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Overview
Product Details
| ISBN-13: | 9780300213195 |
|---|---|
| Publisher: | Yale University Press |
| Publication date: | 08/25/2015 |
| Pages: | 192 |
| Product dimensions: | 5.10(w) x 7.90(h) x 3.20(d) |
About the Author
Read an Excerpt
Latest Readings
By Clive James
Yale UNIVERSITY PRESS
Copyright © 2015 Clive JamesAll rights reserved.
ISBN: 978-0-300-21639-4
CHAPTER 1
Hemingway in the Beginning
I LAST READ The Sun Also Rises long enough ago to have forgotten all but the odd detail. But the sharpness of the details I remembered — the chestnut trees of Paris, the running of the bulls in Pamplona — was a sufficient reminder that the book had always struck me as fresh and vivid, the perfect expression of a young writer getting into his proper stride. When I first read it I was a young writer myself, and scarcely into my stride at all. I remember that the book filled me with envy.
Reading it once again, and at the end of my own career, I am less envious — clearly Hemingway's own personality had always scared him into suicidal excess — but still enchanted by a prose style that gave us such a vivid semblance of simplicity. All too often he overdoes the repetitions in those dialogue passages where the speakers seem mainly intent on echoing each other's phrases. Worse, when they get drunk they start echoing themselves. But even with that irritating trick, he occasionally gets it so right that you laugh. Mike, the most consistently drunk of all the book's drunkards, is funny the second time that he says the old lady's bags fell on him: funny because he first said it only a few seconds before, and has either forgotten he did so or is under the impression that nobody understood him. It is just the way that young, inexperienced drinkers speak when they are plastered. I used to do it myself, fifty years ago.
In the book, scarcely anybody is old enough to have a past. They live in the present moment because they are young, and have to. So they pretend to be experienced. The central figure, Jake Barnes, has the author's past, except that Jake's past is not a lie. He might be the author's self-image, and not least because he lives in a state of permanent sexual frustration. Certainly Hemingway was always made nervous by women, although he was so attractive in his looks and energy that almost any woman he wanted would come to him like a mosquito to naked skin. Jake's impotence even in the presence of the beautiful English aristocratic wildcat Lady Brett Ashley no doubt dramatizes the author's wishes along with his troubles. (In real life, on one of his first trips to Pamplona, Hemingway, with his first wife Hadley looking on, paid attention to Lady Duff Twysden and had a fistfight with his Jewish acquaintance Harold Loeb because Loeb had been successful with her.) But Jake is more physically damaged than mentally. The physical damage — its nature is never quite specified, although later on, in real life, Hemingway spoke of an amputation — has been acquired during the war when he was flying on the southern front. As a consequence, Jake and Brett are in a condition of lusting after each other without being able to do anything about it. The possibility of Jake's being able to do something less than complete for Brett but still significant is not canvassed, except in a single enigmatic passage in the book when the two of them seem to have attained just enough satisfaction to make them more frustrated than ever.
Today's reader might judge that to be a failure of the author's imagination. But there is no failure of the imagination in Hemingway's making Jake into a war pilot. It is exactly the kind of thing that Hemingway liked to imagine, in the same way he imagined himself to be a champion boxer, even on the day when Morley Callaghan knocked him down. (Callaghan's That Summer in Paris is another book I must read again.) Hemingway's war service, though earthbound, was dangerous enough to get him badly wounded, but he lied even about that, dramatizing, at every retelling, the action he had seen and even the wounds he had received. Later on, in A Farewell to Arms, Hemingway made the hero a warrior so damaged that the nymphlike nurse Catherine seems to be bringing him back from the dead. But already, in The Sun Also Rises, Hemingway had done better than that: or, if you like, worse. Creating the self-projected character of the noble and stoically frustrated Jake, Hemingway not only gave himself extra wounds. He gave himself wings.
He was not alone in painting a picture of himself as the ace flyer. William Faulkner was prone to doing the same, until he was caught at it. Faulkner could actually fly but he never flew in combat, although he allowed people to think he had. Hemingway was forever leaving room for you to think things. During World War II, in which he let it be known that he had personally liberated Paris, he did brave deeds that those responsible for the safety of the people around him devoutly wished that he would desist from doing. Most of the warlike tasks that he set for himself were more than half-crazy, but he always left room, in the telling, for his readers and listeners to believe that his follies had been a strategically important part of the Allied war effort. You would swear that he had arm-wrestled German submarines into submission.
In real life, many writers are liars. Perhaps, when starting off, they all are: no real story is ever as neat as the writer tells it. Politicians with a tendency to self-glorifying exaggeration usually get caught early and are advised by their handlers to cut it out, so that Hillary Clinton doesn't land more than once in Sarajevo "under sniper fire," and Joe Biden, who once expanded his every experience into an act of heroism, eventually learns to feign veracity. But writers have to advise themselves. In World War II the poet James Dickey was the navigator of a P-61 Black Widow night fighter operating in the Pacific. You would think that such a service record would be romantic enough, but he used to improve his past by hinting that he had been in on the missions to drop the atomic bombs on Japan. Unfortunately this self-serving legend — he was a man who needed more guilt than he deserved — got into his work, and even when he had a fact to convey he would pump it up so as to increase his own significance. Hemingway suffered from the same disease. Having noticed how the narrative charm of a seemingly objective style would put a gloss on reality automatically, he habitually trod on the accelerator instead of the brake. As a result, much of his later work was ruined. He overstated even the understatements. But with The Sun Also Rises he was still testing his power to enchant.
There is not much that is enchanting about his treatment of Robert Cohn, which must have sounded anti-Semitic even at the time, one would have thought. Nor is there anything enchanting about his repeated use of the word "nigger," but that's a problem for teachers and publishers, many of whom are African Americans but seem not to object much, as if — and this is true — Hemingway's little novel, which is really only an extended novella, was a thing of its time. Whether it is also a thing for eternity is debatable. Certainly it continues to count in my own eternity, but that will soon come to an end. In the short time I have left for reading, however, I am very glad to have found occasion for hearing once again how Jake and Brett adored each other in that strange, mannered, yet somehow sensual dialogue, as if a phrase could be a caress. The book is a metaphorical triumph, and all while having scarcely a single metaphor in it, or even a simile. In fact only once does Hemingway say that something is like something else. In Jake's mind, Brett's lovely figure has the curves of a racing yacht's hull. Our minds might tell us that a woman whose figure reminded us of a boat would be an awkward proposition, but our hearts are already captured.
CHAPTER 2Revisiting Conrad
AMONG THE DISADVANTAGES of COPD, which used to be called emphysema, is a susceptibility to chest infections. Despite one's daily intake of antibiotics, different bacteria keep arriving from all directions, eager to squat. One day I was checking in at the hospital for a routine clinic, and my temperature was deemed to be too high for me to go home. I spent ten days in the pulmonary ward, while the fever turned into pneumonia. A flood of intravenous antibiotics eventually got on top of it, but meanwhile the problem of boredom loomed. I staved it off by rereading Lord Jim, a copy of which, along with the usual epics about swords and dragons, was on the library cart which a very sweet and obviously fulfilled senior female volunteer was wheeling around the wards. More than half a century ago Lord Jim had been one of the set novels for my first-year English class at Sydney University, and I remembered it as a boring book. I suppose I had a plan to stave off one kind of boredom with another, as a kind of inoculation.
On the strength of this long-delayed second reading, the book struck me as no more exciting than it had once seemed, but a lot more interesting. I had long known Conrad to be a great writer: on the strength of Under Western Eyes alone, he would have to be ranked high among those English writers — well, Polish writers resident in England — who, dealing with eastern Europe, analyzed the struggle between the imbecility of autocracy and the imbecility of revolution. But on the strength of my earlier memories, I didn't see Lord Jim as part of that international historical picture. Now, reading a few pages at a time as I lay fitfully on a sweat-soaked sheet while my fever refused to break, I could see that I had been laughably wrong about Conrad's most famous book for the whole of my reading life. An international historical picture is exactly what it exemplifies.
But the picture, or viewpoint, is well guarded. In the first place, the story turns on a character study. Without Jim's weakness, there would be no story at all. At the beginning of the narrative, in his role as an officer in the mercantile marine, he jumps off a sinking ship that turns out not to have been sinking. He never gets over this: which raises the question, as we read on, of whether we ourselves could go on functioning if we were unable to forget our ignoble moments. At the end of the narrative, in his role as the de facto monarch of the magic kingdom of Patusan, he ruins the lives of his consort and his people by failing to accept that the pack of renegades who have penetrated their little Paradise might have evil in mind. The book's narrator, Marlow, puts Jim's failings down to his romantic personality: his later life is "an expiation for his craving after more glamour than he could carry." We, the enthralled readers, are at liberty to deduce that European politics have infected the whole world, even the parts of it that are not yet known: the renegades would not have come if Jim had not made Patusan just and prosperous.
Unfortunately, for us enthralled readers, the story is not quite enthralling enough. Marlow is telling it, and Marlow is a bore. He is Conrad's sole tedious creation, because ordinarily Conrad can see the point of anything completely and at once, whereas Marlow feeds you information only a few drops at a time. Perhaps because I had an I.V. plugged into my arm, I couldn't help thinking of the last chick in the clutch wasting away from getting not quite enough food. Marlow was a useful device if you thought the book's revelations needed delaying, but his terrific ability for beating around the bush was bound to register as a tease play. I finished reading the book though, full of admiration for both Conrad and myself: him for his moral scope, me for my endurance. Perhaps to induce self-esteem in the reader had been one of the author's aims. There are those who believe that Wagner made Siegfried so wearisome because he wanted the audience to admire themselves.
Anyway, when I got home I reached for my old copy of Nostromo. Long ago, just after I had read Lord Jim, I had read Nostromo too, and been deeply impressed. There was, after all, no Marlow in it: the narrator's voice came through unfiltered by an intervening cloth of tedium. But now, reading again, I wondered how I had coped with an English novel's plentiful supply of Spanish words. How could I have been impressed, instead of puzzled and put off? Eventually, after more than twenty years of not being able to read any Spanish at all, I acquired enough to assess what I had been missing. Now, finally, when Conrad referred to the capataz de cargadores, I could tell for sure that he meant Nostromo. Also, I had learned a great deal more about politics. Years of reading in modern history had equipped me to understand retroactively the lethality of the historic events that Conrad seemed to know about in advance, so sensitive was he to the political forces that were already reshaping the world during his own lifetime. In my own lifetime, most of the reshaping actually got done, with a death count of many millions. It's clear now that Conrad had guessed what might happen. But when I first read Nostromo I was too young to have much of a clue even about what had already happened. So what had impressed me?
Undoubtedly it was the story, in the Hollywood sense, which means the scenario. The events are thrilling. Don Carlos Gould and his excellent wife build Sulaco into a kingdom with all the enchantment of Jim's Patusan, but Sulaco, on the page, is more actual in its workings. You can hear the ring of picks and hammers as the silver is torn from the mine. It's like Das Rheingold with the lights turned on. All the practical details of a foreign-owned capitalist enterprise are laid out, not just hinted at. Every supporting role is blazingly alive. They are all there: the corrupt dictator, the predecessor of so many Trujillos and Batistas; the local wiseacre who knows everything and understands nothing; and the beautiful girl with the book of poetry in her hand, all set, by her mere existence, to lead the previously feckless young intellectual editor fatally away from his usual protective cynicism. Idealism gets him killed. Above all, there is Nostromo (did I know, first time around, that his Italianized nickname meant "our man"?), who has built such a reputation for competence and integrity that the gringo ruling class revere him, not for a moment suspecting that the man they trusted never to steal an ounce of silver would eventually steal a ton of it. He didn't suspect it either: but when the moment came, he overruled any loyalty except to himself.
And those themes are only the beginning of what is in Nostromo, which I can now see as one of the greatest books I have ever read. But I thought the same when I had read almost no serious books at all. Somewhere in that paradox lies the secret of a magic novel, and the secret of why the later novels of Henry James have never held me in a spell: in the opening chapters, their subtleties of style catch the attention of the experienced reader in me, but the inexperienced reader in me finds too little to draw him forward. If only Henry James had been to sea. But Edith Wharton's account of how he rambled on incomprehensibly when he got out of the car to ask directions tells us that any order he delivered on the bridge would have been so elaborately expressed that the ship would have hit something on the first day of the voyage.
CHAPTER 3Novels in Sequence
I HAVE JUST STARTED to read Edward St. Aubyn's latest novel, Lost for Words, and I can already see that I will have to double back and get on terms with his Patrick Melrose sequence. James Wood and Will Self both have a right to say that St. Aubyn is witty, even if the rest of us find him only witty-ish. Most writers who are credited with wit have not a trace of it, but St. Aubyn really can pack the meaning tight enough for it to crackle, and he can do so often enough to make you impatient when he doesn't. St. Aubyn's imaginary publishing house called Page and Turner is memorable straight away, whereas Anthony Powell put half a novel into explaining the nickname of Books-do-furnish-a-room Bagshaw and still couldn't make it interesting. Kenneth Widmerpool, the figure of ambitious mediocrity whose relentless climb to power links all the novels of Powell's great sequence, is a joke for the ages, but Bagshaw, because he is a joke and nothing else, is scarcely a joke at all.
(Continues...)
Excerpted from Latest Readings by Clive James. Copyright © 2015 Clive James. Excerpted by permission of Yale UNIVERSITY PRESS.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
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Table of Contents
Contents
Acknowledgments, ix,Introduction, 1,
Hemingway in the Beginning, 7,
Revisiting Conrad, 15,
Novels in Sequence, 23,
Patrick O'Brian and His Salty Hero, 31,
War Leader, 37,
Sebald and the Battle in the Air, 43,
Phantom Flying Saucer, 51,
Under Western Eyes, 55,
Anthony Powell, Time Lord, 59,
Treasuring Osbert Lancaster, 69,
American Power, 75,
Kipling and the Widow-maker, 87,
Speer in Spandau, 91,
Shakespeare and Johnson, 93,
Naipaul's Nastiness, 99,
Movie Books, 103,
Women in Hollywood, 109,
Extra Shelves, 119,
Always Philip Larkin, 123,
Villa America, 127,
Angles on Hitler, 131,
Stephen Edgar, Australian Ace, 137,
John Howard Extends His Reign, 143,
Hemingway at the End, 147,
On Wit, 155,
Richard Wilbur's Precept, 159,
When Creation Is Perverse, 165,
Conrad's Greatest Victory, 169,
Coda, 173,
Interviews
Virginia Woolf wrote that reading is “a pursuit which devours a great deal of time, and is yet apt to leave behind it nothing very substantial.” Do you agree?
Luckily for me, I am not threatened by the kind of illness that eventually led Virginia Woolf into the river. I'm just tired. Being that, I find that reading is more rewarding than ever. If I read something I've read before, I'm refreshed by being able to bring to it a new angle based on experience. And if I read something new, I do so with a new hunger, and, as far as I can tell, a whole new clarity. Only just lately I have been going right through Empson's poems again, and finding them as brilliant as they are elusive; and I have been reading Browning's The Ring and the Book seriously for the first time right through, and have found it to be a wonderful mixture of genius and willful obliquity. I only wish I had enough time left to recite it aloud: when you try that, even for just a single page, you find that its weird faults are impossible to smooth over. So my critical urge is still active.
How has your response to books changed as your life has progressed?
My response to books has improved throughout my life, until now, finally, I am fit to be a proper student. There ought to be a university for the old and sick, where, unless you're on your last legs, you aren't allowed into the library. I have this vision of nonagenerians taking their first crack at, say, Pope's Homer. Actually I'm about to read that one again, but I'm far too young.
"Clive James, brilliant to the (near) end, turns his readings and re-readings of everyone and everything from Hemingway and Conrad to Patrick O'Brian and Game of Thrones into sharp, funny meditations on—among much else—class, beauty, mimicry, memory, manhood, death (other people's), and life (his own). Long may his dazzling, long farewell continue."—Salman Rushdie
"Clive James's inevitable humor, sanity, erudition, enthusiasm, and crystal keenness are everywhere evident in Latest Readings, but perhaps its greatest grace is the opportunity it gives to feel as if you're spending time in his company, listening and learning for at least a little while longer. If its mini essays (and some not so mini) seem to float from James's mind into yours, it is only because a lifetime of reading, thinking, feeling, and formulating has gone into them, registering the pure, responsive authority of a writer with nothing left to prove but so much left to say."—James Walcott
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