by Gore Vidal
According to Edgar Rice Burroughs, “Most of the stories I wrote were the stories I told myself just before I went to sleep.” He is a fascinating figure to contemplate, an archetypal American dreamer. Born in 1875 in Chicago, he was a drifter until he was thirty-six. He served briefly in the U.S. Cavalry; then he was a gold miner in Oregon, a cowboy in Idaho, a railroad policeman in Salt Lake City; he attempted several businesses that failed. He was perfectly in the old-American grain: the man who could take on almost any job, who liked to keep moving, who tried to get rich quick but could never pull it off. And while he was drifting through the unsatisfactory real world, he consoled himself with an inner world where he was strong and handsome, adored by beautiful women and worshiped by exotic races. His principal source of fantasy was Rider Haggard. But even that rich field was limited, and so, searching for new veins to tap, he took to reading the pulp magazines, only to find that none of the stories could compare for excitement with his own imaginings. Since the magazine writers could not please him, he had no choice but to please himself, and the public. He composed a serial about Mars and sold it to Munsey’s. The rest was easy, for his fellow daydreamers recognized at once a master dreamer.
In 1914 Burroughs published Tarzan of the Apes (Rousseau’s noble savage reborn in Africa), and history was made. To date the Tarzan books have sold over twenty-five million copies in fifty-six languages. There is hardly an American male of my generation who has not at one time or another tried to master the victory cry of the great ape as it issued from the voluptuous chest of Johnny Weissmuller, to the accompaniment of thousands of arms and legs snapping during attempts to swing from tree to tree in the backyards of the Republic. Between 1914 and his death in 1950, the squire of Tarzana, California (a prophet more than honored in his own land), produced over sixty books, while enjoying the unique status of being the first American writer to be a corporation. Burroughs is said to have been a pleasant, unpretentious man who liked to ride and play golf. Not one to compromise a vivid unconscious with dim reality, he never set foot in Africa.
With a sense of recapturing childhood, I have just reread several Tarzan books. It is fascinating to see how much one recalls after a quarter century. At times the sense of déjà vu is overpowering. It is equally interesting to discover that one’s memories of Tarzan of the Apes are mostly action scenes. The plot had slipped one’s mind…and a lot of plot there is. The beginning is worthy of Conrad. “I had this story from one who had no business to tell it to me, or to any other. I may credit the seductive influence of an old vintage upon the narrator for the beginning of it, and my own skeptical incredulity during the days that followed for the balance of the strange tale.” It is 1888. The young Lord and Lady Greystoke are involved in a ship mutiny (“there was in the whole atmosphere of the craft that undefinable something which presages disaster”). The peer and peeress are put ashore on the west coast of Africa, where they promptly build a tree house. Here Burroughs is at his best. He tells you the size of the logs, the way to hang a door when you have no hinges, the problems of roofing. One of the best things about his books is the descriptions of making things. The Greystokes have a child, and conveniently die. The “man-child” is discovered by Kala, a Great Ape, who brings him up as a member of her tribe. As anthropologist, Burroughs is pleasantly vague. His apes are carnivorous, and they are able, he darkly suspects, to mate with human beings.
Tarzan grows up as an ape, kills his first lion (with a full nelson), teaches himself to read and write English by studying some books found in the cabin. The method he used, sad to say, is the currently fashionable “look-say.” Though he can read and write, he cannot speak any language except that of the apes. He also gets on well with other members of the animal kingdom, with Tantor the elephant, Ska the vulture, Numa the lion (Kipling was also grist for the Burroughs dream mill). Then white folks arrive: Professor Archimedes Q. Porter and his daughter Jane. Also, a Frenchman named D’Arnot who teaches Tarzan to speak French, which is confusing. By an extraordinary coincidence, Jane’s suitor is the current Lord Greystoke, who thinks the Greystoke baby is dead. Tarzan saves Jane from an ape. Then he puts on clothes and goes to Paris, where he drinks absinthe. Next stop, America. In Wisconsin, he saves Jane Porter from a forest fire: only to give her up nobly to Lord Greystoke, not revealing the fact that he is the real Lord Greystoke. Fortunately in the next volume, The Return of Tarzan, he marries Jane and they live happily ever after in Africa, raising a son John, who in turn grows up and has a son. Yet even as a grandfather, Tarzan continues to have adventures with people a foot high, with descendants of Atlantis, with the heirs of a Roman legion who think that Rome is still a success. All through these stories one gets the sense that one is daydreaming, too. Episode follows episode with no particular urgency. Tarzan is always knocked on the head and taken captive; he always escapes; there is always a beautiful princess or high priestess who loves him and assists him; there is always a loyal friend who fights beside him, very much in that Queequeg tradition which, Professor Leslie Fiedler assures us, is the urning in the fuel supply of the American psyche. But no matter how difficult the adventure, Tarzan, clad only in a loincloth with no weapon save a knife (the style is comforting to imitate), wins against all odds and returns to his shadowy wife.
Stylistically, Burroughs is—how shall I put it?—uneven. He has moments of ornate pomp, when the darkness is “Cimmerian” of redundancy, “she was hideous and ugly” of extraordinary dialogue: “Name of a name,” shrieked Rokoff. “Pig, but you shall die for this!” Or Lady Greystoke to Lord G.: “Duty is duty, my husband, and no amount of sophistries may change it. I would be a poor wife for an English lord were I to be responsible for his shirking a plain duty.” Or the grandchild: “Muvver,” he cried, “Dackie doe? Dackie doe?” “Let him come along,” urged Tarzan. “Dare!” exclaimed the boy, turning triumphantly upon the governess, “Dackie do doe yalk!” Burroughs’s use of coincidence is shameless even for a pulp writer. In one book he has three sets of characters shipwrecked at exactly the same point on the shore of Africa. Even Burroughs finds this a bit much. “Could it be possible [muses Tarzan] that fate had thrown him up at the very threshold of his own beloved jungle?” It was possible since anything can happen in a daydream.
Though Burroughs is innocent of literature and cannot reproduce human speech, he does have a gift very few writers of any kind possess: he can describe action vividly. I give away no trade secrets when I say that this is as difficult for a Tolstoi as it is for a Burroughs (even William). Because it is so hard, the craftier contemporary novelists usually prefer to tell their stories in the first person, which is simply writing dialogue. In character, as it were, the writer settles for an impression of what happened rather than creating the sense of the thing happening. In action Tarzan is excellent.
There is something basic in the appeal of the 1914 Tarzan which makes me think that he can still hold his own as a daydream figure, despite the sophisticated challenge of his two young competitors, James Bond and Mike Hammer. For most adults, Tarzan (and John Carter of Mars) can hardly compete with the conspicuous consumer consumption of James Bond or the sickly violence of Mike Hammer, but for children and adolescents the old appeal continues. All of us need the idea of a world alternative to this one. From Plato’s Republic to Opar to Bondland, at every level, the human imagination has tried to imagine something better for itself than the existing society. Man left Eden when he got up off all fours, endowing his descendants with nostalgia as well as chronic backache. In its naïve way, the Tarzan legend returns us to that Eden where, free of clothes and the inhibitions of an oppressive society, a man is able, as William Faulkner put it in his high Confederate style, to prevail as well as endure. The current fascination with LSD and drugs—not to mention alcohol—is all a result of a general sense of boredom. Since the individual’s desire to dominate his environment is not a desirable trait in a society that every day grows more and more confining, the average man must take to daydreami
ng. James Bond, Mike Hammer, and Tarzan are all dream selves, and the aim of each is to establish personal primacy in a world that, more and more, diminishes the individual. Among adults, the current popularity of these lively fictions strikes me as a most significant and unbearably sad phenomenon.
Esquire
December 1963
THE TOP TEN BEST-SELLERS ACCORDING TO THE SUNDAY NEW YORK TIMES AS OF JANUARY 7, 1973
“Shit has its own integrity.” The Wise Hack at the Writers’ Table in the MGM commissary used regularly to affirm this axiom for the benefit of us alien integers from the world of Quality Lit. It was plain to him (if not to the front office) that since we had come to Hollywood only to make money, our pictures would entirely lack the one basic homely ingredient that spells boffo world-wide grosses. The Wise Hack was not far wrong. He knew that the sort of exuberant badness which so often achieves perfect popularity cannot be faked even though, as he was quick to admit, no one ever lost a penny underestimating the intelligence of the American public. He was cynical (so were we); yet he also truly believed that children in jeopardy always hooked an audience, that Lana Turner was convincing when she rejected the advances of Edmund Purdom in The Prodigal “because I’m a priestess of Baal,” and he thought that Irving Thalberg was a genius of Leonardo proportion because he had made such tasteful “products” as The Barretts of Wimpole Street and Marie Antoinette.
In my day at the Writers’ Table (mid-Fifties) television had shaken the industry and the shit-dispensers could now…well, flush their products into every home without having to worry about booking a theater. In desperation, the front office started hiring alien integers whose lack of reverence for the industry distressed the Wise Hack who daily lectured us as we sat at our long table eating the specialty of the studio, top-billed as the Louis B. Mayer Chicken Soup with Matzoh Balls (yes, invariably, the dumb starlet would ask, What do they do with the rest of the matzoh?). Christopher Isherwood and I sat on one side of the table; John O’Hara on the other. Aldous Huxley worked at home. Dorothy Parker drank at home.
The last time I saw Dorothy Parker, Los Angeles had been on fire for three days. As I took a taxi from the studio I asked the driver, “How’s the fire doing?” “You mean,” said the Hollywoodian, “the holocaust.” The style, you see, must come as easily and naturally as that. I found Dorothy standing in front of her house, gazing at the smoky sky; in one hand she held a drink, in the other a comb which absently she was passing through her short straight hair. As I came toward her, she gave me a secret smile. “I am combing,” she whispered, “Los Angeles out of my hair.” But of course that was not possible. The ashes of Hollywood are still very much in our hair, as the ten best-sellers I have just read demonstrate.
The bad movies we made twenty years ago are now regarded in altogether too many circles as important aspects of what the new illiterates want to believe is the only significant art form of the twentieth century. An entire generation has been brought up to admire the product of that era. Like so many dinosaur droppings, the old Hollywood films have petrified into something rich, strange, numinous—golden. For any survivor of the Writers’ Table (alien or indigenous integer), it is astonishing to find young directors like Bertolucci, Bogdanovich, Truffaut reverently repeating or echoing or paying homage to the sort of kitsch we created first time around with a good deal of “help” from our producers and practically none at all from the directors—if one may quickly set aside the myth of the director as auteur. Golden-age movies were the work of producer(s) and writer(s). The director was given a finished shooting script with each shot clearly marked, and woe to him if he changed MED CLOSE SHOT to MED SHOT without permission from the front office, which each evening, in serried ranks, watched the day’s rushes with script in hand (“We’ve got some good pages today,” they would say; never good film). The director, as the Wise Hack liked to observe, is the brother-in-law.
I think it is necessary to make these remarks about the movies of the Thirties, Forties, and Fifties as a preface to the ten best-selling novels under review since most of these books reflect to some degree the films each author saw in his formative years, while at least seven of the novels appear to me to be deliberate attempts not so much to re-create new film product as to suggest old movies that will make the reader (and publisher and reprinter and, to come full circle, film-maker) recall past success and respond accordingly. Certainly none of the ten writers (save the noble engineer Solzhenitsyn and the classicist Mary Renault) is in any way rooted in literature. For the eight, storytelling began with The Birth of a Nation. Came to high noon with, well, High Noon and Mrs. Miniver and Rebecca and A Farewell to Arms. Except for the influence of the dead Ian Fleming (whose own work was a curious amalgam of old movies in the Eric Ambler–Hitchcock style with some sado-masochist games added), these books connect not at all with other books. But with the movies…ah, the movies!
Let us begin with number ten on your Hit Parade of Fiction, Two from Galilee, by Marjorie Holmes. Marjorie is also the author of I’ve Got to Talk to Somebody, God and Who Am I, God? Two from Galilee is subtitled significantly, “A Love Story of Mary and Joseph.” Since the film Love Story really took off, what about a love story starring the Mother and the Stepfather of Our Lord? A super idea. And Marjorie has written it. We open with the thirteen-year-old Mary menstruating (“a bloody hand had smitten her in the night”). “‘I am almost fourteen, Father,’ she said, ‘and I have become nubile this day.’” She is “mad for” Joseph, a carpenter’s son; he is mad for her.
Shrewdly Marjorie has taken two young Americans of the lower middle class and placed them in old Galilee. I recognize some of the descriptions as being from the last version of Ben-Hur to which I made a considerable contribution. “The couches covered with a silken stuff threaded with gold. The glow from a hanging alabaster lamp….” Luckily, I was on the set at the beginning of the shooting and so was able to persuade the art director to remove tomatoes from Mrs. Ben-Hur Senior’s kitchen. Otherwise, Marjorie might have had Hannah prepare a tomato and bacon sandwich for her daughter Mary.
Since Miss Holmes is not an experienced writer, it is difficult to know what, if anything, she had in mind when she decided to tell the Age-Old Story with nothing new to add. True, there are some domestic crises and folksy wrinkles like Joseph’s father being a drunk. Incidentally, Joseph and Mary are known by their English names while the other characters keep their Hebrew names. Mary’s mother Hannah is fun: a Jewish mother as observed by a gentile housewife in McLean, Virginia, who has seen some recent movies on the subject and heard all the jokes on television.
Hannah worries for her daughter. Will Joseph get into Mary before the wedding? “Hannah had no idea what it was like to be a man—this waiting. No woman could comprehend physical passion.” Helen Gurley Brown and Germaine Greer will no doubt set Miss Holmes straight on that sexist point. But perhaps the author is reflecting her audience (Who are they, by the way? Where are they? Baptists in Oklahoma City? Catholics in Duluth suburbs?) when she writes that Hannah “did not have the faintest concept of the demon-god that entered a youth’s loins at puberty and gave him no peace thereafter.” Yes, I checked the last noun for spelling. Joseph, incidentally, is such a stud that when Mary is with him “the thing that was between them chimed and quivered and lent discomfort to all.”
Suddenly between that chiming, quivering thing and Mary falls the shadow of the Holy Ghost. “Mary’s flesh sang,” as she experienced “the singing silence of God:” Miss Holmes rises to lyricism. “The Holy Spirit came upon her, invaded her body, and her bowels stirred and her loins melted.” Obviously entry was not made through the ear as those Renaissance painters who lacked Miss Holmes’s powerful realism believed. Mary soon starts wondering why “the blood pumps so painfully in my breast and my bowels run so thin?” She finds out in due course. Joseph has a hard time believing her story until the Holy Spirit tells him to get it together and accept his peculiar role as the antlered saint of a new cult.<
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At census time the young marrieds set out for Bethlehem, where the local Holiday Inn is full up or, as a passer-by says, “‘The Inn? You’ll be lucky to find a corner for the ass at the inn.’” As these quotations demonstrate, Miss Holmes’s style is beyond cliché. But when it comes to scene-making, she is sometimes betrayed by the familiarity of her subject matter. If the Story is to be told truly there must be a birth scene, and so she is obliged to write. “‘Some hot water if you can get it,’” adding, “‘Go no further even to fetch a midwife.’” To which a helpful stranger replies, “‘I’ll send one of them for one,’” reminding us of the Joan Crawford interview some decades ago when the living legend asked with quiet majesty, “Whom is fooling whom?” Finally, “Each night the great star stood over the stable’s entrance. Joseph had never seen such a star, flaming now purple, now white….”
I am told that religioso fiction has a wide audience around the country, and though these books rarely appear on best-seller lists in sinks of corruption like New York City, their overall sales in the country remind us that the enormous audience which flocked to see Ben-Hur, The Robe, The Ten Commandments is still waiting to have its simple faith renewed and stimulated with, as the sage at the Writers’ Table would say, teats and sand.
Number nine, The Eiger Sanction, by Trevanian (just one name) is light years distant from Two from Galilee. For one thing, it is sometimes well-written, though hardly, as the blurb tells us, “vintage Huxley.” Actually The Eiger Sanction is an Ian Fleming byblow and of its too numerous kind pretty good. Fleming once remarked that he wrote his books for warm-blooded heterosexuals. I suspect that Mr. Trevanian (Ms. Trevanian?) is writing for tepid-blooded bisexuals—that is to say, a majority of those who prefer reading kinky thrillers to watching that television set before whose busy screen 90 percent of all Americans spend a third of their waking hours.