All Art Is Propaganda (21 page)

It will be seen what this amounts to. It is a species of quietism, implying either complete unbelief or else a degree of belief amounting to mysticism. The attitude is "
Je m'en fous
" or "Though He slay me, yet will I trust in Him,"
³¹
whichever way you like to look at it; for practical purposes both are identical, the moral in either case being "Sit on your bum." But in a time like ours, is this a defensible attitude? Notice that it is almost impossible to refrain from asking this question. At the moment of writing we are still in a period in which it is taken for granted that books ought always to be positive, serious and "constructive." A dozen years ago this idea would have been greeted with titters. ("My dear aunt, one doesn't write
about
anything, one just
writes
.") Then the pendulum swung away from the frivolous notion that art is merely technique, but it swung a very long distance, to the point of asserting that a book can only be "good" if it is founded on a "true" vision of life. Naturally the people who believe this also believe that they are in possession of the truth themselves. Catholic critics, for instance, tend to claim that books are only "good" when they are of Catholic tendency. Marxist critics make the same claim more boldly for Marxist books. For instance, Mr. Edward Upward ("A Marxist Interpretation of Literature," in
The Mind in Chains
³²
):

 

Literary criticism which aims at being Marxist must ... proclaim that no book written
at the present time
can be "good" unless it is written from a Marxist or near-Marxist viewpoint.

 

Various other writers have made similar or comparable statements. Mr. Upward italicises "at the present time" because he realises that you cannot, for instance, dismiss
Hamlet
on the ground that Shakespeare was not a Marxist. Nevertheless his interesting essay only glances very shortly at this difficulty. Much of the literature that comes to us out of the past is permeated by and in fact founded on beliefs (the belief in the immortality of the soul, for example) which now seem to us false and in some cases contemptibly silly. Yet it is "good" literature, if survival is any test. Mr. Upward would no doubt answer that a belief which was appropriate several centuries ago might be inappropriate and therefore stultifying now. But this does not get one much farther, because it assumes that in any age there will be
one
body of belief which is the current approximation to truth, and that the best literature of the time will be more or less in harmony with it. Actually no such uniformity has ever existed. In seventeenth-century England, for instance, there was a religious and political cleavage which distinctly resembled the left-right antagonism of today. Looking back, most modern people would feel that the bourgeois-Puritan viewpoint was a better approximation to truth than the Catholic-feudal one. But it is certainly not the case that all or even a majority of the best writers of the time were Puritans. And more than this, there exist "good" writers whose world-view would in
any
age be recognised as false and silly. Edgar Allan Poe is an example. Poe's outlook is at best a wild romanticism and at worst is not far from being insane in the literal clinical sense. Why is it, then, that stories like "The Black Cat," "The Tell-tale Heart," "The Fall of the House of Usher" and so forth, which might very nearly have been written by a lunatic, do not convey a feeling of falsity? Because they are true within a certain framework, they keep the rules of their own peculiar world, like a Japanese picture. But it appears that to write successfully about such a world you have got to believe in it. One sees the difference immediately if one compares Poe's
Tales
with what is, in my opinion, an insincere attempt to work up a similar atmosphere, Julian Green's
Minuit.
³³
The thing that immediately strikes one about
Minuit
is that there is no reason why any of the events in it should happen. Everything is completely arbitrary; there is no emotional sequence. But this is exactly what one does
not
feel with Poe's stories. Their maniacal logic, in its own setting, is quite convincing. When, for instance, the drunkard seizes the black cat and cuts its eye out with his penknife, one knows exactly
why
he did it, even to the point of feeling that one would have done the same oneself. It seems therefore that for a creative writer possession of the "truth" is less important than emotional sincerity. Even Mr. Upward would not claim that a writer needs nothing beyond a Marxist training. He also needs talent. But talent, apparently, is a matter of being able to
care,
of really
believing
in your beliefs, whether they are true or false. The difference between, for instance, Céline and Evelyn Waugh is a difference of emotional intensity. It is the difference between a genuine despair and a despair that is at least partly a pretence. And with this there goes another consideration which is perhaps less obvious: that there are occasions when an "untrue" belief is more likely to be sincerely held than a "true" one.

If one looks at the books of personal reminiscence written about the war of 1914–18, one notices that nearly all that have remained readable after a lapse of time are written from a passive, negative angle. They are the records of something completely meaningless, a nightmare happening in a void. That was not actually the truth about the war, but it was the truth about the individual reaction. The soldier advancing into a machine-gun barrage or standing waist-deep in a flooded trench knew only that here was an appalling experience in which he was all but helpless. He was likelier to make a good book out of his helplessness and his ignorance than out of a pretended power to see the whole thing in perspective. As for the books that were written during the war itself, the best of them were nearly all the work of people who simply turned their backs and tried not to notice that the war was happening. Mr. E. M. Forster
³⁴
has described how in 1917 he read "Prufrock" and others of Eliot's early poems, and how it heartened him at such a time to get hold of poems that were "innocent of public-spiritedness":

 

They sang of private disgust and diffidence, and of people who seemed genuine because they were unattractive or weak ... Here was a protest, and a feeble one, and the more congenial for being feeble ... He who could turn aside to complain of ladies and drawing-rooms preserved a tiny drop of our self-respect, he carried on the human heritage.

 

That is very well said. Mr. MacNeice, in the book I have referred to already, quotes this passage and somewhat smugly adds:

 

Ten years later less feeble protests were to be made by poets and the human heritage carried on rather differently ... The contemplation of a world of fragments becomes boring and Eliot's successors are more interested in tidying it up.

 

Similar remarks are scattered throughout Mr. MacNeice's book. What he wishes us to believe is that Eliot's "successors" (meaning Mr. MacNeice and his friends) have in some way "protested" more effectively than Eliot did by publishing "Prufrock" at the moment when the Allied armies were assaulting the Hindenburg Line. Just where these "protests" are to be found I do not know. But in the contrast between Mr. Forster's comment and Mr. MacNeice's lies all the difference between a man who knows what the 1914–18 war was like and a man who barely remembers it. The truth is that in 1917 there was nothing that a thinking and sensitive person could do, except to remain human, if possible. And a gesture of helplessness, even of frivolity, might be the best way of doing that. If I had been a soldier fighting in the Great War, I would sooner have got hold of "Prufrock" than
The First Hundred Thousand
or Horatio Bottomley's
Letters to the Boys in the Trenches.
³⁵
I should have felt, like Mr. Forster, that by simply standing aloof and keeping touch with pre-war emotions, Eliot was carrying on the human heritage. What a relief it would have been at such a time, to read about the hesitations of a middle-aged highbrow with a bald spot! So different from bayonet-drill! After the bombs and the food-queues and the recruiting-posters, a human voice! What a relief!

But, after all, the war of 1914–18 was only a heightened moment in an almost continuous crisis. At this date it hardly even needs a war to bring home to us the disintegration of our society and the increasing helplessness of all decent people. It is for this reason that I think that the passive, non-cooperative attitude implied in Henry Miller's work is justified. Whether or not it is an expression of what people
ought
to feel, it probably comes somewhere near to expressing what they
do
feel. Once again it is the human voice among the bomb-explosions, a friendly American voice, "innocent of public-spiritedness." No sermons, merely the subjective truth. And along those lines, apparently, it is still possible for a good novel to be written. Not necessarily an edifying novel, but a novel worth reading and likely to be remembered after it is read.

While I have been writing this book another European war has broken out. It will either last several years and tear Western civilisation to pieces, or it will end inconclusively and prepare the way for yet another war which will do the job once and for all. But war is only "peace intensified." What is quite obviously happening, war or no war, is the break-up of laissez-faire capitalism and of the liberal-Christian culture. Until recently the full implications of this were not foreseen, because it was generally imagined that Socialism could preserve and even enlarge the atmosphere of liberalism. It is now beginning to be realised how false this idea was. Almost certainly we are moving into an age of totalitarian dictatorships—an age in which freedom of thought will be at first a deadly sin and later on a meaningless abstraction. The autonomous individual is going to be stamped out of existence. But this means that literature, in the form in which we know it, must suffer at least a temporary death. The literature of liberalism is coming to an end and the literature of totalitarianism has not yet appeared and is barely imaginable. As for the writer, he is sitting on a melting iceberg; he is merely an anachronism, a hangover from the bourgeois age, as surely doomed as the hippopotamus. Miller seems to me a man out of the common because he saw and proclaimed this fact a long while before most of his contemporaries—at a time, indeed, when many of them were actually burbling about a renaissance of literature. Wyndham Lewis had said years earlier that the major history of the English language was finished, but he was basing this on different and rather trivial reasons. But from now onwards the all-important fact for the creative writer is going to be that this is not a writer's world. That does not mean that he cannot help to bring the new society into being, but he can take no part in the process
as a writer.
For
as a writer
he is a liberal, and what is happening is the destruction of liberalism. It seems likely, therefore, that in the remaining years of free speech any novel worth reading will follow more or less along the lines that Miller has followed—I do not mean in technique or subject-matter, but in implied outlook. The passive attitude will come back, and it will be more consciously passive than before. Progress and reaction have both turned out to be swindles. Seemingly there is nothing left but quietism—robbing reality of its terrors by simply submitting to it. Get inside the whale—or rather, admit that you are inside the whale (for you
are,
of course). Give yourself over to the world-process, stop fighting against it or pretending that you control it; simply accept it, endure it, record it. That seems to be the formula that any sensitive novelist is now likely to adopt. A novel on more positive, "constructive" lines, and not emotionally spurious, is at present very difficult to imagine.

But do I mean by this that Miller is a "great author," a new hope for English prose? Nothing of the kind. Miller himself would be the last to claim or want any such thing. No doubt he will go on writing—anybody who has once started always goes on writing—and associated with him there is a number of writers of approximately the same tendency, Lawrence Durrell, Michael Fraenkel
³⁶
and others, almost amounting to a "school." But he himself seems to me essentially a man of one book. Sooner or later I should expect him to descend into unintelligibility, or into charlatanism; there are signs of both in his later work. His last book,
Tropic of Capricorn,
I have not even read. This was not because I did not want to read it, but because the police and customs authorities have so far managed to prevent me from getting hold of it. But it would surprise me if it came anywhere near
Tropic of Cancer
or the opening chapters of
Black Spring.
Like certain other autobiographical novelists, he had it in him to do just one thing perfectly, and he did it. Considering what the fiction of the nineteen-thirties has been like, that is something.

Miller's books are published by the Obelisk Press in Paris. What will happen to the Obelisk Press, now that war has broken out and Jack Kahane,
³⁷
the publisher, is dead, I do not know, but at any rate the books are still procurable. I earnestly counsel anyone who has not done so to read at least
Tropic of Cancer.
With a little ingenuity, or by paying a little over the published price, you can get hold of it, and even if parts of it disgust you, it will stick in your memory. It is also an "important" book, in a sense different from the sense in which that word is generally used. As a rule novels are spoken of as "important" when they are either a "terrible indictment" of something or other or when they introduce some technical innovation. Neither of these applies to
Tropic of Cancer.
Its importance is merely symptomatic. Here in my opinion is the only imaginative prose-writer of the slightest value who has appeared among the English-speaking races for some years past. Even if that is objected to as an overstatement, it will probably be admitted that Miller is a writer out of the ordinary, worth more than a single glance; and, after all, he is a completely negative, unconstructive, amoral writer, a mere Jonah, a passive accepter of evil, a sort of Whitman among the corpses. Symptomatically, that is more significant than the mere fact that five thousand novels are published in England every year and four thousand nine hundred of them are tripe. It is a demonstration of the
impossibility
of any major literature until the world has shaken itself into its new shape.