His staunchest admirer would be hard put to deny that Wodehouse wrote too much, but that’s partly because he lived so long. And a biographer can’t decently quarrel with that, even though the declining years offer less and less by way of incident and amusement, and less still by way of humorous genius. McCrum is one of those who esteem the “Uncle Fred” stories, which detail the wry adventures of Lord Ickenham. One can’t quite allow this. The appeal is simply too broad; too general. If a volume of collected Wodehouse could be assembled, and could include no more than two full-length novels (The Code of the Woosters and Right Ho, Jeeves, the latter containing Gussie Fink-Nottle’s prize-giving at Market Snodsbury Grammar School); perhaps a dozen of the more finished Jeeves and Bertie short stories (to include “The Great Sermon Handicap,” “Jeeves and the Old School Chum,” and “Jeeves and the Song of Songs”); and a selection of the Mulliner tales (both stories about the cat named Webster, the “Buck-U-Uppo” reminiscences, and the accounts of Archibald and Sacheverell), one would have a real corker that could never, ever die. As it is, one so often bumps into lost souls who claim to have “tried” Wodehouse and not got the joke. These are the unfortunates who in early and impressionable youth were handed a duff anthology by a well-meaning but mirthless aunt (or, admittedly, uncle).
Wodehouse never really went back to England after the Second World War; he had been semi-officially “cleared” of any charge of treason or collaboration, but the authorities, in a nasty bit of petty sadism, did not actually tell him they had in fact concluded that the evidence was insufficient. So he continued to churn out Edwardian-era plots from a home on Long Island, and to help set up the revoltingly named “Bide-A-Wee” home for stray and abandoned pets. This slushiness, like his sporadic interest in spiritualism and the occult, is of exactly the sort that he was best at lampooning—most especially in the Princess Diana–like person of Madeleine Bassett, a ghastly girl who thinks that the stars are God’s daisy-chain. (“All rot, of course,” Bertie says of this. “They’re nothing of the sort.”) But it may have come in useful in his frequent descriptions of an almost ectoplasmic Jeeves, as he “shimmered” into a room, or sometimes “filtered” or “floated” out.
Simile and metaphor provide so much of the energy of Wodehouse’s narration: “He writhed like an electric fan”; “He wilted like a salted snail”; “Ice formed on the butler’s upper slopes”; “There came a sound like that of Mr. G. K. Chesterton falling onto a sheet of tin”; “He looked like a sheep with a secret sorrow”; “A lifetime of lunches had caused his chest to slip down to the mezzanine floor”; “Aunt calling to aunt, like mastodons bellowing across the primeval swamp.” I myself jumped like a pea on a hot shovel only twice during the reading of this biography: first when I read of Wodehouse’s referring to his youthful case of “clap,” and second when, in his letters from prison, he twice employed the word “toilet” for “lavatory.” It’s important that his votaries be able to think of him as virtually disembodied. In a great and noble defense of Wodehouse against the wartime calumny that was spread about him, Orwell observed that the complete omission of the sex joke was an astonishing sacrifice for a comic writer to make. But for Wodehouse it seems to have been no sacrifice at all. His marriage to Ethel, though it led to a great stepfatherly love for her daughter, was a business arrangement, with pets—preferably Pekes—standing in for offspring. The nearest approach to even an innuendo comes in Thank You, Jeeves, when Bertie finds his former fiancée, the American Pauline Stoker, in his bed, wearing his “heliotrope pajamas with the old gold stripe.” He phrases it thus: “The attitude of fellows toward finding girls in their bedroom shortly after midnight varies. Some like it. Some don’t. I didn’t.”
One gasps at Wodehouse for going even as far as that. And given that he mentioned his “clap” only to his much more seasoned friend Guy Bolton, and late in life too, I prefer to believe that he was just trying to keep up, to appear to be one of the boys. He never found this easy, however. One of his editors, Christopher Maclehose, told me that he had once been to visit “Plum” on Long Island, and had found him shyly reading a copy of Alec Waugh’s novel A Spy in the Family. This little effort was an extremely mild essay in erotic comedy, but Wodehouse found it profoundly shocking and asked Maclehose if everything in England had become so filthy in his absence. If not disgruntled, as Bertie Wooster once put it in another connection, he wasn’t exactly gruntled either. But this is just as one might have hoped it to be.
His admirers will desert P. G. Wodehouse for his archaic Upstairs Downstairs settings on the same day that people discard Oscar Wilde for being too fond of the drawing room or discover Charles Dickens to be anachronistic for writing about stagecoaches in an age of steam. His attention to language, his near faultless ability to come up with names that are at once ludicrous and credible, and the intricacy of his plotting are imperishable. Unlike Wilde, though, he put his genius into his work, not his life.
(The Atlantic, November 2004)
Anthony Powell: An Omnivorous Curiosity
Review of To Keep the Ball Rolling: The Memoirs of Anthony Powell.
TO GET ONE QUESTION out of the way before we begin:
At one of these public interrogations (I am not sure which college) a professor prefixed a question by saying—rather archly—that he was uncertain how to pronounce my name. As an inspiration of the moment I replied that like the Boston family of Lowell I rhymed it with Noël rather than towel.
Here Anthony Powell was describing an incident on his tour of New England in the early 1960s, and he gave some tincture of both period and place. In Boston,
The restaurant of our hotel … was called The Hungry Pilgrim. Outside stood an examplar of esurient puritanism dressed in a black-and-white Cromwellian costume with hair in a pigtail, which was a shade anachronistic and had not yet become at all chic for men. From time to time, looking as if he had just landed from The Mayflower and was in urgent need of a square meal, this gaunt figure would ring a bell. In general, however, Boston, a city of considerable charm, suggests a date later than the 17th century … Boston does not disappoint. Even on the briefest visit one can detect layer upon layer of the Bostonianism celebrated in such a long American literary tradition. When I was there in 1961 Little, Brown’s, with much other entertaining, gave me luncheon at that haunt of ancient peace, shrine of Boston brahminism, the Somerset Club. The party included Edwin O’Connor, an American novelist I had already come across in England.
The Somerset Club is deservedly famous. I doubt if any club in London could equal—certainly none surpass—the inspissated and enveloping club atmosphere of The Somerset. Ancient armchairs and sofas underpropped one or two equally antiquated members, ossified into states of Emersonian catalepsy in which shadow and sunlight were not only the same, but had long freed them from shame or fame. It was comforting to see so splendid a haunt from the past surviving intact in a widely disintegrating world.
And it is cheering to think of Powell, the pre-eminent novelist of English traits, discoursing there so happily with the author of The Last Hurrah.
Some of the supposed difficulty or intractability of Anthony Powell is on show in these passages—a slight fussiness about etiquette and detail, and an almost affected pleasure in the antique or the nearly expired. Moreover, why say “esurient” when “hungry-looking” would do, or “inspissated” instead of “stifling”? Perhaps because “esurient” may also suggest “greedy” or even “voracious,” and because “inspissated” denotes an atmosphere or an element that has been thickened or congealed by evaporation—the perfect term for clubland’s residuum. In the context of commercialized puritanism in one case and brahminism in the other, we find an author who would rather be thought puritanical—or even stuffy—than use a lazy or obvious word. Look again, and you will see an observant prefiguration of the “theme” kitsch that we now all take for granted. Look one last time, and muse on the implications of “Emersonian catalepsy.” Look up the whole excerpt, and y
ou will find that O’Connor told Powell a very amusing story about Evelyn Waugh, which story Powell subsequently tracked to its principals before finding it to be quite untrue but well worth repeating.
* * *
This is all part of the task for which I happily volunteer: recommending the reading of Anthony Powell. I say “happily” because I have never induced anyone to try him and been subsequently cursed for my pains. Indeed, I have been thanked in almost broken tones. Yet those of us who till this vineyard, on either side of the broad Atlantic, occasionally adopt a pre-emptively defensive posture all the same. When Powell died, in March of last year, at the age of ninety-four, the New York Times Book Review devoted a “Bookend” column to the obsequy, written by Ferdinand Mount, the editor of the Times Literary Supplement and Powell’s nephew by marriage. (A revision of his piece serves as the foreword to this edition of the memoirs.) Not even Mount, though writing at such a moment, felt that he could avoid a long, throat-clearing refutation of charges of snobbery, elitism, and such-like. “As a matter of fact,” he asserted of his uncle-in-law, “his fiction was extraordinarily democratic.”
Oh, dear. I agree with this claim, but without feeling the slightest need to advance or defend it. (Can there be “undemocratic fiction”—the only discovery that would necessitate or imply its counterpoint?) Powell’s fiction is “democratic” because it is realistic and humane and somewhat given to the absurd. If you like, it also shows an acute awareness of a stable and long-settled society in transition. It confronts sex and death and unfairness, and brushes against love, poverty, and war.
To Keep the Ball Rolling (which is an abridgment of Infants of the Spring, Messengers of Day, Faces in My Time, and The Strangers All Are Gone, originally published as four separate volumes) is democratic in that it shows a great and omnivorous curiosity about the lives and motives of others. And if one chooses to read these memoirs from the standpoint of the New—or, indeed, the old—Criticism, they may stand as a Bildungs-memoir or palimpsest of Powell’s celebrated twelve-volume A Dance to the Music of Time. For example, as a small boy Powell was taken to watch the funeral of King Edward VII, in 1910 (an experience shared by many London children), and he knew enough about the need to please adults to claim that he had seen Caesar, the late King’s dog, which had padded along behind the royal coffin and thus became, as Powell dryly recorded, “a great tear-jerker.” From this distillation of childhood half memory he intuited the following:
I must, however, have glimpsed for a moment the officer of 2nd Life Guards commanding the escort riding a short way behind the gun-carriage. This was the 5th Earl of Longford, later killed at Gallipoli; father of my future wife. We possess a photograph which includes my father-in-law, as well as my father: Lieutenant-Colonel Lord Longford on his charger just behind Caesar’s kilted attendant; Captain Powell among the group of regular army adjutants standing at attention with drawn swords.
Powell’s novels appear to depend much on delicate threads of coincidence, and some readers have claimed to find the coincidences too dependent on the inbreeding of class. However, probably many English people could have discovered their future fathers-in-law in an early group shot, even if that shot was not taken at a royal interment. More indicative as a childhood memory is this one. The author reckoned that he was no more than six.
After the park and the street the interior of the building seemed very silent. A long beam of sunlight, in which small particles of dust swam about, all at once slanted through an upper window on the staircase, and struck the opaque glass panels of the door. On several occasions recently I had been conscious of approaching the brink of some discovery; an awareness that nearly became manifest, then suddenly withdrew. Now the truth came flooding in with the dust infested sunlight. The revelation of self-identity was inescapable. There was no doubt about it. I was me.
This passage helps to introduce the oft-attempted comparison between Powell and Proust. There is, first and most obviously, that ability to evoke childhood which is, alas, lost to so many of us but still, somehow, recognizable when well done. Then occurs a possibly related thought: Does this capacity, in its literary expression, bear any relation to the existence of a secure and well-ordered society—the sort of predictable structure and placement that a curious and intelligent child could begin to puzzle out for himself? And then a succeeding thought: May not a self-awareness acquired so early be invaluable in both noticing and delineating the character of others?
Powell showed great familiarity with the work of Proust while avoiding much direct reference to him. The allusions are mostly oblique, as in this very laconic reflection on the art of memoir:
One of the most peculiar aspects of autobiography is the way in which some authors are acceptable in their sexual and suchlike intimacies (Proust masturbating in the lavatory), others are without great interest in these rôles, at worst only embarrassing. At first sight, the simple answer seems to be that some write “well,” others less well; but in the field of self-revelation the altogether uninstructed can produce a masterpiece of apt expression; the seasoned writer, at times a cliché. I can find no literary explanation other than that only certain personalities are appropriate to dissection; others not.
The words “others not” are quite superfluous to that sentence, and indeed to that passage; nonetheless, they form a coda that I would not be without. Like Proust, Powell was not exactly pithy (I can’t offhand recall any “quotations” from Powell, as one can from his great contemporaries Wodehouse and Waugh), but I hope I have conveyed something of the worthwhileness of hearing him out. One learns to trust certain raconteurs, even if they appear at first to be long of wind.
And Powell could be terse when he chose. During the early Nazi bombardment of Britain he was in uniform and received the news that his frail wife, after at least one miscarriage, had given birth to a son: “I found that becoming a father had a profound effect upon the manner in which one looked at the world.” That’s all he wrote about that. The clear implication is that those who understand will understand already, and those who do not either never will or will find out in their own good time. No waste of words.
This tone or style is often described as “typically English,” and though Powell was proudly and decidedly Welsh (and stressed the Welsh pronunciation of his family name), it is no more possible to picture him as, say, Russian than it is to imagine Proust’s hailing from Barcelona. Just like Nicholas Jenkins, the first-person narrator of A Dance to the Music of Time, Powell was born into the British military caste, educated at Eton and Oxford, “launched” in the world of literary London in the 1920s and 1930s, and gravely inconvenienced but also much matured by wartime; he attained seniority and status just as the old and solid Britain and its empire were undergoing deliquescence. Every page of both fiction and memoir bears the impress of these facts in one form or another.
The Duke of Wellington is still tirelessly quoted as having said that the Battle of Waterloo was really won “on the playing-fields of Eton”—a tribute to the values of the rigid upper lip and all that. One of the minor delights of these memoirs is that Powell, who took a particular interest in the aristocracy, met a later Duke of Wellington while serving in the British army. Among this duke’s “keenest convictions was that his ancestor had never uttered the opinion … [and he offered] a standing remuneration of a hundred pounds to anyone who could prove its authenticity.” Nor is this the only example of Powell’s readiness to write against stereotype. In an early section on his first days at a boys’ school he recorded, “Teaching was good, though not at all intensive. Mr. Gibbs, an attractive personality, showed that it was perfectly possible for a headmaster to be also a nice man.” I reeled back as I read this betrayal of the canonical tradition; no self-respecting Brit can write about his early education without at least some reference to sadism and misery, and to my knowledge no author has tried it since Byron set the standard. So one is relieved to find that at his very next school Powell was starved and brow-b
eaten, and that by the time he was fourteen, he was able to make quite a brisk diagnosis of one of the masters, who “preferred goodlooking boys to plain ones, but not to excess, and one would suppose him a repressed bisexual.” Powell continued, “A touch of kinkiness was added by a fervid preoccupation with ladies’ shoes (a fancy said to presage masochism).” That’s more like it.
In point of his own political outlook Powell achieved some comparable understated effects. He seems at first glance to have been an axiomatic and inflexible young Tory. He described a contemporary as “given to singing the Internationale, a tune for which tone-deafness presented no handicap.” Visiting Spain in 1933, he recorded the impression that “administration was breaking down everywhere”—as if this were a law-and-order problem rather than the stirrings of a republic. He evinced no apparent interest either in the social questions or in those who were occupied with them; the radicals in his novels and in these pages are mainly clowns or hypocrites. Yet for several crucial years he was extremely close to George Orwell, whose flinty socialist principles—and persistence in trying to live up to them—might well have invited Powell’s gentle ridicule but (perhaps because they were not bogus) instead won his respect. The pages recollecting his friend are of interest and some beauty:
Goodness knows what Orwell would have been like in the army. I have no doubt whatever that he would have been brave, but bravery in the army is, on the whole, an ultimate rather than immediate requirement, demanded only at the end of a long and tedious apprenticeship.