The application of this to the radio is obvious. At present the loudspeaker is the enemy of the creative writer, but this may not necessarily remain true when the volume and scope of broadcasting increase. As things are, although the B.B.C. does keep up a feeble show of interest in contemporary literature, it is harder to capture five minutes on the air in which to broadcast a poem than twelve hours in which to disseminate lying propaganda, tinned music, stale jokes, faked ‘discussions’ or what-have-you. But that state of affairs may alter in the way I have indicated, and when that time comes serious experiment in the broadcasting of verse, with complete disregard for the various hostile influences which prevent any such thing at present, would become possible. I don’t claim it as certain that such an experiment would have very great results. The radio was bureaucratized so early in its career that the relationship between broadcasting and literature has never been thought out. It is not certain that the microphone is the instrument by which poetry could be brought back to the common people and it is not even certain that poetry would gain by being more of a spoken and less of a written thing. But I do urge that these possibilities exist, and that those who care for literature might turn their minds more often to this much-despised medium, whose powers for good have perhaps been obscured by the voices of Professor Joad and Doctor Goebbels.
Written [Autumn 1943]; New Saxon Pamphlet [No. 3, March 1945]; S.J.; E.Y.E.; C.E.
18. In Defence of English Cooking
We have heard a good deal of talk in recent years about the desirability of attracting foreign tourists to this country. It is well known that England’s two worst faults, from a foreign visitor’s point of view, are the gloom of our Sundays and the difficulty of buying a drink.
Both of these are due to fanatical minorities who will need a lot of quelling, including extensive legislation. But there is one point on which public opinion could bring about a rapid change for the better: I mean cooking.
It is commonly said, even by the English themselves, that English cooking is the worst in the world. It is. supposed to be not merely incompetent, but also imitative, and I even read quite recently, in a book by a French writer, the remark: ‘The best English cooking is, of course, simply French cooking.’
Now that is simply not true. As anyone who has lived long abroad will know, there is a whole host of delicacies which it is quite impossible to obtain outside the English-speaking countries. No doubt the list could be added to, but here are some of the things that I myself have sought for in foreign countries and failed to find.
First of all, kippers, Yorkshire pudding, Devonshire cream, muffins and crumpets. Then a list of puddings, that would be interminable if I gave it in full: I will pick out for special mention Christmas pudding, treacle tart and apple dumplings. Then an almost equally long list of cakes: for instance, dark plum cake (such as you used to get at Buzzard’s before the war), short-bread and saffron buns. Also innumerable kinds of biscuit, which exist, of course, elsewhere, but are generally admitted to be better and crisper in England.
Then there are the various ways of cooking potatoes that are peculiar to our own country. Where else do you see potatoes roasted under the joint, which is far and away the best way of cooking them? Or the delicious potato cakes that you get in the north of England? And it is far better to cook new potatoes in the English way – that is, boiled with mint and then served with a little melted butter or margarine – than to fry them as is done in most countries.
Then there are the various sauces peculiar to England. For instance, bread sauce, horse-radish sauce, mint sauce and apple sauce; not to mention redcurrant jelly, which is excellent with mutton as well as with hare, and various kinds of sweet pickle, which we seem to have in greater profusion than most countries.
What else? Outside these islands I have never seen a haggis, except one that came out of a tin, nor Dublin prawns, nor Oxford marmalade, nor several other kinds of jam (marrow jam and bramble jelly, for instance), nor sausages of quite the same kind as ours.
Then there are the English cheeses. There are not many of them but I fancy that Stilton is the best cheese of its type in the world, with Wensleydale not far behind. English apples are also outstandingly good, particularly the Cox’s Orange Pippin.
And finally, I would like to put in a word for English bread. All the bread is good, from the enormous Jewish loaves flavoured with caraway seeds to the Russian rye bread which is the colour of black treacle. Still, if there is anything quite as good as the soft part of the crust from an English cottage loaf (how soon shall we be seeing cottage loaves again?) I do not know of it.
No doubt some of the things I have named above could be obtained in continental Europe, just as it is possible in London to obtain vodka or bird’s nest soup. But they are all native to our shores, and over huge areas they are literally unheard of.
South of, say, Brussels, I do not imagine that you would succeed in getting hold of a suet pudding. In French there is not even a word that exactly translates ‘suet’. The French, also, never use mint in cookery and do not use black currants except as a basis of a drink.
It will be seen that we have no cause to be ashamed of our cookery, so far as originality goes or so far as the ingredients go. And yet it must be admitted that there is a serious snag from the foreign visitor’s point of view. This is, that you practically don’t find good English cooking outside a private house. If you want, say, a good, rich slice of Yorkshire pudding you are more likely to get it in the poorest English home than in a restaurant, which is where the visitor necessarily eats most of his meals.
It is a fact that restaurants which are distinctively English and which also sell good food are very hard to find. Pubs, as a rule, sell no food at all, other than potato crips and tasteless sandwiches. The expensive restaurants and hotels almost all imitate French cookery and write their menus in French, while if you want a good cheap meal you gravitate naturally towards a Greek, Italian or Chinese restaurant. We are not likely to succeed in attracting tourists while England is thought of as a country of bad food and unintelligible by-laws. At present one cannot do much about it, but sooner or later rationing will come to an end, and then will be the moment for our national cookery to revive. It is not a law of nature that every restaurant in England should be either foreign or bad, and the first step towards an improvement will be a less long-suffering attitude in the British public itself.
Evening Standard, 15 December 1945
19. Benefit of Clergy: Some Notes on Salvador Dali
Autobiography is only to be trusted when it reveals something disgraceful. A man who gives a good account of himself is probably lying, since any life when viewed from the inside is simply a series of defeats. However, even the most flagrantly dishonest book (Frank Harris’s autobiographical writings are an example) can without intending it give a true picture of its author. Dali’s recently published Life1 comes under this heading. Some of the incidents in it are flatly incredible, others have been rearranged and romanticized, and not merely the humiliation but the persistent ordinariness of everyday life has been cut out. Dali is even by his own diagnosis narcissistic, and his autobiography is simply a strip-tease act conducted in pink limelight. But as a record of fantasy, of the perversion of instinct that has been made possible by the machine age, it has great value.
Here, then, are some of the episodes in Dali’s life, from his earliest years onward. Which of them are true and which are imaginary hardly matters: the point is that this is the kind of thing that Dali would have liked to do.
When he is six years old there is some excitement over the appearance of Halley’s comet:
Suddenly one of my father’s office clerks appeared in the drawing-room doorway and announced that the comet could be seen from the terrace … While crossing the hall I caught sight of my little three-year-old sister crawling unobtrusively through a door-way. I stopped, hesitated a second, then gave her a terrible kick in the head as though it had been a ball, and continue
d running, carried away with a ‘delirious joy’ induced by this savage act. But my father, who was behind me, caught me and led me down into his office, where I remained as a punishment till dinner-time.
A year earlier than this Dali had ‘suddenly, as most of my ideas occur’ flung another little boy off a suspension bridge. Several other incidents of the same kind are recorded, including (this was when he was twenty-nine years old) knocking down and trampling on a girl ‘until they had to tear her, bleeding, out of my reach’.
When he is about five he gets hold of a wounded bat which he puts into a tin pail. Next morning he finds that the bat is almost dead and is covered with ants which are devouring it. He puts it in his mouth, ants and all, and bites it almost in half.
When he is adolescent a girl falls desperately in love with him. He kisses and caresses her so as to excite her as much as possible, but refuses to go further. He resolves to keep this up for five years (he calls it his ‘five year plan’), enjoying her humiliation and the sense of power it gives him. He frequently tells her that at the end of five years he will desert her, and when the time comes he does so.
Till well into adult life he keeps up the practice of masturbation, and likes to do this, apparently, in front of a looking-glass. For ordinary purposes he is impotent, it appears, till the age of thirty or so. When he first meets his future wife, Gala, he is greatly tempted to push her off a precipice. He is aware that there is something that she wants him to do to her, and after their first kiss the confession is made:
I threw back Gala’s head, pulling it by the hair, and trembling with complete hysteria, I commanded:
‘Now tell me what you want me to do with you! But tell me slowly, looking me in the eye, with the crudest, the most ferociously erotic words that can make both of us feel the greatest shame!’
… Then Gala, transforming the last glimmer of her expression of pleasure into the hard light of her own tyranny, answered:
‘I want you to kill me’!
He is somewhat disappointed by this demand, since it is merely what he wanted to do already. He contemplates throwing her off the bell-tower of the cathedral of Toledo, but refrains from doing so.
During the Spanish Civil War he astutely avoids taking sides, and makes a trip to Italy. He feels himself more and more drawn towards the aristocracy, frequents smart salons, finds himself wealthy patrons, and is photographed with the plump Vicomte de Noailles, whom he describes as his ‘Maecenas’. When the European war approaches he has one preoccupation only: how to find a place which has good cookery and from which he can make a quick bolt if danger comes too near. He fixes on Bordeaux, and duly flees to Spain during the Battle of France. He stays in Spain long enough to pick up a few anti-red atrocity stories, then makes for America. They story ends in a blaze of respectability. Dali, at thirty-seven, has become a devoted husband, is cured of his aberrations, or some of them, and is completely reconciled to the Catholic Church. He is also, one gathers, making a good deal of money.
However, he has by no means ceased to take pride in the pictures of his Surrealist period, with titles like ‘The Great Masturbator’, ‘Sodomy of a Skull with a Grand Piano’, etc. There are reproductions of these all the way through the book. Many of Dali’s drawings are simply representational and have a characteristic to be noted later. But from his Surrealist paintings and photographs the two things that stand out are sexual perversity and necrophilia. Sexual objects and symbols – some of them well known, like our old friend the high-heeled slipper, others, like the crutch and the cup of warm milk, patented by Dali himself – recur over and over again, and there is a fairly well-marked excretory motif as well. Of his painting, ‘Le Jeu Lugubre’, he says, ‘the drawers bespattered with excrement were painted with such minute and realistic complacency that the whole little Surrealist group was anguished by the question: Is he coprophagic or not?’ Dali adds firmly that he is not, and that he regards this aberration as ‘repulsive’, but it seems to be only at that point that his interest in excrement stops. Even when he recounts the experience of watching a woman urinate standing up, he has to add the detail that she missses her aim and dirties her shoes. It is not given to any one person to have all the vices, and Dali also boasts that he is not homosexual, but otherwise he seems to have as good an outfit of perversions as anyone could wish for.
However, his most notable characteristic is his necrophilia. He himself freely admits to this, and claims to have been cured of it. Dead faces, skulls, corpses of animals occur fairly frequently in his pictures, and the ants which devoured the dying bat make countless reappearances. One photograph shows an exhumed corpse, far gone in decomposition. Another shows the dead donkeys putrefying on top of grand pianos which formed part of the Surrealist film, Le Chien Andalou. Dali still looks back on these donkeys with great enthusiasm.
I ‘made up’ the putrefaction of the donkeys with great pots of sticky glue which I poured over them. Also I emptied their eye-sockets and made them larger by hacking them out with scissors. In the same way I furiously cut their mouths open to make the rows of their teeth show to better advantage, and I added several jaws to each mouth, so that it would appear that although the donkeys were already rotting they were vomiting up a little more of their own death, above those other rows of teeth formed by the keys of the black pianos.
And finally there is the picture – apparently some kind of faked photograph – of ‘Mannequin rotting in a taxi-cab’. Over the already somewhat bloated face and breast of an apparently dead girl, huge snails are crawling. In the caption below the picture Dali notes that these are Burgundy snails – that is, the edible kind.
Of course, in this long book of 400 quarto pages there is more than I have indicated, but I do not think that I have given an unfair account of its moral atmosphere and mental scenery. It is a book that stinks. If it were possible for a book to give a physical stink off its pages, this one would – a thought that might please Dali, who before wooing his future wife for the first time rubbed himself all over with an ointment made of goat’s dung boiled up in fish glue. But against this has to be set the fact that Dali is a draughtsman of very exceptional gifts. He is also, to judge by the minuteness and the sureness of his drawings, a very hard worker. He is an exhibitionist and a careerist, but he is not a fraud. He has fifty times more talent than most of the people who would denounce his morals and jeer at his paintings. And these two sets of facts, taken together, raise a question which for lack of any basis of agreement seldom gets a real discussion.
The point is that you have here a direct, unmistakable assault on sanity and decency; and even – since some of Dali’s pictures would tend to poison the imagination like a pornographic postcard – on life itself. What Dali has done and what he has imagined is debatable, but in his outlook, his character, the bedrock decency of a human being does not exist. He is as antisocial as a flea. Clearly, such people are undesirable, and a society in which they can flourish has something wrong with it.
Now, if you showed this book, with its illustrations, to Lord Elton, to Mr Alfred Noyes, to The Times leader-writers who exult over the ‘eclipse of the highbrow’ – in fact, to any ‘sensible’ art-hating English person – it is easy to imagine what kind of response you would get. They would flatly refuse to see any merit in Dali whatever. Such people are not only unable to admit that what is morally degraded can be aesthetically right, but their real demand of every artist is that he shall pat them on the back and tell them that thought is unnecessary. And they can be especially dangerous at a time like the present, when the Ministry of Information and the British Council put power into their hands. For their impulse is not only to crush every new talent as it appears, but to castrate the past as well. Witness the renewed highbrow-baiting that is now going on in this country and America, with its outcry not only against Joyce, Proust and Lawrence, but even against T.S. Eliot.
But if you talk to the kind of person who can see Dali’s merits, the response that you get is not a
s a rule very much better. If you say that Dali, though a brilliant draughtsman, is a dirty little scoundrel, you are looked upon as a savage. If you say that you don’t like rotting corpses, and that people who do like rotting corpses are mentally diseased, it is assumed that you lack the aesthetic sense. Since ‘Mannequin rotting in a taxi-cab’ is a good composition (as it undoubtedly is), it cannot be a disgusting, degrading picture; whereas Noyes, Elton, etc., would tell you that because it is disgusting it cannot be a good composition. And between these two fallacies there is no middle position; or, rather, there is a middle position, but we seldom hear much about it. On the one side Kulturbolschewismus: on the other (though the phrase itself is out of fashion) ‘Art for Art’s sake’. Obscenity is a very difficult question to discuss honestly. People are too frightened either of seeming to be shocked or of seeming not to be shocked, to be able to define the relationship between art and morals.
Essays Page 37
