THE FOURTH PIG
ODDLY MODERN FAIRY TALES
JACK ZIPES, SERIES EDITOR
Oddly Modern Fairy Tales is a series dedicated to publishing unusual literary fairy tales produced mainly during the first half of the twentieth century. International in scope, the series includes new translations, surprising and unexpected tales by well-known writers and artists, and uncanny stories by gifted yet neglected authors. Postmodern before their time, the tales in Oddly Modern Fairy Tales transformed the genre and still strike a chord.
Naomi Mitchison, The Fourth Pig
Kurt Schwitters, Lucky Hans and Other Merz Fairy Tales
Béla Balàzs, The Cloak of Dreams: Chinese Fairy Tales
Peter Davies, editor, The Fairies Return: Or, New Tales for Old
THE FOURTH PIG
NAOMI MITCHISON
WITH A NEW INTRODUCTION BY
MARINA WARNER
Princeton University Press
Princeton and Oxford
Copyright © 2014 Estate of Naomi Mitchison
Introduction copyright © 2014 by Princeton University Press
Published by arrangement with Kennedy & Boyd
(www.kennedyandboyd.co.uk)
Requests for permission to reproduce material from this work
should be sent to Permissions, Princeton University Press
Published by Princeton University Press, 41 William Street,
Princeton, New Jersey 08540
In the United Kingdom: Princeton University Press, 6 Oxford Street,
Woodstock, Oxfordshire OX20 1TW
First published in 1936 by Constable and Company Ltd., London,
and the Macmillan Company of Canada, Ltd., Toronto
press.princeton.edu
The frontispiece and title page were designed by Gertrude Hermes
Jacket Art: Bunches of hay © An Nguyen; piles of firewood © GoodMood
Photo; brick wall © antpkr. All images courtesy Shutterstock.
Jacket design by Jessica Massabrook.
All Rights Reserved
ISBN 978–0-691–15895–2
Library of Congress Control Number 2013954729
British Library Cataloging-in-Publication Data is available
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1 3 5 7 9 10 8 6 4 2
CONTENTS
Introduction by Marina Warner
1
The Fourth Pig
23
Omen of the Enemy
27
Frogs and Panthers
29
The Furies Dance in New York
49
Grand-daughter
54
The Fancy Pig
61
The Snow Maiden
62
Hansel and Gretel
74
Birmingham and the Allies
90
Soria Moria Castle
93
Kate Crackernuts
115
Adventure in the Debateable Land
180
Mairi MacLean and the Fairy Man
196
The Little Mermaiden
201
Pause in the Corrida
209
Brünnhilde’s Journey down the Rhine
213
The Border Loving
221
Mirk, Mirk Night
222
Further Reading
247
INTRODUCTION
I have said very little here about my writing. It is my job and I think I do it well. In some ways my writing is old-fashioned, but I doubt if that matters much. … I know I can handle words, the way other people handle colours or computers or horses.
—Naomi Mitchison, aged 901
Reviewing a book by the poet Stevie Smith in 1937, the year after The Fourth Pig was published, Naomi Mitchison opened with a characteristic cri de coeur: “Because I myself care passionately about politics, because I am part of that ‘we’ which I am willing to break my heart over, and can no longer properly feel myself an ‘I,’ because that seems to me to be the right thing for me to do and be, I see no reason why everyone has got to. Stevie Smith can still be an ‘I.’ And that’s good.” She is thinking about her contemporary’s enviable singularity of experience and voice: “Such people don’t have to be ‘we’; they can be ‘I,’ proudly and bouncingly as Blake was. … Stevie Smith bounces with Blake.”2 The passage is revealing in many ways: Naomi Mitchison’s style is colloquial, vigorous, and unsentimental; it drew praise from E. M. Forster, for example, for the directness with which she brought distant, exotic characters to life before the reader’s eyes. Furthermore, the review reveals her generosity of spirit: where some critics might inflict a wound, she embraces a potential rival or adversary, insisting on others’ democratic right to difference. But above all, her sense that she belonged to a group or a class, rather than enjoyed the free play of subjectivity like the visionary Blake, or the inspired eccentric Stevie Smith, reflects an anguished split deep down in Naomi Mitchison’s consciousness.
She was right to recognise this division in herself, between public duty and private vision, between communal feeling and personal passion, between elite learning and popular lore. She was torn all her life between her intellectual, feminist ambitions and her wealthy, patrician upbringing and way of life—“the incalculable advantages” of her background, as Vera Brittain put it.3 “Nou” Mitchison, née Haldane, was a woman from “the Big House,” as she put it in the title of a story for children.
Her double consciousness created further tensions that pull her writing this way and that, between solemnity and frivolity, mandarin and demotic language, between playful ingenuousness and harsh defiance of convention. She was born in 1897; her mother and father were divided in their political—and social—opinions and attendant social mores. Her Tory mother was horrified, for instance, when Naomi made friends “behind the counter at the small draper’s in North Parade”: as a result Naomi was “severely lectured about trade.”4 Naomi’s girlhood was enmeshed in dynastic kinship systems; her grandparents were wealthy landowners in Scotland, with huge, chilly castles, salmon brooks, deer-stalking, while her parents, by contrast, were Liberal and progressive and brilliant. Her father, John S. Haldane, was a distinguished medical biologist at Oxford and, deeply concerned for working men and women, led pioneering work on lung disease at the beginning of the century, diagnosing the miasmas that killed in the mines, factories, and mills of industrialised Britain. He also helped invent the first gas masks for protection in World War I. His concerns shaped his two children more profoundly than his wife’s sense of class and etiquette.
Naomi’s older brother, J.B.S. (Jack) Haldane, made an even greater mark, as a geneticist and biologist. He was a colossal personality, and his transgressiveness, independent-mindedness, and sheer cleverness set a bar for Naomi she was always longing to leap. He was a free, even wayward spirit—sacked from Cambridge for adultery with a colleague’s wife (he married her), he became a Communist, and later, an Indian nationalist, renouncing his British citizenship. When they were children, they’d been allies and equals and sparring partners; they played charades and dressed up, putting on plays they wrote themselves; they experimented together on scientific questions, cross-breeding coloured guinea pigs, and cutting up a caterpillar—this last was intended to be a rug for the dolls’ house, but it shrivelled (a lesson in life and death).
After this enchanted though stormy alliance, Jack was sent away to school (Eton), whereas Naomi had to stay at home. Before then she had been
a rare girl attending the boys’ Dragon School in Oxford. Jack’s going away, the arrival of a governess for all-important lessons in decorum, the new ban on climbing trees, all gave Naomi a bitter taste of gender injustices. The title of Small Talk (1973), a marvelous, witty, and tender memoir about her childhood, catches the stifling restrictions she suffered, and she never overcame her ferocious jealousy of her brother. Consequently Jack dominates his little sister’s fiction in various little-disguised heroic personae. But her imagination also stamped out in her stories one spirited daredevil young woman after another—wild girls, strong-limbed and tousled, who break rules, act vigorously, and reject mincing and simpering. This is what I found in her books when I was young, when I too was furious that being female still prevented me from being as free as a male.
Naomi, the faery child, had intense dreams and kept open the connection to childlike wonder and terror. “I met a brown hare,” she remembers, “and we went off and kept house (marriage as I saw it) inside a corn stook with six oat sheaves propped around us.” She did not know then, she continued, that the hare is closely associated with the moon and the goddess, as well as with witchcraft. “As I remember it, I was married young to the hare.”5
The bride of the hare was also a bookworm and a hungry listener, especially to the many charismatic friends and lovers in her long life. By the time she was sixteen, she had read all the way through the complete Golden Bough of J. G. Frazer: relations between magic and society, and regeneration rituals involving dying kings and tree cults, run a live current of atavistic ecstasy through her work. The Greek myths and Celtic—especially Scottish—lore, predominate, chiefly because she was brought up among Oxford classicists and spent her summers in the Highlands, on the Cloan estate of her “Granniema,” until she moved to her own home, Carradale, in Argyll in 1937. These two potent, intertwined influences from north and south were also often under tension: on the one hand she was drawn to neo-paganism, which was founded in scholarship and a broad curiosity about European magical wisdom; and on the other she was wrapped in the Celtic Twilight, which focused on the Scottish legends and folklore of her forebears and, later, of her chosen home in Argyll. In the Edwardian period, these varieties of supernatural experience burgeoned into correspondingly contrasting uses of enchantment: first, avant-garde demands for liberty (Nietzsche’s vision flows in Jane Harrison’s Greek scholarship and infuses The Rite of Spring; the D. H. Lawrence of The Plumed Serpent turns to myth for re-invigoration of the life principle), and second, traditionalist nostalgia for a lost, enchanted pastoral, reflected in some of the most celebrated fantasy classics, such as Peter Pan, by a fellow Scot, J. M. Barrie; Kenneth Grahame’s Wind in the Willows (1908); and A. A. Milne’s stories of Winnie the Pooh (who makes his first appearance in 1926).
After Naomi Mitchison moved to Scotland, she became something of a Scottish nationalist, but before that she was already striving, as evident in this collection, to combine the Gaelic traditions of fairyland with myths of gods and goddesses. She also adopted traditional oral forms, such as tales and ballads, historical epic, praise song, flyting, charms, and elegy. As the stories in this book show, she relished tales of changelings, fairy abductions, and the local population of bogles, boggarts, and other eldritch folk in the Highlands. Walking past a deserted village on her way home one evening, she ran into the “botoch” or spirit of a villager who haunted the place. He had been eaten alive by rats. She was only able to pass after she had recited a Gaelic charm she knew—or so she related to one of her grandsons. The past, both as recoverable imaginable history and as a granary of story, served to open ways of picturing possibilities for the present. She cultivated her imagination with the deliberateness of an experimental scientist, in order to move on, into a dreamed-of, better future.
In 1916, when she was not yet twenty, she married Dick Mitchison, who was a friend of her brother Jack’s; he was also very young (b. 1894), a soldier in the Queen’s Bays infantry regiment and about to fight in France; he was badly wounded in the head almost immediately in a motorbike accident as he was carrying dispatches; but he returned to the trenches, rose to become a Major, and was awarded the Croix de Guerre. In civil life he became a lawyer, and a distinguished Queen’s Counsel; together they grew to share overwhelming indignation at the social conditions in England. He entered parliament as a Labour MP amid the bright hopes of the 1945 Attlee government, and was later ennobled (though Naomi did not use the title “Lady Mitchison”). Their marriage was long, turbulent but strong, both of them accepting each other’s lovers as friends. After the shock she felt during her first experiences of sex as a very young wife, which she wrote about frankly and bravely, Naomi struck out for freedoms (such as contraception, abortion, and open marriage) with more courage than many in her social circle. Nevertheless, she had six children, losing her firstborn, a boy, to meningitis at the age of 9, and a daughter shortly after birth, events which surface in anguish in many of her books.
Naomi Mitchison conjures up ardent tomboy heroines in homage to the dream of freedom she had entertained before the conventions of class and gender put her in shackles. She imagines them as paragons of desire and autonomy in faraway settings—in ancient Egypt, Scythia, Sparta, Gaul, Constantinople, Rome, Scotland, or Hell, where they can act as daughters of her longings, and she wanted them to beckon to her readers as irresistibly as any fairy from the fairy hill. Several stories in this collection, such as “Soria Moria Castle” and “Adventure in the Debateable Land,” and Kate Crackernuts herself, present such figures of female liberators.
She also wanted to prove that science—her father and Jack’s preserve in her family—could be reconciled with fantasy, which was her own strength. She refused to allow the latter to be dismissed by the former. In an attempt to rekindle magic in modern, rational times, she plays with wilful anachronisms. The technique is a form of defamiliarisation: she takes the humdrum and queers it. Slang falls from the lips of the gods (“What utter bilge, Xanthias,” says Dionysos in “Frogs and Panthers”). Later in the same story, the god returns in a motorcar, smoking. In this updated classical myth, Mitchison kneads together her lingering conscience about belonging to the upper class, her solidarity with the workers, and her memories of her father’s work on the respiratory horrors of industrial towns in the north. She wanted to refresh tradition, and feared what she called “the archaistic view.”
The literary scholar Gill Plain recently commented that Mitchison “creatively politicised history, using it as a space through which to imagine ‘an abstract future postwar,’ and to challenge the assumptions of patriarchal history.”6 She reaches backwards in time, and reconstructs a better, more intense, more conscious, more meaningful experience in the past for several periods and peoples and cultures. History, retooled, is then shot through with magic and mythic effects. The Debateable Land that is the literary terrain of myth and fairy tale set her free to imagine what she longed for—or sometimes feared.
Naomi Mitchison was one of the splendid unstoppable graphomaniacs of her day, to put alongside prodigal precursors and authors of her youth (Mrs Oliphant, Walter Scott, H. G. Wells); she published nearly a hundred books, as well as hundreds of articles, reviews, and blasts in the papers, not to mention her private letters (she and her husband, when apart, would correspond on a daily basis until the Thirties). Writing became as necessary to her existence as breathing or eating: a form of health-giving exercise. She was of the generation of women who went in for emancipatory athletics, as in the Women’s League of Health and Beauty. Her activity was writing. There is hardly a genre she did not attempt, a reader whose interests she did not try to capture, or a world of experience she did not enter.
The struggle between the good citizen and the wild girl, the nurse and the sorceress, runs through the whole of her astounding body of work. It accounts, too, for the neglect that she has fallen into for some time now. For it is a bit of mystery that this once best-selling novelist, polemicist, memoirist, and gra
nde dame of letters, who came from a fabulous intellectual lineage, was englamoured by wealth and prestige (at least for part of her lifetime), and led an intrepid experimental life in her work and her loves, should not have captured more attention since her death in 1999 at the age of 101. After all, the Haldanes were formidable scientists, eccentric, spirited, politically activist, and far richer than, for example, the Mitfords, who have inspired shelf-loads of admiration. Naomi wrote several times, with wry, comic vividness, about her family’s charmed life before the Second World War, with many forbidding aunts and grandparents, crowded households of servants to meet every need, and much nonchalant possession of dark labyrinthine mansions; her memoirs give off a wonderful whiff of Blandings Castle and the immortal Aunt Agatha of Wodehouse’s imagination. The novelist Ali Smith has commented warmly on “the overall frank friendliness” of her voice in these books.7 Naomi Mitchison seems ripe for Bloomsbury-style fandom.
But she does not command this kind of following, and the problems that her writing poses for contemporary readers stem from that split she rightly diagnosed between the “we” and the “I” in her makeup. Some of the writers with whom she could be compared—contemporaries such as Virginia Woolf (b. 1882) and Elizabeth Bowen (b. 1899), and others who were close friends, Wyndham Lewis (b. 1882) and Aldous Huxley (b. 1894)—were naturally modern. Whether by instinct, default, or choice, such writers belonged to the twentieth century and conveyed features of the time without needing to check their watches. But Naomi Mitchison is only partly modern. Or perhaps, as in the title which Jack Zipes has given this series, she was oddly, but not entirely, modern. This quality, her faltering modernity, arises from many features of her life and work.8
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