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  It is important to note that by modern standards Raffles's crimes are very petty ones. Four hundred pounds' worth of jewelry seems to him an excellent haul. And though the stories are convincing in their physical detail, they contain very little sensationalism—very few corpses, hardly any blood, no sex crimes, no sadism, no perversions of any kind. It seems to be the case that the crime story, at any rate on its higher levels, has greatly increased in bloodthirstiness during the past twenty years. Some of the early detective stories do not even contain a murder. The Sherlock Holmes stories, for instance, are not all murders, and some of them do not even deal with an indictable crime. So also with the John Thorndyke stories, while of the Max Carrados stories only a minority are murders. Since 1918, however, a detective story not containing a murder has been a great rarity, and the most disgusting details of dismemberment and exhumation are commonly exploited. Some of the Peter Wimsey stories, for instance, seem to point to definite necrophilia. The Raffles stories, written from the angle of the criminal, are much less anti-social than many modern stories written from the angle of the detective. The main impression that they leave behind is of boyishness. They belong to a time when people had standards, though they happened to be foolish standards. Their key phrase is "not done." The line that they draw between good and evil is as senseless as a Polynesian taboo, but at least, like the taboo, it has the advantage that everyone accepts it.

  So much for Raffles. Now for a header into the cesspool. No Orchids for Miss Blandish, by James Hadley Chase, was published in 1939 but seems to have enjoyed its greatest popularity in 1940, during the Battle of Britain and the blitz. In its main outlines its story is this:

  Miss Blandish, the daughter of a millionaire, is kidnapped by some gangsters who are almost immediately surprised and killed off by a larger and better organised gang. They hold her to ransom and extract half a million dollars from her father. Their original plan had been to kill her as soon as the ransom-money was received, but a chance keeps her alive. One of the gang is a young man named Slim whose sole pleasure in life consists in driving knives into other people's bellies. In childhood he has graduated by cutting up living animals with a pair of rusty scissors. Slim is sexually impotent, but takes a kind of fancy to Miss Blandish. Slim's mother, who is the real brains of the gang, sees in this the chance of curing Slim's impotence, and decides to keep Miss Blandish in custody till Slim shall have succeeded in raping her. After many efforts and much persuasion, including the flogging of Miss Blandish with a length of rubber hosepipe, the rape is achieved. Meanwhile Miss Blandish's father has hired a private detective, and by means of bribery and torture the detective and the police manage to round up and exterminate the whole gang. Slim escapes with Miss Blandish and is killed after a final rape, and the detective prepares to restore Miss Blandish to her family. By this time, however, she has developed such a taste for Slim's caresses* that she feels unable to live without him, and she jumps out of the window of a skyscraper.

  Several other points need noticing before one can grasp the full implications of this book. To begin with its central story is an impudent plagiarism of William Faulkner's novel, Sanctuary. Secondly it is not, as one might expect, the product of an illiterate hack, but a brilliant piece of writing, with hardly a wasted word or a jarring note anywhere. Thirdly, the whole book, récit as well as dialogue, is written in the American language: the author, an Englishman who has (I believe) never been in the United States, seems to have made a complete mental transference to the American underworld. Fourthly, the book sold, according to its publishers, no less than half a million copies.

  I have already outlined the plot, but the subject-matter is much more sordid and brutal than this suggests. The book contains eight full-dress murders, an unassessable number of casual killings and woundings, an exhumation (with a careful reminder of the stench), the flogging of Miss Blandish, the torture of another woman with redhot cigarette ends, a strip-tease act, a third-degree scene of unheard-of cruelty, and much else of the same kind. It assumes great sexual sophistication in its readers (there is a scene, for instance, in which a gangster, presumably of masochistic tendency, has an orgasm in the moment of being knifed), and it takes for granted the most complete corruption and self-seeking as the norm of human behaviour. The detective, for instance, is almost as great a rogue as the gangsters, and actuated by nearly the same motives.

  Like them, he is in pursuit of "five hundred grand." It is necessary to the machinery of the story that Mr. Blandish should be anxious to get his daughter back, but apart from this such things as affection, friendship, good-nature or even ordinary politeness simply do not enter. Nor, to any great extent, does normal sexuality. Ultimately only one motive is at work throughout the whole story: the pursuit of power.

  It should be noticed that the book is not in the ordinary sense pornography. Unlike most books that deal in sexual sadism, it lays the emphasis on the cruelty and not on the pleasure. Slim, the ravisher of Miss Blandish, has "wet, slobbering lips": this is disgusting, and it is meant to be disgusting. But the scenes describing cruelty to women are comparatively perfunctory. The real highspots of the book are cruelties committed by men upon other men: above all the third-degreeing of the gangster, Eddie Schultz, who is lashed into a chair and flogged on the windpipe with truncheons, his arms broken by fresh blows as he breaks loose. In another of Mr. Chase's books, He Won't Need It Now, the hero, who is intended to be a sympathetic and perhaps even noble character, is described as stamping on somebody's face, and then, having crushed the man's mouth in, grinding his heel round and round in it. Even when physical incidents of this kind are not occurring, the mental atmosphere of these books is always the same. Their whole theme is the struggle for power and the triumph of the strong over the weak. The big gangsters wipe out the little ones as mercilessly as a pike gobbling up the little fish in a pond; the police kill off the criminals as cruelly as the angler kills the pike. If ultimately one sides with the police against the gangsters it is merely because they are better organised and more powerful, because, in fact, the law is a bigger racket than crime. Might is right: vae victis.

  As I have mentioned already, No Orchids enjoyed its greatest vogue in 1940, though it was successfully running as a play till some time later. It was, in fact, one of the things that helped to console people for the boredom of being bombed. Early in the war the New Yorker had a picture of a little man approaching a news-stall littered with papers with such headlines as GREAT TANK BATTLES IN NORTHERN FRANCE, BIG NAVAL BATTLE IN THE NORTH SEA, HUGE AIR BATTLES OVER THE CHANNEL, etc. etc. The little man is saying, "Action Stories, please." That little man stood for all the drugged millions to whom the world of the gangsters and the prize-ring is more "real," more "tough" than such things as wars, revolutions, earthquakes, famines and pestilences. From the point of view of a reader of Action Stories, a description of the London blitz, or of the struggles of the European underground parties, would be "sissy stuff." On the other hand some puny gun-battle in Chicago, resulting in perhaps half a dozen deaths, would seem genuinely "tough." This habit of mind is now extremely widespread. A soldier sprawls in a muddy trench, with the machine-gun bullets crackling a foot or two overhead and whiles away his intolerable boredom by reading an American gangster story. And what is it that makes that story so exciting? Precisely the fact that people are shooting at each other with machine-guns! Neither the soldier nor anyone else sees anything curious in this. It is taken for granted that an imaginary bullet is more thrilling than a real one.

  The obvious explanation is that in real life one is usually a passive victim, whereas in the adventure story one can think of oneself as being at the centre of events. But there is more to it than that. Here it is necessary to refer again to the curious fact of No Orchids being written—with technical errors, perhaps, but certainly with considerable skill—in the American language.

  There exists in America an enormous literature of more or less the same stamp as No Orchids. Quite apart f
rom books, there is the huge array of "pulp magazines," graded so as to cater for different kinds of fantasy but nearly all having much the same mental atmosphere. A few of them go in for straight pornography but the great majority are quite plainly aimed at sadists and masochists. Sold at threepence a copy under the title of Yank Mags,* these things used to enjoy considerable popularity in England, but when the supply dried up owing to the war, no satisfactory substitute was forthcoming. English imitations of the "pulp magazine" do now exist, but they are poor things compared with the original. English crook films, again, never approach the American crook film in brutality. And yet the career of Mr. Chase shows how deep the American influence has already gone. Not only is he himself living a continuous fantasy-life in the Chicago underworld, but he can count on hundreds of thousands of readers who know what is meant by a "clipshop" or the "hotsquat," do not have to do mental arithmetic when confronted by "fifty grand," and understand at sight a sentence like "Johnnie was a rummy and only two jumps ahead of the nut-factory." Evidently there are great numbers of English people who are partly Americanised in language and, one ought to add, in moral outlook. For there was no popular protest against No Orchids. In the end it was withdrawn, but only retrospectively, when a later work, Miss Callaghan comes to Grief brought Mr. Chase's books to the attention of the authorities. Judging by casual conversations at the time, ordinary readers got a mild thrill out of the obscenities in No Orchids, but saw nothing undesirable in the book as a whole. Many people, incidentally, were under the impression that it was an American book re-issued in England.

  The thing that the ordinary reader ought to have objected to—almost certainly would have objected to, a few decades earlier—was the equivocal attitude towards crime. It is implied throughout No Orchids that being a criminal is only reprehensible in the sense that it does not pay. Being a policeman pays better, but there is no moral difference, since the police use essentially criminal methods. In a book like He Won't Need It Now the distinction between crime and crime-prevention practically disappears. This is a new departure for English sensational fiction, in which till recently there has always been a sharp distinction between right and wrong and a general agreement that virtue must triumph in the last chapter. English books glorifying crime (modern crime, that is—pirates and highwaymen are different) are very rare. Even a book like Raffles, as I have pointed out, is governed by powerful taboos, and it is clearly understood that Raffles's crimes must be expiated sooner or later. In America, both in life and fiction, the tendency to tolerate crime, even to admire the criminal so long as he is successful, is very much more marked. It is, indeed, ultimately this attitude that has made it possible for crime to flourish upon so huge a scale. Books have been written about Al Capone that are hardly different in tone from the books written about Henry Ford, Stalin, Lord Northcliffe and all the rest of the "log cabin to White House" brigade. And switching back eighty years, one finds Mark Twain adopting much the same attitude towards the disgusting bandit Slade, hero of twenty-eight murders, and towards the Western desperadoes generally. They were successful, they "made good," therefore he admired them.

  In a book like No Orchids one is not, as in the old-style crime story, simply escaping from dull reality into an imaginary world of action. One's escape is essentially into cruelty and sexual perversion. No Orchids is aimed at the power-instinct which Raffles or the Sherlock Holmes stories are not. At the same time the English attitude towards crime is not so superior to the American as I may have seemed to imply. It too is mixed up with power-worship, and has become more noticeably so in the last twenty years. A writer who is worth examining is Edgar Wallace, especially in such typical books as The Orator and the Mr. J. G. Reeder stories. Wallace was one of the first crime-story writers to break away from the old tradition of the private detective and make his central figure a Scotland Yard official. Sherlock Holmes is an amateur, solving his problems without the help and even, in the earlier stories, against the opposition of the police. Moreover, like Dupin, he is essentially an intellectual, even a scientist. He reasons logically from observed fact, and his intellectuality is constantly contrasted with the routine methods of the police. Wallace objected strongly to this slur, as he considered it, on Scotland Yard, and in several newspaper articles he went out of his way to denounce Holmes by name. His own ideal was the detective-inspector who catches criminals not because he is intellectually brilliant but because he is part of an all-powerful organisation. Hence the curious fact that in Wallace's most characteristic stories the "clue" and the "deduction" play no part. The criminal is always defeated either by an incredible coincidence, or because in some unexplained manner the police know all about the crime beforehand. The tone of the stories makes it quite clear that Wallace's admiration for the police is pure bully-worship. A Scotland Yard detective is the most powerful kind of being that he can imagine, while the criminal figures in his mind as an outlaw against whom anything is permissible, like the condemned slaves in the Roman arena. His policemen behave much more brutally than British policemen do in real life—they hit people without provocation, fire revolvers past their ears to terrify them, and so on—and some of the stories exhibit a fearful intellectual sadism. (For instance, Wallace likes to arrange things so that the villain is hanged on the same day as the heroine is married.) But it is sadism after the English fashion: that is to say it is unconscious, there is not overtly any sex in it, and it keeps within the bounds of the law. The British public tolerates a harsh criminal law and gets a kick out of monstrously unfair murder trials: but still that is better, on any count, than tolerating or admiring crime. If one must worship a bully, it is better that he should be a policeman than a gangster. Wallace is still governed to some extent by the concept of "not done." In No Orchids anything is "done" so long as it leads on to power. All the barriers are down, all the motives are out in the open. Chase is a worse symptom than Wallace, to the extent that all-in wrestling is worse than boxing, or Fascism is worse than capitalist democracy.

  In borrowing from William Faulkner's Sanctuary, Chase only took the plot; the mental atmosphere of the two books is not similar. Chase really derives from other sources, and this particular bit of borrowing is only symbolic. What it symbolises is the vulgarisation of ideas which is constantly happening, and which probably happens faster in an age of print. Chase has been described as "Faulkner for the masses," but it would be more accurate to describe him as Carlyle for the masses. He is a popular writer—there are many such in America, but they are still rarities in England—who has caught up with what it is now fashionable to call "realism," meaning the doctrine that might is right. The growth of "realism" has been the great feature of the intellectual history of our own age. Why this should be so is a complicated question. The interconnection between sadism, masochism, success-worship, power-worship, nationalism and totalitarianism is a huge subject whose edges have barely been scratched, and even to mention it is considered somewhat indelicate. To take merely the first example that comes to mind, I believe no one has ever pointed out the sadistic and masochistic element in Bernard Shaw's work, still less suggested that this probably has some connection with Shaw's admiration for dictators.

  Fascism is often loosely equated with sadism, but nearly always by people who see nothing wrong in the most slavish worship of Stalin. The truth is, of course, that the countless English intellectuals who kiss the arse of Stalin are not different from the minority who give their allegiance to Hitler or Mussolini, nor from the efficiency experts who preached "punch," "drive," "personality" and "learn to be a Tiger Man" in the nineteen-twenties, nor from the older generation of intellectuals, Carlyle, Creasey and the rest of them, who bowed down before German militarism. All of them are worshipping power and successful cruelty. It is important to notice that the cult of power tends to be mixed up with a love of cruelty and wickedness for their own sakes. A tyrant is all the more admired if he happens to be a bloodstained crook as well, and "the end justifies the means" often b
ecomes, in effect, "the means justify themselves provided they are dirty enough." This idea colours the outlook of all sympathisers with totalitarianism, and accounts, for instance, for the positive delight with which many English intellectuals greeted the Nazi-Soviet pact. It was a step only doubtfully useful to the USSR, but it was entirely unmoral, and for that reason to be admired: the explanations of it, which were numerous and self-contradictory, could come afterwards.