One Neglected Writer on Another: Stefan Zweig, Great European, by Jules Romains

Cover of U.S. edition of 'Stefan Zweig Great European'Stefan Zweig: Great European reprints a lecture given by Jules Romains, poet, dramatist, and author of the lengthy series of novels, Men of Good Will, a few months before the start of World War Two. For the book, Romains added a preface, written in exile in New York in 1941. This book’s timing, therefore, is exceptionally poignant. As Romains delivers his original lecture, Europe is still at peace–if barely. A few threads of hope remain intact in the cultural fabric of Europe as he, Zweig, and others had come to know and define it: “I was going to say: ‘All that is over and done with,'” Romains writes of this cosmopolitan era, “but it would be an exaggeration. Rather: ‘All that is completely changed–greatly endangered.'”

When he writes his preface some months later, that hope has been shattered by blitzkrieg and the relentless stream of German victories and conquests that began in September 1939 and continued till Stalingrad in early 1943.

At the moment Romains wrote his preface, though, Zweig still lived, and that was enough for him to hold on to a slim faith in the future:

We who since 1914 have passed through one of the worst periods in human history can say to one another that we shall perhaps know a better, a slightly better period, if we get through this one and live long enough. It will last as long as it can. May it last longer than we do!

He did not know that Zweig was already descending into a black depression that would lead, in early 1942, to his committing suicide, along with his wife, in a small town in Brazil. “…[T]he world of my own language having disappeared for me and my spiritual home, Europe, having destroyed itself…. I think it better to conclude in good time and in erect bearing a life in which intellectual labor meant the purest joy and personal freedom the highest good on earth,” Zweig wrote in his last note. How this knowledge might have altered Romains’ outlook, we cannot say. But in saluting a contemporary he greatly admired and respected, Romains was, in effect, writing an obituary of a unique generation. These men saw themselves as Europeans–advocates of western culture and the faith of Enlightenment and human progress rather than as French, German, Austrian, or Italian. Despite the inevitable bumps along the way, the jolts and jags from xenophobes, racists, and fundamentalists, the progress of progress itself was, or so they thought, destined to plow forward.

Above all, they were believers in what Romains calls “the critical sense,” which was the antithesis of the political movements then reaching their crescendos:

Of what does human misfortune now consist, and above all what horrible things are threatening mankind? What is the chief danger? Is it an excess of composure, of reason, or the critical sense? God knows it is not! On the contrary, it is the rapid development throughout the masses of the new fanaticisms: fascism, racism, nationalism, and communism, or mixtures of them in different proportions…. [I]t is the unbridled proscription of all critical sense, all lucid play of reason….

No wonder that men such as Zweig were the first to be singled out and sent into exile. It was a technique dating back to the days of the Tsars (viz. E. H. Carr’s The Romantic Exiles). Lenin adopted it early in his revolution (viz. Lenin’s Private War), and Hitler applied it to both artists (viz. Exiled in Paradise) and scientists (viz. Hitler’s Gift). The result, as Romains notes, is that,

…[O]ne of the extraordinary things about the days we are living through is that undoubtedly for the first time in the history of civilization more than half of the great men of the present, of those who have done the most for the honour of their respective countries, of Europe, or humanity, are fugitives and exiles. And the majority of them were in no way involved in politics, Yes, this will be the subject of hundreds of essays in the schools of the future, an inexhaustibl theme for orators: the disgrace of an epoch–our own–when Albert Einstein, Thomas Mann, Sigmund Freud, Guglielmo Ferrero, Stefan Zweig, Emil Ludwig, Ivan Bunin, and others were all of them at once exiles, men driven from their countries.

Thanks in large part to NYRB Classics, Stefan Zweig’s work seems to be emerging finally from decades of neglect, at least in the English language. Clive James recently summed Zweig up as “The Incarnation of Humanism” in the final biographical essay in his wonderful collection, Cultural Amnesia. Whether Romains will have the same good fortune has yet to be seen (I was going to write remains, but that looked like a pun). The whole idea of Europe and humanism has itself been taking a bit of a beating lately, so it’s worth taking a moment to consider this little book and remind oneself of what that idea has meant to others when it was under a much greater threat.

Stefan Zweig: Great European, by Jules Romains
New York City: Viking Press, 1941

An Interview with John Seaton, editor of Faber Finds

Serendipity has always played a large role in my experiences with neglected books, and serendipity today led me to pass a very interesting and enjoyable hour with John Seaton, editor of the new Faber Finds series. When I learned of Faber’s new venture into republishing a large and diverse list of out-of-print titles, I took up their public invitation and sent them an email offering my perennial nominee, W. V. Tilsley’s Other Ranks. A few days later, I got a reply from John himself, expressing interest and asking for help in locating a copy.

As it happened, I was scheduled to come to London for a project management conference a few weeks later, so I offered to drop off a copy of my own photocopy while in the city. John invited me to stop by for a chat. So after a day full of project management methods and practices, I headed to Faber and Faber’s offices on Queens Square. Along with discussing Tilsley’s book, I took the opportunity to interview John about the series in general.

Faber Finds is both bucking a trend and setting one. Most mainstream British publishers, John explained, have become focused on their front list (the new releases) and near backlist–the recent releases–and allowed much of their deep backlist–the titles that sell a few copies a year for a decade or more–to evaporate. In the same way, most major booksellers devote their shelf space to these titles, leading to something of a tunnel vision effect.

At the same time, however, print-on-demand technology has matured to the point where new models of production and distribution become possible. Faber Finds is among the most innovative applications of print-on-demand to emerge to date. The idea came from Stephen Page, CEO of Faber and Faber, who brought John into the firm specifically to launch the venture. Faber’s target is not the High Street retail customer, but what Chris Anderson referred to as “the long tail.” Publishers with extensive backlists have long been challenged to balance the steady, if undramatic revenue from sales of older titles with the expensive of storing and managing the physical stock. With print-on-demand, publishers now have the opportunity to continue offering their backlists while limiting their costs to the initial “capture” and as-ordered printing of the books.

Part of the “long tail” argument is based on the diminishing unit costs of involved in digital production. Although it costs Faber roughly £4 pounds to print a book of some 300 pages, this is considerably less than that of printing and holding a physical stock of several hundred or several thousand copies for years or decades. And the print-on-demand unit cost is, if anything, bound to go down, while the warehousing costs can only go up.

At the same time, the Internet has opened up a sales channel that makes it far easier for customers to locate and buy lesser-known titles. I can remember, for example, looking up the publishing information about Michael Frayn’s slim book of philosophy, Constructions; going information in hand to my local bookstore and submitting the special order; then waiting months for my copy to arrive. If Constructions were available through print-on-demand, on the other hand, I could find it, order it like any in-print title, and have a copy delivered to me in about the same time as any in-print title. The availability of a new discovery and ordering capability courtesy of the Internet, combined with print-on-demand, is a perfect example of the “long tail” effect.

Print-on-demand has been around for years. Companies such as Kesslinger offer a rich catalog of out-of-copyright titles on this basis. But most of these companies merely scan in and reprint images taken from old editions. Faber and Faber has always been a press known for its high standards of culture and style, and Faber Finds is very much in keeping with this tradition. They scan to text, proofread the result, and then integrate any black-and-white images into the text. Then they print the text on good-quality stock in an attractive typeface, and bind it into a sturdy trade paperback format featuring a unique computer-generated graphic for each title. John was somewhat apologetic for the design of the books, but I think he should be proud. There is a big difference between minimalist and generic. And there is nothing generic about the look of Faber Finds titles.

In keeping with the “long tail” model, Faber Finds is not starting out with a modest list, gingerly testing the waters. Instead, the series debuted with 100 titles and John has managed to clear the rights to another 300 titles. Faber plans to announce 20 to 30 new titles each month. If the business case proves sound, the list could grow into a thousand or more, which would easily surpass any other venture into republication of neglected books to date.

John and I discussed some of the potential effects of this new approach to publishing titles well in the margins from the standard canon of great books. I’ve long felt that the tendency to view literature as the exclusive domain of a few great authors and books rather than a broad, varied, and wonderfully unpredictable melange of the great, the good, the respectable, the near-misses and glancing hits, and even the occasional utter failure is reinforced by the tendency of non-“great book” titles to go out of print. A professor can hardly teach a lesser-known book if a student can’t buy a copy in the college bookstore or check out copy 23 of 37 from the library. With the Faber Finds model, Angus Wilson has a chance of keeping a spot on a modern English novelists syllabus alongside William Golding and Doris Lessing

Angus Wilson, in fact, is one of the authors John takes some personal satisfaction in having rescued. John came to Faber after spending three decades at Penguin. Penguin had stood by Wilson, keeping many of his novels in print through the 1970s and 1980s, when realistic novels were languishing in the critical doldrums, but they finally tossed in the towel over a decade along. Ever since, Wilson, inarguably one of the most significant English writers since World War Two, has been essentially out of print and out of circulation. Faber Finds will bring all of Wilson’s novels back in print–as it will those of P.H. Newby and, if negotiations go well, Joyce Cary.

At the far end of the spectrum from Angus Wilson and Joyce Cary stands another writer Faber Finds will bring back to print in August 2008. Roy Horniman’s novel Israel Rank has kept a small place in history for being the inspiration for one of the finest of all British comedies, the 1949 film, “Kind Hearts and Coronets.” Even though the novel sold a respectable number of copies when first published in 1907 and was republished in 1948 while Graham Greene was working for Eyre and Spotiswoode, printed copies have become as hard to find as skeletons of the dodo. John was finally able to locate a copy though a distant relative of Horniman’s, and this sly satire of Edwardian mores and anti-Semitism will finally be available for a price quite a bit less than that of a mid-sized car.

Not that Israel Rank is a lost masterpiece. The point of Faber Finds is not to rescue a few great books that have become forgotten, but to make available–at a reasonable price for both consumer and publisher–a large number of fine books that merely fell victim of a bad business case for a few decades. Children’s books are coming as well, says John, as well as color images in a year or two. Altogether, Faber’s expedition into the “long tail” of the publishing business is one of the most exciting “mash-ups” I’ve heard of, and it was a genuine pleasure to get a chance to get an insider’s view of what I hope will be history in the making.

SUNY Press added to Publishers List

Susan Petrie from the SUNY Press kindly pointed out a number of little-known and forgotten titles they’ve released in recent years. In particular, their Women Writers in Translation series has brought out such books as:

• The Ravine, by Nivaria Tejera

“Set in the Canary Islands at the outset of the Spanish Civil War, The Ravine is the provocative, disturbing account of a child’s experience with war.”

• Become Who You Are

“… [A]bout a woman, Agnes Schmidt, whose husband has died and who is grappling with finding an identity for herself as an aging widow—reflecting the restrictions imposed especially on aging, widowed women who often yearn for a life and identity of their own.”

• The Education of Fanny Lewald

” … [T]he autobiography of the most popular and prolific German woman writer of her period (1811-1889). The author of more than fifty books of fiction, travel memoirs, and articles about current events, Lewald was a friend or acquaintance of many of the prominent intellectual, artistic, and political figures of nineteenth-century Europe.”

And, for you James Fenimore Cooper fans, if there are any, there’s also a dozen-plus of his books, including such long-forgotten titles as Lionel Lincoln: or, The Leaguer of Boston, which the SUNY website tells us was, “… [A] radically new experiment in historical fiction. To recreate its events with the utmost accuracy, Cooper visited Boston in person in 1824 to study buildings and terrain, examine battlefields, read affidavits, consult records of the weather, and compare primary sources. George Bancroft declared in 1852 that Cooper had ‘described the battle of Bunker Hill better than it is described in any other work.'”

Lee Sandlin on “Ten Novels That Not Enough People Have Read”

I stumbled across writer Lee Sandlin’s website (www.leesandlin.com) and was delighted to find, on his “Enthusiasms” page, a list titled, “Ten Novels That Not Enough People Have Read.” Lee is one of the finest essayists working in America today. His remarkable piece on the mythology of World War Two, “Losing the War,” is included in the recent compilation, The New Kings of Nonfiction (and also available online on his website). I couldn’t resist writing him to express my interest in the list and to ask for a few words about the books. I figured he would get back to me eventually, but a couple of hours later, back came an email with the following comments.

· Armed With Madness, Mary Butts

A deliriously unstable version of an English country-house story, about summer guests at an estate who think they’ve found the Holy Grail–something like a Virginia Woolf novel spiralling frantically out of control and throwing off startling ideas and images in all directions.
[Editor’s note: Armed With Madness and a companion novel, Death of Felicity Taverner, have been reissued in a one-volume edition by McPherson & Company.]

· Lud-in-the-Mist, Hope Mirrlees

A unique fantasy novel from the 1920s, light-years away from Tolkien and his imitators, about a stodgy provincial country infiltrated by a sinister fairyland.
[Lud-in-the-Mist is in print from Cold Spring Press, with a foreward by novelist Neil Gaiman.]

· Memoirs of a Midget, Walter de la Mare

De la Mare was a conservative British poet who’s fallen into unjust obscurity; this is his longest and best novel, which treats a fairytale premise with fantastic intensity –as though a Hans Christian Andersen story had been rewritten by Conrad.
[In print from Paul Dry Books.]

· The Asiatics, Frederic Prokosch

The first novel of a young American writer, published in the late 1920s, highly praised by the likes of Camus, Gide and Mann, about a hitchhiker travelling across Asia; hallucinatorily vivid, even though you suspect (and Prokosch later admitted) that the author had never actually set foot in Asia.
[The Asiatics is in print from Farrar, Straus, & Giroux, with an introduction by Pico Iyer.]

· The Curlew’s Cry, Mildred Walker

A slow, evocative, and beautiful novel by a forgotten American regionalist, published in the 1950s, about the lifelong friendship between two women in Montana.
[The Curlew’s Cry is in print, as are all of Walker’s books, from the University of Nebraska Press.]

· A Legacy, Sybille Bedford

A richly imagined and elegantly told autobiographical novel about the intertwined lives of three European families at the end of the 19th century, which slowly turns into an understated parable about what the legacy of European culture really means; the sequel, Jigsaw, about a young woman’s sexual awakening on the French Riviera in the 1920s, is just as good.
[In print, as are a number of Bedford’s books, in attractive editions from Counterpoint.]

· The Stone Book Quartet, Alan Garner

This series by a British writer, ostensibly for children, is a stunningly beautiful evocation of the author’s family history, told through a succession of small, emblematic, fervently re-imagined moments of daily life.
[Currently out of print in the U.S., but it’s available as a Harper Perennial Modern Classic from Amazon.co.uk.]

· The Dead of the House, Hannah Green

I’ve never read anything like this book. What appears at first to be a shapeless and garrulous memoir of suburban America in the middle of the 20th century gradually reveals itself to be a visionary prose poem about the way time and history are interfused in the American landscape.
[In print from Turtle Point Press. Of the book, the normally-subdued Publishers Weekly wrote, “Green is known for being a perfectionist in her writing, and this long-out-of-print work is absolute proof. The characterizations are flawless, the descriptions excellent and the overall effect sublime.”]

· Peace, Gene Wolfe

An old man recalls his life in small-town Illinois, and his memories open up into a weird carnival of dreams and reveries; the best book I know of about the surreal underside of the American heartland.
[In print, although in an utterly unappealing edition, from Orb Books.]

· The Fortunate Fall, Raphael Carter

A garish, dark, exhilaratingly original take on 1990s sci-fi cyberpunk, by a writer who seems to have since disappeared without a trace.
[Out of print and selling for as little as two cents on Amazon.]

Many thanks, Lee!

Mortal Leap, by MacDonald Harris

Cover of first U.S. edition of 'Mortal Leap

· Excerpt
· Editor’s Comments
· Find Out More

· Locate a Copy

Excerpt


On top there were some flannel slacks and a pair of tailored Bermuda shorts. A half-dozen handkerchiefs, monogrammed “BD.” A pair of tan loafers, some sports shirts in conservative solid colors. Sunglasses, underwear, an electric razor with its cord, socks inArgyll plaids. Strapped into the top of the lid was a carefully folded sports jacket, a soft tweed in a dark bluish gray. Everything was expensive, conservative, and carefully packed. These things were mine now, I thought, or rather I belonged to tem. I wondered whether something would change in me when I put them on and I would feel different, or whether it would be the other way around, my essence that would sink into the clothes, gradually wearing away their strangeness and making them familiar. For that, of course, you would have to have an essence. On the whole I would have preferred to stay as I was in the anonymous hospital pajamas. But the clothes were mine now for better or worse; I had passed the point where I could choose or reject.

I lowered the lid carefully and latched it. On the long and precarious journey back to the bed I caught a glimpse of myself in the mirror. It was the face of a stranger, a patchwork in various shades of red, expressionless except for the left side of the mouth still pulled a little upward by the shrunken muscle. The leanness was skull-like; growing out of the scalp there were meager tufts of brown hair. You’re an ugly brute whoever you are, I told the face in the glass. But I knew who he was; he was the owner of the clothes in the suitcase. For a few seconds that afternoon I had balanced on the razor edge, and then I had chosen and now the clothes were mine, or rather they were myself, a new human being I would have to study and master. For an instant I felt the vertigo of empty space: where was I going? I realized I was still sick and I got back in bed.

Editor’s Comments


Mortal Leap tells a story it seems as if we’ve seen on TV a dozen times: a man takes on another’s identity, abandoning his own, and lives out a new life. But have we?

There are plenty of stories of mistaken identity, and plenty more, like the Kevin Kline comedy, “Dave”, where one person pretends to be another (in that case, the President of the United States) to deceive others. In Mortal Leap, however, we are led, with careful attention to detail, motivation, and effect, through a man’s decision to utterly abandon the life he’s lived, the person he’s become in twenty-some years since birth, and become another man. Another man with a history, possessions, relationships, traits, habits. Another man with a wife, a family, a life already being lived. Have we ever really heard this story before?

In this book, his second novel, MacDonald Harris takes us, as if in freeze-frame, through a salto mortale–literally, a mortal leap–the circus acrobat’s mid-air vault from one trapeze to another. We follow the nameless protagonist as he swings back and forth through a life as a merchant seaman in the 1930s and early 1940s. Running away from a strict Mormon family, he makes his way to Oakland, where he gets a berth on a tramp freighter. He’s befriended by a veteran hand, a former Russian anarchist, who teaches him how to survive–but also uses him to escape from arrest for smuggling drugs. The man spends time in San Quentin prison, then returns to the sea. He learns enough to gain a third-class officer’s cap, but other than that, his life is an endless routine of watches, ports, whores, and booze. He realizes that his shipmates care a little for him and he for them: that when his time comes, they will watch him die “without sympathy, without curiosity, simply indifferent.”

Then, his freighter is sent to take a load of fuel and supplies to a nameless southwest Pacific island–probably Guadalcanal. Ambushed along with its escort by a group of Japanese ships, the ship is hit and sunk. The man survives and makes it to an unhabited atoll. There he encounters and kills a downed Japanese pilot. He takes the pilot’s life raft and attempts to cross the channel one night to rejoin the Americans. His crossing, however, takes him into the direct path of a skirmish between the U.S. and Japanese navies. The raft is lost and the man is caught in the swirl of debris and burning oil around a sinking U.S. frigate. His face and hands are severely burned, but a sailor rescues him just before he drowns.

In Harris’ narrative, this is the moment when the acrobat lets go of the first bar:

What happened was simple, even banal: I became naked, died, lost parts of my flesh and most of my ego along with a few illusions such as a belief in the uniqueness of my personal scrap of consciousness and the cosmic importance thereof, and went on from there. All that was left was something inside that I don’t know what to call–a soul?

He is evacuated to a Navy hospital in Hawaii. “There,” Harris writes,

I lay for three months in a hospital bed, an inert network of pains, discomfort, smells. Inside was nobody. There was only a nexus of existence, buried very deep and only gradually working to the surface. Out of habit the body went on breathing, eating, excreting, being awake and connected to its eyes and ears. Inside lay the awareness, and was magnificently uninterested in everything that went on outside.

When the doctors and hospital staff attempt to determine his identity, he tells them nothing. He has let go and is in free fall. The only thing he knows for certain is that he cannot go back.

From the circumstances of his rescue, his apparent age and physical features, Navy investigators finally speculate that the man is Lieutenant Ben Davenant, an officer on the U.S.S. Marcus, one of the ships lost in the night battle. They send a photo of the man’s scarred face to Davenant’s parents, who do not recognize him. Davenant’s wife, however, comes to Hawaii to see for herself.

The man still has no intention of doing anything, of merely plunging forward into oblivion. But then the wife comes into the hospital room and another trapeze appears before him:

A moment later she was bending over the bed and I felt the light touch of her lips on my forehead; I caught an elusive scent of linen and perfume. Even then I was not fully awake. And yet in those few seconds when everything hung on a knife edge I committed myself by my silence. I felt words forming in my mouth, but I couldn’t arrange them properly; the time passed when I might have spoken and still I said nothing.

One could say that the salto mortale analogy–which Harris himself introduces later in the book–misses the point somewhat. The man doesn’t grab for the other bar. He merely says nothing–he allows the woman to say that he is Davenant. And at first, though he goes along with the deceit, he’s in many ways just as passive as he was in free fall. Ary, the wife, takes charge. She gets them back to the U.S., arranges for man/Davenant’s discharge, and settles them in her father’s large seaside house in Laguna Beach.

Becoming another person, as Harris shows us, is much harder than it ever seems in the movies. There are so many little practical hurdles. The man, after all, was a rough merchant sailor before, and now he is in the midst of a wealthy, cultured family. He has to learn not to dig wax out of his ear with his pinky, not to ask for ketchup when eating a steak, how to mix a cocktail.

When I began to grasp the complexity of what I had to do I felt like a trained baboon trying to play a cello. At every turn it seemed there was a new decision, probably crucial, although I could never be sure. What did I want for dinner? Which necktie should I put on? Did you wear a necktie at all to go to the Coast Inn at eight o’clock for drinks? Before a rack of neckties I was in a cold sweat.

I first read Mortal Leap almost thirty years ago, and I remember how the narrative seized my attention. It was one of those books you begrudge the rest of your life for taking you away from. When you don’t know how it’s going to turn out, you feel as if you are hurtling forward along with the protagonist.

When I reread the book recently, it seemed even more powerful and affecting. I knew how it would turn out, but now the suspense was in seeing how Harris could make it plausible. What I saw this time around was how he manages to make this wildly improbable situation into a very basic lesson about being. So the man learns how to imitate Ben Davenant without getting caught–or at least, so he thinks. The man has made the leap and a new bar is in his hands. But he still has to confront the question, “Now what?”

It wasn’t a matter of convincing these people or anybody else that I was something I was not, or even of trying to make myself into something they wanted me to be. It was a matter of making myself into something I would decide; of asking myself what was the best I had and what I could make with it and then working as hard as I could to make it.

“In order for it to be a life you had to make something, even if it wasn’t something very important,” the man concludes. What was wrong with the life he’d led before being caught in the battle and burned “had not been dishonesty or embezzlement or cowardice or even murder,” he concludes. “My real sin had been apathy, the kind of cockeyed contempt for everything I had learned from the others on all the bad ships I had sailed on in all those pointless wandering years.”

Ironically, MacDonald Harris was, himself, an invention. His real name was Donald Heiney, a merchant sailor and naval officer who’d gone to college on the G.I. Bill after World War Two and become a professor of literature. MacDonald Harris was his pen name, which he used first for short stories he wrote for magazines and then, beginning in the early 1960s, for a total sixteen novels, a non-fiction book, and one short story collection published before his death in 1993. His work often received strong critical praise, and C.P. Snow once said of him, “Harris is a real writer, and I don’t use that phrase except of someone who ought to be cherished and encouraged.”

Since his death, his son, Paul Heiney, has maintained a set of web pages (http://www.physics.upenn.edu/~heiney/harris) about Harris/Heiney’s life and work. Although his most popular book, The Balloonist, was nominated for the National Book Award, none of his works are now in print. Mortal Leap was barely even noticed by critics when first published and never even rated a paperback reissue. Among the few items you’ll find about MacDonald Harris now is an admiring tribute by the highly-successful author, Philip Pullman. Pullman writes of Harris’s work that,

… there is a consistency despite the huge variety in setting and subject matter, and that lies in the intelligence, the quietness, the subtle astringency of manner; in a sensibility and temperament that is experienced rather than innocent, ironic rather than emotional, sceptical rather than credulous; if I wanted to be mischievous, I might say European rather than American. And there is a constant preoccupation with the mystery of identity.

And in none of his books does Harris confront this mystery better than in Mortal Leap. You can find at least thirty copies of this novel for sale on the Internet, most of them under $10. Get one and see if you don’t find yourself asking a question or two about your own identity.

Locate a Copy

John Banville on “the Simenons”, from the L. A. Weekly

Covers from a collection of paperback Simenons

Source: “The Escape Artist: John Banville on Georges Simenon,” L. A. Weekly, 28 May 2008, http://www.laweekly.com/art+books/wls/the-escape-artist-john-banville-on-georges-simenon/18984/

A couple of weeks ago, the L. A. Weekly published a long piece by Irish novelist John Banville on the non-Maigret novels of Georges Simenon. Although best known for the 70-plus detective novels he wrote featuring the unflappable Inspector Maigret, Simenon published a nearly-equal number of masterful psychological dramas. These romans durs, or “hard” novels, are, in Banville’s estimation, “his finest work.”

Banville admits that when he first read one of Simenon’s novels, “I was really blown away by this extraordinary writer. I had never known this kind of thing was possible, to create such work in that kind of simple — well, apparently simple — direct style.” Nine of these novels have been reissued as part of the excellent NYRB Classics series. The typical roman dur is fast, intense, and brief–rarely more than 120 pages. The protagonist–almost always a man who has led a quiet, conventional life–is jolted out of his routine by an act of violence, a momentary lapse of judgment, a flash of passion, or an instant of craven selfishness or greed. A Dutch G.P. murders his wife; a Parisian fonctionnaire finds a briefcase full of cash on a train. A Belgian cafe owner finds himself separated from his family as they flee the blitzkrieg. Or, as in the opening lines of The Accomplices, a wealthy dairy owner causes a school bus to crash, killing and maiming the children inside:

It was brutal, instantaneous. And yet he was neither surprised nor resentful, as if he had always been expecting it. He realized in a flash, as soon as the horn started screaming behind him, that the catastrophe was inevitable and that it was his fault.

It was not an ordinary horn that was pursuing him with a kind of anger and terror, but a mournful, agonizing howl such as one hears in a port on a foggy night.

At the same time, he saw in his mirror the red and black bulk of a huge bus bearing down on him and the contracted face of a man with grizzled hair, and he realized that he was driving in the middle of the road.

It did not occur to him to free his hand which Edmonde continued to press between her thighs.

Here we have all the classic ingredients of a superb Simenon: a trick of fate, an already-guilty hero (his hand between his mistress’ thighs), and a sense “that the catastrophe was inevitable and that it was his fault.” Banville writes that, “Henri Cartier-Bresson used to speak of the ‘decisive moment’ when reality is caught in its unguarded essence, and it is on such moments that Simenon builds his fictions.”

For years now, I’ve been picking up Simenons when I find them in cheap paperback editions–which has become harder and harder. It rarely takes more than a night or two to finish them, but each is a headlong plunge into the dark side of otherwise ordinary characters. Andre Gide thought Simenon possessed enormous talent but frittered it away on these melodramas. “Gide,” writes Banville, “felt that he had not achieved his full potential as an artist, which may be true: If he had tackled his obsessiveness and found a way of slowing himself down, he might have written the leisurely and long-fermented work that Gide apparently expected of him.” But as Banville rightly concludes, “[T]hat book would not have been a ‘Simenon’, and it is in the ‘Simenons’,surely, that Simenon displayed his prodigious and protean genius.”

Some ‘Simenons’ to get started with

The Man Who Watched Trains Go By

In print from NYRB Classics. A self-satisfied middle manager suddenly discovers that his boss has driven the company into bankruptcy. And then ….

Monsieur Monde Vanishes

In print from NYRB Classics. One morning, Monsieur Monde, a comfortable Parisian business man, walks out of his house as his wife is sleeping … and vanishes. And then ….

The Venice Train

Still out of print. A man finds a suitcase full of money belonging to a mysterious stranger. And then ….

The Murderer

Still out of print. A Dutch G.P. plots and carries out the perfect murder of his aging wife and gets away with it. And then ….

Al Young’s Musical Memoirs

Excerpt

from “Body and Soul” in Bodies and Soul:
When the record came out, saxophonists all over the world, hearing it and sensing that things would never be the same, started woodshedding Hawkins’s impassioned licks in their closets and on the stand. Why’d he have to go and do that? Of course, everybody fell in love with it. My father would play it, take it off, play something else, then put it back on. This went on for years. What was he listening for? What were we listening to? What did it mean? What were all those funny, throaty squawks and sighs and cries all about? I knew what a body was, but what was a soul? You kept hearing people say, “Well, bless his soul!” You thought you knew what they meant, but really, you could only imagine as you must now. You knew what they meant when they said, “Bless her heart!” because you could put your hand to your heart and feel the beat, and your Aunt Ethel sometimes fried up chicken hearts along with gizzards, livers and feet. But a soul was unseeable. did animals have souls, too? Did birds, dogs, cows, mules, pigs, snakes, bees? And what about other stuff, like corn, okra, creeks, rivers, moonlight, sunshine, trees, the ground, the rain, the sky? Did white folks have souls?

… Thirty-nine, forty, fifty, a hundred, thousands–who’s to say how many rosy-chilled Octobers have befallen us, each one engraved in micro-moments of this innocent utterance, electrically notated but, like light in a photograph, never quite captured in detail, only in essence. Essence in this instance is private song, is you hearing your secret sorrow and joy blown back through Coleman Hawkins, invisibly connected to you and played back through countless bodies, each one an embodiment of the same soul force.

All poetry is about silent music, invisible art and the clothing of time for the ages.

Editor’s Comments

Not long after moving to the Bay Area in 1981, I picked up a copy of Al Young’s first book of “musical memoirs”, Bodies and Soul, and devoured it. Full of short, lyrical essays no longer than it took to spin a good 45, it was the perfect book for the moment. With money to spend, nights and weekends free, and no homework for the first time in 18 years, I was reveling in the wonders of live and recorded musical to be found within an hour’s drive from Sunnyvale. Max Roach at the Keystone Korner; Elvis Costello at the Paramount; Anita O’Day at the Great American Musical Hall; King Sunny Ade in Santa Cruz; UB40 in Palo Alto; the SF Symphony at Stern Grove; Rasputin’s and Amoeba Music in Berkeley; and the world treasure of Village Music in Mill Valley. And a Tower Records store just fifteen minutes from my house.

Where, about a year later, I saw a tall black man with a distinctive streak of white hair browsing in the racks. I immediately recognized him as Al Young, and went over to offer my praise for his book. He was helping a friend decide how to spend a gift certificate, and the three of us talked for a few minutes about some albums they’d picked out. Then we all went back to fingering through the trays of LPs. It was the only time I met Young–the only time I’ve ever met the writer of a book I liked, in fact–but it seemed proof that I was living in a magical place.

Al Young.

Young published three more collections of musical essays after that: Kinds of Blue in 1984; Things Ain’t What They Used to Be in 1987; and Drowning in the Sea of Love, which included pieces from the three earlier books, in 1995. All four books are unforgiveably but understandably out of print now. Understandably, because Young had the misfortune to sign up with two different publishers–Creative Arts in Berkeley and the Ecco Press–that since went out of business. Unforgiveably because nobody beats Al Young when it comes to capturing the mood and rhythm of good pop, jazz, and blues music in prose.

You can get a taste of Young’s writing from reading his essay on Aretha Franklin’s “Respect” on Salon, taken from Drowning in the Sea of Love. And thanks to their utter neglect, you can pick up used and remaindered copies of all four books for not much more than a buck total plus shipping. Until someone rights this wrong and puts at least a sampler back in print, this is what you’ll have to do if you want to experience a master at his instrument. As James Brown would have told us: “Give the writer some!”

Al Young’s Musical Memoirs:

Ramsay Wood recommends a Neglected Writer: George Borrow

In passing along news of a new edition of his Kalila and Dimna: Selected Fables of Bidpai, writer Ramsay Wood shared his own recommendation:

My candidate for the two most neglected books would be Lavengro (1851) and The Romany Rye (1857) by George Borrow. In a way he was the first ordinary, modern English travel writer. But it takes a good 50 pages to tune into his language, which is obviously quite removed from English usage today.

150 years ago, Borrow was one of the most popular writers in the English language: one of his first books, The Bible in Spain, even outsold Dickens’ “A Christmas Carol”. His novels and non-fiction books, especially those about the Gypsies of Spain and elsewhere, were considered masterpieces of their time: dramatic, colorful, and comic. And for a good hundred years afterward, you could count on finding at least one or two titles by Borrow in any good collection of classics (Everyman’s, the Modern Library). Now, you have a choice between over-priced e-publisher editions or free downloads from Project Gutenberg.

It’s true that Borrow’s prose can, at times, be at least one or two removes from today’s language:

But to return to my own history. I had now attained the age of six: shall I state what intellectual progress I had been making up to this period? Alas! upon this point I have little to say calculated to afford either pleasure or edification. I had increased rapidly in size and in strength: the growth of the mind, however, had by no means corresponded with that of the body. It is true, I had acquired my letters, and was by this time able to read imperfectly; but this was all: and even this poor triumph over absolute ignorance would never have been effected but for the unremitting attention of my parents, who, sometimes by threats, sometimes by entreaties, endeavoured to rouse the dormant energies of my nature, and to bend my wishes to the acquisition of the rudiments of knowledge; but in influencing the wish lay the difficulty.

But scan through The Romany Rye, for example, and you’ll find much dialogue, some narrative, but little in the way of heavy-lifting prose. As Anthony Campbell argues, “In fact, he is a penny plain writer, not a tuppence coloured one; you don’t find those purple passages of description that were thought to be the mark of “style” at the time. In other words, he is closer to Defoe than to De Quincy.” And you’ll also find, from a man who was employed by the Bible Society, a remarkable share of irreverence:

“One thing,” said I, “connected with you, I cannot understand; you call yourself a thorough-going Papist, yet are continually saying the most pungent things against Popery, and turning to unbounded ridicule those who show any inclination to embrace it.”

“Rome is a very sensible old body,” said the man in black, “and little cares what her children say, provided they do her bidding. She knows several things, and amongst others, that no servants work so hard and faithfully as those who curse their masters at every stroke they do. She
was not fool enough to be angry with the Miquelets of Alba, who renounced her, and called her ‘puta’ all the time they were cutting the throats of the Netherlanders. Now, if she allowed her faithful soldiers the latitude of renouncing her, and calling her ‘puta’ in the market-place, think not she is so unreasonable as to object to her faithful priests occasionally calling her ‘puta’ in the dingle.”

New from NYRB Classics: First English translation of Stefan Zweig novel

NYRB Classics continues to set the standard for publishing long-lost treasures. Its latest release is of particular note: The Post-Office Girl is the first English translation (by Joel Rotenberg) of Rausch der Verwandlung (trans: “The Ecstasy of Transformation”). This novel was found among Zweig’s papers after he and his wife committed suicide in Brazil during World War Two and only published in the original German in 1982.

The novel tells the story of Christine Hoflehner, a postal clerk in a small Austrian town: 25, but already on her way to become a career fonctionnaire:

Her hand with its pale fingers will raise and lower the same rattly wicket thousands upon thousands of times more, will toss hundreds of thousands, perhaps millions of letters onto the cancelling desk with the same swiveling motion, will slam the blackened brass canceller onto hundreds of thousands or millions of stamps with the same brief thump.

Then, out of the blue, she gets an invitation to join a wealthy aunt in Switzerland. She’s exposed to money, glamor, fashion, society … and then sent back home. As an old tune from World War One put it, “How Ya Gonna Keep ‘Em Down on the Farm, After They’ve Seen Paree?” Well, as Zweig shows with his typically bitterly realistic touch, you can’t … but neither can Christine just leap over the walls of income, expenses, class boundaries, social mores. You’ll have to buy a copy of the book yourself to find out how it ends. And you probably don’t even need the publisher’s cheap-shot description of the novel as “Cinderella meets Bonnie and Clyde” to entice you, if you’re a fellow lover of fine neglected books.

The Village Voice polls writers on favorite obscure books

Source: “Our Favorite Writers Pick Their Favorite Obscure Books”, the Village Voice, 13 May 2008

In an attempt to get folks thinking about something other than best-sellers for their summer reading lists, the Village Voice polled sixteen writers to name their favorite obscure book. At least one suggestion is utterly cryptic: of Jim Dodge’s Fup, which has been in print forever and had its steady stream of fans, Colum McCann writes, “The less said about it, the better.”

On the other hand, Jennifer Egan got me interested in Harold Q. Masur’s detective novels from the 1940s and 1950s with these opening lines from You Can’t Live Forever:

It started with a summons, a brunette, and a Turk.

The summons was in my pocket, the brunette was in trouble, and the Turk was dead.

Egan writes, “In his savvy, stylish novels of the ’40s and ’50s, Masur manages to wink continuously at the detective genre even as he revels in it.”

Novelist Donna Tartt offers Blood in the Parlor, by Dorothy Dunbar, commenting that, “Each of the 12 stories is an account of a 19th-century murder told with a light, macabre sense of humor. I’d love to see it back in print with illustrations by Edward Gorey.” Ed Park names an early novel by Harry Stephen Keeler, whose goofily bizarre mysteries have been rediscovered lately and who now has his own society of fans. Jonathan Ames nominates The Lunatic at Large, one of several of the prolific Scots comic writer J. Storer Clouston you can read or download online from Project Gutenberg. Between this article and this site, we may be able to put a dent in the sales from Oprah’s book club.

“Miss Pettigrew Lives for a Day” brings Neglected Writer Winifred Watson to Screen

Released by Focus Films in March 2008, “Miss Pettigrew Lives for a Day” brings to the big screen the novel of the same name by Winifred Watson, one of a generation of British women writers sometimes referred to as “the middlebrows”.

The film probably owes its existence to the fine work of Persephone Books, which reissued the book in 2000 and has devoted itself to rediscovering writers such as Watson, E. M. Delafield, Dorothy Canfield Fisher, and others. And thanks to the film, Miss Pettigrew Lives for a Day has sold over 23,000 copies, by far the press’ best seller to date.

Watson lacks a Wikipedia entry so far, but you can read her Independent obituary online at http://www.independent.co.uk/news/obituaries/winifred-watson-640426.html.

Faber Finds: a Major Neglected Books Series Launches

Debuting June 2008: Faber Finds, the biggest venture into republication of neglected books since the start of NYRB Classics. In the words of the publisher, the aim of the series “is to restore to print for future generations a wealth of lost classics.”

With an initial list of 100 titles, Faber Finds will already be well on its way to keeping pace with NYRB Classics. The first set includes a few books that appear on a number of lists on this site–Keith Douglas’ Alamein to Zem Zem, which Faber reissued back in 1992 and Angus Wilson’s Anglo-Saxon Attitudes, for example–but some other previously unmentioned ones, such as A Sword for Mr. Fitton, the first of a series of novels along the lines of the Patrick O’Brien’s popular Jack Aubrey stories, and Miss Willmott of Warley Place, a biography of one of the first woman landscape gardeners that currently fetches over $100 in first edition.

Faber promises that the list “will grow and embrace fiction, thrillers, sci-fi, memoirs, biographies, history, poetry, travel books, popular science and books for younger readers.” The publisher also invites readers “to let us know what you’d like to see back in print” by emailing suggestions to lostandfound@faber.co.uk. You can even enter a prize drawing for a free copy of P. H. Newby’s Something to Answer For, which won the very first Booker Prize back in 1969.

A most welcome addition to the bookshelves.

Sincerely, Willis Wayde, by John P. Marquand

· Excerpt
· Editor’s Comments
· Other Comments
· Find Out More

· Locate a Copy

Excerpt


Cover of first edition of 'Sincerely, Willis Wayde'
When he had come under Mr. Henry Harcourt’s personal supervision, Willis could not help see that he was regarded in a new light by everyone in the plant. The workmen he had always known were as friendly to him as ever. Labor, he was to learn later, seldom could be made to take an interest in management; but is was different in the office, where people he had known through many summers now gave him appraising, suspicious looks. Willis could sympathize, because he had been pushed forward above the heads of many who had been working there for years. He knew that Mr. Briggs in the sales department disapproved of his promotion. Mr. Briggs had told him that he had worked at Harcourt for fifteen years before he had been pulled off the road to be assistant sales manager. You worked your way up from the bottom in those days, and the way to learn business was doing business, instead of studying at some school. Mr.Hewett had a more generous attitude, perhaps because he knew that his days at the mill were almost over. Mr. Hewett often told Willis to watch this or that, because Willis might be in his shoes some day. He spoke only half seriously, and Willis was under no illusions, since it would obviously be years before he could ever manage Harcourt’s.

His father’s attitude was what disturbed Willis most.

“Son,” his father said on evening, “I had a friend once, out in San Francisco. We’d been working together building dams for Pacific Gas and Electric, and then he joined up with Standard Oil. I remember when he took the boat to China. We had quite a lot of drinks the night before, telling each other what we were going to do, because we were pretty young then, and kids all want to be American heroes. Now I suppose you want to be one, too, but I don’t any more. It’s hard enough to try to be what you are. Well, anyway, I stood on the pier seeing Bill off, and I had quite a head that morning. I was there quite a while watching the ship pull out, seeing it get smaller, and I knew Bill was going somewhere I wasn’t ever. Well, it’s the same with you. Only just remember this one thing. Every now and then take a look at yourself, and try to be sure where the hell you’re going. I can’t tell you because I wouldn’t know.

Editor’s Comments


For a while in the middle of the last century, John P. Marquand was the most successful novelist in America–successful in consistently hitting the top of the best seller lists as well as in earning critical recognition, including the Pulitzer Prize for his 1937 novel, The Late George Apley. By the time he published Sincerely, Willis Wayde, however, both his sales and literary reputation were on a decline–one that’s continued till today. Aside from his early magazine fiction and his Mr. Moto series of detective novels, Marquand’s books had been subtle satires of East Coast–and particularly Boston–society. His approach and subject matter probably seemed a bit soft and a bit stale compared to that of Grace Metalious or Norman Mailer.

Ironically, as Millicent Bell writes in her authoritative biography, John P. Marquand: An American Life:

Marquand first thought of Sincerely, Willis Wayde as a novel that would firmly put behind him the lost world of early twentieth century America. He planned to depict a hero “swatting it out with life, strictly in the urban world of today–somebody on the down-wind side of the point of no return.”

C. Hugh Holman called Sincerely, Willis Wayde Marquand’s “least typical book,” and several prominent features do separate this novel from his other serious works. Many of Marquand’s narratives rely heavily on the use of flashbacks to tell the story; here, he looks relentlessly forward as we follow Willis Wayde’s rise from being the son of a factory engineer to the CEO of a major industrial conglomerate. Unlike other Marquand protagonists, Willis never puts up seriously struggle with his own doubts. He takes quick note of them and then moves on. And Sincerely, Willis Wayde is more a novel of business than society.

In this case, the business is that of industrial belting. Marquand shrewdly chose a product that had no consumers but other businesses–manufacturers, supply companies, supermarket chains. This allows his character to stay immersed in a world where rational choices based on bottom lines, rather than that of individual purchases influenced by unpredictable psychological factors. Which is fortunate for Willis, for whom psychology is never his best subject: “It was a relief to meet someone like Mrs. Jacoby, who did not have the Harcourt’s sentiments, because anyone with common sense knew that sentiment had no place in industrial transactions.”

Starting out as a protégée of Mr. Henry Harcourt, the aging head of Harcourt Mill, a family business rooted in Marquand’s favorite fictional town of Clyde, Massachusetts, Willis might have stayed with the firm, slowing working his way up the ladder like Mr. Briggs or Mr. Hewett. But he has also grown up in an ambiguous relationship with Harcourt’s son and grandchildren, sort of an unofficial foster child or poor cousin. Bess Harcourt, the , flirts with Willis at times as they become adults, but sticks with convention in the end, marrying a dull but wealthy heir.

A different man–a traditional Marquand hero, perhaps–would have shrugged and soldiered on, sadder but wiser. Willis’ father, a better judge of human nature, counsels him to be realistic:

“You’re trying to be something you aren’t,” he said. “You watch it, Willis. You keep on trying to be something you aren’t, and you’ll end up a son of a bitch. You can’t help it, if you live off other people.”

“I don’t get your point. I honestly don’t,” Willis said.

And he truly doesn’t. Instead, he lands a job with a high-priced New York consulting firm. And from that point on, Willis never looks back. He comes across a struggling belting factory and insinuates his way into a position with the firm. Through hard work and dedicated boosterism, he not only saves the company but takes it to a position from which he orchestrates a merger with Harcourt Mills.

Willis strives to be the very model of a modern major businessman of the late Industrial Age. He rises early every morning, does twenty push-ups, and reads fifteen minutes from Dr. Eliot’s Five-Foot Shelf. He joins the Rotary, fancies himself a fine speaker, and moves through a series of bigger and better houses and cars. And he comes to hold model opinions of where American culture was going:

They did not like their country in spite of all the fine things America had done for them, such as the education it had given them and the chance to sell their books and motion-picture rights for enormous prices. They did not like America in spite of the opportunity America gave them to acquire lovely homes and have their pictures in Life and Time. These people were constantly sneering at solid institutions, snapping at the very hand that fed them. When they wrote about business, they looked upon people who earned an honest dollar by selling products, running banks or production lines as crass materialists, devoid of ideals and social conscience. Businessmen in all these novels were ruthless and very dumb. Willis often wished that he might have a talk with some of these writers. He wished that he could show them that men who ran factories and sold the products and dickered with bankers, tax examiners and labor union organizers were not as dumb as a lot of novelists who always seemed to be at Palm Beach with some blonde.

Eventually, Willis’ earnest pursuit of profit and efficiency lead him to sacrifice Harcourt Mill itself. Its aging plant and workforce can’t compete with newer, larger factories, despite his promise to the Harcourts–and himself–that “He certainly would do everything he could–within reason–to keep it open.”
Time magazine cover portrait of John P. Marquand

That “within reason” is a wonderful and telling touch by Marquand. One reason his reputation with critics and readers has suffered in the last half century is that, despite a sometimes wooden prose style, he is often too subtle and wise for his own good. Time’s reviewer compared Willis to George Babbitt, but Marquand was never one for stereotypes. No one really goes through life without self-reflection. Even with his strong drive for success, Marquand shows Willis constantly checking himself–checking if he’s wearing the right clothes, saying the right things, making the right choices.

The problem is that these are all glances. Genuine doubts penetrate to one’s core, and these would just slow Willis down. So when he stops to search his soul, it’s more in the way you pat your pockets to reassure yourself that the car keys are still there. Marquand deftly conveys this conscientious moral blindness in the following passage as Willis prepares to tell the Harcourts that he’s going to close their family business:

The art of persuasion, Willis believed, was the very keystone of American business and the basis of American industrial prestige, and he was never more convinced of its importance than during his talk with Bill and Bess. Without exaggeration, never in his life had he so keenly wanted two people to understand and sympathize with his point of view and to agree with his conclusions. It would have been unthinkable to have quarreled after so many years. It was a time for a sincere interchange of reaction, a time when every question must be answered.

The strength of his approach, as he talked to Bill and Bess, lay in his sincere sympathy.

Capitalism, as Marquand portrays it, is not evil. Rather, it is more like a parallel universe, one with laws that are simply incompatible with the world of emotions, art, and traditions. When Willis finds himself in the latter world, as in the novel’s final scenes, where he struggles to enjoy (as a model successful tourist) a long-awaited vacation in Paris with his wife, Marquand shows what a sad and dull refugee he is. Away from the office and boardroom, Willis is like an actor without a part. He just moves around the stage getting in everyone’s way. You could say that the novelist of society ultimately wins out over the novelist of business in Sincerely, Willis Wayde. No one gets to stay in the office forever.

I consider Marquand one of the very few 20th century American novelists who writes like a grown-up, and I don’t want to close this review without noting that Sincerely, Willis Wayde also features one of the better portraits of a marriage since that other classic novel of business colliding with society, William Dean Howells’ The Rise of Silas Lapham. Willis’ wife, Sylvia, sees him more clearly and realistically than he ever does himself. Yet she also understands that she wants the comforts and luxuries that his ambition brings to their marriage and respects his talents too much to skewer him. In that way, she exemplifies maturity in Marquand’s eyes. “Mature people,” he once said, “are happier. At least they can rationalize the world in such a way that they are not going to beat their heads against a wall.”

The critic Maxwell Geismar wrote that, “Mr. Marquand knows all the little answers. He avoids the larger questions.” I think this insults Marquand’s intelligence–and Marquand’s respect for ours. Large questions about how one can reconcile business demands with human needs can be seen throughout Sincerely, Willis Wayde. It’s to Marquand’s credit that he knows most readers are smart enough to know there no simple answers.

Other Comments

· Harlan Ellison, who wrote on his website:

That Marquand continues to be overlooked is nothing less than criminal. He’s one of the few authors I’ve read that’s skewered institutions without mocking the troubled plights of his protagonists. Truly the harder road to travel. His characters are all too human in the foolish decisions they make. His married couples are astutely observed, steeped in the worst of compromises. Remarkably, Marquand was criticized for chronicling flatline heroes, but I can’t think of another author that’s dared to display the harsh undertow of comfy middle class life quite like him. Too many people trundle through life without even the inkling of an inner revelation. And the delicate decision of whether to watch haplessly as someone destroys herself or to intervene and scare them straight becomes a tricky ethical tightrope.

· Terry Teachout, on his About Last Night blog:

Babbitt with a backstory. This undeservedly forgotten 1955 blockbuster follows a New England businessman along the twisty road that leads from youthful idealism to mature vengefulness. Less subtle than Point of No Return, Marquand’s masterpiece, it offers a harsher, explicitly satirical view of life among the capitalists, and though Marquand’s Lewis-like portrayal of his anti-hero’s philistinism is a bit heavy-handed, I can’t think of a more convincing fictional description of the high price of getting what you think you want.

· John Kenneth Galbraith, in the New York Times, from 1984:

Neglected also is the modern corporate executive, the university-trained managerial type, wherever he lives. Thirty years ago – in 1955 – John Marquand made a brilliant beginning on this task with Sincerely, Willis Wayde, a novel that did not receive the attention it deserved from being, I think, too fully abreast of its time. Willis is a highly competent, soundly schooled, relentlessly ambitious, deeply offensive graduate of the Harvard Business School; he brings the best in modern management techniques to bear on the Harcourt Mill in Clyde, Mass., an old and distinguished manufacturer of industrial belting. He also brings off a greatly advantageous merger, moves the headquarters to the Middle West and, eventually, as part of a very intelligent strategy – strategic planning even then – abandons the original New England operation.

· Time, 28 February 1955

…. Marquand manages a highly skillful double-switch with the reader’s emotions. Early in the book, he smoothly turns the nice youngster into a glossy horror; later on he turns the horror into a rather sad character who compels sympathy. Novelist Marquand’s plot may sag at points, but the caricature of his hero is fascinating, down to the last page, when wise and forbearing Sylvia tucks in her husband with a kiss and a Nembutal. Perhaps the most pathetic thing about Willis Wayde is that, in his own peculiar way, he believes in what he is doing, is sincere even in the dreadful, calculating little social-business notes he always signs: Sincerely, Willis Wayde.

· F. H. Guidry, Christian Science Monitor, 24 February 1955

Mr Marquand’s masterful ability to delineate mood-creating detail in both setting and character is widely acknowledged. One can “walk in imagination” with his people, not only with a pleasing sense of compassion but with an agreeable awareness of irony as well.

Find Out More

Locate a Copy

Sincerely, Willis Wayde, by John P. Marquand
Boston: Little, Brown, 1955

Small World, by Carol Deschere

The fact that Carol Deschere Berendt, mother of John Berendt, author of the best-selling Midnight in the Garden of Good and Evil and The City of Falling Angels, once published a novel, Small World, under her maiden name, would not in itself qualify the book for mention here.

But, as Syracure Post-Standard writer Laura T. Ryan noted two years ago in her blog, Karen DeCrow, a pioneering feminist and one-time president of the National Organization for Women, was passed along a copy back in the late 1970s. DeCrow was so moved by the book that, “… she typed up a 5-page letter and sent it to everyone she knew in the publishing world, hoping to get it re-released.” Ryan quotes from the letter:

Twelve years before publication of The Feminine Mystique by Betty Friedan (1963), Carol Deschere wrote a novel which could have spurred the feminist revolution, had enough women read it. In Small World, a simply written and simply plotted novel, Deschere tells us the story of a bright, educated, and cultured woman who leads the life of a middle-class housewife. Her husband is kind and generous, her children are intelligent and obedient, her home is stylish and comfortable.

Her world, however, is so small that it revolves totally around food, clothing, furniture, and an occasional outreach of interest to music, art, and literature. The novel takes place during one of the critical periods in American history: World War II had just ended, the alliances of nations in the world were dramatically shifting, capitalism as an economic system was being seriously questioned for the first time in a century, and the seeds of the Cold War period were being developed in the United States. Yet Kay Hiller, the hero of the novel, does not deal with these issues, despite the fact that she is both bright and intellectual….

… For women who dream of art, music, literature, and affairs of state there are few alternatives — lovers, suicide, or worst of all, resignation. With the broadening of the small world for women, hopefully novels about Emma (Bovary), about Kay, will become historical documents.

As Berendt himself describes the book in an interview on Barnes & Noble’s website,

The story concerns a family of four living in upstate New York. It’s charming and beautifully written. Carol Deschere, the author, happens to be my mother, and the family depicted in her novel closely resembles our own. The book sold about 2,000 copies and, although my mother never wrote another book, Small World was a life-changing experience for me, because in addition to making me enormously proud of her, it showed me for the first time how real life could be transformed into words and stories and published in a book for all to read. It also planted the first seed in my mind that I might become a writer one day.

Deschere died last year at the age of 92. Small World remains out of print–in fact, a quick search of AddAll.com located a grand total of three copies, at $48, $200, and almost $1,000, respectively. Two reviewers on Amazon remembered it fondly enough to post 5-star reviews of the book, so Karen DeCrow is not alone in hoping that this book may someday find its way to republication.

The Invisible Flag, by Peter Bamm

· Excerpt
· Editor’s Comments
· Locate a Copy

Excerpt


A man–a human being–is wounded. In the split second in which he is hit he is hurled out of the fighting machine and has become, in an instant, utterly helpless. Up to that moment all his energy was directed forward, against an enemy army stretching across the landscape like an imaginary line, its exact position unknown. So engrossed was he in what went on round him that he was left with no conscious thought about himself. but now he is thrown back on himself: the sight of his own blood restores him to full self-awareness. At one moment he was helping to change the course of history: at the next he cannot do anything for himself.

Hours afterwards night falls. Gray fear envelopes him. Will he bleed to death? Will he be found? Is he going to be hit again? Are the Germans retreating? Will he be captured by the Russians?

An eternity passes before a couple of soldiers drag him a short way back. There, in a shell crater or some primitive dugout, the first outpost of medicine, sits the regimental medical officer. The wounded man is given a bandage, a splint, a tourniquet, an injection to ease his pain. Then he is left to lie around somewhere, wondering again if he will ever be moved. At last he is carried further and eventually put into an ambulance. He finishes up among a multitude of other wounded men, lying in semi-darkness and a fearful silence broken only by the groans of those around him. At long last his stretcher is lifted again. From the moment he comes into the bright circle of light under the theater lamp he ceases to be a mere lump of animate matter and becomes a patient, a man who is suffering. When he leaves the operating theater, the pitiful, dirty, bloodstained creature is once again a human being, cared and provided for.

This small miracle is accomplished with a piece of thin steel which weighs less than a couple of ounces–a scalpel. At its tip converge years of skill and training; a technique developed through centuries of experiment; the immense and complicated organization of a modern army’s medical service. And above it, as it cuts deep to heal, above that little tent in the wood by the Dniester, there flutters beneath the wide Ukrainian sky a small dauntless flag: an invisible flag: the flag of humanity.

Editor’s Comments


Cover of first U.S. paperback edition of 'The Invisible Flag'Peter Bamm’s The Invisible Flag is an extraordinarily well-written semi-fictional memoir of his experiences as a field surgeon with the German Army on the Eastern Front in World War Two. When it was first published in 1956, the Times Literary Supplement called it “a masterpiece,” and the book is studded with passages of stunning prose equal to and even better than that quoted above. Bamm fell in love with the Russian landscape even as he saw it torn up in brutal fighting. One imagines him in company with Konstantin Paustovsky, sharing a drink outside a dacha while they took in the beauty of a summer twilight in the Ukraine.

In the course of the book, Bamm’s duties take him rolling forward across the steppes in the blazing summer of 1941; enduring bitter winters that threaten lives even more immediately than combat; into the hills of the Crimea and the mountains of northern Georgia; and then, with the long retreat beginning with Stalingrad, back through the Ukraine and into Poland and Eastern Prussia. In each place, Bamm notes how nature carries on oblivious of man’s activities around her. He makes us feel the sweat blinding him as he operates under a blazing sun and the bitter winds biting his skin as he trudges through deep snow to reach a rear command post.

He also brings a gallery of characters alive: rugged and ingenious NCOs who regularly manage to locate food, supplies, horses, or wagons for Bamm’s unit, a Wermacht equivalent to the U.S. Army portable surgical hospital; a Russian POW who staggers into the unit’s camp one morning and remains as a helper for the next four years; civilians who display exceptional compassion and generosity even when they’ve lost everything and others who begrudge the slightest favor to their own; and veteran officers who struggle on despite the hopeless of inevitable defeat and the insanity of the Nazi regime.

In real life, Bamm was one Curt Emmrich, a surgeon who had served with the German Army in World War One–a highly educated and cultured man who had traveled the world, spoke French, and quoted Homer and Virgil. His deep pride in his own professionalism as a doctor and soldier is evident throughout the book. He allies himself with other experienced officers and medical men and contrasts his views and actions with those of the S.S. and other Nazi party members. In fact, he refers to Nazis in general as “the others” throughout the book. Bamm and his fellow officers and men appear to hold themselves to a higher moral standard: “The orgy of revenge in which the Dictator was indulging was complemented by an orgy of servility among his creatures. To the soldiers all this was repugnant.”

He does not deny in anyway the atrocities that were going on around him throughout the campaign on the Eastern Front. He recalls Jews being led away to the outskirts of a village, forced to dig a trench, then shot and bulldozed into it. He cites the case of one officer who was imprisoned for taking photos of such an event. He knows that Jews were taken into vans and gassed. He knows that Communists were hunted down and executed. His justification for remaining silent in the face of these actions is merely that it would have been futile to protest. Instead, his focus is on doing his duty as a surgeon, trying to save the lives that pass through his tent–regardless of whether they are German or Russian, Christian or atheist. One presumes no Jew ever made it to his operating table.

Bamm made a conscious moral compromise that weighed his ability to save lives and spare suffering over his ability to interfere with the gross outrages going on around his. One must accept this fact to read The Invisible Flag. Some may not be able to. Within the boundaries of Bamm’s choice, the book is rich in superb descriptive writing:

The whole crawling mass has meandered twenty yards onto the open field to by-pass a dud bomb that lies unexploded in the middle of the road. To left and right the fields are strewn with a weird assortment of stoves, milking stools, bedsteads, radio sets, munition boxes, lamps. It is like the aftermath of a flood. Every few hundred yards is a broken-down vehicle; or a dead horse with a swollen belly; or a corpse. Crows rise with a heavy flapping of wings. Tattered gray clouds chase without pause high above the living and the dead; high above beast and man.

The Invisible Flag received enthusiastic reviews and sold well, both in Germany and in numerous translations, but has been out of print in English since the late 1950s. If another powerful semi-fictional memoir of war on the Eastern Front, Guy Sajer’s The Forgotten Soldier, deserves reprinting and notice despite continuing controversies over its veracity, then there is no excuse for Peter Bamm’s remarkable book being left in the shadows.

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The Invisible Flag, by Peter Bamm (pseudonym of Curt Emmrich)
London: Faber, 1956
New York: John Day, 1956; Signet (paperback), 1958

Six Lives and a Book, by Claude Houghton

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Editor’s Comments


Even though I found his I am Jonathan Scrivener only a partial success, Claude Houghton’s approach the question of identity was so unusual that I wanted to explore his work further. A few weeks ago, I received a copy of his 1943 novel, Six Lives and a Book, which I had quite honestly ordered for no reason but that I thought the title promised something interesting.

Six Lives and a Book is much more more experimental in its structure than I am Jonathan Scrivener. The first sixty-some pages of the novel are actually excerpts from a fictional work titled The House Not Made With Hands by an author named Oldfield. This novel is set in a residential hotel in London. The narrator, a man named Mavers, encounters the different inhabitants of the house, who range from a good-time, perhaps gold-digging girl to an aging miser. As in I am Jonathan Scrivener, these encounters are usually long conversations in which the two characters seem to probe each other to detect his or her true character, beliefs, or values. But it is on a London bus one evening that Mavers suddenly sees through another man’s public image–literally:

Opposite was an old man leaning forward on a short thick walking stick, who was gazing at me with eyes which might have been concerned with any one of a number of far-away things, but which certainly were not concerned with me. He was a heavy, shabby, lugubrious figure with wisps of dirty white hair escaping under a scarecrow hat. His attitude implied immense fatigue, the face was a record of disasters rather than a human countenance, but, nevertheless, there were hints of stunted grandeur about him–hints which compelled you speculate about this derelict man who leaned on his stick, staring at nothing.

Then–suddenly–I saw this man as he would have been if all his possibilities had been realised. It was as if another man were sitting by his side–the men he would have been if all his stunted qualities had attained maximum growth. And, which was terrifying, there was no doubt whatever that the wreck of a man in the scarecrow hat and the transcendent being by his side were one and the same.

From this moment on, Mavers finds these visions of a person’s potential coming to him again, until he sees the other of six other people in the house he shares. “Every one,” he concludes,

… lives in a strange and haunted house, for our essential lives are concerned with principalities and powers, and our human relationships are a reflection of our combat with those powers and principalities.

And with that, Houghton abruptly switches to the Public Library at Marleham, a small port in Devonshire, where Olga Purvis, during the time of the Blitz. Olga Purvis, a London woman made homeless by the bombing, is staying in Marleham and decides to check out The House Not Made With Hands.

Although a newcomer to Marleham, she has already come to know a number of other temporary residents: a rugged veteran merchant sailor waiting for a new ship after having his last torpedoed; an heiress grieving her lover, an RAF ace recently killed in combat; a radical; a charity organizer also displaced by the Blitz–six in all, just as in the novel.

And just as in the novel, these characters meet, talk, clash and find common bonds. The borrowed copy of The House Not Made With Hands circulates among them. Each has some revelation about his or her true desires or concerns while killing time in this sort-of limbo. In the end, each leaves Marleham for a new destination or undertaking–with a truer understanding of himself.

Or at least I assume so. Frankly, as in Jonathan Scrivener, I found that Houghton is either too subtle in his dialogue for a clod like me to pick up his nuances or just plain obtuse. At the end of Six Lives and a Book, the most interesting character, a nameless, brutish man (not one of the six) who haunts Olga, playing an erotic cat-and-mouse game with her,is about to return the The House Not Made With Hands to the library when he thumbs through the book and comes across the two passages above. He recalls Olga reading them to him. “But then,” Houghton adds, “there had been another entry [in her diary] which she had not read. She had exclaimed: “No, It’s not that! I know that’s nonsense!”

When I read this, I began to wonder if Six Lives and a Book wasn’t just some great shaggy dog tale. I have to admit that I had been hooked early on and kept reading, expecting to come to a climax in which connections among the characters or some event lead to a dramatic revelation … only to wind up with “I know that’s nonsense!” Even now, as I run through the book again for this piece, I half-believe the joke was on me. I find it a little hard to believe, when as reliable a source as the critic and lexicographer Eric Partridge considered it one of Houghton’s best.

But then … having compared Jonathan Scrivener to the works of Paul Auster, particularly his New York Trilogy, it occurs to me that some people think those novels are shaggy dog tales, too. It takes a good storyteller to carry off an effective shaggy dog tale, because the key is to draw the reader or listener along to the point that the narrative pull overrides one’s better judgments.

So is Six Lives and a Book a glimpse into men’s true souls? Or just a bait-and-switch?

Read it and draw your own conclusion.

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Six Lives and a Book, by Claude Houghton
London: Collins Publishers, 1943

The Shadow Riders, by Isabel Paterson

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Editor’s Comments


Cover of first edition of 'The Shadow Riders'
When H. L. Mencken reviewed Isabel Paterson’s first novel, The Shadow Riders, he concluded that despite “a certain readableness”, it would soon be “dead and forgotten.” And so it has remained, along with all the rest of Paterson’s novels, even with her rediscovery as a Libertarian icon. Frankly, in comparison to her masterpiece, Never Ask the End or even The Golden Vanity, The Shadow Riders is easy for anyone but a completist to neglect.

Yet despite its limitations–wooden characters and sometimes even stiffer prose–The Shadow Riders has a few rewards for the reader who pulls it off the shelf every decade or so.

Paterson’s wit, for one. The book’s epigraph deserves a place alongside any of Dorothy Parker’s best quips:

There is an old proverb which says that one can catch more flies with honey than with vinegar. It is doubtless a true saying; I only wonder what one does with the flies after having caught them.

Lesley Johns, who wins the prize of protagonist after a neck-and-neck race with several characters through much of the book, is clearly Paterson’s avatar. Raised on farm by a long-suffering mother and ne’er-do-well father, Lesley works her way up from clerk to journalist at one of the local papers in the fictional version of Calgary, Alberta, where the novel takes place. Like Paterson, Lesley is clear-eyed about social hypocrites and always keeps a pin handy for bursting bubbles:

“Mrs. McConach this afternoon was almost in tears of ecstasy because the Duke of Inverarie is buying an estate somewhere hereabouts. Her grandfather was a crofter, turned out to make more room for deer on the Duke’s grandfather’s Scotch estate…. [B]ut then the Duke’s great-grandfather’s grandfather was simply the most successful cattle thief on the border.”

“Society,” Paterson writes, “is run on the Berkeleian theory that everything exists only in the imagination. What could be more comfortable?”

“Everything,” she adds, “in this sense includes everything but money. There is something so grossly material about money as to resist the strongest doses of philosophy.” Paterson’s hard-nosed view of money and its importance in a capitalist world comes from her many years of living from payday to payday, earning every step of her own way. This economic realism makes it hard not to notice how artificial Paterson’s attempts to at romanticism are. For over 350 pages, she leads her audience along through the on-again, off-again relationship between Lesley and Chan Herrick, the millionaire’s nephew who gradually evolves from lounge lizard to stalwart entrepreneur. They wind up, of course, in each other’s arms. We don’t buy it and I doubt Paterson did, either. “I want freedom, not power,” Lesley remarks at one point. Why, then, would this woman saddle herself with this future Rotary Club officer?

After all, early on in the book, she reads Chan’s true nature:

“I shouldn’t have guessed,” she said, “that you are a shadow rider.”

“A what?” he asked. When she fell into her own vernacular he was always interested. “What is a shadow rider? Sounds rather poetic.”

“It isn’t,” she retorted cruelly. “You watched your own shadow for a long time back there. If you did that on the rodeo, and the range-boss saw you–you’d be looking for a new job. It’s the lazy ones, the indifferent ones, do that.”

When Chan and Lesley unite at the book’s end, she is about to head to Chicago, for a job with a big newspaper there–which is pretty close to what Paterson did in real life herself. It’s a shame she didn’t let the best character in The Shadow Riders escape, too.

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The Shadow Riders, by Isabel Paterson
Toronto: S. B. Gundy, 1916
New York: John Lane Company,1916

Fortune is a Woman, by Hermes Nye

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Excerpt


Cover of first edition of 'Fortune is a Woman'
I had been sitting all afternoon in the office alone, with my feet on the desk, reading The Decline and Fall of the Roman Empire. Building up a law practice in a depression is a slow way to get rich, but it’s a fine chance to improve the mind, learn card tricks or take up the five-string banjo. Well, here I was with my mind on red hair and high heels, and I went down the elevator in the Santa Fe Building and came out into Commerce Street. I was passing the Waldorf Hotel Bar. This bar was usually full of whores, horse players, and the vendors of razor blades and rubber goods who made the offices in those days. I saw Gail Lindquist at one of the tables just inside the door; she had a tall brew in front of her and was looking out into the street with the enraptured stare seen commonly on the faces of seasoned beer drinkers and Botticelli madonnas. Gail was not the redhead. In fact, I had thought very little of Gail Lindquist up to that time; and if I had just walked off into the Commerce Street traffic and broken a leg or two, or gone upstairs and picked up a dose–anyhow, I looked in and there was Gail.

Gail Lindquist, college graduate, only not of Texas University, but of some place in Southern California, some hick school you never heard of, one of those places where the head of the English department coaches girls’ basketball, heads up dramatics (As You Like It and Charley’s Aunt), and spends his summer vacations on his father-in-law’s farm. A rangy, limed-oak blonde, negligently dressed, sometimes with a delicate white pimple or two on her face (when she had had a fighting letter from her mother as I was later to find out), a small pointed chin, not much jaw to speak of, but with (as I was also to find out) knots of formidable Calvinist muscles along the jaw line, a small wart on one cheek, the loveliest gray eyes you have ever seen, and a fine mind. All this, together with a light, soaring, I’ve-saved-the-last-dance-for-you voice, if you can still say that sort of thing without having people compare you to F. Scott Fitzgerald.

Editor’s Comments


Hermes NyeHermes Nye was born in Chicago, but became a legendary East Texas character: a lawyer, folksinger, folklorist, novelist, humorist, and local liberal activist. Nye clearly never took anything, including himself, too seriously. When, in the midst of the 1960s folk boom, he published a guide to folk songs, he gave it a triply-redundant title that included its own punchline: How to be a folksinger; How to sing and present folksongs; or, The folksinger’s guide; or, Eggs I have laid.

Fortune is a Woman is a genuinely neglected book. First published as a paperback original in 1958, it passed unreviewed out of print and most copies have long since disappeared. The half-dozen or so copies to be found for sale on the Internet run as high as $50 a copy. About its only notice in the last 50 years was its inclusion in James Ward Lee’s 1987 survey, Classics of Texas Fiction.

The novel is narrated by Paul Cotton, a young lawyer getting his start under the wing of a wise and patient veteran of Dallas courts, Harry Alderson, known as “the Chief.” He’s living on an allowance from his father, sharing a room at the YMCA, lusting after a cute waitress at his usual diner, and hoping to hang out his own shingle in a year or two. And he’s depressed: too educated not to have ambitions and too lazy to hold out much hope of realizing them. For him to make a fortune, it will have to land in his lap.

Which is what happens, in a very roundabout and unexpected way–rather as Nye approaches the story himself. Paul and Gail agree to pair up with his roommate on a double date, only to find out the fourth party is the coveted waitress. Paul finds consolation of a sort in Gail’s company and over the next week or so, becomes convinced he’s deeply in love with her.

Gail, unfortunately, is not. She seems to have a complicated relationship or two going in addition to her bemused flirtation with Paul. She also has a taste for exotic forms of rot-gut:
“At the apartment, she had some Mexican liqueur made up out of one part brimstone, eight parts of alcohol and two parts crankcase drippings from Monterrey taxi cabs.” A former lover shows up, as do Gail’s parents, and eventually she’s found, smoking gun in hand, over a man’s body.

In the meantime, Paul has a real case or two, and before he knows it, this boy has more complications going on than his poor little soul can handle. Heart-broken, afraid his short-lived legal career is about to go down in flames, he finds himself leaning out the window of his 11th story office, contemplating a quick way out.

Fortunately for Paul and the reader, Nye is far too amused by life’s comedy to let things get too far out of hand. Most of the loose threads get wound in and haphazardly fastened, leaving Paul with his suddenly-deceased boss’ practice, a win or two under his belt, and enough perspective not to head for the window again.

Frankly, though, the story is the least of this book. What makes this novel a delight to read is Nye’s wry, knowing, and unpretentious voice:

We had a settlement pending in a will case with his firm, Bamberg and Callahan. It was a bastard of a case, the legatees as contentious and stiff-necked as a group of Lutheran schismatics, and money as thick as flies around a boarding-house syrup pitcher. I went up to the sixteenth floor, and into the door with all the names on it; it was a big firm, they had enough lawyers around to make up two football teams including the line coaches and waterboys. The receptionists here had sculptured hair and big breasts and sat at electric typewriters that double-spaced whenever you cleared your throat. Some senior member on his Grand Tour had paid too much money for a lot of seventeenth century Neapolitan oils and these were on every wall, softly lighted; and with the wine-colored carpets and deep leather divans, the place looked like a fifty-dollar whorehouse. Except for the library. The library had everything but the original Magna Carta and the stone tablets of Hammurabi. “Looking up the law at Bam and Call” was a favorite expression among the young lawyers, since it saved you a trip to the courthouse; and there were always those typewriters to look at….

You can tell that Nye must have been a hell of a guy to while away a night in a Dallas bar in. He knows all the town’s streets, offices, taverns, and all its characters–the old money, the new money, the just-getting-by, and the down-and-out. And as the novel takes place in the midst of the Depression, not much separates any of them:

An air swept over me, sour with the smell of home dry-cleaning; the worst air in the world, the air of failure. And not just spiritual or moral failure; but financial failure. There was a secondhand reek to it, blowing off used-car lots and across seas of dependency. You may recognize this failure, amigo, it has its own signature: the eyes of the brave little woman who has to “make do”; the seven o’clock bus; the whiff of rubber cement as you stick the dime shoe-soles onto your Thom McAns, the ping of twelve-year-old Chevrolet doors; the voice that will let you know when there is an opening, or that the truck will be around at three for the bedroom suite.

Another writer gifted with Nye’s narrative voice might have invented a wise-cracking detective like Gregory Macdonald’s Fletch. But I suspect that would have required more design than Nye cared to put into this book. Instead, he manages to pull off two worthy feats. First, he writes a gently comic ballad celebrating his beloved city without glossing over any of her flaws or vices. And second, he manages to take on the Bildungsroman–a form that has been the ruin of many a more ambitious writer–without leaving the reader ready to wring the writer’s or protagonist’s neck–or both–by the book’s end. In its own way, Fortune is a Woman has a lot in common with that now-canonized 20th century masterpiece, The Adventures of Augie March. I have a feeling, though, that if he’d ever found himself sharing a drink with Hermes Nye, Bellow would be the one doing the listening.

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Fortune is a Woman, by Hermes Nye
New York: Signet Books, December 1958

Catching Up: The Dogs by Ivan Nazhivin; Mary’s Country, by Harold Mead; My Hey-Day, by Virginia Faulkner

Life does get in the way of one’s hobbies at times. NeglectedBooks.com has had to suffer the fate of its subjects since mid-December, and even now I fear this post will have to be more telegraphic than usual–if I can manage that. I have to side with Pascal in believing that it takes longer to write less.

Here, at least, is a recap of recent rediscoveries:

Cover of first U.K. edition of 'Mary's Country'

Mary’s Country, by Harold Mead
London: Michael Joseph, 1957

I learned of Mary’s Country when browsing through the archive of Ken Slater’s “Something to Read” columns from Nebula Science Fiction. Slater gave the novel a big thumbs-up, writing, “All in all, whilst this may not be the happiest book of the moment, it is by far the most interesting and the most powerful. Highly recommended for a one-sitting reading. Don’t start it until you have the time to finish it . . . it is dangerous!”

Had 1984 and Lord of the Flies not been published within the decade prior to Mary’s Country, Slater might have been justified by adding that it was the most original novel of the moment. Unfortunately, anyone familiar with them would find it hard not to view Mead’s work as a mash-up of the two books. The novel opens in a state not unlike that in 1984, in which a ruling class keeps a prole-like population in check through drink, prostitution, and cheap entertainment while waging war against the hated “Dems”. As part of its master plan, the state is practicing a form of eugenics, separating out the finest physical specimens at birth and raising them to be future rulers.

Mary’s Country follows a group of such children as they watch the state collapse around them through the effects of biological warfare. After all their masters and many of their classmates have died, they band together and trek to an unknown paradise that Mary, one of the older children, has described to them. Unfortunately, as disease and chaos has destroyed their civilization, they are forced to arm themselves and fight off other bands of survivors. As they trek into the countryside, their means and moraes grow more primitive, and they adopt a totem they dub “the Watchman”. Here shades of Lord of the Flies can be seen as a new, more violent, tribal culture emerges.

Mary’s Country is certainly a powerfully-written book, and I found myself drawn by its strong narrative. But I would be hard-pressed to recommend the book for republication when ignorance of Golding and Orwell would have to be a pre-requisite for any reader hoping to experience its full effect.

The Dogs, by Ivan Nazhivin
Philadelphia: J.B. Lippincott & Co, 1931

Nazhivin’s novel is a panorama of Russia from before World War One to the height of the Russian revolution as seen through the eyes and minds of dogs. The dogs mirror society, ranging from a pair of noble Borzois and the pampered lapdog of the Grand Duke Nicholas’ mistress to Siedoi, a mutt. Despite his questionable pedigree, Siedoi is the novel’s protagonist, and manages to travel from Moscow to the country estate of a family of Russian gentry to the trenches on the Eastern Front and a prisoner-of-war camp in Austria and then back again to the estate as the human society around him progressively collapses.

Time magazine’s review of The Dogs called it, “one of the most articulate books of Russia, of human and other natures, yet written in the Tolstoi vein,” and like Tolstoi, Nazhivin displays a remarkable ability to portray his characters–both dog and human–in all their faults without passing judgment. With one exception: Peter, whom we first see as a lax and cruel kennel keeper, then as a thief, liar, coward, cheat, rapist, and, finally, Bolshevik rabble-rouser. Though Nazhivin doesn’t gloss over the problems and corruptions of Tsarist Russia, it’s clear that Peter symbolizes all the evils brought by the Communists, and the only thing lacking in the caricature are horns and a tail.

Still, The Dogs is moving account of the destruction experienced at all levels of Russian society enhanced by the novelty and humor of being told from animal perspectives. And in the much-travelled Siedoi, a flea-ridden survivor with a romantic soul, Nazhivin creates one of most memorable characters I’ve come across recently.

Cover of first U.S. edition of 'My Hey-Day'

My Hey-Day, or The Crack-up of the International Set, by Princess Tulip Murphy, as told to Virginia Faulkner
New York: Duell, Sloan, and Pearce, 1940

This book is pure froth–but it’s premium-quality froth. These are the purported memoirs of Princess Tulip Murphy, whose nobility is not the only thing about her of questionable provenance. After leaving her husband, “Brick-a-minute” Murphy, she manages through a combination of theft, seduction, and blackmail–though none of these offenses is so crudely named by their culprit–to elbow her way into “the International Set.” She then circulates among this amorphous band of royalty, heirs, heiresses, and hangers-on from Bajden-Baden to Cucamonga.

Each chapter recounts her adventures in a new place–Stockholm, where she meets Xerxes IX, Crown Prince of Jugo-ourway and his mother, Queen Carmen-Veranda; England, where she spents a dreary week at Sneers, the Spiltshire seat of the Earls of Quinsy; Pompei, where she takes her turn watching the famous painter, Pablo Paolo Pali at work on his prize-winning composition, “There Are More Ways of Choking a Cat than by Swallowing It With Butter, Horatio”; Mazatlan, where her friends Peter Frenzy Fripp and Olga Ostrogoth are tossed in jail for photographing an execution (“Nobody we knew,” the Princess hastens to add). Each spot offers her a chance to air yet more of her remarkable wardrobe:

I was wearing an original DeClassé of spaghetti-colored cambric, handsomely trimmed in gum-drop green duvetyn with shoulder-knots of solid tinsel. My hat was a saucy beret no bigger than an aspirin tablet, which was held to my head by a specially trained family of matching chameleons. My only jewelry, square-cut cultured emerald cuff-links, matched the duvetyn, and I carried a fish-net parasol which could also be used for water-divining.

As the world edges closer to the outbreak of World War Two, her trek eventually leads her to a yurt in forbidden Tibet, where despite the company of Lulu Alabaster, Lady Crystal Scum, and Count Udo von und zu Vonundzu, and heated political debates (“You know as well as I that Germany is dictated–but not red,” observes the Count), she finds herself bored: “But to the teeth!” Even though “there are so many armies wandering around that trains and ships are said to be unpleasantly crowded,” she resolves to head off in search of the “European belligerents”: after all, she notes, “Everyone’s going.”

As Time magazine wrote of Faulkner’s first novel, Friends and Romans, My Hey-Day “… breaks nobody’s bones or butterflies, lets no threatening skeletons loose on a frightened world, hurls no manifesto, literary or political.” What it does is offer a steady stream of wise-cracks, puns, and other comic material that holds up remarkably well considering the many decades passed since it last saw the light of day.

Found in an ex-Library: “The Pomp of Power” by Anonymous

I am attending a management course at a former country house (now conference center) in the U.K. this week. The breakfast room was formerly the home’s library, a typical grand library room with stately built-in wood shelves running from wainscotting to twenty-foot ceiling. Most of the books are gone, but there were several hundred still left–left or brought in bulk by some decorator. Dining alone on the first day, I went over, browsed through a few, and pulled down one titled, The Pomp of Power.

Leafing through it, I saw that it was some kind of memoir of politics, diplomacy, and intrigues during the First World War and the negotiations of the Treaty of Versailles. It was written in clear, graceful first-person prose — quite readable, in fact — that led me to check the title page for the author. There was none. There was none on the spine, either.

My reaction was to go back to reading, but this time with a considerable skepticism. When somebody close to the inner circles of power writes an anonymous memoir, it’s hard not to think there is at least a 50-50 chance that anonymity is a reflection of cowardice more than discretion. Still, it was an interesting enough read, assuming you’re vaguely familiar with at least a few of the personalities involved (Lloyd George, Woodrow Wilson, Winston Churchill, Douglas Haig).

I didn’t have the interest to smuggle it back to the room, though. But I have located a long review of the book from the New York Times in 1922. (I notice that the Times appears recently to have put a good chunk of its archives, going back to the turn of the 20th century online. Bravo!). The review ends with the following comment:

Let us hope that The Pomp of Power will be the last of the anonymous books. It would have added greatly to the force of this one if the writer were courageous enough to sign it; but, after all, most of us who believe in reconstruction will not regret this lack of force in a book which, with all its power of style and keen insight, tends toward the fostering of distrust and hopelessness.

Unfortunately for the reviewer, distrust and hopelessness did win out over belief in reconstruction.