everal winters back, while I was living in Chicago, the city was shocked and mystified by the death of two teen-age girls. So far as I know the populace is mystified still; as for the shock, Chicago is Chicago, and one week’s dismemberment fades into the next’s. The victims this particular year were sisters. They went off one December night to see an Elvis Presley movie, for the sixth or seventh time we are told, and never came home. Ten days passed and fifteen and twenty, and then the whole bleak city, every street and alley, was being searched for the missing Grimes girls, Pattie and Babs. A girl friend had seen them at the movie, a group of boys had had a glimpse of them afterwards getting into a black Buick; another group said a green Chevy, and so on and so forth, until one day the snow melted and the unclothed bodies of the two girls were discovered in a roadside ditch in a forest preserve on the West Side of Chicago. The coroner said he didn’t know the cause of death and then the newspapers took over. One paper, I forget which one, ran a drawing of the girls on the back page, in bobby socks and levis and babushkas: Pattie and Babs a foot tall, and in four colors, like Dixie Dugan on Sundays. The mother of the two girls wept herself right into the arms of a local newspaper lady, who apparently set up her typewriter on the Grimes’s front porch and turned out a column a day, telling us that these had been good girls, hardworking girls, average girls, churchgoing girls, et cetera. Late in the evening one could watch television interviews featuring schoolmates and friends of the Grimes sisters: the teen-age girls look around, dying to giggle; the boys stiffen in their leather jackets. “Yeah, I knew Babs, yeah she was all right, yeah, she was popular . . . .” On and on until at last comes a confession. A Skid Row bum of thirty-five or so, a dishwasher, a prowler, a no-good named Benny Bedwell, admits to killing both girls, after he and a pal had cohabited with them for several weeks in various flea-bitten hotels. Hearing the news, the mother weeps and cries and tells the newspaper lady that the man is a liar—her girls, she insists now, were murdered the night they went off to the movie. The coroner continues to maintain (with rumblings from the press) that the girls show no signs of having had sexual intercourse. Meanwhile, everybody in Chicago is buying four papers a day, and Benny Bedwell, having supplied the police with an hour-by-hour chronicle of his adventures, is tossed in jail. Two nuns, teachers of the girls at the school they attended, are sought out by the newspapermen. They are surrounded and questioned and finally one of the sisters explains all. “They were not exceptional girls,” the sister says, “they had no hobbies.” About this time, some good-natured soul digs up Mrs. Bedwell, Benny’s mother, and a meeting is arranged between this old woman and the mother of the slain teen-agers. Their picture is taken together, two overweight, overworked American ladies, quite befuddled but sitting up straight for the photographers. Mrs. Bedwell apologizes for her Benny. She says, “I never thought any boy of mine would do a thing like that.” Two weeks later, or maybe three, her boy is out on bail, sporting several lawyers and a new one-button roll suit. He is driven in a pink Cadillac to an out-of-town motel where he holds a press conference. Yes—he barely articulates—he is the victim of police brutality. No, he is not a murderer; a degenerate maybe, but even that is going out the window. He is changing his life—he is going to become a carpenter (a carpenter!) for the Salvation Army, his lawyers say. Immediately, Benny is asked to sing (he plays the guitar) in a Chicago night spot for two thousand dollars a week, or is it ten thousand? I forget. What I remember is that suddenly there is a thought that comes flashing into the mind of the spectator, or newspaper reader: is this all Public Relations? But of course not—two girls are dead. At any rate, a song begins to catch on in Chicago, “The Benny Bedwell Blues.” Another newspaper launches a weekly contest: “How Do You Think the Grimes Girls Were Murdered?” and a prize is given for the best answer (in the opinion of the judges). And now the money begins; donations, hundreds of them, start pouring in to Mrs. Grimes from all over the city and the state. For what? From whom? Most contributions are anonymous. Just money, thousands and thousands of dollars—the Sun-Times keeps us informed of the grand total. Ten thousand, twelve thousand, fifteen thousand. Mrs. Grimes sets about refinishing and redecorating her house. A strange man steps forward, by the name of Shultz or Schwartz—I don’t really remember, but he is in the appliance business and he presents Mrs. Grimes with a whole new kitchen. Mrs. Grimes, beside herself with appreciation and joy, turns to her surviving daughter and says, “Imagine me in that kitchen!” Finally the poor woman goes out and buys two parakeets (or maybe another Mr. Shultz presented them as a gift); one parakeet she calls “Babs,” the other, “Pattie.” At just about this point, Benny Bedwell, doubtless having barely learned to hammer a nail in straight, is extradited to Florida on the charge of having raped a twelve-year-old girl there. Shortly thereafter I left Chicago myself, and so far as I know, though Mrs. Grimes hasn’t her two girls, she has a brand new dishwasher and two small birds.
nd what is the moral of so long a story? Simply this: that the American writer in the middle of the 20th century has his hands full in trying to understand, and then describe, and then make credible much of the American reality. It stupefies, it sickens, it infuriates, and finally it is even a kind of embarrassment to one’s own meager imagination. The actuality is continually outdoing our talents, and the culture tosses up figures almost daily that are the envy of any novelist. Who, for example, could have invented Charles Van Doren? Roy Cohn and David Schine? Sherman Adams and Bernard Goldfine? Dwight David Eisenhower? Several months back most of the country heard one of the candidates for the presidency of the United States, the office of Jefferson, Lincoln, and FDR, say something like, “Now if you feel that Senator Kennedy is right, then I sincerely believe you should vote for Senator Kennedy, and if you feel that I am right, I humbly submit that you vote for me. Now I feel, and this is certainly a personal opinion, that I am right . . . .” and so on. Though it did not appear quite this way to some thirty-four million voters, it still seems to me a little easy to pick on Mr. Nixon as someone to ridicule, and it is not for that reason that I have bothered to paraphrase his words here. If one was at first amused by him, one was ultimately astonished. As a literary creation, as some novelist’s image of a certain kind of human being, he might have seemed believable, but I myself found that on the TV screen, as a real public image, a political fact, my mind balked at taking him in. Whatever else the television debates produced in me, I should like to point out, as a literary curiosity, that they also produced a type of professional envy. All the machinations over make-up, rebuttal time, all the business over whether Mr. Nixon should look at Mr. Kennedy when he replied, or should look away—all of it was so beside the point, so fantastic, so weird and astonishing, that I found myself beginning to wish I had invented it. That may not, of course, be a literary fact at all, but a simple psychological one—for finally I began to wish that someone had invented it, and that it was not real and with us.
The daily newspapers then fill one with wonder and awe: is it possible? is it happening? And of course with sickness and despair. The fixes, the scandals, the insanities, the treacheries, the idiocies, the lies, the pieties, the noise. . . . Recently, in COMMENTARY,1 Benjamin DeMott wrote that the “deeply lodged suspicion of the times [is] namely, that events and individuals are unreal, and that power to alter the course of the age, of my life and your life, is actually vested nowhere.” There seems to be, said DeMott, a kind of “universal descent into unreality.” The other night—to give a benign example of the descent—my wife turned on the radio and heard the announcer offering a series of cash prizes for the three best television plays of five minutes’ duration written by children. At such moments it is difficult to find one’s way around the kitchen; certainly few days go by when incidents far less benign fail to remind us of what DeMott is talking about. When Edmund Wilson says that after reading Life magazine he feels that he does not belong to the country depicted there, that he does not live in that country, I think I understand what he means.
owever, for a writer of fiction to feel that he does not really live in the country in which he lives—as represented by Life or by what he experiences when he steps out his front door—must certainly seem a serious occupational impediment. For what will be his subject? His landscape? It is the tug of reality, its mystery and magnetism, that leads one into the writing of fiction—what then when one is not mystified, but stupefied? not drawn but repelled? It would seem that what we might get would be a high proportion of historical novels or contemporary satire—or perhaps just nothing. No books. Yet the fact is that almost weekly one finds on the best-seller list another novel which is set in Mamaroneck or New York City or Washington, with people moving through a world of dishwashers and TV sets and advertising agencies and Senatorial investigations. It all looks as though the writers are still turning out books about our world. There is Cash McCall and The Man in the Gray Flannel Suit and Marjorie Morningstar and The Enemy Camp and Advise and Consent, and so on. But what is crucial, of course, is that these books aren’t very good. Not that these writers aren’t sufficiently horrified with the landscape to suit me—quite the contrary. They are generally full of concern for the world about them; finally, however, they just don’t seem able to imagine the corruptions and vulgarities and treacheries of American public life any more profoundly than they can imagine human character—that is, the country’s private life. All issues are generally solvable, which indicates that they are not so much wonder-struck or horror-struck or even plain struck by a state of civilization, as they are provoked by some topical controversy. “Controversial” is a common word in the critical language of this literature as it is, say, in the language of the TV producer. But it is clear that though one may refer to a “problem” as being controversial, one does not usually speak of a state of civilization as controversial, or a state of the soul.
It is hardly news that in best-sellerdom we frequently wind up with the hero coming to terms and settling down in Scarsdale, or wherever, knowing himself. And on Broadway, in the third act, someone says, “Look, why don’t you just love each other?” and the protagonist, throwing his hand to his forehead, cries, “Oh God, why didn’t / think of that!” and before the bulldozing action of love, all else collapses—verisimilitude, truth, and interest. It is like “Dover Beach” ending happily for Matthew Arnold, and for us, because the poet is standing at the window with a woman who understands him. If the investigation of our times and the impact of these times upon human personality were to become the sole property of Wouk, Weidman, Sloan Wilson, Cameron Hawley, and the theatrical amor-vincit-omnia boys it would indeed be unfortunate, for it would be somewhat like leaving sex to the pornographers, where again there is more to what is happening than first meets the eye.
nd of course the times have not yet been left completely to lesser minds and talents. There is Norman Mailer. And he is an interesting example, I think, of one in whom our era has provoked such a magnificent disgust that dealing with it in fiction has almost come to seem, for him, beside the point. He has become an actor in the cultural drama, the difficulty of which, I should guess, is that it leaves one with considerably less time to be a writer. For instance, to defy the Civil Defense authorities and their H-bomb drills, you have to take off a morning from the typewriter and go down and stand outside of City Hall; then if you’re lucky and they toss you in jail, you have to give up an evening at home and your next morning’s work as well. To defy Mike Wallace, or challenge his principle-less aggression, or simply use him or straighten him out, you must first go on the program—there’s one night shot. Then you may well spend the next two weeks (I am speaking from memory) disliking yourself for having gone, and then two more writing an article (or a confession to a gentle friend) in which you attempt to explain why you did it and what it was like. “It’s the age of the slob,” says a character in William Styron’s new novel. “If we don’t watch out they’re going to drag us under. . . .” And the dragging under, as we see, takes numerous forms. We get, for instance, from Mailer a book like Advertisements for Myself, a chronicle for the most part of why I did it and what it was like—and who I have it in for: life as a substitute for fiction. An infuriating, self-indulgent, boisterous, mean book, not much worse than most advertising we have to put up with, I think—but also, taken as a whole, a curiously moving book, moving in its revelation of the connection between one writer and the times that have given rise to him, in the revelation of a despair so great that the man who bears it, or is borne by it, seems for the time being—out of either choice or necessity—to have given up on making an imaginative assault upon the American experience, and has become instead the champion of a kind of public revenge. Unfortunately, however, what one is champion of one day, one may wind up victim of the next; that is everybody’s risk. Once having written Advertisements for Myself, I don’t see that you can write it again. Mr. Mailer probably now finds himself in the unenviable position of having to put up or shut up. Who knows—maybe it’s where he wanted to be. My own feeling is that times are tough for a writer when he takes to writing letters to his newspaper rather than those complicated, disguised letters to himself, which are stories.
The last is not meant to be a sententious, or a condescending remark, or even a generous one. However one suspects Mailer’s style or his reasons, one sympathizes with the impulse that leads him to be—or to want to be—a critic, a reporter, a sociologist, a journalist, a figure, or even Mayor of New York. For what is particularly tough about the times is writing about them, as a serious novelist or storyteller. Much has been made, much of it by the writers themselves, of the fact that the American writer has no status and no respect and no audience: the news I wish to bear is of a loss more central to the task itself, a loss of subject; or if not a loss, if to say that is, romantically and inexactly and defensively, an attempt to place most of the responsibility outside the writer for what may finally be nothing more than the absence of genius in our times—then let me say a voluntary withdrawal of interest by the writer of fiction from some of the grander social and political phenomena of our times.
Of course there have been writers who have tried to meet these phenomena head-on. It seems to me I have read several books or stories in the past few years in which one character or another starts to talk about “The Bomb,” and the conversation generally leaves me feeling half convinced, and in some extreme instances, even with a certain amount of sympathy for fall-out; it is like people in college novels having long talks about what kind of generation they are. But what then? What can the writer do with so much of the American reality as it is? Is the only other possibility to be Gregory Corso and thumb your nose at the whole thing? The attitude of the Beats (if such a phrase has meaning) is not in certain ways without appeal. The whole thing is a kind of joke. America, ha-ha. The only trouble is that such a position doesn’t put very much distance between Beatdom and its sworn enemy, best-sellerdom—not much more, at any rate, than what it takes to get from one side of a nickel to the other: for what is America, ha-ha, but the simple reverse of America, hoo-ray?
t is possible that I have exaggerated both the serious writer’s response to our cultural predicament, and his inability or unwillingness to deal with it imaginatively. There seems to me little, in the end, to be used as proof for an assertion having to do with the psychology of a nation’s writers, outside, that is, of their books themselves. So, with this particular assertion, the argument may appear to be somewhat compromised in that the evidence to be submitted is not so much the books that have been written, but the ones that have been left unwritten and unfinished, and those that have not even been considered worthy of the attempt. Which is not to say that there have not been certain literary signs, certain obsessions and innovations and concerns, to be found in the novels of our best writers, supporting the notion that the world we have been given, the society and the community, has ceased to be as suitable or as manageable a subject for the novelist as it once may have been.
Let me begin with some words about the man who, by reputation at least, is the writer of the age. The response of college students to the works of J. D. Salinger should indicate to us that perhaps he, more than anyone else, has not turned his back on the times, but instead, has managed to put his finger on what is most significant in the struggle going on today between the self (all selves, not just the writer’s) and the culture. The Catcher in the Rye and the recent stories in the New Yorker having to do with the Glass family surely take place in the social here and now. But what about the self, what about the hero? This question seems to me of particular interest here, for in Salinger more than in most of his contemporaries, there has been an increasing desire of late to place the figure of the writer himself directly in the reader’s line of vision, so that there is an equation, finally, between the insights of the narrator as, say, brother to Seymour Glass, and as a man who is a writer by profession. And what of Salinger’s heroes? Well, Holden Caulfield, we discover, winds up in an expensive sanitarium. And Seymour Glass commits suicide finally, but prior to that he is the apple of his brother’s eye—and why? He has learned to live in this world—but how? By not living in it. By kissing the soles of little girls’ feet and throwing rocks at the head of his sweetheart. He is a saint, clearly. But since madness is undesirable and sainthood, for most of us, out of the question, the problem of how to live in this world is by no means answered; unless the answer is that one cannot. The only advice we seem to get from Salinger is to be charming on the way to the loony bin. Of course, Salinger is under no burden to supply us, writers or readers, with advice, though I must admit that I find myself growing more and more curious about this professional writer, Buddy Glass, and how he manages to coast through this particular life in the arms of sanity.
It is not Buddy Glass, though, in whom I do not finally believe, but Seymour himself. Seymour is as unreal to me as his world, in all its endless and marvelous detail, is decidedly credible. I am touched by the lovingness that is attributed to him, as one is touched by so many of the gestures and attitudes in Salinger, but this lovingness, in its totality and otherworldliness, becomes for me in the end an attitude of the writer’s, a cry of desperation, even a program, more than an expression of character. If we forgive this lapse, it is, I think, because we understand the depth of the despairing.
There is, too, in Salinger the suggestion that mysticism is a possible road to salvation; at least some of his characters respond well to an intensified, emotional religious belief. Now my own involvement with Zen is slight, but as I understand it in Salinger, the deeper we go into this world, the further we can get away from it. If you contemplate a potato long enough, it stops being a potato in the usual sense; unfortunately, though, it is the usual sense that we have to deal with from day to day. For all the loving handling of the world’s objects, for all the reverence of life and feeling, there seems to me, in the Glass family stories as in The Catcher, a spurning of life as it is lived in this world, in this reality—this place and time is seen as unworthy of those few precious people who have been set down in it only to be maddened and destroyed.
spurning of our world—though of a much different order—seems to occur in another of our most talented writers, Bernard Malamud. Even, one recalls, when Malamud writes a book about baseball, a book called The Natural, it is not baseball as it is played in Yankee Stadium, but a wild, wacky baseball, where a player who is instructed to knock the cover off the ball promptly steps up to the plate and knocks it off; the batter swings and the inner hard string core of the ball goes looping out to centerfield, where the confused fielder commences to tangle himself in the unwinding sphere; then the shortstop runs out, and with his teeth, bites the center-fielder and the ball free from one another. Though The Natural is not Malamud’s most successful, nor his most significant book, it is at any rate our introduction to his world, which has a kind of historical relationship to our own, but is by no means a replica of it. By historical I mean that there are really things called baseball players and really things called Jews, but there much of the similarity ends. The Jews of The Magic Barrel and the Jews of The Assistant, I have reason to suspect, are not the Jews of New York City or Chicago. They are a kind of invention, a metaphor to stand for certain human possibilities and certain human promises, and I find myself further inclined to believe this when I read of a statement attributed to Malamud which goes, “All men are Jews.” In fact we know this is not so; even the men who are Jews aren’t sure they’re Jews. But Malamud, as a writer of fiction, has not shown specific interest in the anxieties and dilemmas and corruptions of the modern American Jew, the Jew we think of as characteristic of our times; rather, his people live in a timeless depression and a placeless Lower East Side; their society is not affluent, their predicament not cultural. I am not saying—one cannot, of Malamud—that he has spurned life or an examination of the difficulties of being human. What it is to be human, to be humane, is his subject: connection, indebtedness, responsibility, these are his moral concerns. What I do mean to point out is that he does not—or has not yet—found the contemporary scene a proper or sufficient backdrop for his tales of heartlessness and heartache, of suffering and regeneration.
Now Malamud and Salinger do not speak, think, or feel for all writers, and yet their fictional response to the world about them—what they choose to mention, what they choose to avoid—is of interest to me on the simple grounds that they are two of our best. Surely there are other writers around, and capable ones too, who have not taken the particular roads that these two have; however, even with some of these others, I wonder if we may not be witnessing a response to the times, perhaps not so dramatic as in Salinger and Malamud, but a response nevertheless.
et us take up the matter of prose style. Why is everybody so bouncy all of a sudden? Those who have been reading in the works of Saul Bellow, Herbert Gold, Arthur Granit, Thomas Berger, Grace Paley, and others will know to what I am referring. Writing recently in the Hudson Review, Harvey Swados said that he saw developing “a nervous muscular prose perfectly suited to the exigencies of an age which seems at once appalling and ridiculous. These are metropolitan writers, most of them are Jewish, and they are specialists in a kind of prose-poetry that often depends for its effectiveness as much on how it is ordered, or how it looks on the printed page, as it does on what it is expressing. This is risky writing, . . .” Swados added, and perhaps it is in its very riskiness that we can discover some kind of explanation for it. I should like to compare two short descriptive passages, one from Bellow’s The Adventures of Augie March, the other from Gold’s new novel, Therefore Be Bold, in the hope that the differences revealed will be educational.
As has been pointed out by numerous people before me, the language of Augie March is one that combines a literary complexity with a conversational ease, a language that joins the idiom of the academy with the idiom of the streets (not all streets—certain streets); the style is special, private, and energetic, and though occasionally unwieldly and indulgent, it generally, I believe, serves the narrative, and serves it brilliantly. Here for instance is a description of Grandma Lausch:
With the [cigarette] holder in her dark little gums between which all her guile, malice, and command issued, she had her best inspirations of strategy. She was as wrinkled as an old paper bag, an autocrat, hard-shelled and jesuitical, a pouncy old hawk of a Bolshevik, her small ribboned gray feet immobile on the shoe-kit and stool Simon had made in the manual-training class, dingy old wool Winnie [the dog] whose bad smell filled the flat on the cushion beside her. If wit and discontent don’t necessarily go together, it wasn’t from the old woman that I learned it.
Herbert Gold’s language has also been special, private, and energetic. One will notice in the following passage from Therefore Be Bold that here too the writer begins by recognizing a physical similarity between the character described and some unlikely object, and from there, as in Bellow’s Grandma Lausch passage, attempts to move into a deeper, characterological description, to wind up, via the body, making a discovery about the soul. The character described is named Chuck Hastings.
In some respects he resembled a mummy—the shriveled yellow skin, the hand and head too large for a wasted body, the bottomless eye sockets of thought beyond the Nile. But his agile Adam’s apple and point-making finger made him less the Styx-swimmer dog-paddling toward Coptic limbos than a high school intellectual intimidating the navel-eyed little girl.
First I must say that the grammar itself has me baffled: “. . . bottomless eye sockets of thought beyond the Nile.” Is the thought beyond the Nile, or are the eye sockets? What does it mean to be beyond the Nile anyway? The a-grammaticality of the sentence has little in common with the ironic inversion with which Bellow’s description begins: “With the holder in her dark little gums between which all her guile, malice, and command issued. . . .” Bellow goes on to describe Grandma Lausch as “an autocrat,” “hard-shelled,” “Jesuitical,” “a pouncy old hawk of a Bolshevik”—imaginative terms certainly, but toughminded, exact, and not exhibitionistic. Of Gold’s Chuck Hastings, however, we learn, “His agile Adam’s-apple and point-making finger made him less the Styx-swimmer dog-paddling toward Coptic limbos etc. . . .” Is this language in the service of the narrative, or a kind of literary regression in the service of the ego? In a recent review of Therefore Be Bold, Granville Hicks quoted this very paragraph in praise of Gold’s style. “This is high-pitched,” Mr. Hicks admitted, “but the point is that Gold keeps it up and keeps it up.” I take it that Mr. Hicks’s sexual pun is not deliberate; nevertheless, it should remind us all that showmanship and passion are not, and never have been, one and the same. What we have here, it seems to me, is not so much stamina or good spirits, but reality taking a backseat to personality—and not the personality of the character described, but of the writer who is doing the describing. Bellow’s description seems to arise out of a firm conviction on the part of the writer about the character: Grandma Lausch IS. Behind the description of Chuck Hastings there seems to me the conviction—or the desire for us to be convinced—of something else: Herbert Gold IS. I am! I am! In short: look at me, I’m writing.
Because Gold’s work serves my purposes, let me say a word or two more about him. He is surely one of our most productive and most respected novelists, and yet he has begun to seem to me a writer in competition with his own fiction. Which is more interesting—my life or my work? His new book of stories, Love and Like, is not over when we have finished reading the last narrative. Instead we go on to read several more pages in which the author explains why and how he came to write each of the preceding stories. At the end of Therefore Be Bold we are given a long listing of the various cities in which Gold worked on this book, and the dates during which he was living or visiting in them. It is all very interesting if one is involved in tracing lost mail, but the point to be noted here is that how the fiction has come to be written is supposed to be nearly as interesting as what is written. Don’t forget, ladies and gentlemen, that behind each and every story you have read here tonight is—me. For all Gold’s delight with the things of this world—and I think that his prose, at its best, is the expression of that delight—there is also a good deal of delight in the work of his own hand. And, I think, with the hand itself.
sing a writer for one’s own purposes is of course to be unfair to him (nearly as unfair as the gambit that admits to being unfair); I confess to this, however, and don’t intend to hang a man for one crime. Nevertheless, Gold’s extravagant prose, his confessional tone (the article about divorce; then the several prefaces and appendices about his own divorce—my ex-wife says this about me, etc.; then finally the story about divorce)—all of this seems to have meaning to me in terms of this separation I tried to describe earlier, the not-so-friendly relationship between the writer and the culture. In fact, it is paradoxical really, that the very prose style which, I take it, is supposed to jolt and surprise us, and thereby produce a new and sharper vision, turns back upon itself, and the real world is in fact veiled from us by this elaborate and self-conscious language-making. I suppose that in a way one can think of it as a sympathetic, or kinetic, response to the clamor and din of our mass culture, an attempt to beat the vulgar world at its own game. I am even willing to entertain this possibility. But it comes down finally to the same thing: not so much an attempt to understand the self, as to assert it.
I must say that I am not trying to sell selflessness. Rather, I am suggesting that this nervous muscular prose that Swados talks about may perhaps have to do with the unfriendliness between the self of the writer and the realities of the culture. The prose suits the age, Swados suggests, and I wonder if it does not suit it, in part, because it rejects it. The writer pushes before our eyes—it is in the very ordering of our sentences—personality, in all its separateness and specialness. Of course the mystery of personality is nothing less than the writer’s ultimate concern; and certainly when the muscular prose is revelatory of character—as in Augie March—then it is to be appreciated; at its worst, however, as a form of literary onanism, it seriously curtails the fictional possibilities, and may perhaps be thought of, and sympathetically so, as a symptom of the writer’s loss of the community as subject.
True, the bouncy style can be understood in other ways as well. It is not surprising that most of these writers Swados sees as its practitioners are Jewish. When writers who do not feel much of a connection to Lord Chesterfield begin to realize that they are under no real obligation to try and write like that distinguished old stylist, they are quite likely to go out and be bouncy. Also, there is the matter of the spoken language which these writers have heard, as our statesmen might put it, in the schools, in the homes, in the churches and the synagogues; I should even say that when the bouncy style is not an attempt to dazzle the reader, or one’s self, but to incorporate into written prose the rhythms, the excitements, the nuances and emphases of urban speech, or immigrant speech, the result can sometimes be a language of new and rich emotional subtleties, with a kind of back-handed grace and irony all its own, as say the language of Mrs. Paley’s book of stories, The Little Disturbances of Man.
ut whether the practitioner is Gold or Bellow or Paley, there is one more point to be made about bounciness, and that is that it is an expression of pleasure. One cannot deny that there is that in it. However, a question arises: if the world is as crooked and unreal as I think it is becoming, day by day; if one feels less and less power in the face of this unreality, day by day; if the inevitable end is destruction, if not of all life, then of much that is valuable and civilized in life—then why in God’s name is the writer pleased? Why don’t all of our fictional heroes wind up in institutions like Holden Caulfield, or suicides like Seymour Glass? Why is it, in fact, that so many of our fictional heroes—not just the heroes of Wouk and Weidman, but of Bellow, Gold, Styron, and others—wind up affirming life? For surely the air is thick these days with affirmation, and though we shall doubtless get this year our annual editorial from Life calling for affirmative novels, the plain and simple fact is that more and more books by serious writers seem to end on a note of celebration. Not just the tone is bouncy, but the moral is bouncy too. In The Optimist, another novel of Gold’s, the hero, having taken his lumps, cries out at the conclusion, “More. More. More! More! More!” This is the book’s last line. Curtis Harnack’s novel, The World of an Ancient Hand, ends with the hero filled with “rapture and hope” and saying aloud, “I believe in God.” And Saul Bellow’s Henderson the Rain King is a book which is given over to celebrating the regeneration of a man’s heart, feelings, blood, and general health. Of course it is of crucial importance, I think, that the regeneration of Henderson takes place in a world that is thoroughly and wholly imagined, but does not really exist; that is, it is not a part of that reality which we all read about and worry over—this is not the tumultuous Africa of the newspapers and the United Nations discussions that Eugene Henderson visits. There is nothing here of nationalism or riots or apartheid. But then, why should there be? There is the world, but there is also the self. And the self, when the writer turns upon it all his attention and talent, is revealed to be a remarkable thing. First off, it exists, it’s real. I am, the self cries, and then, taking a nice long look, it adds, and I am beautiful.
At the conclusion of Bellow’s book, the hero, Eugene Henderson, a big, sloppy millionaire, is returning to America, coming home from a trip to Africa where he has been plague-fighter, lion-tamer, and rainmaker; he is bringing back with him a real lion. Aboard the plane he befriends a small Persian boy, whose language he cannot understand. Still, when the plane lands at Newfoundland, Henderson takes the child in his arms and goes out onto the field. And then:
Laps and laps I galloped around the shining and riveted body of the plane, behind the fuel trucks. Dark faces were looking from within. The great, beautiful propellers were still, all four of them. I guess I felt it was my turn now to move, and so went running—leaping, leaping, pounding, and tingling over the pure white lining of the gray Arctic silence.
And so we leave Henderson, a very happy man. Where? In the Arctic. This picture has stayed with me since I read the book a year or so ago: of a man who finds energy and joy in an imagined Africa, and celebrates it on an unpeopled, icebound vastness.
arlier I quoted from Styron’s new novel, Set This House on Fire. Now Styron’s book, like Bellow’s, is also the story of the regeneration of a man, and too of an American who leaves his own country and goes abroad for a while to live. But where Henderson’s world is removed from our own, not about riots or nationalism, Kinsolving, Styron’s hero, inhabits a planet we immediately recognize. The book is drenched in details that twenty years from now will surely require footnotes to be thoroughly understood. The hero of the book is an American painter who has taken his family to live in a small town on the Amalfi coast. Cass Kinsolving detests America, and himself to boot. Throughout most of the book he is taunted and tempted and disgraced by Mason Flagg, a fellow countryman, rich, boyish, naive, licentious, indecent, and finally, cruel and stupid. Kinsolving, by way of his attachment to Flagg, spends most of the book choosing between living and dying, and at one point, in a language and tone that are characteristic, he says this, concerning his expatriation:
. . . . the man I had come to Europe to escape [why he’s] the man in all the car advertisements, you know, the young guy waving there—he looks so beautiful and educated and everything, and he’s got it made, Penn State and a blonde there, and a smile as big as a billboard. And he’s going places. I mean electronics. Politics. What they call communication. Advertising. Saleshood. Outer space. God only knows. And he’s as ignorant as an Albanian peasant.
However, at the end of the book, for all his disgust with what the American public life does to a man’s private life, Kinsolving, like Henderson, has come back to America, having opted for existence. But the America that we find him in seems to me to be the America of his childhood, and, if only in a metaphoric way, of all our childhoods: he tells his story while he fishes from a boat in a Carolina stream. The affirmation at the conclusion is not as go-getting as Gold’s “More! More!” nor as sublime as Harnack’s, “I believe in God,” nor as joyous as Henderson’s romp on the Newfoundland airfield. “I wish I could tell you that I had found some belief, some rock . . .” Kinsolving says, “but to be truthful, you see, I can only tell you this: that as for being and nothingness, the only thing I did know was that to choose between them was simply to choose being . . .” Being. Living. Not where one lives or with whom one lives—but that one lives.
And now, alas, what does all of this add up to? It would certainly be to oversimplify the art of fiction, and the complex relationship between a man and his times, to ignore the crucial matters of individual talent, history, and character, to say that Bellow’s book, or Styron’s, or even Herbert Gold’s prose style, arise naturally out of our distressing cultural and political predicament. However, that our communal predicament is a distressing one, is a fact that weighs upon the writer no less, and perhaps even more, than his neighbor—for to the writer the community is, properly, both his subject and his audience. And it may be that when the predicament produces in the writer not only feelings of disgust, rage, and melancholy, but impotence, too, he is apt to lose heart and finally, like his neighbor, turn to other matters, or to other worlds; or to the self, which may, in a variety of ways, become his subject, or even the impulse for his technique. What I have tried to point out is that the sheer fact of self, the vision of self as inviolable, powerful, and nervy, self as the only real thing in an unreal environment, that that vision has given to some writers joy, solace, and muscle. Certainly to have come through a holocaust in one piece, to have survived, is nothing to be made light of, and it is for that reason, say, that Styron’s hero manages to engage our sympathies right down to the end. However, when survival itself becomes one’s raison d’être, when one cannot choose but be ascetic, when the self can only be celebrated as it is excluded from society, or as it is exercised and admired in a fantastic one, we then, I think, do not have much reason to be cheery. Finally there is for me something hollow and unconvincing about Henderson up there on top of the world dancing around that airplane. Consequently, it is not with this image that I should like to conclude, but instead with the image that Ralph Ellison gives to us of his hero at the end of Invisible Man. For here too the hero is left with the simple stark fact of himself. He is as alone as a man can be. Not that he hasn’t gone out into the world; he has gone out into it, and out into it, and out into it—but at the end he chooses to go underground, to live there and to wait. And it does not seem to him a cause for celebration either.
1 “Looking for Intelligence in Washington” (October 1960).—Ed.