Another thought that I had played with for a long time was that a main character should be some sort of an artist, but with a “block.” This was because the theme of the artist has been dominant in art for some time—the painter, writer, musician, as exemplar. Every major writer has used it, and most minor ones. Those archetypes, the artist and his mirror-image the businessman, have straddled our culture, one shown as a boorish insensitive, the other as a creator all excesses of sensibility and suffering and a towering egotism which has to be forgiven because of his products—in exactly the same way, of course, as the businessman has to be forgiven for the sake of his. We get used to what we have, and forget that the artist-as-exemplar is a new theme. Heroes a hundred years ago weren’t often artists. They were soldiers and empire builders and explorers and clergymen and politicians—too bad about women who had scarcely succeeded in becoming Florence Nightingale yet. Only oddballs and eccentrics wanted to be artists, and had to fight for it. But to use this theme of our time “the artist,” “the writer,” I decided it would have to be developed by giving the creature a block and discussing the reasons for the block. These would have to be linked with the disparity between the overwhelming problems of war, famine, poverty, and the tiny individual who was trying to mirror them. But what was intolerable, what really could not be borne any longer, was this monstrously isolated, monstrously narcissistic, pedestalled paragon. It seems that in their own way the young have seen this and changed it, creating a culture of their own in which hundreds of thousands of people make films, assist in making films, make newspapers of all sorts, make music, paint pictures, write books, take photographs. They have abolished that isolated, creative, sensitive figure—by copying him in hundreds of thousands. A trend has reached an extreme, its conclusion, and so there will be a reaction of some sort, as always happens.
The theme of “the artist” had to relate to another, subjectivity. When I began writing there was pressure on writers not to be “subjective.” This pressure began inside communist movements, as a development of the social literary criticism developed in Russia in the nineteenth century, by a group of remarkable talents, of whom Belinsky was the best known, using the arts and particularly literature in the battle against Csarism and oppression. It spread fast everywhere, finding an echo as late as the Fifties, in this country, with the theme of “commitment.” It is still potent in communist countries. “Bothering about your stupid personal concerns when Rome is burning” is how it tends to get itself expressed, on the level of ordinary life—and was hard to withstand, coming from one’s nearest and dearest, and from people doing everything one respected most: like, for instance, trying to fight colour prejudice in Southern Africa. Yet all the time novels, stories, art of every sort, became more and more personal. In the Blue Notebook, Anna writes of lectures she has been giving: “‘Art during the Middle Ages was communal, unindividual; it came out of a group consciousness. It was without the driving painful individuality of the art of the bourgeois era. And one day we will leave behind the driving egotism of individual art. We will return to an art which will express not man’s self-divisions and separateness from his fellows but his responsibility for his fellows and his brotherhood. Art from the West becomes more and more a shriek of torment recording pain. Pain is becoming our deepest reality…’ I have been saying something like this. About three months ago, in the middle of this lecture, I began to stammer and couldn’t finish…”
Anna’s stammer was because she was evading something. Once a pressure or a current has started, there is no way of avoiding it: there was no way of not being intensely subjective: it was, if you like, the writer’s task for that time. You couldn’t ignore it: you couldn’t write a book about the building of a bridge or a dam and not develop the mind and feelings of the people who built it. (You think this is a caricature?—Not at all. This either/or is at the heart of literary criticism in communist countries at this moment.) At last I understood that the way over, or through this dilemma, the unease at writing about “petty personal problems” was to recognise that nothing is personal, in the sense that it is uniquely one’s own. Writing about oneself, one is writing about others, since your problems, pains, pleasures, emotions—and your extraordinary and remarkable ideas—can’t be yours alone. The way to deal with the problem of “subjectivity,” that shocking business of being preoccupied with the tiny individual who is at the same time caught up in such an explosion of terrible and marvellous possibilities, is to see him as a microcosm and in this way to break through the personal, the subjective, making the personal general, as indeed life always does, transforming a private experience—or so you think of it when still a child, “I am falling in love,” “I am feeling this or that emotion, or thinking that or the other thought”—into something much larger: growing up is after all only the understanding that one’s unique and incredible experience is what everyone shares.
Another idea was that if the book were shaped in the right way it would make its own comment about the conventional novel: the debate about the novel has been going on since the novel was born, and is not, as one would imagine from reading contemporary academics, something recent. To put the short novel Free Women as a summary and condensation of all that mass of material, was to say something about the conventional novel, another way of describing the dissatisfaction of a writer when something is finished: “How little I have managed to say of the truth, how little I have caught of all that complexity; how can this small neat thing be true when what I experienced was so rough and apparently formless and unshaped.”
But my major aim was to shape a book which would make its own comment, a wordless statement: to talk through the way it was shaped.
As I have said, this was not noticed.
One reason for this is that the book is more in the European tradition than the English tradition of the novel. Or rather, in the English tradition as viewed at the moment. The English novel after all does include Clarissa and Tristam Shandy, The Tragic Comedians—and Joseph Conrad.
But there is no doubt that to attempt a novel of ideas is to give oneself a handicap: the parochialism of our culture is intense. For instance, decade after decade bright young men and women emerge from their universities able to say proudly: “Of course I know nothing about German literature.” It is the mode. The Victorians knew everything about German literature, but were able with a clear conscience not to know much about the French.
As for the rest—well, it is no accident that I got intelligent criticism from people who were, or who had been, marxists. They saw what I was trying to do. This is because Marxism looks at things as a whole and in relation to each other—or tries to, but its limitations are not the point for the moment. A person who has been influenced by Marxism takes it for granted that an event in Siberia will affect one in Botswana. I think it is possible that Marxism was the first attempt, for our time, outside the formal religions, at a world-mind, a world ethic. It went wrong, could not prevent itself from dividing and subdividing, like all the other religions, into smaller and smaller chapels, sects and creeds. But it was an attempt.
This business of seeing what I was trying to do—it brings me to the critics, and the danger of evoking a yawn. This sad bickering between writers and critics, playwrights and critics: the public have got so used to it they think, as of quarrelling children: “Ah yes, dear little things, they are at it again.” Or: “You writers get all that praise, or if not praise, at least all that attention—so why are you so perennially wounded?” And the public are quite right. For reasons I won’t go into here, early and valuable experiences in my writing life gave me a sense of perspective about critics and reviewers; but over this novel, The Golden Notebook, I lost it: I thought that for the most part the criticism was too silly to be true. Recovering balance, I understood the problem. It is that writers are looking in the critics for an alter ego, that other self more intelligent than oneself who has seen what one is reaching for, and who judges you only by whether you h
ave matched up to your aim or not. I have never yet met a writer who, faced at last with that rare being, a real critic, doesn’t lose all paranoia and become gratefully attentive—he has found what he thinks he needs. But what he, the writer, is asking is impossible. Why should he expect this extraordinary being, the perfect critic (who does occasionally exist), why should there be anyone else who comprehends what he is trying to do? After all, there is only one person spinning that particular cocoon, only one person whose business it is to spin it.
It is not possible for reviewers and critics to provide what they purport to provide—and for which writers so ridiculously and childishly yearn.
This is because the critics are not educated for it; their training is in the opposite direction.
It starts when the child is as young as five or six, when he arrives at school. It starts with marks, rewards, “places,” “streams,” stars—and still in many places, stripes. This horse-race mentality, the victor and loser way of thinking, leads to “Writer X is, is not, a few paces ahead of Writer Y. Writer Y has fallen behind. In his last book Writer Z has shown himself as better than Writer A.” From the very beginning the child is trained to think in this way: always in terms of comparison, of success, and of failure. It is a weeding-out system: the weaker get discouraged and fall out; a system designed to produce a few winners who are always in competition with each other. It is my belief—though this is not the place to develop this—that the talents every child has, regardless of his official “I.Q,” could stay with him through life, to enrich him and everybody else, if these talents were not regarded as commodities with a value in the success-stakes.
The other thing taught from the start is to distrust one’s own judgement. Children are taught submission to authority, how to search for other people’s opinions and decisions, and how to quote and comply.
As in the political sphere, the child is taught that he is free, a democrat, with a free will and a free mind, lives in a free country, makes his own decisions. At the same time he is a prisoner of the assumptions and dogmas of his time, which he does not question, because he has never been told they exist. By the time a young person has reached the age when he has to choose (we still take it for granted that a choice is inevitable) between the arts and the sciences, he often chooses the arts because he feels that here is humanity, freedom, choice. He does not know that he is already moulded by a system: he does not know that the choice itself is the result of a false dichotomy rooted in the heart of our culture. Those who do sense this, and who don’t wish to subject themselves to further moulding, tend to leave, in a half-unconscious, instinctive attempt to find work where they won’t be divided against themselves. With all our institutions, from the police force to academia, from medicine to politics, we give little attention to the people who leave—that process of elimination that goes on all the time and which excludes, very early, those likely to be original and reforming, leaving those attracted to a thing because that is what they are already like. A young policeman leaves the Force saying he doesn’t like what he has to do. A young teacher leaves teaching, her idealism snubbed. This social mechanism goes almost unnoticed—yet it is as powerful as any in keeping our institutions rigid and oppressive.
These children who have spent years inside the training system become critics and reviewers, and cannot give what the author, the artist, so foolishly looks for—imaginative and original judgement. What they can do, and what they do very well, is to tell the writer how the book or play accords with current patterns of feeling and thinking—the climate of opinion. They are like litmus paper. They are wind gauges—invaluable. They are the most sensitive of barometers of public opinion. You can see changes of mood and opinion here sooner than anywhere except in the political field—it is because these are people whose whole education has been just that—to look outside themselves for their opinions, to adapt themselves to authority figures, to “received opinion”—a marvellously revealing phrase.
It may be that there is no other way of educating people. Possibly, but I don’t believe it. In the meantime it would be a help at least to describe things properly, to call things by their right names. Ideally, what should be said to every child, repeatedly, throughout his or her school life is something like this:
“You are in the process of being indoctrinated. We have not yet evolved a system of education that is not a system of indoctrination. We are sorry, but it is the best we can do. What you are being taught here is an amalgam of current prejudice and the choices of this particular culture. The slightest look at history will show how impermanent these must be. You are being taught by people who have been able to accommodate themselves to a regime of thought laid down by their predecessors. It is a self-perpetuating system. Those of you who are more robust and individual than others, will be encouraged to leave and find ways of educating yourself—educating your own judgement. Those that stay must remember, always and all the time, that they are being moulded and patterned to fit into the narrow and particular needs of this particular society.”
Like every other writer I get letters all the time from young people who are about to write theses and essays about my books in various countries—but particularly in the United States. They all say: “Please give me a list of the articles about your work, the critics who have written about you, the authorities.” They also ask for a thousand details of total irrelevance, but which they have been taught to consider important, amounting to a dossier, like an immigration department’s.
These requests I answer as follows: “Dear Student. You are mad. Why spend months and years writing thousands of words about one book, or even one writer, when there are hundreds of books waiting to be read. You don’t see that you are the victim of a pernicious system. And if you have yourself chosen my work as your subject, and if you do have to write a thesis—and believe me I am very grateful that what I’ve written is being found useful by you—then why don’t you read what I have written and make up your own mind about what you think, testing it against your own life, your own experience. Never mind about Professors White and Black.”
“Dear Writer”—they reply. “But I have to know what the authorities say, because if I don’t quote them, my professor won’t give me any marks.”
This is an international system, absolutely identical from the Urals to Yugoslavia, from Minnesota to Manchester.
The point is, we are all so used to it, we no longer see how bad it is.
I am not used to it, because I left school when I was fourteen. There was a time I was sorry about this, and believed I had missed out on something valuable. Now I am grateful for a lucky escape. After the publication of The Golden Notebook, I made it my business to find out something about the literary machinery, to examine the process which made a critic, or a reviewer. I looked at innumerable examination papers—and couldn’t believe my eyes; sat in on classes for teaching literature, and couldn’t believe my ears.
You might be saying: That is an exaggerated reaction, and you have no right to it, because you say you have never been part of the system. But I think it is not at all exaggerated, and that the reaction of someone from outside is valuable simply because it is fresh and not biased by allegiance to a particular education.
But after this investigation, I had no difficulty in answering my own questions: Why are they so parochial, so personal, so small-minded? Why do they always atomise, and belittle, why are they so fascinated by detail, and uninterested in the whole? Why is their interpretation of the word critic always to find fault? Why are they always seeing writers as in conflict with each other, rather than complementing each other…simple, this is how they are trained to think. That valuable person who understands what you are doing, what you are aiming for, and can give you advice and real criticism, is nearly always someone right outside the literary machine, even outside the university system; it may be a student just beginning, and still in love with literature, or perhaps it may be a thoughtful person who reads a great d
eal, following his own instinct.
I say to these students who have to spend a year, two years, writing theses about one book: “There is only one way to read, which is to browse in libraries and bookshops, picking up books that attract you, reading only those, dropping them when they bore you, skipping the parts that drag—and never, never reading anything because you feel you ought, or because it is part of a trend or a movement. Remember that the book which bores you when you are twenty or thirty will open doors for you when you are forty or fifty—and vice versa. Don’t read a book out of its right time for you. Remember that for all the books we have in print, are as many that have never reached print, have never been written down—even now, in this age of compulsive reverence for the written word, history, even social ethic, are taught by means of stories, and the people who have been conditioned into thinking only in terms of what is written—and unfortunately nearly all the products of our educational system can do no more than this—are missing what is before their eyes. For instance, the real history of Africa is still in the custody of black storytellers and wise men, black historians, medicine men; it is a verbal history, still kept safe from the white man and his predations. Everywhere, if you keep your mind open, you will find the truth in words not written down. So never let the printed page be your master. Above all, you should know that the fact that you have to spend one year, or two years, on one book, or one author means that you are badly taught—you should have been taught to read your way from one sympathy to another, you should be learning to follow your own intuitive feeling about what you need: that is what you should have been developing, not the way to quote from other people.”
But unfortunately it is nearly always too late.
The Golden Notebook Page 2
