Pn Furbank

The story that John Barth has to tell is that he had planned a book, to be entitled Ten Nights and a Night, in which he would reprint ten already published stories, interweaving them with a new story about his relations with his Muse. The purpose would have been to put these tales into a narrative frame, ‘connecting their dots to make a whole somewhat larger (and perhaps a bit friskier) than the mere sum of its parts’, on the model of The Thousand and One Nights and the Decameron. But before the book was completed there came the events of 9/11, which seemed to make story-telling hopelessly irrelevant. Still, the story-telling in the Decameron took place under the threat of the Black Death and hence was a studied gesture of irrelevance.

The great popular success of Forster’s Howards End, published in 1910, meant that he was under pressure to set to work on a new novel, and in the following year he did so, but in a mood of self-doubt. He told himself it was wrong to force oneself to write; that before attempting a new work he always felt he needed to reappraise his own existence; that (as he noted in his diary) he was weary of ‘the only subject that I both can and may treat — the love of men for women and vice-versa’. He was suffering moreover from a superstitious sense that success didn’t suit him and that he might ‘go smash’. Nevertheless an idea came to him.