Often in these letters there is in Pound a kind of socks-down, shirttail-out gracelessness which many will take delightedly for his true Americanism. In these moments he was a lout, and that is international. But he wore his loutishness with a difference. It is in his judgments, and his earlier judgments were much better than his later: though his pronouncements even on those he most admires run up and down like a panicky stock market. It is always praise or dispraise precisely according to what they have done in that present moment, and he is indignant when they do not always sit down quietly under it. He thundered not with just the voice of Jove, he was Jove. His judgments were indeed fallible, but his faith in them was not. “It isn’t as if I were set in a groove. I read any number of masters, and recognize any number of kinds of excellence. But I’m sick to loathing of people who don’t care for the masterwork, who set out as artists with no intention of producing it, who make no effort toward the best, who are content with publicity and the praise of reviewers.” He loathed rightly in this case, if ever a man did, yet so often simply in arrogant temper. His perfect assurance that he knew a work of art when he saw one, and his bent toward all kinds of excellence, led him into some lamentable errors which time little by little may correct.
As critic he was at his very best in the teacher-pupil relationship, when he had a manuscript under his eye to pull apart and put together again, or in simply stating the deep changeless principles of the highest art, relating them to each other and to their time and society. As one of the great poets of his time, his advice was unfathomably good and right in these things, and they are not outdated, and they cannot be unless the standard is simply thrown out.
Pound understood the nature of greatness: not that it voluntarily separates itself from the mass but that by its very being it is separate because it is higher. Greatness in art is like any other greatness: in religious experience, in love, it is great because it is beyond the reach of the ordinary, and cannot be judged by the ordinary, nor be accountable to it. The instant it is diluted, popularized, and misunderstood by the fashionable mind, it is no longer greatness, but window dressing, interior decorating, another way of cutting a sleeve. . . . Ezra Pound understood this simple law of natural being perfectly, and it is what redeems every fault and mitigates every failure and softens to the outraged ear of the mind and heart all that shouting and bullying and senseless obscenity—makes one respect all those wild hopeful choices of hopeless talents.
There is a doctrine that we should be patient in times of darkness and decline: but darkness and decline are the very things to fight, they are man-made, and can be unmade by man also. I am glad Pound was not patient in that sense, but obstinate and tenacious and obsessed and enraged. When you read these letters you will see what good sound reasons he had to be, if he was to make any headway against the obsessed tenacious inertia of his particular time. Most of the things and the kind of people he fought are still sitting about running things, fat and smug. That is true. And a great many of the talents he tried to foster came to nothing. Fighting the dark is a very unfashionable occupation now; but it is not altogether dead, and will survive and live again largely because of his life and example.
Eudora Welty and “A Curtain of Green”
FRIENDS of us both first brought Eudora Welty to visit me two and a half years ago in Louisiana. It was hot midsummer, they had driven over from Mississippi, her home state, and we spent a pleasant evening together talking in the cool old house with all the windows open. Miss Welty sat listening, as she must have done a great deal of listening on many such occasions. She was and is a quiet, tranquil-looking, modest girl, and unlike the young Englishman of the story, she has something to be modest about, as A Curtain of Green proves.
She considers her personal history as hardly worth mentioning, a fact in itself surprising enough, since a vivid personal career of fabulous ups and downs, hardships and strokes of luck, travels in far countries, spiritual and intellectual exile, defensive flight, homesick return with a determined groping for native roots, and a confusion of contradictory jobs have long been the mere conventions of an American author’s life. Miss Welty was born and brought up in Jackson, Mississippi, where her father, now dead, was president of a Southern insurance company. Family life was cheerful and thriving; she seems to have got on excellently with both her parents and her two brothers. Education, in the Southern manner with daughters, was continuous, indulgent, and precisely as serious as she chose to make it. She went from school in Mississippi to the University of Wisconsin, thence to Columbia, New York, and so home again where she lives with her mother, among her lifelong friends and acquaintances, quite simply and amiably. She tried a job or two because that seemed the next thing, and did some publicity and newspaper work; but as she had no real need of a job, she gave up the notion and settled down to writing.
She loves music, listens to a great deal of it, all kinds; grows flowers very successfully, and remarks that she is “underfoot locally,” meaning that she has a normal amount of social life. Normal social life in a medium-sized Southern town can become a pretty absorbing occupation, and the only comment her friends make when a new story appears is, “Why, Eudora, when did you write that?” Not how, or even why, just when. They see her about so much, what time has she for writing? Yet she spends an immense amount of time at it. “I haven’t a literary life at all,” she wrote once, “not much of a confession, maybe. But I do feel that the people and things I love are of a true and human world, and there is no clutter about them. . . . I would not understand a literary life.”
We can do no less than dismiss that topic as casually as she does. Being the child of her place and time, profiting perhaps without being aware of it by the cluttered experiences, foreign travels, and disorders of the generation immediately preceding her, she will never have to go away and live among the Eskimos, or Mexican Indians; she need not follow a war and smell death to feel herself alive: she knows about death already. She shall not need even to live in New York in order to feel that she is having the kind of experience, the sense of “life” proper to a serious author. She gets her right nourishment from the source natural to her—her experience so far has been quite enough for her and of precisely the right kind. She began writing spontaneously when she was a child, being a born writer; she continued without any plan for a profession, without any particular encouragement, and, as it proved, not needing any. For a good number of years she believed she was going to be a painter, and painted quite earnestly while she wrote without much effort.
Nearly all the Southern writers I know were early, omnivorous, insatiable readers, and Miss Welty runs reassuringly true to this pattern. She had at arm’s reach the typical collection of books which existed as a matter of course in a certain kind of Southern family, so that she had read the ancient Greek and Roman poetry, history and fable, Shakespeare, Milton, Dante, the eighteenth-century English and the nineteenth-century French novelists, with a dash of Tolstoy and Dostoievsky, before she realized what she was reading. When she first discovered contemporary literature, she was just the right age to find first W. B. Yeats and Virginia Woolf in the air around her; but always, from the beginning until now, she loved folk tales, fairy tales, old legends, and she likes to listen to the songs and stories of people who live in old communities whose culture is recollected and bequeathed orally.
She has never studied the writing craft in any college. She has never belonged to a literary group, and until after her first collection was ready to be published she had never discussed with any colleague or older artist any problem of her craft. Nothing else that I know about her could be more satisfactory to me than this; it seems to me immensely right, the very way a young artist should grow, with pride and independence and the courage really to face out the individual struggle; to make and correct mistakes and take the consequences of them, to stand firmly on his own feet in the end. I believe in the rightness of Miss Welty’s instinctive knowledge that writing cannot be taught, but only
learned, and learned by the individual in his own way, at his own pace and in his own time, for the process of mastering the medium is part of a cellular growth in a most complex organism; it is a way of life and a mode of being which cannot be divided from the kind of human creature you were the day you were born, and only in obeying the law of this singular being can the artist know his true directions and the right ends for him.
Miss Welty escaped, by miracle, the whole corrupting and destructive influence of the contemporary, organized tampering with young and promising talents by professional teachers who are rather monotonously divided into two major sorts: those theorists who are incapable of producing one passable specimen of the art they profess to teach; or good, sometimes first-rate, artists who are humanly unable to resist forming disciples and imitators among their students. It is all well enough to say that, of this second class, the able talent will throw off the master’s influence and strike out for himself. Such influence has merely added new obstacles to an already difficult road. Miss Welty escaped also a militant social consciousness, in the current radical-intellectual sense, she never professed communism, and she has not expressed, except implicitly, any attitude at all on the state of politics or the condition of society. But there is an ancient system of ethics, an unanswerable, indispensable moral law, on which she is grounded firmly, and this, it would seem to me, is ample domain enough; these laws have never been the peculiar property of any party or creed or nation, they relate to that true and human world of which the artist is a living part; and when he dissociates himself from it in favor of a set of political, which is to say, inhuman, rules, he cuts himself away from his proper society—living men.
There exist documents of political and social theory which belong, if not to poetry, certainly to the department of humane letters. They are reassuring statements of the great hopes and dearest faiths of mankind and they are acts of high imagination. But all working, practical political systems, even those professing to originate in moral grandeur, are based upon and operate by contempt of human life and the individual fate; in accepting any one of them and shaping his mind and work to that mold, the artist dehumanizes himself, unfits himself for the practice of any art.
Not being in a hurry, Miss Welty was past twenty-six years when she offered her first story, “The Death of a Traveling Salesman,” to the editor of a little magazine unable to pay, for she could not believe that anyone would buy a story from her; the magazine was Manuscript, the editor John Rood, and he accepted it gladly. Rather surprised, Miss Welty next tried the Southern Review, where she met with a great welcome and the enduring partisanship of Albert Erskine, who regarded her as his personal discovery. The story was “A Piece of News” and it was followed by others published in the Southern Review, the Atlantic Monthly, and Harper’s Bazaar.
She has, then, never been neglected, never unappreciated, and she feels simply lucky about it. She wrote to a friend: “When I think of Ford Madox Ford! You remember how you gave him my name and how he tried his best to find a publisher for my book of stories all that last year of his life; and he wrote me so many charming notes, all of his time going to his little brood of promising writers, the kind of thing that could have gone on forever. Once I read in the Saturday Review an article of his on the species and the way they were neglected by publishers, and he used me as the example chosen at random. He ended his cry with ‘What is to become of both branches of Anglo-Saxondom if this state of things continues?’ Wasn’t that wonderful, really, and typical? I may have been more impressed by that than would other readers who knew him. I did not know him, but I knew it was typical. And here I myself have turned out to be not at all the martyred promising writer, but have had all the good luck and all the good things Ford chided the world for withholding from me and my kind.”
But there is a trap lying just ahead, and all short-story writers know what it is—The Novel. That novel which every publisher hopes to obtain from every short-story writer of any gifts at all, and who finally does obtain it, nine times out of ten. Already publishers have told her, “Give us first a novel, and then we will publish your short stories.” It is a special sort of trap for poets, too, though quite often a good poet can and does write a good novel. Miss Welty has tried her hand at novels, laboriously, dutifully, youthfully thinking herself perhaps in the wrong to refuse, since so many authoritarians have told her that was the next step. It is by no means the next step. She can very well become a master of the short story, there are almost perfect stories in A Curtain of Green. The short story is a special and difficult medium, and contrary to a widely spread popular superstition it has no formula that can be taught by correspondence school. There is nothing to hinder her from writing novels if she wishes or believes she can. I only say that her good gift, just as it is now, alive and flourishing, should not be retarded by a perfectly artificial demand upon her to do the conventional thing. It is a fact that the public for short stories is smaller than the public for novels; this seems to me no good reason for depriving that minority. I remember a reader writing to an editor, complaining that he did not like collections of short stories because, just as he had got himself worked into one mood or frame of mind, he was called upon to change to another. If that is an important objection, we might also apply it to music. We might compare the novel to a symphony, and a collection of short stories to a good concert recital. In any case, this complainant is not our reader, yet our reader does exist, and there would be more of him if more and better short stories were offered.
The stories in A Curtain of Green offer an extraordinary range of mood, pace, tone, and variety of material. The scene is limited to a town the author knows well; the farthest reaches of that scene never go beyond the boundaries of her own state, and many of the characters are of the sort that caused a Bostonian to remark that he would not care to meet them socially. Lily Daw is a half-witted girl in the grip of social forces represented by a group of earnest ladies bent on doing the best thing for her, no matter what the consequences. Keela, the Outcast Indian Maid, is a crippled little Negro who represents a type of man considered most unfortunate by W. B. Yeats: one whose experience was more important than he, and completely beyond his powers of absorption. But the really unfortunate man in this story is the ignorant young white boy, who had innocently assisted at a wrong done the little Negro, and for a most complex reason, finds that no reparation is possible, or even desirable to the victim. . . . The heroine of “Why I Live at the P.O.” is a terrifying family poltergeist, when one reconsiders it. While reading, it is gorgeously funny. In this first group—for the stories may be loosely classified on three separate levels—the spirit is satire and the key grim comedy. Of these, “The Petrified Man” offers a fine clinical study of vulgarity—vulgarity absolute, chemically pure, exposed mercilessly to its final subhuman depths. Dullness, bitterness, rancor, self-pity, baseness of all kinds, can be most interesting material for a story provided these are not also the main elements in the mind of the author. There is nothing in the least vulgar or frustrated in Miss Welty’s mind. She has simply an eye and an ear sharp, shrewd, and true as a tuning fork. She has given to this little story all her wit and observation, her blistering humor and her just cruelty; for she has none of that slack tolerance or sentimental tenderness toward symptomatic evils that amounts to criminal collusion between author and character. Her use of this material raises the quite awfully sordid little tale to a level above its natural habitat, and its realism seems almost to have the quality of caricature, as complete realism so often does. Yet, as painters of the grotesque make only detailed reports of actual living types observed more keenly than the average eye is capable of observing, so Miss Welty’s little human monsters are not really caricatures at all, but individuals exactly and clearly presented: which is perhaps a case against realism, if we cared to go into it.
She does better on another level—for the important reason that the themes are richer—in such beautiful stories as “Death of a Travelin
g Salesman,” “A Memory,” “A Worn Path.” Let me admit a deeply personal preference for this particular kind of story, where external act and the internal voiceless life of the human imagination almost meet and mingle on the mysterious threshold between dream and waking, one reality refusing to admit or confirm the existence of the other, yet both conspiring toward the same end. This is not easy to accomplish, but it is always worth trying, and Miss Welty is so successful at it, it would seem her most familiar territory. There is no blurring at the edges, but evidences of an active and disciplined imagination working firmly in a strong line of continuity, the waking faculty of daylight reason recollecting and recording the crazy logic of the dream. There is in none of these stories any trace of autobiography in the prime sense, except as the author is omnipresent, and knows each character she writes about as only the artist knows the thing he has made, by first experiencing it in imagination. But perhaps in “A Memory,” one of the best stories, there might be something of early personal history in the story of the child on the beach, estranged from the world of adult knowledge by her state of childhood, who hoped to learn the secrets of life by looking at everything, squaring her hands before her eyes to bring the observed thing into a frame—the gesture of one born to select, to arrange, to bring apparently disparate elements into harmony within deliberately fixed boundaries. But the author is freed already in her youth from self-love, self-pity, self-preoccupation, that triple damnation of too many of the young and gifted, and has reached an admirable objectivity. In such stories as “Old Mr. Marblehall,” “Powerhouse,” “The Hitch-Hikers,” she combines an objective reporting with great perception of mental or emotional states, and in “Clytie” the very shape of madness takes place before your eyes in a straight account of actions and speech, the personal appearance and habits of dress of the main character and her family.
The Collected Stories of Katherine Anne Porter Page 67
