Modern Fiction
VIRGINIA WOOLF
In making any survey, even the freest and loosest, of modern fiction, it is
difficult not to take it for granted that the modern practice of the art is somehow
an improvement upon the old. With their simple tools and primitive materials, it
might be said, Fielding did well and Jane Austen even better, but compare their
opportunities with ours! Their masterpieces certainly have a strange air of
simplicity. And yet the analogy between literature and the process, to choose an
example, of making motor cars scarcely holds good beyond the first glance. It is
doubtful whether in the course of the centuries, though we have learnt much
about making machines, we have learnt anything about making literature. We do
not come to write better; all that we can be said to do is to keep moving, now a
little in this direction, now in that, but with a circular tendency should the whole
course of the track be viewed from a sufficiently lofty pinnacle. It need scarcely
be said that we make no claim to stand, even momentarily, upon that vantage
ground. On the flat, in the crowd, half blind with dust, we look back with envy
to those happier warriors, whose battle is won and whose achievements wear so
serene an air of accomplishment that we can scarcely refrain from whispering
that the fight was not so fierce for them as for us. It is for the historian of
literature to decide; for him to say if we are now beginning or ending or standing
in the middle of a great period of prose fiction, for down in the plain little is
visible. We only know that certain gratitudes and hostilities inspire us; that
certain paths seem to lead to fertile land, others to the dust and the desert; and of
this perhaps it may be worth while to attempt some account.
Our quarrel, then, is not with the classics, and if we speak of quarrelling with
Mr. Wells, Mr. Bennett, and Mr. Galsworthy, it is partly that by the mere fact of
their existence in the flesh their work has a living, breathing, everyday
imperfection which bids us take what liberties with it we choose. But it is also
true that, while we thank them for a thousand gifts, we reserve our unconditional
gratitude for Mr. Hardy, for Mr. Conrad, and in a much lesser degree for the Mr.
Hudson of The Purple Land, Green Mansions, and Far Away and Long Ago.
Mr. Wells, Mr. Bennett, and Mr. Galsworthy have excited so many hopes and
disappointed them so persistently that our gratitude largely takes the form of
thanking them for having shown us what they might have done but have not
done; what we certainly could not do, but as certainly, perhaps, do not wish to
do. No single phrase will sum up the charge or grievance which we have to
bring against a mass of work so large in its volume and embodying so many
qualities, both admirable and the reverse. If we tried to formulate our meaning in
one word we should say that these three writers are materialists. It is because
they are concerned not with the spirit but with the body that they have
disappointed us, and left us with the feeling that the sooner English fiction turns
its back upon them, as politely as may be, and marches, if only into the desert,
the better for its soul. Naturally, no single word reaches the centre of three
separate targets. In the case of Mr. Wells it falls notably wide of the mark. And
yet even with him it indicates to our thinking the fatal alloy in his genius, the
great clod of clay that has got itself mixed up with the purity of his inspiration.
But Mr. Bennett is perhaps the worst culprit of the three, inasmuch as he is by
far the best workman. He can make a book so well constructed and solid in its
craftsmanship that it is difficult for the most exacting of critics to see through
what chink or crevice decay can creep in. There is not so much as a draught
between the frames of the windows, or a crack in the boards. And yet--if life
should refuse to live there? That is a risk which the creator of The Old Wives'
Tale, George Cannon, Edwin Clayhanger, and hosts of other figures, may well
claim to have surmounted. His characters live abundantly, even unexpectedly,
but it remains to ask how do they live, and what do they live for? More and
more they seem to us, deserting even the well-built villa in the Five Towns, to
spend their time in some softly padded first-class railway carriage, pressing bells
and buttons innumerable; and the destiny to which they travel so luxuriously
becomes more and more unquestionably an eternity of bliss spent in the very
best hotel in Brighton. It can scarcely be said of Mr. Wells that he is a
materialist in the sense that he takes too much delight in the solidity of his
fabric. His mind is too generous in its sympathies to allow him to spend much
time in making things shipshape and substantial. He is a materialist from sheer
goodness of heart, taking upon his shoulders the work that ought to have been
discharged by Government officials, and in the plethora of his ideas and facts
scarcely having leisure to realise, or forgetting to think important, the crudity
and coarseness of his human beings. Yet what more damaging criticism can
there be both of his earth and of his Heaven than that they are to be inhabited
here and hereafter by his Joans and his Peters? Does not the inferiority of their
natures tarnish whatever institutions and ideals may be provided for them by the
generosity of their creator? Nor, profoundly though we respect the integrity and
humanity of Mr. Galsworthy, shall we find what we seek in his pages.
If we fasten, then, one label on all these books, on which is one word
materialists, we mean by it that they write of unimportant things; that they spend
immense skill and immense industry making the trivial and the transitory appear
the true and the enduring.
We have to admit that we are exacting, and, further, that we find it difficult to
justify our discontent by explaining what it is that we exact. We frame our
question differently at different times. But it reappears most persistently as we
drop the finished novel on the crest of a sigh--Is it worth while? What is the
point of it all? Can it be that, owing to one of those little deviations which the
human spirit seems to make from time to time, Mr. Bennett has come down with
his magnificent apparatus for catching life just an inch or two on the wrong
side? Life escapes; and perhaps without life nothing else is worth while. It is a
confession of vagueness to have to make use of such a figure as this, but we
scarcely better the matter by speaking, as critics are prone to do, of reality.
Admitting the vagueness which afflicts all criticism of novels, let us hazard the
opinion that for us at this moment the form of fiction most in vogue more often
misses than secures the thing we seek. Whether we call it life or spirit, truth or
reality, this, the essential thing, has moved off, or on, and refuses to be
contained any longer in such ill-fitting vestments as we provide. Nevertheless,
we go on perseveringly, conscientiously, constructing our two and thirty
chapters after a design which more and more ceases to resemble the vision in
our minds. So much of the enormous labour of proving the solidity, the likeness
to life, of the story is not merely labour thrown away but labour misplaced to the
extent of obscuring and blotting out the light of the conception. The writer
seems constrained, not by his own free will but by some powerful and
unscrupulous tyrant who has him in thrall, to provide a plot, to provide comedy,
tragedy, love interest, and an air of probability embalming the whole so
impeccable that if all his figures were to come to life they would find themselves
dressed down to the last button of their coats in the fashion of the hour. The
tyrant is obeyed; the novel is done to a turn. But sometimes, more and more
often as time goes by, we suspect a momentary doubt, a spasm of rebellion, as
the pages fill themselves in the customary way. Is life like this? Must novels be
like this?
Look within and life, it seems, is very far from being "like this". Examine for a
moment an ordinary mind on an ordinary day. The mind receives a myriad
impressions--trivial, fantastic, evanescent, or engraved with the sharpness of
steel. From all sides they come, an incessant shower of innumerable atoms; and
as they fall, as they shape themselves into the life of Monday or Tuesday, the
accent falls differently from of old; the moment of importance came not here but
there; so that, if a writer were a free man and not a slave, if he could write what
he chose, not what he must, if he could base his work upon his own feeling and
not upon convention, there would be no plot, no comedy, no tragedy, no love
interest or catastrophe in the accepted style, and perhaps not a single button
sewn on as the Bond Street tailors would have it. Life is not a series of gig lamps
symmetrically arranged; life is a luminous halo, a semi-transparent envelope
surrounding us from the beginning of consciousness to the end. Is it not the task
of the novelist to convey this varying, this unknown and uncircumscribed spirit,
whatever aberration or complexity it may display, with as little mixture of the
alien and external as possible? We are not pleading merely for courage and
sincerity; we are suggesting that the proper stuff of fiction is a little other than
custom would have us believe it.
It is, at any rate, in some such fashion as this that we seek to define the quality
which distinguishes the work of several young writers, among whom Mr. James
Joyce is the most notable, from that of their predecessors. They attempt to come
closer to life, and to preserve more sincerely and exactly what interests and
moves them, even if to do so they must discard most of the conventions which
are commonly observed by the novelist. Let us record the atoms as they fall
upon the mind in the order in which they fall, let us trace the pattern, however
disconnected and incoherent in appearance, which each sight or incident scores
upon the consciousness. Let us not take it for granted that life exists more fully
in what is commonly thought big than in what is commonly thought small. Any
one who has read The Portrait of the Artist as a Young Man or, what promises to
be a far more interesting work, Ulysses, now appearing in the Little Review, will
have hazarded some theory of this nature as to Mr. Joyce's intention. On our
part, with such a fragment before us, it is hazarded rather than affirmed; but
whatever the intention of the whole, there can be no question but that it is of the
utmost sincerity and that the result, difficult or unpleasant as we may judge it, is
undeniably important. In contrast with those whom we have called materialists,
Mr. Joyce is spiritual; he is concerned at all costs to reveal the flickerings of that
innermost flame which flashes its messages through the brain, and in order to
preserve it he disregards with complete courage whatever seems to him
adventitious, whether it be probability, or coherence, or any other of these
signposts which for generations have served to support the imagination of a
reader when called upon to imagine what he can neither touch nor see. The
scene in the cemetery, for instance, with its brilliancy, its sordidity, its
incoherence, its sudden lightning flashes of significance, does undoubtedly
come so close to the quick of the mind that, on a first reading at any rate, it is
difficult not to acclaim a masterpiece. If we want life itself, here surely we have
it. Indeed, we find ourselves fumbling rather awkwardly if we try to say what
else we wish, and for what reason a work of such originality yet fails to
compare, for we must take high examples, with Youth or The Mayor of
Casterbridge. It fails because of the comparative poverty of the writer's mind,
we might say simply and have done with it. But it is possible to press a little
further and wonder whether we may not refer our sense of being in a bright yet
narrow room, confined and shut in, rather than enlarged and set free, to some
limitation imposed by the method as well as by the mind. Is it the method that
inhibits the creative power? Is it due to the method that we feel neither jovial nor
magnanimous, but centred in a self which, in spite of its tremor of susceptibility,
never embraces or creates what is outside itself and beyond? Does the emphasis
laid, perhaps didactically, upon indecency, contribute to the effect of something
angular and isolated? Or is it merely that in any effort of such originality it is
much easier, for contemporaries especially, to feel what it lacks than to name
what it gives? In any case it is a mistake to stand outside examining "methods".
Any method is right, every method is right, that expresses what we wish to
express, if we are writers; that brings us closer to the novelist's intention if we
are readers. This method has the merit of bringing us closer to what we were
prepared to call life itself; did not the reading of Ulysses suggest how much of
life is excluded or ignored, and did it not come with a shock to open Tristram
Shandy or even Pendennis and be by them convinced that there are not only
other aspects of life, but more important ones into the bargain.
However this may be, the problem before the novelist at present, as we suppose
it to have been in the past, is to contrive means of being free to set down what he
chooses. He has to have the courage to say that what interests him is no longer
"this" but "that": out of "that" alone must he construct his work. For the moderns
"that", the point of interest, lies very likely in the dark places of psychology. At
once, therefore, the accent falls a little differently; the emphasis is upon
something hitherto ignored; at once a different outline of form becomes
necessary, difficult for us to grasp, incomprehensible to our predecessors. No
one but a modern, no one perhaps but a Russian, would have felt the interest of
the situation which Tchekov has made into the short story which he calls
"Gusev". Some Russian soldiers lie ill on board a ship which is taking them back
to Russia. We are given a few scraps of their talk and some of their thoughts;
then one of them dies and is carried away; the talk goes on among the others for
a time, until Gusev himself dies, and looking "like a carrot or a radish" is thrown
overboard. The emphasis is laid upon such unexpected places that at first it
seems as if there were no emphasis at all; and then, as the eyes accustom
themselves to twilight and discern the shapes of things in a room we see how
complete the story is, how profound, and how truly in obedience to his vision
Tchekov has chosen this, that, and the other, and placed them together to
compose something new. But it is impossible to say "this is comic", or "that is
tragic", nor are we certain, since short stories, we have been taught, should be
brief and conclusive, whether this, which is vague and inconclusive, should be
called a short story at all.
The most elementary remarks upon modern English fiction can hardly avoid
some mention of the Russian influence, and if the Russians are mentioned one
runs the risk of feeling that to write of any fiction save theirs is waste of time. If
we want understanding of the soul and heart where else shall we find it of
comparable profundity? If we are sick of our own materialism the least
considerable of their novelists has by right of birth a natural reverence for the
human spirit. "Learn to make yourself akin to people. . . . But let this sympathy
be not with the mind--for it is easy with the mind--but with the heart, with love
towards them." In every great Russian writer we seem to discern the features of
a saint, if sympathy for the sufferings of others, love towards them, endeavour to
reach some goal worthy of the most exacting demands of the spirit constitute
saintliness. It is the saint in them which confounds us with a feeling of our own
irreligious triviality, and turns so many of our famous novels to tinsel and
trickery. The conclusions of the Russian mind, thus comprehensive and
compassionate, are inevitably, perhaps, of the utmost sadness. More accurately
indeed we might speak of the inconclusiveness of the Russian mind. It is the
sense that there is no answer, that if honestly examined life presents question
after question which must be left to sound on and on after the story is over in
hopeless interrogation that fills us with a deep, and finally it may be with a
resentful, despair. They are right perhaps; unquestionably they see further than
we do and without our gross impediments of vision. But perhaps we see
something that escapes them, or why should this voice of protest mix itself with
our gloom? The voice of protest is the voice of another and an ancient
civilisation which seems to have bred in us the instinct to enjoy and fight rather
than to suffer and understand. English fiction from Sterne to Meredith bears
witness to our natural delight in humour and comedy, in the beauty of earth, in
the activities of the intellect, and in the splendour of the body. But any
deductions that we may draw from the comparison of two fictions so
immeasurably far apart are futile save indeed as they flood us with a view of the
infinite possibilities of the art and remind us that there is no limit to the horizon,
and that nothing--no "method", no experiment, even of the wildest--is forbidden,
but only falsity and pretence. "The proper stuff of fiction" does not exist;
everything is the proper stuff of fiction, every feeling, every thought; every
quality of brain and spirit is drawn upon; no perception comes amiss. And if we
can imagine the art of fiction come alive and standing in our midst, she would
undoubtedly bid us break her and bully her, as well as honour and love her, for
so her youth is renewed and her sovereignty assured.