Letters

Laurence Sterne remarked rather a long time ago that they order these matters better in France, and happily this is still the case. Fifteen hundred teachers of literature recently protested about the choice of a set book for Terminale L du bac — the exam taken by 17-year-olds. Their concern is perhaps more political than literary. Nevertheless they denounced the choice of book as ‘a negation of our discipline’. ‘We are teachers of literature,’ they said; ‘is it our business to discuss a work of history?’ Laurence Sterne remarked rather a long time ago that they order these matters better in France, and happily this is still the case.

Five years after his death, Saul Bellow’s literary reputation has yet to suffer the usual post-mortem slump, and publication of these lively letters should help sustain his standing. Five years after his death, Saul Bellow’s literary reputation has yet to suffer the usual post-mortem slump, and publication of these lively letters should help sustain his standing. It’s less likely to boost his reputation as a man. Bellow was never humble about his talents, and the surviving early letters show an intellectual precocity leavened by the vernacular of melting-pot Chicago. Yet initially he was reluctant to plumb home-grown strengths for his work.

Any follower of literary blood sports should take a look at a review in the Weekly Standard, a conservative American magazine. You can find it on a site called Arts & Letters, which my son obligingly bookmarked for me. The present edition — at least I suppose it is the present one, not that it matters, since I understand that you can use the internet to summon articles from the vasty deep of time past — features the review, by Joseph Epstein of Sir Frank Kermode’s 2007 Clark Lectures devoted to E. M. Forster. Forster’s own book, Aspects of the Novel, had its origins in the same Cambridge lectures. Epstein has armed himself with a two- barrelled shotgun, one barrel for Kermode, the other for Forster, whom he admits to having admired in his youth.

'All literature is, finally, autobiographical’, said Borges. ‘Every autobiography becomes an absorbing work of fiction’, responded H. L. Mencken, though not, you understand, directly. Certainly the fictional element in autobiography is evident; Trollope thought that nobody could ever tell the full truth about himself, and A. S. Byatt has said that ‘autobiographies tell more lies than all but the most self-indulgent fiction’. An exaggeration, perhaps, but one with a kernel of truth. Borges’s remark must, however, set any novelist pondering. In the most immediate sense it appears to be untrue. ‘What about invention?’ we may cry, ‘what about the imagination?

Letters give us the life as lived — day-to-day, shapeless, haphazard, contingent, imperfect, authentic. Letters give us the life as lived — day-to-day, shapeless, haphazard, contingent, imperfect, authentic. That is their value. Life-writing, biography, is plotted, shaped by an argument and is summary, selective and often tendentious. There is a lovely moment in these letters when the shivering Eliot, trapped on the top of a French mountain, a long mule ride from civilisation, is writing to Richard Aldington on a defective typewriter. It sticks and repeats. ‘I’m writing there fore the r therefore more briefly than I intended and shall do when I get to Nice again and hie h ire hire a typewriter merde.’ Half of each letter is missing.

Way back in 1984 when I was editing, rather incompetently, the New Edinburgh Review, I published a story by Raymond Carver. It was entitled ‘Vitamins’. I can’t remember how much I knew about Carver then, or even how the manuscript arrived on my desk. Probably it was sent by his agent, and was taken from a new collection, Cathedral which was to be published by Collins. It is a good story — I’ve just read it again — and less minimalist than some of the work by which he made his name. Which is very much to the point, for it seems that these stories owed a great deal to his editor, Gordon Lish, and that Carver himself was not entirely happy, to put it mildly, with Lish’s surgery which cut some stories by half, or even more than that.

When Lavinia Greacen undertook her magisterial yet intimately sympathetic biography of James Gordon Farrell, she gained access to his diaries and many of his letters, especially love letters and letters to his literary agents, editors and publishers about his professional desires and requirements. In this supplementary volume, a selection of her prime sources is presented in their full extent, amounting to a warts-and-all self-portrait of the novelist. It might well serve as an inspiration or a warning. Even with his fecund talent, ardent ambition, sound education (Rossall and Brasenose), eagerness to work and sufficient charm for social survival (English father, Irish mother), writing novels for a living proved intellectually arduous, financially precarious and often desperately lonely.

Love Letters of a Japanese begins: ‘These letters are real. Love Letters of a Japanese begins: ‘These letters are real. And like all real things they have a quality which no artificial counterpart can attain.’ They were pseudonymously published by Marie Stopes, the birth control reformer, under the editorship of ‘G. N. Mortlake’, and document a love affair between ‘Mertyl Meredith’ and ‘Kenrio Watanabe’. ‘G. N. Mortlake’ was an invention; Marie herself was ‘Mertyl’; and a married Japanese botanist, Kenjiro Fujii, was the model for ‘Kenrio’. Marie had had a disastrous love affair with him, and Love Letters of a Japanese, in edited form, are their billets-doux.

Ermyntrude and Esmeralda was written in 1913 but not published until 1969, long after Lytton Strachey’s death. The delay was not surprising: the book consists of an exchange of letters between two naïve 17-year-old girls who are determined to find out where babies come from. Ermyntrude theorises that ‘it’s got something to do with those absurd little things that men have in statues hanging between their legs’, and reports to her eager correspondent that Once, when I was at Oxford, looking at the races with my cousin Tom, I heard quite a common woman say to another, ‘There, Sarah, doesn’t that make your pussy pout?’ And then I saw that one of the rowing men’s trousers were all split and those things were showing between his legs.

Amanda Craig recently rebuked her fellow novelists for evading the contemporary scene and setting their novels in the past. We should be more like the Victorians, she said, and have the courage to write about our own times. If the novel is to be relevant to readers, it should address today’s issues. Why, she asked, is Hilary Mantel publishing a novel about Henry VIII’s henchman, Thomas Cromwell, rather than . . . Well, I don’t recall if she actually suggested an alternative subject, but her point is clear. Writing historical novels is an evasion of the novelist’s duty. Of course Hilary Mantel has written novels set in the here and now, and very good ones.

Few would look for what academics might call ‘a gay sub-text’ in the Waverley novels. Few would look for what academics might call ‘a gay sub-text’ in the Waverley novels. Nevertheless, writing of the relationship between the two young men who share most of the narrative in Redgauntlet, Professor David Hewitt, editor of the splendid Edinburgh Edition, declares ‘Alan and Darsie are in love with each other. There is absolutely no suggestion of their relationship being physical, but the love is overt.

Evelyn Waugh told Nancy Mitford he was ‘surprised to find’ that Proust ‘was a mental defective. He has absolutely no sense of time.’ Evelyn Waugh told Nancy Mitford he was ‘surprised to find’ that Proust ‘was a mental defective. He has absolutely no sense of time.’ (Joke, given the novel’s title?) ‘He can’t remember anyone’s age. In the same summer as Gilberte gives him a marble and Françoise takes him to the public lavatory in the Champs Elysées, Bloch takes him to a brothel.’ Well, I can’t remember just where all this comes in A La Recherche, but suspect that either Waugh or Scott-Moncrieff, whose translation he was reading, made a confusion of tenses.

Flying to Athens on one of his last visits to Greece, Simon Gray started reading a novel by C. P. Snow, one of those old orange Penguins. After 50 pages he ‘still had no idea what the story was about’. It seemed foggy, ‘but an odd sort of fog, everything described so clearly, and yet everything obscured … he describes his world without seeing it, almost as if he thinks adjectives are in themselves full of detail and content.’ As for the narrator, Lewis Eliot (‘I suppose he’s a front for old C. P. himself’ — which he undoubtedly was), Simon remarked on his ‘trick of having himself complimented’ by other characters. This is certainly irritating.