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“Reputations revisited” from the TLS’s 75th anniversary issue added to Sources

Just added to the Sources lists on this site: “Reputations revisited”, which appeared in the Times Literary Supplement’s 75th anniversary issue.

The TLS asked a number of writers and academics to name the writers and books from the past seventy-five years they considered most overrated and underrated. This feature is remembered now for two reasons: first, the revival of the reputation and works of the English novelist Barbara Pym; second, for Vladimir Nabokov’s odd choice of H. G. Wells’ lesser novel, The Passionate Friends, which one Wells biographer described as, “by anybody’s standards … a solemn and boring book.”

The Long Walk of Samba Diouf, by Jerome and Jean Tharaud

· Excerpt
· Editor’s Comments
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Cover of the first U.S. edition of 'The Long Walk of Samba Diouf'

Excerpt


But the old routine had to be followed again, almost as monotonously as in Saint Pierre Wood and in the camp of Arcachon — drudgery of all sorts, fetching water, carrying soup, wine, grenades, work with pick and shovel to extend the branching ways. The coupe-coupe and gun were useless here too and the only difference the Blacks could see in the trenches was that they could find death there at any moment, but they had no better chance of dealing it.

Certainly life in these holes in the ground did not seem like the war they had imagined. War as their parents had always spoken of it was war in the open, the stealthy surroundings of a village, the ambuscade behind the trees, then all at once warriors dashing forward with wild cries, palisades overthrown, streets taken, the combat around the huts, the gun that once fired cannot be reloaded, sabre strokes on naked flesh, screams of women who flee into the forest, necklaces and bracelets snatched, old men gutted like useless beasts, young men borne into slavery — these were the memories of ancient warfare. Then at night the return, driving before them droves of cattle and captives, women bending before the conquerors, dances, tambours, songs of the witch doctors, all celebrating the exploits of the glorious day….

Editor’s Comments

A couple of years ago, I came across a French compilation of novels about World War One. Most of the titles were familiar — Ernst Junger’s Storm of Steel, Henri Barbusse’s Under Fire, and Arnold Zweig’s Education Before Verdun. But La randonne de Samba Diouf caught me short. Who’d ever heard of a World War One novel with a title about “Samba Diouf”?

Intrigued, I did a little searching and located an English translation: The Long Walk of Samba Diouf. It appears to have been out of print in English since its first printing back in 1924, but it didn’t cost too much to obtain a copy in good condition. It was written by Jerome and Jean Tharaud, French brothers and writers who collaborated on dozens of books, won the Goncourt Prize in 1906, and were separately inducted into l’Academie Française (in 1938 and 1946).

The Long Walk of Samba Diouf tells the story of a young Senegalese fisherman who sets out to claim some animals that were left to him by a relative. His journey takes him through lands belonging to other tribes, and along the way, he learns of the war that has broken out in the homeland of the Toubabs — the local term for the French colonials. Like most other natives, he ignores the news, concerned more with his fantasies of coming home a wealthy man, ready to marry the daughter of one of the strong men in his village.

Unfortunately for Samba, he wanders into an strange town just as the French authorities announce a draft of able-bodied young Africans. For every 100 villagers, one man has to be offered up for service in to the Toubab cause. A few local men befriend him, ply him with palm wine, and turn him in as their contribution. When Samba comes to, he’s on his way to a boat destined for France.

Although the Tharauds (at least as translated) adopt a rather stilted tone to convey it, the mix of tribes, languages, customs, and religions in Samba’s group of inductees is the most memorable aspect of his story. The Toubabs see the men as a faceless band of “les noirs”, but they are a wild hodgepodge — Muslims and animists; sophisticated traders and primitive bushmen. Each has some story to tell around the campfire or barracks stove each night, and each has his own interpretation of this odd endeavor of the French to turn them into a uniformed batch of able, if loosely disciplined, utility troops.

After months of training, the Africans are hauled up to the front. Expecting to put their skills as warriors to the test, they spend their days merely filling in shell craters and laying down new duckboard lanes through the mud. Finally, the NCO in charge of the group convinces his commander that the men deserve a chance in combat. In a brief, furious scene in which the sensations of an attack across No Man’s Land is mixed with learned impressions of war as told by their elders, the men attack a German line, and Samba is wounded.

From this point, the journey rolls back in a fast rewind. Samba recovers in a field hospital, wondering for a moment if the tenderness of a beautiful French nurse could lead to romance. It’s all in his head, of course, and soon enough he’s boarding another ship, headed back to Africa. He eventually gets back to his home. In true war story cliche, his girlfriend has married another, and he’s never managed to collect the livestock that was to make his fortune. He returns to fishing. What significance the whole experience has had for him is unclear as the book ends.

It would be hard for any book written almost eighty years ago by white men about the world as experienced by African men not to seem a bit dated now. To the credit of the Tharauds, who specialized in accounts of peoples very different from the advantaged, intellectual world they inhabited — Africans, Jews, Gypsies — they make considerable efforts to take the perspective of the Africans at face value. Although they adopt primitive dictions to convey the talk and thoughts of the men, there is relatively little implication that these conversations and perceptions are not sublte and sophisticated in their own way. The Tharauds’ Samba is a considerable development from James Fennimore Cooper’s American Indians, and The Long Walk of Samba Diouf probably ranks among the more balanced and sympathetic Western attempts to depict a Third World culture.

Jerome and Jean Tharaud are largely forgotten now, even in France. I suspect this is due mostly to the fact that the gap between the French and the people of their former colonies has shrunk considerably — physically, at least, if not in other ways. However, they deserve recognition for creating some of the earliest works in which these peoples were treated from an anthropological rather than imperialistic perspective.

Novelist Julian Barnes brought another novel of les freres Tharaud, Dingley , l’illustre écrivain (Dingley, the famous writer), to public attention in this 2005 article in the Guardian. Of this loose fictionalisation based on the life of Rudyard Kipling, he wrote,

The novel is thus both a critique of British imperialism – of its coarsening effects, its brutalities and self-deceptions – and a warning against literary populism. But it is also a proper novel about human failure, about the price paid (and the public benefits reaped) when part of the human heart is suppressed. It seems impossible that Kipling could not have heard of Dingley; also highly unlikely he would have read it (not least because of Archie’s death-scene). I can’t find Kipling making any written or reported comment on the novel; fictionalising him, I would imagine silent contempt as his reaction to this piece of Gallic impertinence.

Unfortunately, Dingley stands even less chance than The Long Walk of Samba Diouf of being rediscovered, at least by English readers — it’s never been translated.

Locate a Copy

The Long Walk of Samba Diouf, by Jerome and Jean Tharaud
New York: Duffield and Company, 1924

The True Detective, by Theodore Weesner

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Excerpt

Cover of the first U.S. edition of 'The True Detective'

Off the phone, Dulac returns to his list. Yes, of course, he thinks, the APB should be all New England, and they should put reminders out to the customs people at the border. He’ll have DeMarcus take care of that. The photograph, he thinks. Did he mention the need for a photo to the state police commander? He cannot remember if he did or not and reminds himself to mention it in the rendezvous in the liquor store parking lot, before they go ahead and move on the house.

The last item of his list is the phrase and the question mark: Status of boy?

Was he being kept in the car? Dulac asks himself. Why would Vernon return to the cottage by himself? Was the boy in the car? Tied? Was he harbored elsewhere? How could this Vernon character leave him and be on campus that morning? Did he have access to some other shelter? A barn? A garage? As he was buying him food at McDonald’s, did that not imply an intent to care for the boy. Certainly it does, Dulac says to himself. And given all the signs this suspect has left in his wake, does that not imply that he is not a calculating or hardened criminal? Certainly, Dulac thinks. No question there. Is he therefore less dangerous? What is his frame of mind? Does he really know they have a make on him?

Standing, the questions left hanging, Dulac knows without looking at his watch that it is time to leave. Checking his hardware, double-checking the presence in his deep shirt pocket of the warrant and a USGS map on which the cottage has been marked in flourescent yellow, he takes up not his regular jacket but a flak vest he has checked out, and adds over this a light and roomy, dark blue jacket with POLICE on the back in reflective white letters. And he remarks to himself, this is why you’re here, this is the time to do what you’re here to do, as he moves across the hall and into the squad room, where the others are waiting in their blue jackets, with tear gas canisters, shotguns, rifle with scope, waiting for his word.

Editor’s Comments

Theodore Weesner’s The Car Thief is mentioned on several lists on this site, and remembering the power of that novel, I went rooting around the net one day in search of information about his other novels. Of these, The True Detective had the most intriguing title. I was curious to see what Weesner did with a detective novel, and searched the New York Times book review archive to see what critics thought of it. The first hit to come up was not a review, though, but the following letter to the editor:

May 17, 1987

To the Editor:

I’m sure you receive many letters of dismay and complaint over book reviews, and of course nothing is perfect — still, how can I tell you how deeply you have hurt me by publishing Jonathan Coleman’s review (April 26) of my new novel, The True Detective? The degree of unfairness is what is so extreme or, believe me, I would not be sitting here feeling as if I have witnessed the very authorities commit a terrible crime.

The book in question is one I worked on for more than five years, and it came alive, and it does work — it is relevant and it is compelling — and the responses I’ve received from others and in earlier reviews have been genuine, extravagant, even passionate. Yet you chose to give it a short review, inconspicuously placed, and — and I just cannot deal with this — your reviewer did not even understand what he read.

I repeat: your reviewer did not even understand what he read.

And you printed it. You break my heart. You owe me much more than an apology.

Theodore Weesner

This is more than just the grumbling of an unhappy author. This is the cry of a wounded soul. I clicked the next link and read Coleman’s review, which was lukewarm but not harshly critical. What was there in this book that could provoke such a raw expression of pain to what seemed just a mild review? I knew I had to find out, and immediately ordered a copy — a first edition in great condition for $1.50.

The Car Thief is a grim book, and from its opening pages, The True Detective promised to top it in bleakness. Weesner sets his story in Portsmouth, New Hampshire, a fading port in mid-winter, already on the margins of progress — literally: a great new bridge now carries the Maine-to-Boston freeway traffic high and away past the town. Claire Wells, a divorced waitress barely making ends meet, worries about the grim prospects of her sons Matt, 15, and Eric, 11. Vernon Fischer, a miserably unhappy college student, comes to recognize that his overtures toward another male student have been rejected. And Lt. Gil Dulac, the true detective of the title, 52, fat, aging, in a lifeless and childless marriage, wonders where his town is heading.

Murder stopping at a small town may have the effect of a nail dropped into the mechanism of town life. In large cities, by contrast, any number of murders may be processed and left behind daily, and only a glut creates a stir. A town or small city, even as it has no choice but to continue on its way, is likely to pause. It will look within, may gaze even harder and longer if the crime seems to have stepped down from a bus coming in from Boston or New York, L.A. or Atlanta. Questions will be asked. Why here? Did we do something? Is this the start of something new?

And it goes downhill from there. Over the course of five days in February 1981, these lives intersect in an increasingly gruesome disaster. Overwhelmed with despair and sexual confusion, Vernon goes to a gay bar, hooks up with and then flees an older man’s embrace, watches a child porn film, then finds himself cruising the streets of Portsmouth. Vernon’s fantasy is to find a young boy, care for him, and love him — a tender but desparate and senseless love. Turning a corner, he passes Eric, walking home from the bar where Claire works.

He has driven past something that has alerted his mind and shifted his eyes to his rearview mirror. As if in a movie, in its odds reflection, there is a young boy walking on the sidewalk through the early evening air. Already there is a new beating in his heart, as he returns his eyes to the street before him and lets his car roll along.

Approaching an intersection, slowing to a near stop, he has no idea where he is going or what he might do. He turns right and rolls slowly along the side street. Where there is a space along the curb, he pulls over and stops.

The boy may not come this way, Vernon thinks. He may have already passed back there on the larger street. He doesn’t look back; he decides not to let himself do so, so he turns off the motor. Life is chance, he thinks.

Vernon gets out and pretends to work on the car’s engine. Eric passes. Vernon coaxes Eric into getting behind the wheel and helping out. The car starts, and he offers to give Eric a ride home.

Instead, he drives out of town, and after Eric resists his approaches and tries to run, Vernon strikes him, binds him, and brutally rapes him. Weesner spares us the details of the rape until the autopsy near the end of the book, but he is completely unsparing in his portrayal of the intense and chaotic thoughts and emotions that grip Vernon as, over the next few days, he tries everything from bathing Eric to trying to flee with him to Canada to leaving Eric’s lifeless body in his trunk as he attempts to return to his college classes. Weesner manages to keep an astonishingly sympathetic view of Vernon’s inner demons even as he takes us through every desparate action.

Meanwhile, Claire returns home and after a sleepless night waiting for Eric, reports him missing. Gil Dulac, the town’s chief of detectives, senses something more than a routine runaway, and quickly raises his department’s level of attention to the case. Dulac may be somewhat confused and unhappy himself, but as Weesner repeatedly shows in dozens of small touches of police procedure, he is an excellent detective. He immerses himself in the case, digging deep into the world of porno stores, gay bars, and man-boy love networks that lies unnoticed around his town.

Step by step, a combination of good police work and lucky breaks leads Dulac to find Eric — dead from the accumulated effects of a blow to his head, the rape, exposure, and dehydration — and then Vernon. In a cinematic (but overdone) climax, Dulac chases him to the freeway bridge and then watches as he accidentally falls to his death.

Weesner is most effective when he drills inside the heads of the main characters, achieving a remarkable balance of empathy and stark realism. Weesner told one interviewer, ” The True Detective helped me as a writer. I learned a lot about looking outside myself and trying to capture other characters.” No one in The True Detective gets what he or she wants, and that fatalism, along with the wrenching realisation that Vernon cannot pull himself out of a spiral that will crush Eric and himself, too, makes for some tough reading. But it’s also a riveting narrative.

Weesner first began working on the book as a piece of nonfiction, an account of the abduction and murder of several young boys around Detroit, where he was living in the early 1980s. The book grew bigger and bigger, ending up as a 1300-page manuscript. After numerous blue-pencil rounds, his editor at Simon and Schuster persuaded him to turn it into a novel instead. What he learned in the course of his original research served him well in adding to the credibility of the details of Dulac’s investigation.

The Vietnam War spreads a subtle shadow across the whole of The True Detective. Vernon’s unhappy childhood and hateful relationship with his mother are the result of his father’s death in the war. And to Dulac, the war has left the world in an “endless hangover”: “Everything they did as policemen had changed in his time and he had never been comfortable — he had always been upset — with the implication that a policeman was not a good or humane person.” Porn, too, he sees as part of the aftermath of the war: “Of porn, all he can say — he sees in this moment — is that it makes the air around it different. It creates an air in which life has a different value. Less value.” The story on the surface of The True Detective is about a kidnapping and murder. But beneath the surface, Weesner suggests that the larger story is that of a wounded nation dealing with a world “in which life has a different value. Less value.”

Recognizing the deeper thread in The True Detective, one might sympathize a little more with Weesner’s anguished letter to the New York Times. Novelist Stewart O’Nan (below) calls The True Detective a great novel. Whether one fully shares his opinion or not, The True Detective is certainly a powerful and engrossing story that deserves to be taken down from the shelves and experienced.

Other Comments

· Stewart O’Nan in Post Road magazine:

In The True Detective, Weesner swings the other way. Everything is at stake — life, limb, innocence, the moral fiber of the nation. In Portsmouth, New Hampshire, a confused young man kidnaps and sexually assaults a boy. One police lieutenant has the responsibility of finding the boy before it’s too late, and also, for his own peace of mind, making sense of the crime. The kid goes missing, and the whole city becomes the stage. Weesner digs deep into the boy’s mother and brother while the passing time cranks up the tension of his plot line.

These are the ingredients of a cop-and-robber thriller, except that Weesner’s sense of complexity undercuts the melodrama. His portrait of the young man, Vernon, is amazingly empathetic without once excusing him for what he’s doing, just as his look into Lieutenant Gil Dulac is generous yet never simply admiring. The two men are singled out, isolated in their hopes and fears, their hard-earned views of the world.

The True Detective is tough-minded, but subtly done. The language, the details, the progress of the POV sections — everything serves Weesner’s total effect brilliantly. And while it deals with a sensational, even loaded subject, ultimately I’d say the novel is that rare achievement, a wise book, and maybe the saddest book I’ve read. That it’s also a page-turner is a marvel.

And yet, The True Detective is out of print, and when people think of great American novelists, few think of Theodore Weesner. I won’t waste time speculating on why this is.

“Theodore Weesner on true crime, literary awards and the art of the rewrite”, from Sea Coast Online

This interview from November 2007 mentions this post, which elicits a less than enthusiastic response from Weesner (“I get this ‘neglected writer’ a lot”). Weesner gives some background about the book and mentions that he’s currently at work on an autobiographical trilogy.

Locate a Copy

The True Detective, by Theodore Weesner
New York: Summit Books, 1987

Interview with Mark Moskowitz of “The Stone Reader” and the Lost Books Club

In his blog, Things I’d Rather Be Doing, “reformed” critic John Kenyon interviews Mark Moskowitz, director of The Stone Reader, and founder of the Lost Books Club. Despite the appearance of its website, he says, the club is still at work:

It took us more than two years to get tax-deductible status for the non-profit (the two are not synonymous) so we can now accept donations, which are needed. It takes about $10,000 per book. We have a list of about a dozen we’d like to help bring back, with hundreds more waiting to be read and thought about (each week we get suggestions).

Cover of U.S. paperback edition of 'The LBJ Brigade'Moskowitz mentions that the club has William Wilson’s The LBJ Brigade, one of the earliest novels about the Vietnam War, awaiting a deal with the right publisher. He also offers several more suggestions to the list of neglected books discussed in The Stone Reader:

  • Heckletooth 3, by David Shetzline, out of print since first published in 1969, a tale of a Forest Service ranger whose accidental poaching of an elk turns into a rebellion against society in general and leads to a manhunt and then a forest fire.
  • Silk and Cyanide, Leo Marks’ irreverent memoir of code-breaking during World War II.
  • Robert Spitz’s Barefoot in Babylon authoritative and engrossing account of the organisation of the landmark Woodstock Music Festival in 1969.

Smugging up on forgotten authors, from the Guardian Unlimited

In his Guardian Unlimited blog, author Sam Jordison writes,

I’ve recently been indulging in the literary equivalent of schadenfreude. Not so much pleasure in someone else’s misfortune, as pleasure in everyone else’s lack of knowledge.

It’s not an admirable emotion, I know. Even so, I can’t help it. I’ve just started reading one of the finest writers I’ve encountered for a long time — and my enjoyment is only heightened by the certainty that very few others in the UK have even heard of him, let alone shared the delights of his superb prose.

We fans of neglected books must admit, like Jordison, that a certain amount of the pleasure in discovering them is the knowledge that we’re among the lucky few to have made the discoveries. In this case, the discovery was the works of the writer, Alfred Chester:

They are strange contradictory books. Marked out by Chester’s superb prose, they’re both surreal and unflinchingly true to life, at once light, witty and imbued with heavy existential angst. They deal with everything and nothing. They are sometimes brutal and hilariously waspish, but always humane. Essentially, for all their 1950s existentialism, they are unlike anything else. As Chester himself said in description of The Exquisite Corpse: “… it is probably the most unlike book you have read since childhood. And probably also, the most delicious.”

As one of his commenters points out to Jordison, Chester’s works might be rare in the U.K., but thanks to the efforts of the Black Sparrow Books, long a supporter of such neglected writers as John Sanford and Ed Dorn, three of his books are currently in print, and a fourth is due for reissue later this year:

Jordison invites his readers to suggest an “unsung genius” of their own, and among the names proposed in response are:

  • M. R. James, a Victorian writer of ghost stories whose works are readily available in collections from Penguin and Oxford World Classics.
  • Delano Ames, who wrote dozens of mysteries between 1932 and 1972, including a series featuring Dagobert and Jane Brown “full of arch conversation and bizarre wealthy characters.”
  • James Hanley, an Irish novelist whose 1985 Times obituary was headlined “Neglected Genius of the Novel”. Hanley’s books are out of print in the U.S. but he had at least the honor of his own tribute website (now in archive). You can pick up a copy of A Dream Journey, one of his late and most highly-praised novels, for as little as $0.03 on Amazon. What are you waiting for?

And one of the commenters is even kind enough to mention the Neglected Books page. Thanks!

Northwestern University Press reissues The Death of the Detective, by Mark Smith

Northwestern University Press this month reissued Mark Smith’s The Death of the Detective, a novel considered by some of the readers who’ve discovered it since it went out of print nearly 25 years ago to be one of the greatest works of American fiction of the 20th century. Although nominated for a National Book Award when first published in 1974, its critical reception was, on the whole, mixed. The New York Times Book Review said of it,

[Smith’s] large and eccentric melodrama is marked by lavish skill at doing what novelists always need to do–write scenes, weave narrative threads, hatch and construct characters, see and smell and feel and describe. Good sentence piles upon good sentence until the novel sags and cracks. What it sorely needs is a blue pencil and an artistic point of view.

Its status hasn’t improved much over the years. One of its Amazon reviewers gave it five stars and the tag-line, “Ross MacDonald meets (the american) John Gardner,” and this is as apt a summary as any. Like Gardner’s magnum opus, Nickel Mountain (now out of print), The Death of the Detective is ambitious, grand in scope, and overloaded with atmosphere, moods, and characters. Novelist Wallace Markfield slammed Smith (getting his name wrong) and Gardner in one swat in a 1978 interview available online at the Dalkey Archive Press website:

Markfield: There’s a stench given off by novels written by academics. A point in case is John Gardner. It’s a stench of unreality. There is no contact between Gardner and the real world. He’s fanciful and he has a few pathetic tricks. Another case in point is an academic named Frank Smith; he wrote something called The Death of the Detective

Interviewer: I don’t know it.

Markfield: You’re not missing very much. I read it and why I finished it I don’t know. It was a terribly boring book. You know, clearly modeled upon whomever. But of no interest whatsoever in the world.

The Death of the Detective is one of the books that inspired me to start this site and has been one of my Editor’s Choices since day one. While I can see the point of the New York Times critic who wrote that it could stand some “blue pencil” editing to trim off some of its excess and improve its artistic merit, I don’t think artistic merit is the reason to seek out and read this book. The Death of the Detective is a book about Chicago, and like that city, prone on occasion to extremes of temperature, drama, and violence, which is what makes it such an engrossing and memorable reading experience. It’s the novelistic counterpart to Sandburg’s “Chicago”:

They tell me you are wicked and I believe them, for I have seen your painted women under the gas lamps luring the farm boys.
And they tell me you are crooked and I answer: Yes, it is true I have seen the gunman kill and go free to kill again.
And they tell me you are brutal and my reply is: On the faces of women and children I have seen the marks of wanton hunger.
And having answered so I turn once more to those who sneer at this my city, and I give them back the sneer and say to them:
Come and show me another city with lifted head singing so proud to be alive and coarse and strong and cunning.

If it were ever made into a movie, its settings would be dark, its lighting melodramatic, and its score heavy with pipe organ chords, and you’d sit there in the theater, reveling in the sensory overload. But why wait for the movie? Find a copy, crack open its covers, and dive in. You will surface a few days later — perhaps a bit drained, but in awe of Smith’s ability to achieve sensory overload with nothing more than words on a page.

The Winds from Nowhere, by J. G. Ballard

Here in northern Europe, we’ve been battered by record high winds over the last 48 hours (see BCC story). These and the growing number of climate change disasters being reported bring to mind The Wind from Nowhere, the first of J. G. Ballard’s novels and the first of a series of four, each of which dealt with a world experiencing (or coping with the aftermath of) a global climate change:

  • The Wind from Nowhere (1961) is the most conventional of all Ballard’s novels and one he now dismisses the work as forgettable. High winds flatten the earth and survivors live in pits dug out in the remnants of ruined cities.

  • The Drowned World (1962) foretells global warning and describes a world where London and New York are largely submerged and much of the planet is a series of large and strikingly beautiful tropical lagoons.

  • The Drought (1964) (also published in the U.S. as The Burning World describes another man-made ecological disaster, in which the dumping of radioactive waste causes a shell to form over the seas, turning water into man’s rarest and most precious commodity.

  • The Crystal World, the least overtly about climate change, is generally considered the finest of these novels. The story, about a British doctor journeying a leper colony, encountering a deep African forest to that progressively turns into crystalline forms, has obvious parallels with Conrad’s Heart of Darkness and marks Ballard’s own transition into more abstract and experimental worlds such as The Atrocity Exhibition

Only The Crystal World is in print in the U.S., but you can find The Drowned World, The Drought, and The Crystal World in print in the U.K..

You can view artist Richard Power’s covers for these and other of Ballard’s works at Rich McGrath’s treasure trove of Ballard artifacts and criticism, http://www.rickmcgrath.com/jgb.html.

James Guetti, 1937-2007

Novelist and critic James Guetti died 11 January 2007 at his home in Leverett, Massachussetts. Guetti’s 1972 novel, Action, was one of the titles featured by Roger Sale in his 1979 American Scholar article, “Neglected Recent American Novels”. Sale wrote of Action, “… the best novel I know about gambling, and indeed is so much better than most that the others cease to count. Furthermore, it has a grand opening sequence that is, by itself, a first-rate short story, and, to boot, a wonderful indicator for any wary reader of what is in store.”

Guetti taught for 36 years at Rutgers in New Brunswick, before retiring in 2000. Although most of his publications were critical works on Joseph Conrad, William Faulkner, and Ludwig Wittgenstein, he published a second, autobiographical, novel, Silver Kings, after his retirement. Portions of Silver Kings can be read online at the publisher’s website. His obituary from the New Jersey Star-Ledger is currently available online.

H. L. Humes

“Somewhere on the bookshelf between forgotten and neglected, between the tragic and the strange, stands the reputation of the American writer Harold L. Humes,” writes Celia McGee an article in the 13 January 2007 edition of the New York Times:

The Third Man of the postwar Paris expatriate crowd — he was a co-founder of The Paris Review in 1953, with Peter Matthiessen and George Plimpton — Doc Humes, as he was known, went on to produce two novels in the late 1950s that placed him at the head of a new generation of writers to watch. But in the ’60s he succumbed to a mental illness that left him paranoid and peripatetic. Yet to those who remember him, he remained so brilliant that even in madness he dazzled, delighted, educated and touched.

Now “Doc,” a documentary by an Oscar-nominated filmmaker (one of Mr. Humes’s daughters) and fresh awareness among several publishers is raising hopes that Mr. Humes’s long out-of-print novels will finally resurface.

If availability of his books is any measure of a writer’s neglect, Humes is currently up in the top ranks. Neither of his two novels are available (even used) on Amazon, and a search of AddAll.com today produced a sum total of two copies each of The Underground City and Men Die.

Alan Cheuse wrote an essay on The Underground City in Rediscoveries II and Ted Morgan named it as one of Antaeus magazine’s “Neglected Books of the 20th Century”. Time magazine wrote of Men Die,

A talented young first novelist named H. L. (for Harold Louis) Humes last year produced an almost classic example of the ambitious book that tries to say too much. The Underground City was at once a war novel, a treatise on right and wrong, an indictment of the human condition. Its 755 pages were too many and too tiring. Now, in less than one-quarter the wordage. Author Humes, 33, has produced a new book that gives off more significance than his first could even suggest….

Author Humes does his work in flashbacks, not the smooth ones of a Marquand, but brusque revelations carved out like sections of a monument to doom. Unfortunately, he also chooses to interpolate interior monologues, which prove only that he has not read James Joyce well enough. But these form a minor irritant compared to the book’s merits — clean writing, crisp description, and a surprisingly accurate sense of the bitter relationships, mostly unspoken, between the enlisted Negroes and their commander. Author Humes is no optimist. Every page of Men Die implies an underlying sense of doom for mankind; yet every page is also immensely readable.

Immy Humes has also set up a website, The Doc Humes Institute, to promote Humes and her documentary. You can also read a short sketch of Humes’ life and work at Wikipedia.

Uncertainty is the prerequisite to gaining knowledge, from The Prophets of Israel, by Edith Hamilton

Still it is true that much of what the prophets said belongs to their own day, not to ours. The politics they threw themselves into with such vehemence are comprehensible now only to the scholar. When they said an earthquake happened because God had arisen to shake terribly the earth, they were offering their own scientific explanation which long since yielded to others as every explanation does. Old ideas are continually being slain by new facts. There is nothing stable in the conclusions of the mind, and it is impossible that there ever should be unless we hold that the universe is made to the measure of the human mind, an assumption for which nothing in the past gives any warrant.

Keats once said that he saw in Shakespeare “the power of remaining in uncertainty without any irritably reaching after fact and reason.” There is no foe so deadly to the truth as complete intellectual assurance. It substitutes an easy and shallow certainty for the deep loyalties of faith. It puts an end to thought, which can live only if it is free to change. Uncertainty is the prerequisite to gaining knowledge, and frequently the result as well [Emphasis added]. Greater knowledge does not mean greater certainty. Oftenest the very reverse is true. We are certain in proportion as we do not know. We seem, indeed, so made that intellectual certainty is not good for us. We grow arrogant, intolerant, unable to learn and to attain better grounds of certainty precisely because we are certain. The right attitude for the mind would seem to be humility.

This seems to be to be one of the best and truest things I’ve read in many years. This passage may come closer to capturing my own credo than anything else I’ve ever read. Both The Prophets of Israel and Witness to the Truth: Christ and His Interpreters are short, simply-written, and profound studies of selected books from the Old and New Testament that deserve to be as readily available as water from a tap. I shied away from Hamilton’s work for decades, recalling her The Greek Way as one of those dreaded required texts in high school, but I found both her Biblical books to be marvelous examples of the truth of the quote that “The great art of writing is knowing when to stop” (or of Pascal’s line, “If I had more time I would write a shorter letter”).

The Prophets of Israel, by Edith Hamilton
New York: W. W. Norton & Co., 1936

Everybody Slept Here, by Elliott Arnold

Cover of first U.S. edition of 'Everybody Slept Here'Elliott Arnold’s Everybody Slept Here is a tragi-comic account of Washington, D.C. during World War Two. Arnold’s descriptions of how the sleepy Southern capitol coped with a huge influx of people brought in by a government engaged in a global Industrial Age war will remind some readers of David Brinkley’s best-selling Washington at War. The atmosphere in both books is much the same. Housing is beyond a premium. Privileges and perks are as much a part of the everyday economy as dollars and cents. Enthusiastic idealists, opportunistic fixers, and effete society dames all find themselves jostled together in the best restaurants and the lowest dives. And as could be expected of any place with a large temporary population with some idle hours and spending money, more than the usual amount of booze and sex can be had.

As both the hardback and paperback covers show, its publishers pushed Everybody Slept Here as a book about sex. Which it is, in the sense that it’s obvious that characters in the book have sex. But being a 1940s’ sex book, the tawdry details of the act itself are still left off-stage. So it seems pretty tame stuff today, and is by far the least interesting part of the book.

Everybody Slept Here centers on a few of the tenants of one of the better apartment houses in the city. It’s a hodge-podge of personalities: Willy, a simple but garrulous Rotarian from San Bernardino who’s turned out to be a pretty handy political operator on behalf of the Army; his wife, who’s found alcohol an effective way to calm her fears about taking the step from bridge clubs to Capitol society circles; Kitty, technically married to a soldier in the Pacific but “dating” heavily in his absence; a Robert MacNamara-like technocrat who discovers that efficiency has relatively little political value. There’s even the building’s concierge, a would-be antebellum princess with a relish for malicious gossip who’s stooped to dealing with the arrivistes brought by the war.

Cover of first US paperback edition of 'Everybody Slept Here'Many of the characters Arnold sketches are one-dimensional and forgettable, but he does a marvelous job with Willy and his wife. Willy wears a girdle to rein in his gut and relaxes by sewing women’s’ dresses, and serves his time in uniform finding the best Scotch, the finest steaks, and whatever other amenities the Congressmen and generals need. It would be easy to make him preposterous and contemptible. Instead, Arnold is able take us past first impressions and show that he is also an honorable man in his own way, and a tender husband to his fragile wife.

The real merit of Everybody Slept Here, though, is not in Arnold’s treatment of the characters but in his precision in depicting the environment of wartime Washington. Nothing in his portrayal of the military, of the working of the political machines of industrial warfare, or of way people worked, ate, drank, and partied rings false. Everybody Slept Here could easily substitute for Washington at War as an introduction to its subject, and it lacks the affectionate haze leant by the distance of forty years to some aspects Brinkley’s book.

This is certainly not a great novel, and I won’t start campaigning for its reissue, but it is a fairly entertaining one. And it’s a grown-up’s book, by which I mean that it’s one in which characters act and make choices in a way that adults usually have to in the real world: not abruptly, not dramatically, and not as cleanly and neatly as they might like.

There’s one big exception to this. Kitty eventually throws herself out the window after making love with a disabled soldier. It’s so abrupt, melodramatic, and clean and neat that it’s the one thing in the book that IS preposterous.

Other Comments

· Russell Mahoney, New York Times, 30 May 1948

Everybody Slept Here must be condemned by the conscientious reviewer as superfluous. Some parts only; by far the greater part of this lively tale of wartime Washington has a very genuine interest, ranging from the real human insight which is the novelist’s stock in trade down to the clever reporter’s tricks which the rank file of novelists use to piece out their insight.

· Joseph Holbrook Jackson, San Francisco Chronicle, 16 April 1948

Mr. Arnold is a novelist. And even when he’s purposely writing with sales figures in his eyes, he can’t help making his book a good deal better than (a) it sounds here, or (b) the bosomy jacket will suggest to you. For Mr. Arnold saw something of wartime Washington himself. He had a chance to see what went on behind some of the protective coloration that was called “brass.” He learned how things get done in certain kinds of groups, what roles the adroit politician might play when it was wartime and normal rules had to go out of the window…. And these things he impales sharply in his story. More, he saw also what the decent, reasonably forthright regular Army career officer was like, and came to understand what it was that really made the Army tick.

· Springfield Republican, 25 April 1948

While Mr. Arnold isn’t exactly reticent about sex, he has come the closest yet of all the writers who have tried to explain what the nation’s capitol was like during World War II…. It is a rough, lively and often very funny book, with an undercurrent of seriousness that shows Mr. Arnold to be a most competent critic of his fellow men.

· Winnipeg Free Press, 4 September 1948

In an era of uninhibited novels, Mr. Elliott’s [sic] study of a group of heels in wartime Washington deserves the prize for frankness. The author, who writes with brutal clarify and often poignant insight, leaves no stone unturned in his quest for the slimy aspect of the U.S. capital at a time when the world was battling Hitler and his cohorts.

Once, however, the initial shock of meeting such a collection of over-sexed, neurotic and generally frowsy characters is overcome, one can see in the purpose of the writer an honesty and a skill which will commend it to the attention of all those who like a hard-bitten, honest and frankly realistic book.

Find a copy

Everybody Slept Here, by Elliott Arnold
New York: Duell, Sloan and Pearce, 1948

The Moonflower Vine, by Jetta Carleton

· Excerpt
· Editor’s Comments
· Other Comments
· Find Out More
· Locate a Copy

Excerpt

Cover of the first U.S. edition of 'The Moonflower Vine'

To his daughters as they grew up, Matthew Soames was God and the weather. He was omnipotent and he was everywhere — at home, at school, at church. There was no place they could go where the dominating spirit was not that of their father. And, like rain or shine, his moods conditioned all they did.

With other people around, he was pleasant as could be, full of laughter and witticisms and conversation marvelous to hear. Ladies often said to them, “Your father is just the nicest man!” The girls could hardly help observing that he turned his sunny side to his public and clouded up at home. There, he was often preoccupied and short-spoken, indifferent to his children except to command or reprove. “Daughter,” he called each of them indiscriminantly; it was a little more authoritative than the given name, which might not occur to him at the moment anyway.

“Papa’s nicer to other people than he is to us,” Leonie once said.

“Yes, sometimes he is, honey,” said her mother. “But he’s got to be. Your Papa’s an important man in the community. That’s the way he’s got to act.”

His importance might have been a comfort to the girls if it hadn’t been such a nuisance. There were so many things they were not allowed to do “because it wouldn’t look well.” And they couldn’t get out of his sight and do them, because he was everywhere. For the most part, they resigned themselves to the situation and did as Papa said. The purpose in life, he said, was to work. “Laborare est orare,” he said; and work meant to study your lessons and help Mama.

They had many good times in between. Relatives came often to visit. On the farm they could play in the woods and go fishing. When they moved to town they had girl chums and Sunday School parties. They had no toys to speak of (one doll, handed down from one to the other); but living as they did a good deal out-of-doors, they didn’t need such props. They played with what they had or found or made up and enjoyed themselves hugely. But very early they understood that playing was somewhat suspect, allowed only through indulgence, a trivial pastime soon outgrown, and only about twice removed from sin. Pleasure was only once removed. The girls grew up before they realized that pleasure was not an ugly word. In their father’s vocabulary it meant joyrides, dancing, card games, cigarettes, and other things to dreadful to define.

Editor’s Comments

I read The Moonflower Vine after coming across Jane Smiley’s discussion of it in her Thirteen Ways of Looking at the Novel. It wasn’t so much what Smiley had to say about it as that it was essentially the only genuinely little-known novel she saw fit to include in her list of 100 great novels. In there amongst Wuthering Heights, Moby Dick, and Ulysses was this book with a completely unfamiliar title and by completely unfamiliar author. To see a neglected book rate such high-profile coverage alone made it worth a try.

Cover of the first U.S. paperback edition of 'The Moonflower Vine'I can’t say that The Moonflower Vine would have stood much chance of a second look from me had it not come with such a sterling recommendation. Its marketing, back when it was picked as a Literary Guild selection and condensed in a Readers Digest collection, was definitely aimed at a feminine audience, and its first paperback edition featured a small picture of a big, strong, dark-haired man embracing a delicate young woman — the sort of image that’s become the cliche of gauzy romantic novels.

As Bo Diddley sang, though, you can’t judge a book by looking at the cover. There’s barely a lick of romance in the whole of The Moonflower Vine. Carleton grew up on a Missouri farm perhaps not too unlike that described in her novel, and no farm family that survives a hard winter or a bad harvest has much romanticism left in its veins. The pragmatism of farm life is multiplied by the stern morality of the Midwest Methodist, with its clear-cut sense of right and wrong (and none of the Southern Baptist’s taste for a little melodramatic back-sliding).

The Moonflower Vine is a multi-dimensional tale of the lives of Matthew Soames, his wife, Callie, and their four daughters — Jessica, Leonie, Mathy, and Mary Jo. Mary Jo is probably closest in profile to Carleton herself. The youngest of the girls, she is roughly the same age as Carleton and, like her, left rural Missouri for a career in the world of television in New York. She narrates the introductory section of the book, which takes place one summer Sunday when the daughters (with the exception of Mathy, who dies before the age of twenty) have come back to the family farm for a visit. This section is gentle, lightly comic, and bucolic in its description of rustic pleasures such as skinny-dipping in the creek.

The rest of the book, however, is related in the third person. Starting with Jessica, it deals in turn with each of the other members of the family — Matthew, who struggles throughout his career as a teacher and principal of a small town school with a lust for bright young women in his classes; Mathy, the family rebel, who elopes with a barnstorming pilot; Leonie, the dutiful daughter, who never quite manages to find her right place in the world; and finally, Callie, the mother, whose brief moment of adultery mirrors her husband’s own private sin.

Sin is a constant presence in the book. Everyone in the family, with the possible exception of Mary Jo, commits one or more sins, in their own eyes or those of the community, that prevents any form of love expressed in the book from being completely unequivocal. Matthew never fully forgives Mathy for quitting school and running off with one of the local renegades, nor Jessica for marrying a drifter Matthew takes on briefly as a hired hand. The Soames are a God-fearing family, stalwart members of the Methodist Church, very much Old Testament Christians.

At the same time, though, progress makes its own changes in their lives. While Matthew and Callie refuse to install indoor plumbing, planes, trains, and automobiles all bring the outside world a little closer to their doorstep. Jessica and her new groom catch a train for his family home in southern Missouri — genuine hillbilly country — and though he dies less than a year later, she remains with his people thereafter. Ed, one of Matthew’s old students, returns to town with an old biplane and proceeds to sweep daughter Mathy off her feet, only to kill her a year or two afterwards in a crash landing. Some time later, Leonie takes a trip to Kansas City, meets a somewhat reformed Ed, and eventually decides to marry him.

Though The Moonflower Vine is full of lush descriptions of the trees, birds, flowers, and plants that fill the Soames’ world, it’s very much a Midwestern, rather than Southern, novel. The comedy and tragedy are always moderated with a spare sense of realism. Missouri is, after all, the “Show Me” state — that skepticism prevents any of the characters from leaping headlong into any of their passions for more than a moment or two. Or, rather, it makes them look before leaping, if leap they do.

As the reviews of The Moonflower Vine on Amazon.com demonstrate, this novel, though long out of print, continues to hold a fond place in the hearts of readers who’ve discovered it. Carleton never wrote another book, though she did publish over 100 others through the Lightning Tree, a small press she founded with her husband, Jene Lyon, after she left the television business and moved to New Mexico. She died there in 1999.

Other Comments

· Jane Smiley included The Moonflower Vine among the classics she read (or reread) and then discussed in her 2005 book, Thirteen Ways of Looking at the Novel, and wrote of it:

This novel may be the most obscure contemporary novel on our list, but those who have read it, if the customer reviews at Earth’s Biggest Bookstore™ are any guide, are very loyal to it. Jetta Carleton wrote only this novel, which appears to be autobiographical, at least in part, but Carleton’s style is so dense and precise and her method of imagining the inner lives of each character so daring that she seems to have been unconstrained by fears either of remembering things wrongly or of offending her relatives….

Carleton mostly avoids the perils of this material, which, baldly summarized, sounds scandalous and best-sellerish, a Peyton Place of the Midwest, by depicting the southern Missouri landscape of the family farm in exceptional detail. The farm is small but much beloved, full of fields and grasses, trees and shrubs, rocks and flowers that present a seasonal drama to the members of the family. All admire and appreciate their natural surroundings, sometimes in spite of themselves. Since most of the novel takes place in the summer, when the family is settled on the farm, the characters frequently suffer from the heat, which has the effect of making the scenery palpable and especially sensual.

The five characters are a convincing family in several ways. They resemble one another but are ill-assorted, as members of families often are. Their contrasts to one another are exaggerated by proximity. Matthew loves Callie and she is essential to his sense of his identity and self-confidence, but her lack of interest in intellectual things (she can’t read, though she pretends sometimes she can) means that he can’t share things with her that are important and satisfying to him. Callie is sexy but submissive, and hardly ever dares to challenge Matthew, or even ask anything of him. She recognizes, though, that he had been the best bet of all the young men she might have chosen, and in the end he is a good husband even though he hasn’t shown her the tenderness she might have liked. Carleton excels at depicting the personalities of the girls, who often don’t understand one another at all, and would never, they think, make the choices that the others have made, or even have similar relationships to their parents. And yet there is familial loyalty and attachment, mostly arising out of a shared sense of the enjoyment of the farm and each other.

To my mind, this is a novel characteristic of its time, the 1950s, because it completely avoids all political themes. To read it you would never know that black people existed in southern Missouri, that the area was still a hotbed of post–Civil War resentments, that the Cold War was raging, and that World War II had taken place. The novel exists in a timeless world of seasons and of girls coming of age, love their greatest concern, with earning a living teaching school or giving music lessons a distant second. The Soames family thinks only of religion, love, nature, and sometimes music. They are American innocents in spite of their lustiness, quite untainted by the compromises of American history. The novel is neither liberal nor conservative — more, perhaps, tribal, in the sense that while the characters do make authentic connections, these connections are only within their own family rather than with anyone outside (except for Jessica, who moves away). In addition, the world is repeatedly redeemed, not by human action but by natural renewal, as symbolized by the nightly flowering of the moonflower vine (a relative of the morning glory). In the end, none of the characters comes to an understanding of Christianity or Christian precepts — doctrines of fundamentalist Protestant religion don’t seem to fit what they have learned — nor do they embrace their sexuality (though they seem to learn that they can’t get rid of it), but they do come to an understanding of the nature and purpose of forgiveness, and each character achieves a feeling that happiness, even fleeting happiness, is to be recognized and cherished. Several American novels on our list — The House of the Seven Gables, The Awakening, To Kill a Mockingbird, and The Moonflower Vine — gain considerable dramatic tension from secrets that the characters are required to keep to maintain respectability in the towns where they live. The conflict between who a character feels herself or himself to be and what is acceptable to friends and colleagues is as constant a theme in American novels as, say, a character’s relationship to the state is in German novels. In exploring the romantic secrets of each member of a single family, Carleton offers something of a catalog of ideas on the subject of secret desires — The Moonflower Vine could have been a scandalous novel. But by presenting each character’s desire as a moral dilemma for that character, and especially by consistently depicting the bonds of love that eventually hold the family together, she succeeds in arousing both empathy and sympathy in the reader. At the same time that she portrays the abnormality of her family, she demonstrates that abnormality is always more complex than it appears on the surface.

· H. C. Gardiner, America, 2 February 1963

The amazing thing about the people who come so alive in this novel — it is called a novel, but despite the author’s statement that it is mostly fiction one cannot escape the feeling that it is all recaptured by a loving memory — is the fact that they had so much fun, uder circumstances that seemed to promise anything but fun…. Perhaps the second most remarkable aspect of the book is that this sense of serenity is achieved without sliding into Pollyanish sentiment.

· M. Moriarty, Best Sellers, 1 February 1963

Whether or not it will be a critical success, The Moonflower Vine is a well done picture of a more innocent, simpler era, when sin was sin and duty was duty and God in His heaven was acknowledged and worshipped.

· Barbara Fielding, ReviewersChoice.com, 2003

Jetta Carleton’s autobiographical novel captures the mood and times of midwestern rural life and brings it to life. From the idyllic, heartwarming beginnings springs dark and hidden truths; truths only the reader will see and know. The gentle revelations of the secrets, fears and heartaches that drive these wonderful and endearing characters is storytelling at its best.

Find Out More

· Rosina Lippi, who writes under the nom de plume Sara Donati, on reading The Moonflower Vine:

I first read this book in German when I was living in Austria. I loved it so much I tracked down the original English, and ever since I’ve been re-reading it on a regular basis. Whenever I see a copy in a used bookstore I buy it to give away. This is the story of a farm family in Missouri, set in the early part of the last century. Each section is told from the perspective of a different family member. This is a beautifully written, carefully constructed story that I have never tired of over the years.

· A page on the Lightning Tree Press, the small press Jetta Carleton set up with her husband in New Mexico in 1973

Locate a Copy

The Moonflower Vine, by Jetta Carleton
New York: Simon and Schuster, 1962

This Slavery, by Ethel Carnie Holdsworth

Chris Lynch writes to recommend the 1925 novel This Slavery by the British writer Ethel Carnie Holdsworth.

In Pierre Bourdieu and Cultural Theory, Bridget Fowler writes of This Slavery:

It centres on women workers in a Lancashire textile mill. Their experience is conveyed through the story of two sisters: Hester, who enters a loveless marriage to a mill master, and Rachel, who becomes a strike leader. At the climax, as the workers starve in a bitter strike, Hester unexpectedly retails news gained confidentially from another employer; thus, despite her own death, she helps the strike succeed. In this novel, it is a woman, Rachel, who criticises the economistic narrowness of many trade unionists, and Rachel who reads Capital and dreams. Less lyrical but more compelling than her dreams are the novel’s small realist details, of women’s tiredness, for example, or of hunger: “We seem to do nothing but talk and think about grub…. Our bodies get in the way. We’re a set of pigs kept grovelling in the ground.” Or again, in ironical reflections on workers’ endurance: “To starve quietly, unobtrusively and without demonstration, is perhaps the greatest art civilisation has forced on the masses.”

Chris adds, “I have been collecting her books for a couple of years now (a very difficult task as they are almost impossible to find). I plan to contact publishers to see if any of them would be interested in reprinting this remarkable book.” A quick check through the obvious sources ( Amazon.com, Amazon.co.uk, and AddAll.com) produced a sum total of two books by Carnie-Holdsworth, neither of them This Slavery.

Chris has written an article on Ethel Carnie Holdsworth on Wikipedia. Two others articles on her life and work, one by Dr. Kathleen Bell and one by Nicola Wilson can be found on CottonTown.org, a site about the history of the cotton milling industry in Blackburn, England, once known as the weaving capitol of the world.

He also mentions that Trent Editions will republish her last novel, All on Her Own (1929) in 2007.

Three Recommendations from Chris Kearin

Chris Kearin writes to suggest a few neglected books he’s discovered:

· Flying to Nowhere, by John Fuller

Photo of John FullerA very short novel that got lost in the shuffle when first published because it had the misfortune to appear at roughly the same time as Eco’s The Name of the Rose, a much longer, louder, and easier to read book with which it has some superficial things in common (monks, murder, Middle Ages). Fuller is the British poet, not to be confused with the American writer of the same name. The book begins with an amazingly vivid description of an unsuccessful attempt to land a horse on a rocky island from a small boat, and the writing remains at the same level throughout, even as the story gets stranger and stranger.

· The useful plants of the island of Guam, or, to give its full title, Contributions from the United States National Herbarium Vol. IX: The Useful Plants of the Island of Guam; with an Introductory Account of the Physical Features and Natural History of the Island, of the Character and History of its People, and of their Agriculture, by William Edwin Safford

Kearin writes about this book on his “Dreamers Rise” blog. There, he quotes the botanist Edgar Anderson, who wrote of Useful Plants:

Under this modest title is hidden one of the world’s most fascinating volumes. The author, who apparently came as close to knowing everything about everything as is possible in modern times, was professionally both a botanist in the United States Department of Agriculture and a lieutenant in the United States Navy. In this latter capacity he served for a year as assistant governor of Guam. In somewhat over four hundred pages he not only takes up all the native and crop plants of any importance, but also touches on such subjects as the history of pirates in the Pacific, how floating seeds led to the discovery of ocean currents, the grammar of the native language, the actual anatomical means by which stinging plants attain their devilish ends, and the aspect of the various kinds of tropical vegetation on the island, each of these digressions being developed with finicky regard for accuracy and appropriately embellished with authoritative footnotes.

Oliver Sacks also discovered this odd classic, and wrote of it in his The Island of the Colorblind:

I had thought, from the title, that it was going to be a narrow, rather technical book on rice and yams, though I hoped it would have some interesting drawings of cycads as well. But its title was deceptively modest, for it seemed to contain, in its four hundred densely packed pages, a detailed account not only of the plants, the animals, the geology of Guam, but a deeply sympathetic account of Chamorro life and culture, from their foods, their crafts, their
boats, their houses, to their language, their myths and rituals, their philosophical and religious belief.

All in all, it sounds like one of the few things the Government Printing Office has published you’d care to take to a desert island. Most of Safford’s other publications were articles for scientific journals. Among them is the intriguingly titled, “The Potato of Romance and Reality,” from the Journal of Heredity, which can be downloaded for Oxford Journals’ outrageous single-article price of $23.

· Los autonautas de la cosmopista (o, Un viaje atemporal París-Marsella), by Julio Cortazar and Carol Dunlap

A travel journal, done in mock-heroic style, of a six-week journey along the autoroute from Paris to Marseilles. Unfortunately it’s never been translated, but I did post a sample here.

The General Is Older Than the Capital, from Reveille in Washington, by Margaret Leech

I. The General Is Older Than the Capital

Cover of 2001 reprint of 'Reveille in Washington'That winter, the old General moved from the rooms he had rented from the free mulatto, Wormley, in I Street to Cruchet’s at Sixth and D Streets. His new quarters, situated on the ground floor–a spacious bedroom, with a private dining-room adjoining–were convenient for a man who walked slowly and with pain; and Cruchet, a French caterer, was one of the best cooks in Washington.

In spite of his nearly seventy-five years and his increasing infirmities, the General was addicted to the pleasures of the table. Before his six o’clock dinner, his black body servant brought out the wines and the liqueurs, setting the bottles of claret to warm before the fire. The old man had refined his palate in the best restaurants in Paris; and woodcock, English snipe, poulard, capon, and tête de veau en tortue were among the dishes he fancied. He liked, too, canvasback duck, and the hams of his native Virginia. Yet nothing, to his taste, equaled the delicacy he called “tarrapin.” He would hold forth on the correct method of preparing it: “No flour, sir–not a grain.” His military secretary could saturninely foresee that moment, when, leaning his left elbow on the table and holding six inches above his plate a fork laden with the succulent tortoise, he would announce, “The best food vouchsafed by Providence to man,” before hurrying the fork to his lips.

From his splendid prime, the General had retained, not only a discriminating palate, but the defects suitable to a proud and ambitious nature. He had always been vain, pompous, exacting, jealous and high-tempered. Now that his sick old body could no longer support the racking of its wounds, his irascibility had dwindled to irritation, and his imperiousness to petulance. His love of flattery had grown, and he often declared that at his age compliments had become a necessity. While taking a footbath, he would call on his military secretary to remark the fairness of his limbs. In company, he spoke of the great commanders of history, and matched with theirs his own exploits at Chippewa and Lundy’s Lane, at Cerro Grande and Chapultepec. Near his desk stood his bust in marble, with shoulders bared; classical, serene, and idealized. The walls were brilliant with his portraits at various ages, from the young General Winfield Scott who had been victorious over the British in 1814 to the already aging General-in-Chief who had defeated the Mexicans in 1848. They were arresting figures, those generals on the walls; handsome, slender, heroic, with haughty eye and small, imperious mouth. Gold gleamed in spurs, in buttons and embroidery and huge epaulettes, in the handle of the sword which had been the gift of Virginia; and one portrait showed the superb cocked hat, profusely plumed, that had earned for Scott the sobriquet of “Fuss and Feathers.” He stood six feet, four and a quarter inches in height, and had been wont to insist on the fraction. But, swollen and dropsical, he spoke no longer of his size. He pointed instead to the bust, to the portraits, to show what he had been.

Such was the commanding general of the Army of the United States in December of 1860, but not so did his compatriots see him. His eye had lost its fire and he could no longer sit a horse, but in huge epaulettes and yellow sash he was still his country’s hero. Europe might celebrate the genius of Napoleon; the New World had its Winfield Scott. For nearly half a century the republic had taken pride in his achievements as soldier and pacificator; and if he now lived in a glorious military past, so did his fellow-countrymen. He was the very figure to satisfy a peaceful people, fond of bragging of its bygone belligerence. The General was as magnificent as a monument, and no one was troubled by the circumstance that he was nearly as useless.

Reveille in Washington is back in print (at $39.95 list — Ouch!), so, for the moment, it can’t be considered completely neglected. But as the above excerpt suggests, it’s a richly detailed and wisely comic narrative that ranks as one of the best pieces of American historical writing around. Used copies can be found for as little as $0.01 plus postage, although I suppose it’s hypocritical to write about neglected books and then encourage you not to buy your own copy from a publisher that’s keeping it in print. Multi-Pulitzer winner David McCullough often cites it as one of the books that inspired him to become a historian, and it’s difficult not to believe that Gore Vidal didn’t have a copy close at hand while he was writing his Lincoln. An excellent book for some winter nights’ reading.

Reveille in Washington, by Margaret Leech
New York: Harper & Brothers, 1941

The World of the Thibaults, by Roger Martin du Gard

Cover from first U.S. edition of 'The Thibaults'Reader Chris Leggette recommends Roger Martin du Gard’s family saga, Les Thibault, a series of seven novels published in the U.S. in two volumes: The Thibaults and Summer 1914, and then in a two-volume set, The World of the Thibaults. Clifton Fadiman included it in his compilation, Reading I’ve Liked, but as you can see from his New Yorker review below, the work held second candle in his eyes to Jules Romains’ Men of Good Will. Contemporary reviewers such as Mary McCarthy and Malcolm Cowley also had mixed feelings about The World of the Thibaults — ironically, feelings not dissimilar to those expressed by other reviewers by the time Romains reached the end of his own saga.

A few years ago, Timothy Crouse, best known for his comic account of the press coverage of Nixon’s second presidential campaign, The Boys on the Bus, helped translate and revive Lieutenant-Colonel de Maumort, a massive novel Martin deu Gard left unfinished at his death. Its release in 2000 led John Weightman to write in The New York Review of Books,

The 1930s now seem so far away that many members of the younger generation outside France, and even in France, may never have come across the works of Roger Martin du Gard. Yet, in his day, he was famous enough to be awarded the Nobel Prize for Literature, but even that international accolade is no guarantee of survival. Witness the case of René-François Sully-Prudhomme, the very first winner in 1901, who is now no more than a name in the reference books. But Iremember how eagerly we read Martin du Gard’s novels before the war. Now, having looked at them again, together with this unfinished, posthumous volume, which has taken so long to appear in English, I feel that they have a permanent quality. They may seem rather staid and old-fashioned compared to the overpowering intellectual and emotional fluency of Proust, but they have the merit of defining a certain kind of average Frenchness — that is, bourgeois anti-bourgeoisism — which existed strongly at the time, although it may have evaporated to some extent since then, just as Englishness is no longer what it was in those days.

Other Views on The World of the Thibaults

· Andre Gide, letter to Roger Martin du Gard, 17 March 1936

I do not want … the weekly mail to leave tomorrow without telling you of the immense joy, the profound satisfaction I felt after the first reading [of Summer 1914, the seventh volume of Les Thibault]. It was a difficult contest; you have won….

Dear friend, I believe that this book is destined to create a stir, to have a considerable success. Everything is said in it that needed to be said, with a perfect honesty in its presentation–so that even the most stubborn reader’s deepest convictions will be shaken…. Yes, I believe that this book has a considerable power of persuasion aside from its literary merits. But it is as a man of letters that I want to speak to you, and I can find nothing to say but praise. Some chapters are tours de force of skill and precision. You have written nothing better.

· Mary McCarthy, The New Republic, 26 April 1939

The machinery of the plot works with extreme awkwardness. It is, an a sense, a novel about time, yet the author’s only notion of conveying time’s passage is, after each gap of several years, to have two characters tell each other the events of the interim….

But The World of the Thibaults is not simply the study of a French family. Martin du Gard has taken Tolstoy for a model and, with this family for a center, has attempted to show a society as a whole. Thus the work contains, besides the usual elements of a novel, generous trial samples of modern science, modern literature, modern art, practical politics, religion, war, socialism and pacifism. The difficulty is, however, that these topics have not really been woven into the novel, but merely added to it. The result is not so much a novel of history as a historical grab-bag.

For all its encyclopedic qualities, The World of the Thibaults is not an important book. It is, however, a genuine literary curiosty. Industry and seriousness have been called in to substitute for talent, and the result is a work whose learned obtuseness is, so far as I know, unequaled in fiction.

· Malcolm Cowley, The New Republic, 10 March 1941

With glazed eyes and swollen lids, I have just finished The World of the Thibaults in the complete English translation — both volumes and all the 1,900 pages. It isn’t fair to blame Roger Martin du Gard, a kindly man and a conscientious writer, for the dull headache that comes from reading too much. Yet I wonder whether this business of writing oversize novels hasn’t been carried much too far, since Marcel Proust first set the fashion. Is there any human subject that can’t be treated in a hundred or at most two hundred tliousand words, instead of spinning the story out to nearly a million? Is there any reason for believing that a novel published in eleven books — as this one was in France — is eleven times or even twice as good as a novel in one reasonably large volume with a beginning, a middle and an end, and not too many extraneous incidents?

Isn’t it possible that giantism in fiction is quite as unhealthy a symptom as giantism in business or architecture or armies? The least one can say is that the author who writes an inordinately long novel is like the orator who delivers an inordinately long speech; he is disregarding the capacity for attention of his audience. Either the book must be leisurely sampled over a period of .weeks, in which case the reader is likely to have forgotten the beginning before reaching the end; or else it must be read as a reviewer’s chore, hour after hour and day after day, in which case it leaves one with aching eyes and perhaps a blurred picture of the author’s intentions. And the author, too, is running a risk. Any man who sets out to write a 2,000-page novel is betting against fate and human experience that he can remain unchanged until the book is finished….

Summer 1914 is the work for which Martin du Gard will be remembered and for which he deserved to receive the Nobel Prize. In the easy-running translation by Stuart Gilbert, it can be enjoyed almost as much as in the author’s pedestrian French. Yet it would have been better, I think, if it had been written quite independently, without regard to the family affairs of the Thibaults and the Fontanins. Standing alone, without seven other books as an introduction and without an epilogue, it would be even more impressive. It could then be read for itself, and with clearer eyes.

· Clifton Fadiman, The New Yorker, 1941

In 1939 there was published in this country The World of the Thibaults a book containing rather less than half of his Thibault series. Now, bearing the title, Summer 1914, the remainder is available in another book. The entire series, under the general heading, “The World of the Thibaults,” thus appears in two thick volumes, equivalent to eleven in the original French. Those who have not read “The Thibaults” may find “Summer 1914” somewhat puzzling. It is advisable to tackle the whole job or not tackle it at all. That means a total of 1,879 pages, but they are 1,879 pages that offer you a solid, almost tangible experience. They are pages for grown-ups….

In “The Thibaults” the emphasis was all on individuals and their relation to society; in Summer 1914 society itself almost ursurps the canvas. For me, there is a certain loss of power and originality….

But when du Gard concentrates he approaches magnificence: in his study of the Fontanin family, in his agonizingly perceptive account of the love between Anne and Antoine, in his heartbreaking record of the slow decay of the mind and body of Antoine. As a whole, The World of the Thibaults is unquestionably an impressive work. That world is now dead, its final hours having lasted from 1918 to 1939…. Someone had to write its epitaph, and for that epitaph to be clear it was necessary to go back to the roots of the Thibault world in the nineteenth and early twentieth centuries. This was du Gard’s task, to which he has now devoted two decades of his life. The task, one presenting almost insuperable difficulties, has been presented with honor…. You may not read him with absorption; you will read him with respect.

· Time magazine, 24 February 1941

In 1937 when Martin du Gard’s award was announced, the question arose why — if the Nobel committee wanted to pick a long, social French novel — it did not crown Jules Romains’ longer, as yet unfinished Men of Good Will. The question is still valid. Both works cover the same period, both are fraught with the desire of idealists to stop the war, both are written with objectivity approaching self-effacement. The general impression left by Men of Good Will is rich, vascular, forthright; of Les Thibault nervous, sinewy, tangled. Men of Good Will chronicles a whole society, Les Thibault a family and its immediate connections. Romains cut into French life at scores of levels, pulled out hundreds of characters. They are alive, but they are polished as flawlessly as marble. Some are almost too pat to his purpose.

Martin du Gard’s people have the puzzling surfaces of real people whom he has studied closely but not entirely understood. At times their motivations stretch thin to the vanishing point, and their behavior seems perverse and arbitrary. But in some ways they are even more alive than Romains’ people. Doubtless Romains’ book is a greater work of art; but Les Thibault may be the better novel.

· Albert Camus, Lyrical and Critical Essays

Perhaps, in Martin du Gard’s eyes, the only guilty person is the one who refuses life or condemns people. The key words, the final secrets, are not in man’s possession. But man nevertheless keeps the power to judge and to absolve. Here lies the profound secret of art, which always makes it useless as propaganda or hatred…. Like any authentic creator, Martin du Gard forgives all his characters. The true artist, although his life may consist mostly of struggles, has no enemy.

· David Tylden-Wright, The Image of France: Studies in Contemporary French Literature, 1957

When in 1937 Roger Martin du Gard was awarded the Nobel Prize for Summer 1914, the seventh part of The Thibaults, it seemed a fitting reward to mark not only the completion of a mammoth and magnificent achievement but also a life or remarkably disinterested devotion to literature…. He has never attempted or wished to be an exceptional writer in the sense of shunning the duller, more ordinary side of life. Rather the reverse. his aim, it has always seemed, has been to reflect life itself, with its tedium, its limitations and its complexity, not raised on the pedestal of a particular point of view but life in the round, in the rough, as it appears to, and affects, ordinary people such as, for example, the Thibaults.

· Masterplots, Revised Second Edition

The eight-part novel cycle The World of the Thibaults was inspired by the author’s desire to emulate for his own time the accomplishment of Leo Tolstoy’s War and Peace. In fact, the work’s style and pessimism is closer to Roger Martin du Gard’s countryman Gustave Flaubert than to the Russian author. Although the historical background of the action in the novel is of interest, it is the powerful depiction of human relationships that constitutes the book’s chief merit.

In many respects, the most influential character in the vast novel is old Monsieur Thibault, the patriarch of the Thibault family. A complete hypocrite, he announces to the world that his conscience is clear, yet he is concerned only with his own convenience and peace. Cloaking his craving for power and authority under a guise of fervent religiosity and philanthropy, he actually has no sense of either religion or generosity. He possesses no love for his sons, demanding only that they be completely docile. Any contradiction or sign of individuality throws him into a rage. For all of his big gestures, he is a petty man. Everyone automatically hides feelings from him, for one never can tell what his reaction might be. He forces his family into hypocrisy. By avoiding all introspection, Monsieur Thibault unknowingly condemns himself to a life of petty pride and cruelty, a life so alone that he must find his only consolation in public honors and the “knowledge” that he is a “good man.” As he grows older, however, the fact of approaching death terrifies him increasingly, and he desperately seeks some kind of immortality, as if he subconsciously realizes how futile his busy life actually has been.

The volumes of the series are crowded with fascinating, well-drawn secondary characters. These include Monsieur Chasle, the middle-aged secretary of Monsieur Thibault, who is suddenly revealed to have his own life, his own preoccupations, fears, and miseries. The reader becomes aware of many other lives lurking in the background, and beyond them still others. In the volume entitled The Springtime of Life, the adult Daniel and Jacques experience the bohemian life of Paris, encountering characters such as Mother JuJu, the retired prostitute, and many colorful girls of the streets, as well as the rich Jew Ludwigson, who sells Daniel’s pictures. Earlier, in a powerful scene at young Jenny’s sickbed, the Rasputin-like pastor Gregory chants and prays and condemns with equal fury and somehow saves the girl’s life….

The graphic realism of the sickbed and death scenes, and, in the seventh volume, Summer 1914, the dramatic buildup of the war, as the European nations are swept relentlessly to destruction, are impressive achievements. Even more impressive, however, is the fact that as the focus of the novel expands, the author never loses sight of the individuals who make up the world. For this vast, panoramic survey of society and the meaning of life, as well as for his earlier novel of the Dreyfus affair and atheism, Jean Barois (1913), Martin du Gard was awarded the Nobel Prize in Literature in 1937.

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Constructions, by Michael Frayn

Constructions by Michael Frayn

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Excerpt

  1. For as much of the time as possible, we shut ourselves up in our notations and refuse to come out. It’s when we are forced to observe and think afresh that the discrepancy between this simplicity and that complexity overwhelms us.
  2. By our inmost animal nature we are readers. We read the world around us continuously, obsessively, necessarily. Reading our notations is a late specialization of that skill.
  3. Our reading of the world and our mastery of notations are intimately linked. We read the world in the way that we read a notation — we make sense of it, we place constructions upon it. We see in the way that we speak, by means of selection and simplification. I should like to end up by saying (gnomically, metaphorically) that we read the world by developing from it a kind of notation of itself. You see your hand by seeing it as a hand. You see the branches of the tree against the blueness of the sky by seeing that the branches of the tree are against the blueness of the sky. I say to you (in all the relative simplicity of the language notation), “The leaves on the tree are shaking in the wind,” and, given a context, you take the sense of this (directly — you don’t have to form a mental picture to understand what I say). There is an unremarked parallel between what you do here and what you do when you look at the tree yourself, in all the immeasurable complexity of the natural world, and (without formulating any thought in words) take the sense that its laves are shaking in the wind.
  4. We are significance-seeking organisms.
    We seek out significance from our environment as we seek out food. We crave meaning as we crave warmth.
    If we didn’t find significance and meaning we shouldn’t find food or warmth, either.
  5. We look at the taciturn, inscrutable universe, and cry, “Speak to me!”

Editor’s Comments

  1. The complexity of the universe is beyond expression in any possible notation.

    Lift up your eyes. Not even what you see before you can ever be fully expressed.

    Close your eyes. Not even what you see now.

This is the first of the 309 statements — most just a few sentences long, none more than a few paragraphs — that comprise Constructions. Published just a year after Sweet Dreams, Constructions was practically guaranteed to vanish with barely a trace soon after its few copies hit the book stores. Works of philosophy written by philosophers go almost unnoticed outside a few academic circles, and works of philosophy written by non-philosophers rarely even qualify for that, unless they’re a once a generation fluke like Zen and the Art of Motorcycle Maintenance (published, coincidentally, within weeks of Constructions). The problem is that such a work isn’t “serious” enough in the eyes of the philosophy professionals, but it’s too serious for the reading public. Combine these drawbacks with a completely unsexy cover (nothing but text!) and an obscure publishing house, and neglect is assured.

I must admit that I only special-ordered my copy of Constructions, back in the late 1970s when Wildwood House still had a few copies in stock, in hopes that it might have something of the flavor of Sweet Dreams. To that extent, I was confirming a view of the reading public Frayn himself offered a few decades later:

The only advice that I could think of giving to a young writer is to write the same thing over and over again, changing things very slightly and going on delivering it until people accept it. Very simply, people want reliability and continuity in a writer. If you buy cornflakes you want cornflakes.

Well, Constructions is most definitely NOT the cornflakes of Sweet Dreams, at least not at first glance. And so, after thumbing through a few pages, I stuck it into the bookcase. And aside from a dozen transfers to and from moving boxes, there it remained for the next 25 years.

It was after reading Ray Monk’s wonderful biography of Wittgenstein that I finally gave Constructions another try. I knew I’d read something similar to Wittgenstein’s precisely numbered and aphoristic philosophical statements, and some digging into the unpacked book boxes soon produced it. The pages might have been a bit weathered, like aged newsprint, but my copy was just as crisp and undiscovered as it was upon delivery.

It will not serve Constructions very well with professional philosophers to describe it as a poor man’s substitute for Wittgenstein, but in my case, that’s what it was. I couldn’t get past 3 point something in Tractatus Logico Philosophicus. Yet I think Frayn’s opening construction above is not that far removed from Wittgenstein’s attempt “to draw a limit to thought — or rather, not to thought, but to the expression of thoughts….” I also have a feeling Wittgenstein would not disagree with Frayn’s answer to the question, “Is there an order in the universe?”: “There are orders. And disorders” [#233].

Like Wittgenstein, Frayn sees language as the key with which both we unlock the world and lock off the world that falls outside language:

  1. You can translate out of the German, or out of the Aramaic. But only into another language! Not into the world of which the language treats!
    Moving from one myth to another is in some ways a little like translating between languages. A particular language has its own idioms, its own voice; a topography which favours certain ways of speaking, and makes others awkward.

These differences ensure there is always a certain amount of miscommunication and confusion inherent in any exchange between people of different tongues. This tendency towards miscommunication is one of Frayn’s favorite themes, going back to his earliest novels (The Tin Men and The Russian Interpreter). “Even if lions could speak, we couldn’t understand them,” Wittgenstein once wrote. For Frayn, one doesn’t have to leave our own species to encounter this problem.

Construction #248 offers an illustration of this, one he would later develop into one of the major themes of his play, “Benefactors”:

The people who move us from myth to myth are like the reformers who hoped to cure all social ills by taking people out of the slums, which were the context of their diseases and crimes, and installing them in new, disease- and crime-free housing estates. It was a terrible blow to discover that these estates in their turn developed a characteristic pattern of social disorder.

“What is your aim in philosophy? To shew the fly the way out of the fly-bottle,” Wittgenstein wrote in #309 (another coincidence) of his Philosophical Investigations. Frayn is skeptical of mankind’s ability to escape the fly-bottle. Our fascination with the truth that lies hidden at the heart of things is, in his view, one of the handicaps that guarantees our continued captivity:

  1. … It’s true that in life people sometimes do surprise us at such moments [of stress and crisis], by revealing flaws or virtues we had not known about before….
    … But in most cases the truth that is revealed about us by our behavior in a crisis is just this: the truth about our behavior in a crisis.

Which leads him to this droll, quite un-Wittgenstein-ian parable:

  1. The secret police arrest us all. I, who have been a well-mannered and amusing guest at your dinner parties these past ten years, betray you as soon as they show me the electrodes. That bore Puling refuses, heroically.
    If ever we all get out again, don’t make the mistake of inviting him to your dinner parties instead of me.

To Frayn, the fly-bottle is what makes us human, rather than something else. We cannot get outside it:

  1. What would we be like if we put all our roles off, and emerged from behind them? We smile and stretch, reborn, untrammelled: Now we are playing the role of one who has put his roles off.

Frayn is nothing if not an elegant writer. Elegant in the sense that the term is used in mathematics: balanced, spare, aesthetically pleasing. Take the efficiency with which he encapsulates these paradoxes:

  1. Our complexity is such that we can understand many complex things. But not our own complexity!

  2. A capacious suitcase. We can get everything we want in it: clothes, books, a folding table, a bed, a bicycle…. This suitcase is infinitely flexible! The only thing we can’t get in is the suitcase itself.

I suppose that a professional philosopher could easily demonstrate that most of Frayn’s constructions are derivatives — and low-quality ones — of statements made by Wittgenstein and other thinkers from Pascal to A.J. Ayer. So I feel I am in no position to justify the merits of Constructions as philosophy. Recent scientific research does suggest that there is some truth to Frayn’s statement that “We read the world in the way that we read a notation” than he may have suspected. Mark Changizi and other scientists, as reported in The American Naturalist, found that “… visual signs have been culturally selected to match the kinds of conglomeration of contours found in natural scenes because that is what we have evolved to be good at visually processing.” In other words, it appears our notations themselves derive from the way we read the world.

But Constructions couldn’t make the grade as “serious” philosophy in 1974, so it probably stands little better chance of making it on this basis today. It may not help us know how to think or what to think, but it certainly does stimulate us to think.

“[T]he glory of writing is its dependence upon the world — the necessity it puts us in of coming back again and again to confront the complexity of what lies before our eyes” [#308]. And to that extent, this slight sliver volume, long out of print, qualifies as a glorious book. A dip into just a few of its pages always serves to remind me of the complexity what lies before my eyes; my own limitations in grasping it — but also my infinite opportunities to try to. Having finally worked through its unnumbered pages, I find I turn to it often to remind myself of the never-ending paradox of trying to understand the world around me.

Thirty-two years after Constructions, Frayn published another foray into the world of philosophy. At four times the length of Constructions, The Human Touch has already managed to attract more reviews and cross the Atlantic, with a U.S. edition coming out in early 2007, but this is certainly due to the growth in Frayn’s reputation since 1974.

Other Comments

· Jonathan Raban, “Is God a Novelist,” Sunday Times, 3 November 1974

These 309 numbered homilies, reveries, and speculations make nods of acknowledgement to Wittgenstein and Pascal, but they are actually the secret marginalia of a novelist who understands how the world works because he has created worlds too.

· Philip Toynbee, The Observer, 20 October 1974

Constructions is a fascinating and endlessly thought-provoking little book of a kind which is so difficult to categorize that it might almost be described as unique. It is poetical; it is philosophical (yet almost anti-philosophizing!); and it is a genuine contribution to psychology…. This is not only an unusually cheerful book; it is also a witty one.

· Jonathan Bennett, Times Literary Supplement, 20 June 1975

It is a philosophical treatise, a wrestle with a set of identifiably philosophical problems, and sometimes the method of sober, prose argument is used in it. More often, though, it works with aphorisms, jokes, metaphors, analogies, questions: the final effect of the work is enlightenment, which is comparable with what linear argument can produce; but the means of its production are more like poetry than prose and there is also something special about what is produced. For example, when Mr. Frayn remarks that “A man dominates his environment by establishing a unifying principle — himself,” and compares this with “a tank laying its own tracks across the wilderness,” something is achieved, for me anyway, which lies outside the reach of the prosaic means of academic philosphy.

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Constructions, by Michael Frayn
London: Wildwood House, 1974

A Talk about Neglected Books

Source: Syracuse University Library News

On Friday, December 1, 2006, Nicholas Birns will give a talk entitled “When Neglected Books Are Revived: The Cases of William Godwin and Dawn Powell” at the E. S. Bird Library at Syracuse University.

Using William Godwin’s 1793 novel Caleb Williams and the novels of the 20th-century American novelist Dawn Powell as test cases, this talk will explore what it means for a book to be lost and to be revived, the different ways that revived books are received in academia and in the general literary culture, and the nature of revivals themselves as cultural phenomena. The talk will close by drawing lessons from these cases for considering “revivals of neglected books.”

Birns is on the faculty of Eugene Lang College, The New School, in New York City.

Men of Good Will, by Jules Romains

A Complete Set of the US editions of Men of Good Will

Series of 27 books published in 14 volumes in English between 1932 and 1946

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Editor’s Comments

One of the longest novels ever written, Men of Good Will seemed to some, at least, to be one of the greatest creative works of the twentieth century. Clifton Fadiman was perhaps its most enthusiastic critic in the U.S., but he stopped reviewing the series well before its last volume, so we have no record of how well Romains’ art sustained his enthusiasm until the end.

Of the 14 English volumes of the work, only Verdun has held its head up against the changing tides of criticism and readership, coming back into print within the last ten years as one of the titles in the Prion Lost Treasures series. For the rest, the consensus today is that Romains (in the words of one bibliographer) “went too many rounds with Tolstoy and Marcel Proust.” Still, Romains’ efforts deserve more than entry stub he’s currently earned on Wikipedia.

Jules RomainsFor my own part, I have to admit that I’ve cracked The Sixth of October and Verdun a few times without getting past the third chapter. Details there are galore. Whether there is a narrative energy to pull a reader through them is another matter. But it would be unjustly neglectful on my own part to put this website together and fail to give Men of Good Will a spot that gathers together more words about this magnum opus than currently appear anywhere else on the Internet.

Other Comments

• from Captain Nicholas, a novel by Hugh Walpole, 1934

He had been brought up, like every intellectual young man of his time, on Proust, and now he had been reading the four volumes of M. Jules Romains’ endless novel. The fourth volume in its cheap French paper was lying beside his bed now. That was exactly what his life seemed to him at the moment. Bits and pieces. He had never supposed that he could write, but now it occurred to him that he could write a very good novel indeed about himself in this present manner. Very easy. No wonder so many of his friends were writing novels! Not of course that he could be as clever as M. Romains, but he need not worry about arrangement or form.

• Malcolm Cowley, The New Republic, 29 January 1940 (review of Verdun)

Cover of the first U.S. volume of 'Verdun'It is true that I haven’t read every one of its 4,256 pages, having sometimes been overcome with yawns in the middle of Jerphanion’s arch and soulful letters to his fellow student Jallez. On the other hand, I have read every word of Vols. I, II, III, IV (in French and English), VIII, and the greater part of Vols. V, VI, and VII. The eight volumes stand before me as I write — 612 cubic inches of reading matter, fully indexed, with more than half again as much to follow. Yet I can’t convince myself that this is a work that belongs somewhere between the “Comedie Humaine” and “Remembrance of Things Past.” I can’t convince myself that it ranks much above ordinary novels in any quality except sheer size.

Of course its size in itself is a real achievement, and one for which I didn’t give Romains proper credit when I wrote about the novel some years ago. I doubt that there are a dozen novelists in the world today who could plan such a gargantuan work, then patiently carry out the plan, at the rate of approximately five hundred pages a year. I doubt that there are half a dozen novelists who could give such a complete picture of their nation; Men of Good Will is almost an encyclopedia of modern French life, from aristocrats, financiers, commanding generals and Cabinet ministers down to slum rats, murderers and pimps.

• Jack Ferry, from The Ubyssey, the student newspaper of the University of British Columbia, 1942

To most of you the name of Clifton Fadiman signifies the program “Information Please”. He is much more to me. Fadiman is responsible for introducing me to one of the great experiences of my life, and certainly the greatest experience I have had in literature. For that I love him. Because to me a thing may be good or bad, pleasant or unpleasant, but still desirable if it is a memorable experience. You see, he introduced me to Jules Romains’ Men of Good Will.

It all started last year with one of those Christmas books, which in this case was Fadiman’s Reading I’ve Liked. Halfway through it I came to the statement: “Jules Romains is the greatest of collective novelists, and to my mind one of the greatest of living novelists. His Men of Good Will is the most gigantic unified effort in the whole world’s literature.” This was a challenge. But it took this to cinch it for me: “Romain endeavors in Men of Good Will to portray not characters, but ‘life in the twentieth century, our own life as modern men.’ Obviously he must choose a terrain: it is France from 1908 to, one may presume, the present, or very close to it. He is writing, he says, one single novel, and its plot has been drafted in advance.”

Cover of the first U.S. volume of 'Escape in Passion'Once I returned to Varsity after Christmas I lost no time in starting upon volume one. In this book alone I met about sixty characters, most of whom appeared throughout the series. On and on I went. I paused for the Easter exams; and then while I sought volume four, missing at UBC, at the Public Library. Through most of the summer 1 read volume after volume. Each day, clutching my book, I passed the guard at that west coast aircraft factory. I think he thought I was smuggling blueprints. Each volume encompasses two books of the original French version. I read through The Sitxth of October, Passion’s Pilgrims, The Proud and the Meek, The Depths and the Heights, and so on. I followed two young college students through the problems of early manhood. I saw the birth of socialism in France. I saw the automobile-oil combines emerge. I learned a system for writing poetry. I met a man who could stop his heart action. I learned how it felt when a child was born — from the point of view of the baby. I saw a young man search for a faith. I stepped into the inner sanctums of Freemasons and Roman Catholics. I watched four crooks float a bond issue that ruined a million simple Frenchmen. I saw the Great War come, and learned why Verdum (like Stalingrad) could hold — one of the most magnificent passages ever written. I challenge anyone to deny it. And now — I’ve finished the ten volumes completed to date. Over 8,000 pages. There is no question about it “being worth it” In those pages so it seemed, I learned as much as I had during all of the past eighteen years.

Yes, parts of it were dull — just like parts of a summer sunset are dull. Here’s a suggestion: If you want to read about the most important things that have happened since 1900 without discussing dates, and treaties, and agreements, and economic trends, and social trends as such, and still digest all these things — then give this great work a try.

• Denis Saurat, Modern French Literature, 1870-1940, 1946

Romains’ poetic gift is at the bottom of all that is successful in his immense production, but it is obscured and may be unnoticed under the mass of his writing. In the novel his truly amazing effort in Men of Good Will, a series of twenty-seven volumes, relegates to the second rank, as far as quantity in one novel goes, even Balzac himself, who does not connect his pieces so well, or Zola, whose artificiality in construction is too obvious nowadays.

Yet is Jules Romains’ series the really great this is the description of the battle of Verdun in two volumes which are truly an epic presentation of war. The description of the superhuman silence that descended on the front before the world grashed in the great German attack will have a permanent place in literature; it is an achievement of imagination rendered possible by the absence of the writer from the field of battle, which permits the deployment into genius of his capacity for being there in spirit.

Two or three volumes on Quinette raise the detective novel to a height which perhaps that kind of writing does not deserve, and enrich it by the annexation of Gide’s “gratuitous crime.” The description of the mentality and intrigues of professional literary men rivals Lost Illusions of Balzac (not the best Balzac, it is true). Every type of reader will find something in this extraordinary series.

• Time magazine, 2 December 1946

Put out more flags; this is the end.

Jules Romains’ colossal super-novel, Men of Good Will, has at last ground to a wordy stop, after 14 volumes (the original French runs to 27), some 7,500 pages, and about 1,000 characters.

The most grandiose literary project of a generation, introduced to the U.S. public more than a dozen years ago, Men of Good Will has been admired from a safe distance by many, praised to the skies by a few, actually read in its entirety by still fewer. It stands as a monument to the almost incredible industry and endurance of Novelist Romains and his readers. A vast, inchoate panorama, as broad as all Europe and 25 years long, its net effect is more nearly that of a giant notebook than of a novel.

Many of the individual chapters are subtly, brilliantly managed; here & there (as in Volume VIII, entitled Verdun) they blend into a more or less related whole. But ordinarily Author Romains moves his characters about by whim or wind, endows his chance encounters, political musings, philosophic sermons, fancy seductions with no more apparent interrelation than that of news stories in the daily press.

Author Romains once explained that the grand strategy of Men of Good Will was to “reflect a whole generation.” That it does, as faithfully, as arbitrarily and almost as indiscriminately as a mirror set up in a public square.

• Vercors, Les Lettres Francaise, 30 August 1972

Men of Good Will is an extraordinary work, an extraordinary novel. It is not flawless — how could it have been? Pierre Daix said that after its twelfth volume, after the pinnacle of Verdun, it seems more or less to have taken a turn for the worse. Perhaps this is true — but not all that true. If the last volumes gave people at the time an impression of decline, I believe it was in part because these volumes were published a year apart, as if they were separate novels; thus, everyone expected what is generally expected of the latest novel by an author, something different from his preceding novel, be it a deepening or a revelation. But in this novel of twenty-seven volumes, since each book was the equivalent of a chapter, it was not intended to bring something different….

I decided to reread Men of Good Will, to reread this immense novel at one stretch from one end to the other — without being sure I would not stop on the way, especially toward the end, because I remembered my disappointment, during the war and afterward, in reading the last volumes.

This time I was not disappointed…. To be sure, the same shortcomings are there. While Romains is perhaps without equal in depicting male friendship, he is much less at ease in depicting love. The dialogue is dry and even a little awkward, both too sugary and too intellectual….

What had formerly seemed to me to be a rather haphazard structure now appeared a very rigorous design, and one executed by a master. And what a language, what rich expression and vocabulary! The style is perhaps not beautiful, not “elegant.” But it is better than beautiful. It is rich and full, with a precision and an apprpropriateness that have rarely been equaled and never surpassed.

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Below is the complete list of English volumes of Men of Good Will. Alfred A. Knopf published the series in 14 volumes, each, with the exception of the final one, incorporating two books as originally published in French. The volume titles link to listings of used copies available for purchase through Amazon.com.

Volume 1: Men of Good Will

Book 1. The Sixth of October

Book 2. Quinette’s Crime

Volume 2: Passion’s Pilgrims

Book 3. Childhood’s Loves

Book 4. Eros in Paris

Volume 3: The Proud and the Meek

Book 5. The Proud

Book 6. The Meek

Volume 4: The World from Below

Book 7. The Lonely

Book 8. Provincial Interlude

Volume 5: The Earth Trembles

Book 9. Flood Warning

Book 10. The Powers That Be

Volume 6: The Depths and the Heights

Book 11. To the Gutter

Book 12. To the Stars

Volume 7: Death of a World

Book 13. Mission to Rome

Book 14. The Black Flag

Volume 8: Verdun

Book 15. The Prelude

Book 16. The Battle

Volume 9: Aftermath

Book 17. Vorge Against Quinette

Book 18. The Sweets of Life

Volume 10: The New Day

Book 19. The Promise of Dawn

Book 20. The World is Your Adventure

Volume 11: Work and Play

Book 21. Mountain Days

Book 22. Work and Play

Volume 12: The Wind is Rising

Book 23. The Gathering of Gangs

Book 24. Offered in Evidence

Volume 13: Escape in Passion

Book 25. The Magic Carpet

Book 26. Françoise

Volume 14: The Seventh of October

Book 27. The Seventh of October