open, expecting to see the Judge, or the boys at least. But each time the joyful bark that trembled in Buck’s throat was twisted into a savage growl.

We believe that Buck springing to his feet will spawn an escape or that the door rattling open will precipitate some further action, but London establishes an uncertain feeling between understated fear and expectation. And he neatly foreshadows Buck’s inevitable transformation with the “joyful bark” twisting “into a savage growl.” This style might be identified as highly refined Alger, but it also allows us to become invested in Buck’s inner life in a manner that feels tough rather than sappy, transcendental rather than fixed. And we become so involved with Buck’s struggles that we forget we are reading an animal tale.

But Call has more going on than a soft Southland mutt growing into a legendary Ghost Dog who “sings a song of the younger world.” London, who spent much of his formative years laboring hard as a “work beast,” is also writing about the honor and integrity that emerge from doing a job well even in the worst of all possible worlds. This wild world of hard labor, in which one must eat faster and push one’s muzzle harder to grab that bit of protein needed to keep pulling the sleds and one must ward off belligerent “co-workers” like Spitz (if you think you’ve got annoying cubemates, wait until you meet this dog), still has its virtues:

Best of all, perhaps, he loved to lie near the fire, hind legs crouched under him, fore legs stretched out in front, head raised, and eyes blinking drearily at the flames. Sometimes he thought of Judge Miller’s big house in the sun-kissed Santa Clara Valley, and of the cement swimming tank, and Ysabel, the Mexican hairless, and Toots, the Japanese pug; but oftener he remembered the man in the red sweater, the death of Curly, the great fight with Spitz and the good things he had eaten or would like to eat. He was not homesick. The Sunland was very dim and distant, and such memories had no power over him. Far more potent were the memories of his heredity that gave things he had never seen before a seeming familiarity; the instincts (which were but the memories of his ancestors become habits) which had lapsed in later days, and still later, in him, quickened and became alive again.

Work, which comes by necessity in the wild, overcomes the distressing prospect of being crippled by memory. It unites disparate souls, even those who are lashing at each other, and even causes experienced men to protest the clueless chekakos. Midway through the novel, three greenhorns show up with canned goods, “blankets for a hotel,” and beat their dogs into submission without lightening the load. Later in the novel, Buck makes his escape from this unthinking and irresponsible trio into John Thornton’s care.

While it’s true that unfastening a lock can require pluck, some critics have made too much hey now over certain autobiographical connections between Jack and Buck. It is true that London was writing The Call of the Wild as his first marriage was disintegrating. Buck does describes his love for John Thornton with lilting romance (“But love that was feverish and burning, that was adoration, that was madness, it had taken John Thornton to arouse”*), but London wrote these words before he had Charmian Kittredge, the woman who could match London’s libido and physical activity (she even boxed with him) and who would become his second wife. (And since I’m dishing out gossip, I should probably point out that London, licentious even as his belly bulged from drink, still cheated on her.)

If work can save you, it doesn’t necessarily eliminate class struggle, which London would explore more fully in his needlessly overlooked novel, Martin Eden. London’s daughter, Joan, would write that Call was “the story of all strong people who use the cunning of their minds and the strength of their bodies to adapt themselves to a difficult environment and win through to live,” but this strikes me as a little pat. It is certainly interesting that The Call of the Wild and The Sea-Wolf both rely on bourgeois protagonists being plucked from their safe environments in order to learn invaluable lessons in individualism and morality. Perhaps you can learn such lessons within middle-class comforts. But London’s romantic view makes a compelling case that it is better for instincts to quicken and become alive when you are thrown outside your comfort zone. In other words, every MFA student and passive-aggressive vacillator needs to read Jack London pronto.

* — This seems as good a time as any to bring up the relationship between The Call of the Wild and London’s companion novel, White Fang, which depicts the transformation in reverse (wild wolf turning into civilized dog, complete with another judge taking care of White Fang near the end, suggesting a symmetry with London’s earlier volume). While I enjoyed White Fang quite a lot, I consider it to be the inferior volume, rehashing many story elements of Call (wolves getting into a squabble over a rabbit, rising to sled leader, and so forth) and not quite possessing the poetry and the tautness and the keen insight and the gripping gusto that’s there in Call. The passage I quote here about Buck’s love for John Thornton doesn’t feel nearly as schmaltzy as its heavy-handed counterpart in White Fang: “Human kindness was like a sun shining upon him, and he flourished like a flower planted in good soil.”

Next Up: Arnold Bennett’s The Old Wives’ Tale!

by Edward Champion

Loving (Modern Library #89)

In the next installment of the Modern Library Reading Challenge, we tackle Loving and find ourselves lapping up Henry Green’s stylistic exactitude like an eight-year-old let loose in a candy store.

(This is the twelfth entry in the The Modern Library Reading Challenge, an ambitious project to read the entire Modern Library from #100 to #1. Previous entry: Midnight’s Children)

Reading Henry Green’s Loving is a bit like going through a valise that a hardcore neat freak has spent many years packing for your once-in-a-decade vacation. You need to extract the chinos for that last summer blowout, but will your unseen friend berate you if you rustle the crisp blue oxford shirt from that fixed and implacable perch just above those promising pants? What Green has given us is a delicate book, difficult to unpack in a thousand words. It is so marvelous that you could spend a lifetime talking about it (certainly many have spent lifetimes teaching it). On the other hand, compared to Finnegans Wake (a Modern Library obligation so massive that I have started reading it early, devoting a Tumblr to my ongoing annotations), Loving may as well be a Parker novel.

We know from the outset what we’re in for. The book’s first four paragraphs alone introduce us to Eldon, Ellen, Miss Agatha Burch, Charley Raunce, and “Bert the yellow pantry boy” (a phrase almost suggesting a new band to argue about on Brooklyn Vegan) — all hired help within the sprawling confines of Kinalty Castle, a manse manifesting upstairs and downstairs shenanigans that is situated about a hundred miles from Dublin and carrying on during the early days of World War II (when Ireland was neutral). There is also an Edith and a Evelyn, perpetuating Green’s affinity for character names starting with the second vowel. And not long later, we meet another Bert who arrives at this estate. We learn that the IRA possesses two interpretive acronyms.

This perceptive flexibility within names is matched by a perceptive flexibility within sentences, many divested of commas: “Then one morning while they were at their dinner in the servants’ hall that telephone began to ring away in the pantry.” Green’s style suggests a fixed quality, but what kept me reading was the possibility of disorder and transgression. Miss Burch, the martinet-minded head housemaid, tells us, “Take someone out of their position in life and you find a different person altogether, yes.” And, yes, as peacocks and rings disappear and as couples are discovered in flagrante delicto, we learn that no amount of order, whether through style or action, can disrupt life’s inevitable antics. Different people are indeed revealed when they hew outside the hues with near farcical commitment. This is perhaps one of the reasons why Green has given Charley Raunce, the head footman pushing forty, eyes of differing color (“one dark one light which was arresting,” nearly matching the mysterious red and black notebooks containing shady business correspondence and creative accounting that Raunce is trying to make sense of). Raunce, a character who I liked a great deal, is sometimes good at tricking his employers (he refuses to go by the name “Arthur” upon taking Eldon’s post and offers additional demands to his masters, who are equally dismissive of Raunce and his peers out of earshot) and is sometimes a bit cruel (especially in relation to Miss Burch). But like any of us, his words and actions are understood, justified, and humanized by his love. He sends money to his mother and urges her to purchase an Anderson shelter. He is concerned about a sister who works in a gun factory. He confronts his love for Edith and the manner in which he proposes is strikingly diffident:

“You have it any way you want,” Raunce explained. “I thought just to mention her that’s all, Mrs. Charley Raunce,” he announced in educated accents. “There you are eh?” He seemed to be gathering confidence.

From passive explanation to “educated accents” to a nervous “There you are eh?” to prototypical confidence. Words, in some instances, are no match for living. Unsurprisingly, this was something that Green thought about a good deal. As he wrote in his memoir Pack My Bag:

Prose should be a long intimacy between strangers with no direct appeal to what both may have known. It should slowly appeal to feelings unexpressed, it should in the end draw tears out of the stone, and feelings are not bounded by the associations common to place names or to persons with whom the reader is unexpectedly familiar.

In a 1958 Paris Review interview, Terry Southern suggested that some people had referred to Green as a “writer’s writer’s writer.” And it may be this commitment to the unexpressed and to the unbound that has made Henry Green a tricky and needlessly neglected writer, despite his well-earned presence on the Modern Library list.

Weeks ago, I asked a savvy friend, who was rightly chiding me for my wine-infused malapropisms, over dinner if she had read Loving. She confessed that she had and that she had not understood it. And I must confess that it took me three attempts before I was in the right mood to finish Loving, with the final and fortuitous push occurring as I was housesitting in the Hudson Valley.

But my efforts were worth it. Because once you slow to Green’s pace and begin to understand that nearly every sentence contains some insight, Loving reveals itself in interesting ways. Just before proposing to Edith, Raunce says, “But it’s not the truth that matters. It’s what’s believed.” This paraphrase of Goebbels had me wondering if Raunce’s shyness had anything to do with invasion anxiety. When Mrs. Tennant loses her ring and, after considerable misunderstandings, confesses, “It’s not the money I’m worried about, the thing had memories for me that money couldn’t buy,” I had to ask why Mrs. Tennant couldn’t cleave to the memories inside her own head. Was the wild goose chase to find the ring (along with the wild peacock chasing seen elsewhere) merely an effort to fill a void?

And what are we to make of the unusually sensuous foot massages and naked frolicking beneath the eiderdown that Kate and Edith practice in the small room they share in the attic? This is especially interesting (and not the way you’re thinking), because Edith later discovers Mrs. Jack in bed with a man who is not her husband (“two humps of body, turf over graves under those pink bedclothes”) and, shortly after this startling discovery, Edith is drawn more to Raunce. Did Edith seek out a “normal” arrangement with Raunce because she was exposed to the naked truth of a dissolute marriage? (Does this also explain why Kate devotes herself to cleaning and grooming the dim and uncouth Paddy?) I spent some time poring over what scholars had to say about Loving over the years, and I was somewhat surprised that this development had not been remarked upon all that much. Was Green somewhat ahead of the curve on lesbian relationships? Or were Kate and Edith’s topless adventures yet another “loving” galvanized by innocent efforts to get through the day?

These intriguing uncertainties are mirrored by the limitless illusions contained within the castle. We encounter “a large map of the country elaborately painted over the mantlepiece,” part of a clock that Raunce needs to rewind. Outside the castle, we discover “the complete copy of a Greek temple.” And when Raunce becomes (love)sick, he contains his neck in a scarf, with Miss Burch quipping that “he makes out the glands are enlarged.” These descriptive facades permit us to understand that the castle is a trompe-l’oeil for human connection. No hard schematic will suffice. And yet look how much we think we know when presented with such precision!

Some of Green’s grandest groomsmen don’t quite understand this point. In How Fiction Works, James Wood appraises the moment when Raunce notices Edith’s dark eyes, which catch the light “like plums dipped in cold water.” He suggests that because this “metaphor is not explicitly tied into character,” it is a successful example of a metaphor that “has been newly painted before our eyes” or “the kind of [poetic] metaphor that this particular character or community would produce.” But this snap of the key doesn’t quite undo the lock. Wood doesn’t observe that Raunce has been laughed at by his fellow footmen for the hued duality in his eyes, and that this moment of beauty, cadged during a stray moment, connotes some common eccentricity that is both within the world and shared between Raunce and Edith.

John Updike was a big fan of Henry Green, especially impressed by how “the spaces between the words are warm, and the strangeness is mysteriously exact, the strangeness of the vial.” While it’s very easy for any impassioned style geek to lap up Green’s exactitude like an eight-year-old let loose in a candy store (and let me be clear on this: I certainly did), it is important to remember that Green’s fiction is, first and foremost, about the invitational qualities of inexplicable existence. Or as Raunce himself says, “It’s human nature you’ve got to keep count of.”

Next Up: Jack London’s Call of the Wild!