All Art Is Propaganda Page 12

  The women's papers are aimed at an older public and are read for the most part by girls who are working for a living. Consequently they are on the surface much more realistic. It is taken for granted, for example, that nearly everyone has to live in a big town and work at a more or less dull job. Sex, so far from being taboo, is the subject. The short, complete stories, the special feature of these papers, are generally of the "came the dawn" type: the heroine narrowly escapes losing her "boy" to a designing rival, or the "boy" loses his job and has to postpone marriage, but presently gets a better job. The changeling-fantasy (a girl brought up in a poor home is "really" the child of rich parents) is another favourite. Where sensationalism comes in, usually in the serials, it arises out of the more domestic type of crime, such as bigamy, forgery or sometimes murder; no Martians, death-rays or international anarchist gangs. These papers are at any rate aiming at credibility, and they have a link with real life in their correspondence columns, where genuine problems are being discussed. Ruby M. Ayres's9 column of advice in the Oracle, for instance, is extremely sensible and well written. And yet the world of the Oracle and Peg's Paper is a pure fantasy-world. It is the same fantasy all the time: pretending to be richer than you are. The chief impression that one carries away from almost every story in these papers is of a frightful, overwhelming "refinement." Ostensibly the characters are working-class people, but their habits, the interiors of their houses, their clothes, their outlook and, above all, their speech are entirely middle class. They are all living at several pounds a week above their income. And needless to say, that is just the impression that is intended. The idea is to give the bored factory-girl or worn-out mother of five a dream-life in which she pictures herself—not actually as a duchess (that convention has gone out) but as, say, the wife of a bank-manager. Not only is a five-to-six-pound-a-week standard of life set up as the ideal, but it is tacitly assumed that that is how working-class people really do live. The major facts are simply not faced. It is admitted, for instance, that people sometimes lose their jobs; but then the dark clouds roll away and they get better jobs instead. No mention of unemployment as something permanent and inevitable, no mention of the dole, no mention of trade unionism. No suggestion anywhere that there can be anything wrong with the system as a system; there are only individual misfortunes, which are generally due to somebody's wickedness and can in any case be put right in the last chapter. Always the dark clouds roll away, the kind employer raises Alfred's wages, and there are jobs for everybody except the drunks. It is still the world of the Wizard and the Gem, except that there are orange-blossoms instead of machine-guns.

  The outlook inculcated by all these papers is that of a rather exceptionally stupid member of the Navy League10 in the year 1910. Yes, it may be said, but what does it matter? And in any case, what else do you expect?

  Of course no one in his senses would want to turn the so-called penny dreadful into a realistic novel or a Socialist tract. An adventure story must of its nature be more or less remote from real life. But, as I have tried to make clear, the unreality of the Wizard and the Gem is not so artless as it looks. These papers exist because of a specialised demand, because boys at certain ages find it necessary to read about Martians, death-rays, grizzly bears and gangsters. They get what they are looking for, but they get it wrapped up in the illusions which their future employers think suitable for them. To what extent people draw their ideas from fiction is disputable. Personally I believe that most people are influenced far more than they would care to admit by novels, serial stories, films and so forth, and that from this point of view the worst books are often the most important, because they are usually the ones that are read earliest in life. It is probable that many people who would consider themselves extremely sophisticated and "advanced" are actually carrying through life an imaginative background which they acquired in childhood from (for instance) Sapper and Ian Hay.11 If that is so, the boys' twopenny weeklies are of the deepest importance. Here is the stuff that is read somewhere between the ages of twelve and eighteen by a very large proportion, perhaps an actual majority, of English boys, including many who will never read anything else except newspapers; and along with it they are absorbing a set of beliefs which would be regarded as hopelessly out of date in the Central Office of the Conservative Party. All the better because it is done indirectly, there is being pumped into them the conviction that the major problems of our time do not exist, that there is nothing wrong with laissez-faire capitalism, that foreigners are unimportant comics and that the British Empire is a sort of charity-concern which will last for ever. Considering who owns these papers, it is difficult to believe that this is unintentional. Of the twelve papers I have been discussing (i.e. twelve including the Thriller and Detective Weekly) seven are the property of the Amalgamated Press, which is one of the biggest press-combines in the world and controls more than a hundred different papers. The Gem and Magnet, therefore, are closely linked up with the Daily Telegraph and the Financial Times. This in itself would be enough to rouse certain suspicions, even if it were not obvious that the stories in the boys' weeklies are politically vetted. So it appears that if you feel the need of a fantasy-life in which you travel to Mars and fight lions bare-handed (and what boy doesn't?), you can only have it by delivering yourself over, mentally, to people like Lord Camrose. For there is no competition.12 Throughout the whole of this run of papers the differences are negligible, and on this level no others exist. This raises the question, why is there no such thing as a left-wing boys' paper?

  At first glance such an idea merely makes one slightly sick. It is so horribly easy to imagine what a left-wing boys' paper would be like, if it existed. I remember in 1920 or 1921 some optimistic person handing round Communist tracts among a crowd of public-school boys. The tract I received was of the question-and-answer kind:

  Q. "Can a Boy Communist be a Boy Scout, Comrade?"

  A. "No, Comrade."

  Q. "Why, Comrade?"

  A. "Because, Comrade, a Boy Scout must salute the Union Jack, which is the symbol of tyranny and oppression." Etc. etc.

  Now, suppose that at this moment somebody started a left-wing paper deliberately aimed at boys of twelve or fourteen. I do not suggest that the whole of its contents would be exactly like the tract I have quoted above, but does anyone doubt that they would be something like it? Inevitably such a paper would either consist of dreary uplift or it would be under Communist influence and given over to adulation of Soviet Russia; in either case no normal boy would ever look at it. Highbrow literature apart, the whole of the existing left-wing Press, in so far as it is at all vigorously "left," is one long tract. The one Socialist paper in England which could live a week on its merits as a paper is the Daily Herald: and how much Socialism is there in the Daily Herald? At this moment, therefore, a paper with a "left" slant and at the same time likely to have an appeal to ordinary boys in their teens is something almost beyond hoping for.

  But it does not follow that it is impossible. There is no clear reason why every adventure story should necessarily be mixed up with snobbishness and gutter patriotism. For, after all, the stories in the Hotspur and the Modern Boy are not Conservative tracts; they are merely adventure stories with a Conservative bias. It is fairly easy to imagine the process being reversed. It is possible, for instance, to imagine a paper as thrilling and lively as the Hotspur, but with subject-matter and "ideology" a little more up to date. It is even possible (though this raises other difficulties) to imagine a women's paper at the same literary level as the Oracle, dealing in approximately the same kind of story, but taking rather more account of the realities of working-class life. Such things have been done before, though not in England. In the last years of the Spanish monarchy there was a large output in Spain of left-wing novelettes, some of them evidently of Anarchist origin. Unfortunately at the time when they were appearing I did not see their social significance, and I lost the collection of them that I had, but no doubt copies would still be pro
curable. In get-up and style of story they were very similar to the English fourpenny novelette, except that their inspiration was "left." If, for instance, a story described police pursuing Anarchists through the mountains, it would be from the point of view of the Anarchists and not of the police. An example nearer to hand is the Soviet film Chapaiev,13 which has been shown a number of times in London. Technically, by the standards of the time when it was made, Chapaiev is a first-rate film, but mentally, in spite of the unfamiliar Russian background, it is not so very remote from Hollywood. The one thing that lifts it out of the ordinary is the remarkable performance by the actor who takes the part of the White officer (the fat one)—a performance which looks very like an inspired piece of gagging. Otherwise the atmosphere is familiar. All the usual paraphernalia is there—heroic fight against odds, escape at the last moment, shots of galloping horses, love interest, comic relief. The film is in fact a fairly ordinary one, except that its tendency is "left." In a Hollywood film of the Russian Civil War the Whites would probably be angels and the Reds demons. In the Russian version the Reds are angels and the Whites demons. That also is a lie, but, taking the long view, it is a less pernicious lie than the other.

  Here several difficult problems present themselves. Their general nature is obvious enough, and I do not want to discuss them. I am merely pointing to the fact that, in England, popular imaginative literature is a field that left-wing thought has never begun to enter. All fiction from the novels in the mushroom libraries downwards is censored in the interests of the ruling class. And boys' fiction above all, the blood-and-thunder stuff which nearly every boy devours at some time or other, is sodden in the worst illusions of 1910. The fact is only unimportant if one believes that what is read in childhood leaves no impression behind. Lord Camrose and his colleagues evidently believe nothing of the kind, and, after all, Lord Camrose ought to know.

  Inside the Whale

  Inside the Whale, March 11, 1940

  1

  When Henry Miller's novel, Tropic of Cancer, appeared in 1935, it was greeted with rather cautious praise, obviously conditioned in some cases by a fear of seeming to enjoy pornography. Among the people who praised it were T. S. Eliot, Herbert Read, Aldous Huxley, John dos Passos, Ezra Pound—on the whole, not the writers who are in fashion at this moment. And in fact the subject-matter of the book, and to a certain extent its mental atmosphere, belong to the 'twenties rather than to the 'thirties.

  Tropic of Cancer is a novel in the first person, or autobiography in the form of a novel, whichever way you like to look at it. Miller himself insists that it is straight autobiography, but the tempo and method of telling the story are those of a novel. It is a story of the American Paris, but not along quite the usual lines, because the Americans who figure in it happen to be people without money. During the boom years, when dollars were plentiful and the exchange-value of the franc was low, Paris was invaded by such a swarm of artists, writers, students, dilettanti, sight-seers, debauchees and plain idlers as the world has probably never seen. In some quarters of the town the so-called artists must actually have outnumbered the working population—indeed, it has been reckoned that in the late 'twenties there were as many as 30,000 painters in Paris, most of them impostors. The populace had grown so hardened to artists that gruff-voiced Lesbians in corduroy breeches and young men in Grecian or medieval costume could walk the streets without attracting a glance, and along the Seine banks by Notre Dame it was almost impossible to pick one's way between the sketching-stools. It was the age of dark horses and neglected genii; the phrase on everybody's lips was "Quand je serai lancé" As it turned out, nobody was "lancé," the slump descended like another Ice Age, the cosmopolitan mob of artists vanished, and the huge Montparnasse cafés which only ten years ago were filled till the small hours by hordes of shrieking poseurs have turned into darkened tombs in which there are not even any ghosts. It is this world—described in, among other novels, Wyndham Lewis's Tarr1—that Miller is writing about, but he is dealing only with the under side of it, the lumpenproletarian fringe which has been able to survive the slump because it is composed partly of genuine artists and partly of genuine scoundrels. The neglected genii, the paranoiacs who are always "going to" write the novel that will knock Proust into a cocked hat, are there, but they are only genii in the rather rare moments when they are not scouting about for the next meal. For the most part it is a story of bug-ridden rooms in workingmen's hotels, of fights, drinking bouts, cheap brothels, Russian refugees, cadging, swindling and temporary jobs. And the whole atmosphere of the poor quarters of Paris as a foreigner sees them—the cobbled alleys, the sour reek of refuse, the bistros with their greasy zinc counters and worn brick floors, the green waters of the Seine, the blue cloaks of the Republican Guard, the crumbling iron urinals, the peculiar sweetish smell of the Metro stations, the cigarettes that come to pieces, the pigeons in the Luxembourg Gardens—it is all there, or at any rate the feeling of it is there.

  On the face of it no material could be less promising. When Tropic of Cancer was published the Italians were marching into Abyssinia and Hitler's concentration-camps were already bulging.

  The intellectual foci of the world were Rome, Moscow and Berlin. It did not seem to be a moment at which a novel of outstanding value was likely to be written about American dead-beats cadging drinks in the Latin Quarter. Of course a novelist is not obliged to write directly about contemporary history, but a novelist who simply disregards the major public events of the moment is generally either a footler or a plain idiot. From a mere account of the subject-matter of Tropic of Cancer most people would probably assume it to be no more than a bit of naughty-naughty left over from the 'twenties. Actually, nearly everyone who read it saw at once that it was nothing of the kind, but a very remarkable book. How or why remarkable? That question is never easy to answer. It is better to begin by describing the impression that Tropic of Cancer has left on my own mind.

  When I first opened Tropic of Cancer and saw that it was full of unprintable words, my immediate reaction was a refusal to be impressed. Most people's would be the same, I believe. Nevertheless, after a lapse of time the atmosphere of the book, besides innumerable details, seemed to linger in my memory in a peculiar way. A year later Miller's second book, Black Spring, was published. By this time Tropic of Cancer was much more vividly present in my mind than it had been when I first read it. My first feeling about Black Spring was that it showed a falling-off, and it is a fact that it has not the same unity as the other book. Yet after another year there were many passages in Black Spring that had also rooted themselves in my memory. Evidently these books are of the sort to leave a flavour behind them—books that "create a world of their own," as the saying goes. The books that do this are not necessarily good books, they may be good bad books like Raffles2 or the Sherlock Holmes stories, or perverse and morbid books like Wuthering Heights or The House with the Green Shutters.3 But now and again there appears a novel which opens up a new world not by revealing what is strange, but by revealing what is familiar. The truly remarkable thing about Ulysses, for instance, is the commonplaceness of its material. Of course there is much more in Ulysses than this, because Joyce is a kind of poet and also an elephantine pedant, but his real achievement has been to get the familiar onto paper. He dared—for it is a matter of daring just as much as of technique—to expose the imbecilities of the inner mind, and in doing so he discovered an America which was under everybody's nose. Here is a whole world of stuff which you have lived with since childhood, stuff which you supposed to be of its nature incommunicable, and somebody has managed to communicate it. The effect is to break down, at any rate momentarily, the solitude in which the human being lives. When you read certain passages in Ulysses you feel that Joyce's mind and your mind are one, that he knows all about you though he has never heard your name, that there exists some world outside time and space in which you and he are together. And though he does not resemble Joyce in other ways, there is a touch of th
is quality in Henry Miller. Not everywhere, because his work is very uneven, and sometimes, especially in Black Spring, tends to slide away into mere verbiage or into the squashy universe of the surrealists. But read him for five pages, ten pages, and you feel the peculiar relief that comes not so much from understanding as from being understood. "He knows all about me," you feel; "he wrote this specially for me." It is as though you could hear a voice speaking to you, a friendly American voice, with no humbug in it, no moral purpose, merely an implicit assumption that we are all alike. For the moment you have got away from the lies and simplifications, the stylised, marionnette-like quality of ordinary fiction, even quite good fiction, and are dealing with the recognisable experiences of human beings.

  But what kind of experience? What kind of human beings? Miller is writing about the man in the street, and it is incidentally rather a pity that it should be a street full of brothels. That is the penalty of leaving your native land. It means transferring your roots into shallower soil. Exile is probably more damaging to a novelist than to a painter or even a poet, because its effect is to take him out of contact with working life and narrow down his range to the street, the café, the church, the brothel and the studio. On the whole, in Miller's books you are reading about people living the expatriate life, people drinking, talking, meditating and fornicating, not about people working, marrying and bringing up children; a pity, because he would have described the one set of activities as well as the other. In Black Spring there is a wonderful flashback of New York, the swarming Irish-infested New York of the O. Henry period, but the Paris scenes are the best, and, granted their utter worthlessness as social types, the drunks and dead-beats of the cafés are handled with a feeling for character and a mastery of technique that are unapproached in any at all recent novel. All of them are not only credible but completely familiar; you have the feeling that all their adventures have happened to yourself. Not that they are anything very startling in the way of adventures. Henry gets a job with a melancholy Indian student, gets another job at a dreadful French school during a cold snap when the lavatories are frozen solid, goes on drinking bouts in Le Havre with his friend Collins, the sea captain, goes to brothels where there are wonderful negresses, talks with his friend Van Norden, the novelist, who has got the great novel of the world in his head but can never bring himself to begin writing it. His friend Karl, on the verge of starvation, is picked up by a wealthy widow who wishes to marry him. There are interminable, Hamlet-like conversations in which Karl tries to decide which is worse, being hungry or sleeping with an old woman. In great detail he describes his visits to the widow, how he went to the hotel dressed in his best, how before going in he neglected to urinate, so that the whole evening was one long crescendo of torment, etc., etc. And after all, none of it is true, the widow doesn't even exist—Karl has simply invented her in order to make himself seem important. The whole book is in this vein, more or less. Why is it that these monstrous trivialities are so engrossing? Simply because the whole atmosphere is deeply familiar, because you have all the while the feeling that these things are happening to you. And you have this feeling because somebody has chosen to drop the Geneva language of the ordinary novel and drag the real-politik of the inner mind into the open. In Miller's case it is not so much a question of exploring the mechanisms of the mind as of owning up to everyday facts and everyday emotions. For the truth is that many ordinary people, perhaps an actual majority, do speak and behave in just the way that is recorded here. The callous coarseness with which the characters in Tropic of Cancer talk is very rare in fiction, but it is extremely common in real life; again and again I have heard just such conversations from people who were not even aware that they were talking coarsely. It is worth noticing that Tropic of Cancer is not a young man's book. Miller was in his forties when it was published, and though since then he has produced three or four others, it is obvious that this first book had been lived with for years. It is one of those books that are slowly matured in poverty and obscurity, by people who know what they have got to do and therefore are able to wait. The prose is astonishing, and in parts of Black Spring it is even better. Unfortunately I cannot quote; unprintable words occur almost everywhere. But get hold of Tropic of Cancer, get hold of Black Spring and read especially the first hundred pages. They give you an idea of what can still be done, even at this late date, with English prose. In them, English is treated as a spoken language, but spoken without fear, i.e., without fear of rhetoric or of the unusual or poetical word. The adjective has come back, after its ten years' exile. It is a flowing, swelling prose, a prose with rhythms in it, something quite different from the flat cautious statements and snackbar dialects that are now in fashion.