When a book like Tropic of Cancer appears, it is only natural that the first thing people notice should be its obscenity. Given our current notions of literary decency, it is not at all easy to approach an unprintable book with detachment. Either one is shocked and disgusted, or one is morbidly thrilled, or one is determined above all else not to be impressed. The last is probably the commonest reaction, with the result that unprintable books often get less attention than they deserve. It is rather the fashion to say that nothing is easier than to write an obscene book, that people only do it in order to get themselves talked about and make money, etc., etc. What makes it obvious that this is not the case is that books which are obscene in the police-court sense are distinctly uncommon. If there were easy money to be made out of dirty words, a lot more people would be making it. But, because "obscene" books do not appear very frequently, there is a tendency to lump them together, as a rule quite unjustifiably. Tropic of Cancer has been vaguely associated with two other books, Ulysses and Voyage au Bout de la Nuit,4 but in neither case is there much resemblance. What Miller has in common with Joyce is a willingness to mention the inane squalid facts of everyday life. Putting aside differences of technique, the funeral scene in Ulysses, for instance, would fit into Tropic of Cancer; the whole chapter is a sort of confession, an expose of the frightful inner callousness of the human being. But there the resemblance ends. As a novel, Tropic of Cancer is far inferior to Ulysses. Joyce is an artist, in a sense in which Miller is not and probably would not wish to be, and in any case he is attempting much more. He is exploring different states of consciousness, dream, reverie (the "bronze-by-gold" chapter), drunkenness, etc., and dovetailing them all into a huge complex pattern, almost like a Victorian "plot." Miller is simply a hard-boiled person talking about life, an ordinary American businessman with intellectual courage and a gift for words. It is perhaps significant that he looks exactly like everyone's idea of an American businessman. As for the comparison with Voyage au Bout de la Nuit, it is even further from the point. Both books use unprintable words, both are in some sense autobiographical, but that is all. Voyage au Bout de la Nuit is a book-with-a-purpose, and its purpose is to protest against the horror and meaninglessness of modern life--actually, indeed, of life. It is a cry of unbearable disgust, a voice from the cesspool. Tropic of Cancer is almost exactly the opposite. The thing has become so unusual as to seem almost anomalous, but it is the book of a man who is happy. So is Black Spring, though slightly less so, because tinged in places with nostalgia. With years of lumpenproletarian life behind him, hunger, vagabondage, dirt, failure, nights in the open, battles with immigration officers, endless struggles for a bit of cash, Miller finds that he is enjoying himself. Exactly the aspects of life that fill Celine with horror are the ones that appeal to him. So far from protesting, he is accepting. And the very word "acceptance" calls up his real affinity, another American, Walt Whitman.
But there is something rather curious in being Whitman in the nineteen-thirties. It is not certain that if Whitman himself were alive at this moment he would write anything in the least degree resembling Leaves of Grass. For what he is saying, after all, is "I accept," and there is a radical difference between acceptance now and acceptance then. Whitman was writing in a time of unexampled prosperity, but more than that, he was writing in a country where freedom was something more than a word. The democracy, equality and comradeship that he is always talking about are not remote ideals, but something that existed in front of his eyes.
In mid-nineteenth-century America men felt themselves free and equal, were free and equal, so far as that is possible outside a society of pure communism. There was poverty and there were even class-distinctions, but except for the Negroes there was no permanently submerged class. Everyone had inside him, like a kind of core, the knowledge that he could earn a decent living, and earn it without bootlicking. When you read about Mark Twain's Mississippi raftsmen and pilots, or Bret Harte's Western gold-miners, they seem more remote than the cannibals of the Stone Age. The reason is simply that they are free human beings. But it is the same even with the peaceful domesticated America of the Eastern states, the America of Little Women, Helen's Babies and "Riding Down from Bangor."5 Life has a buoyant, carefree quality that you can feel as you read, like a physical sensation in your belly. It is this that Whitman is celebrating, though actually he does it very badly, because he is one of those writers who tell you what you ought to feel instead of making you feel it. Luckily for his beliefs, perhaps, he died too early to see the deterioration in American life that came with the rise of large-scale industry and the exploiting of cheap immigrant labour.
Miller's outlook is deeply akin to that of Whitman, and nearly everyone who has read him has remarked on this. Tropic of Cancer ends with an especially Whitmanesque passage, in which, after the lecheries, the swindles, the fights, the drinking bouts and the imbecilities, he simply sits down and watches the Seine flowing past, in a sort of mystical acceptance of the thing-as-it-is. Only, what is he accepting? In the first place, not America, but the ancient bone-heap of Europe, where every grain of soil has passed through innumerable human bodies. Secondly, not an epoch of expansion and liberty, but an epoch of fear, tyranny and regimentation. To say "I accept" in an age like our own is to say that you accept concentration-camps, rubber truncheons, Hitler, Stalin, bombs, aeroplanes, tinned food, machine-guns, putsches, purges, slogans, Bedaux belts,6 gas-masks, submarines, spies, provocateurs, press-censorship, secret prisons, aspirins, Hollywood films and political murders. Not only those things, of course, but those things among others. And on the whole this is Henry Miller's attitude. Not quite always, because at moments he shows signs of a fairly ordinary kind of literary nostalgia. There is a long passage in the earlier part of Black Spring, in praise of the Middle Ages, which as prose must be one of the most remarkable pieces of writing in recent years, but which displays an attitude not very different from that of Chesterton. In Max and the White Phagocytes7 there is an attack on modern American civilisation (breakfast cereals, cellophane, etc.) from the usual angle of the literary man who hates industrialism. But in general the attitude is "Let's swallow it whole." And hence the seeming preoccupation with indecency and with the dirty-handkerchief side of life. It is only seeming, for the truth is that life, ordinary everyday life, consists far more largely of horrors than writers of fiction usually care to admit. Whitman himself "accepted" a great deal that his contemporaries found unmentionable. For he is not only writing of the prairie, he also wanders through the city and notes the shattered skull of the suicide, the "grey sick faces of onanists," etc., etc. But unquestionably our own age, at any rate in Western Europe, is less healthy and less hopeful than the age in which Whitman was writing. Unlike Whitman, we live in a shrinking world. The "democratic vistas" have ended in barbed wire. There is less feeling of creation and growth, less and less emphasis on the cradle, endlessly rocking, more and more emphasis on the teapot, endlessly stewing. To accept civilisation as it is practically means accepting decay. It has ceased to be a strenuous attitude and become a passive attitude--even "decadent," if that word means anything.
But precisely because, in one sense, he is passive to experience, Miller is able to get nearer to the ordinary man than is possible to more purposive writers. For the ordinary man is also passive. Within a narrow circle (home life, and perhaps the trade union or local politics) he feels himself master of his fate, but against major events he is as helpless as against the elements. So far from endeavouring to influence the future, he simply lies down and lets things happen to him. During the past ten years literature has involved itself more and more deeply in politics, with the result that there is now less room in it for the ordinary man than at any time during the past two centuries. One can see the change in the prevailing literary attitude by comparing the books written about the Spanish Civil War with those written about the war of 1914-18. The immediately striking thing about the Spanish war books, at any rate those written in E
nglish, is their shocking dullness and badness. But what is more significant is that almost all of them, right-wing or leftwing, are written from a political angle, by cocksure partisans telling you what to think, whereas the books about the Great War were written by common soldiers or junior officers who did not even pretend to understand what the whole thing was about. Books like All Quiet on the Western Front, Le Feu, A Farewell to Arms, Death of a Hero, Good-bye to All That, Memoirs of an Infantry Officer and A Subaltern on the Somme8 were written not by propagandists but by victims. They are saying in effect, "What the hell is all this about? God knows. All we can do is to endure." And though he is not writing about war, nor, on the whole, about unhappiness, this is nearer to Miller's attitude than the omniscience which is now fashionable. The Booster,9 a short-lived periodical of which he was part-editor, used to describe itself in its advertisements as "non-political, non-educational, non-progressive, non-cooperative, non-ethical, non-literary, non-consistent, non-contemporary," and Miller's own work could be described in nearly the same terms. It is a voice from the crowd, from the underling, from the third-class carriage, from the ordinary, non-political, non-moral, passive man.
I have been using the phrase "ordinary man" rather loosely, and I have taken it for granted that the "ordinary man" exists, a thing now denied by some people. I do not mean that the people Miller is writing about constitute a majority, still less that he is writing about proletarians. No English or American novelist has as yet seriously attempted that. And again, the people in Tropic of Cancer fall short of being ordinary to the extent that they are idle, disreputable and more or less "artistic." As I have said already, this is a pity, but it is the necessary result of expatriation. Miller's "ordinary man" is neither the manual worker nor the suburban householder, but the derelict, the declasse, the adventurer, the American intellectual without roots and without money. Still, the experiences even of this type overlap fairly widely with those of more normal people. Miller has been able to get the most out of his rather limited material because he has had the courage to identify with it. The ordinary man, the "average sensual man," has been given the power of speech, like Balaam's ass.
It will be seen that this is something out of date, or at any rate out of fashion. The average sensual man is out of fashion. The passive, non-political attitude is out of fashion. Preoccupation with sex and truthfulness about the inner life are out of fashion. American Paris is out of fashion. A book like Tropic of Cancer, published at such a time, must be either a tedious preciosity or something unusual, and I think a majority of the people who have read it would agree that it is not the first. It is worth trying to discover just what this escape from the current literary fashion means. But to do that one has got to see it against its background--that is, against the general development of English literature in the twenty years since the Great War.
2
When one says that a writer is fashionable one practically always means that he is admired by people under thirty. At the beginning of the period I am speaking of, the years during and immediately after the war, the writer who had the deepest hold upon the thinking young was almost certainly Housman.10 Among people who were adolescent in the years 1910-25, Housman had an influence which was enormous and is now not at all easy to understand. In 1920, when I was about seventeen, I probably knew the whole of A Shropshire Lad by heart. I wonder how much impression A Shropshire Lad makes at this moment on a boy of the same age and more or less the same cast of mind? No doubt he has heard of it and even glanced into it; it might strike him as rather cheaply clever--probably that would be about all. Yet these are the poems that I and my contemporaries used to recite to ourselves, over and over, in a kind of ecstasy, just as earlier generations had recited Meredith's "Love in a Valley," Swinburne's "Garden of Proserpine," etc., etc.
With rue my heart is laden
For golden friends I had,
For many a rose-lipt maiden
And many a lightfoot lad.
By brooks too broad for leaping
The lightfoot boys are laid;
The rose-lipt girls are sleeping
In fields where roses fade.
It just tinkles. But it did not seem to tinkle in 1920. Why does the bubble always burst? To answer that question one has to take account of the external conditions that make certain writers popular at certain times. Housman's poems had not attracted much notice when they were first published. What was there in them that appealed so deeply to a single generation, the generation born round about 1900?
In the first place, Housman is a "country" poet. His poems are full of the charm of buried villages, the nostalgia of place-names, Clunton and Clunbury, Knighton, Ludlow, "on Wenlock Edge," "in summer time on Bredon," thatched roofs and the jingle of smithies, the wild jonquils in the pastures, the "blue, remembered hills." War poems apart, English verse of the 1910-25 period is mostly "country." The reason no doubt was that the rentier-professional class was ceasing once and for all to have any real relationship with the soil; but at any rate there prevailed then, far more than now, a kind of snobbism of belonging to the country and despising the town. England at that time was hardly more an agricultural country than it is now, but before the light industries began to spread themselves it was easier to think of it as one. Most middle-class boys grew up within sight of a farm, and naturally it was the picturesque side of farm life that appealed to them--the ploughing, harvesting, stack-thrashing and so forth. Unless he has to do it himself a boy is not likely to notice the horrible drudgery of hoeing turnips, milking cows with chapped teats at four o'clock in the morning, etc., etc. Just before, just after and, for that matter, during the war was the great age of the "Nature poet," the heyday of Richard Jefferies and W. H. Hudson.11 Rupert Brooke's "Grantchester," the star poem of 1913,12 is nothing but an enormous gush of "country" sentiment, a sort of accumulated vomit from a stomach stuffed with place-names. Considered as a poem "Grantchester" is something worse than worthless, but as an illustration of what the thinking middle-class young of that period felt it is a valuable document.
Housman, however, did not enthuse over the rambler roses in the week-ending spirit of Brooke and the others. The "country" motif is there all the time, but mainly as a background. Most of the poems have a quasi-human subject, a kind of idealised rustic, in reality Strephon or Corydon brought up to date. This in itself had a deep appeal. Experience shows that over-civilised people enjoy reading about rustics (key-phrase, "close to the soil") because they imagine them to be more primitive and passionate than themselves. Hence the "dark earth" novels of Sheila Kaye-Smith,13 etc. And at that time a middle-class boy, with his "country" bias, would identify with an agricultural worker as he would never have thought of doing with a town worker. Most boys had in their minds a vision of an idealised ploughman, gypsy, poacher, or gamekeeper, always pictured as a wild, free, roving blade, living a life of rabbit-snaring, cockfighting, horses, beer and women. Masefield's Everlasting Mercy,14 another valuable period-piece, immensely popular with boys round about the war years, gives you this vision in a very crude form. But Housman's Maurices and Terences could be taken seriously where Masefield's Saul Kane could not; on this side of him, Housman was Masefield with a dash of Theocritus. Moreover all his themes are adolescent--murder, suicide, unhappy love, early death. They deal with the simple, intelligible disasters that give you the feeling of being up against the "bedrock facts" of life:
All Art Is Propaganda: Critical Essays Page 13