Still more Bowen

“I wrote by hand, as clearly as seemed possible–as when at school, two or three years before, I had been making a presentable copy of an essay. A bottle of blue-black ink stood on a saucer; I used a ribbed brown pen-holder with a ‘Relief’ nib. The writing block, which had cost ninepence, had lined pages: this I found an aid to clearness of thought. The importance to the writer of first writing must be out of all proportion to the actual value of what is written. It was more difficult then than it would be now to disentangle what was there, there on the page, from the excitement which had given it birth. There could be but one test of validity: publication. I know I shaped every line in the direction of the unknown arbiter. When I say that had I not written with the idea of being published I should not have written, I should add that I did not so much envisage glory as desire to know that I had made sense. I wanted proof that I was not prey to delusions–moreover, publication was the necessary gateway to being read. I know that I wrote then with no less, though also with no more, difficulty than I do today: as an occupation writing enthralled me, which made it suspect, but also killed me, which made it in some way ‘right.’ The thing was a struggle. I saw no point in killing myself for the sake of anything that was not to become an outright reality. For me reality meant the books I had read–and I turned round, as I was writing, from time to time, to stare at them, unassailable on the shelves behind me. . . . I had engaged myself to add to their number.”

“Encounters,” in The Mulberry Tree: Writings of Elizabeth Bowen, ed. Hermione Lee (New York: Harcourt Brace Jovanovich, 1986), 119.

Six on Saturday: November

We’ve had frost, and snow showers, though snow hasn’t stuck yet, and many of the trees still have leaves. Some examples below; #1 is the magnolia outside my study window, though this picture was taken outside, from a perspective that shows one bare tree as well as some bright color:

#2, the silver maple is now gold:

#3, the barberry is red (is this starting to sound like a children’s book?):

The Japanese maple is even brighter:

But Annabelle, next to it, has gone brown (#5):

#6, I have one flower still hanging on to some colorful petals, the scabiosa in the front bed:

Six on Saturday is hosted by the Propagator. Many participants still have flowers! Go there to enjoy.

More Bowen, on the writer’s subject

“The essential is that he be not imposed upon. He must know his own—that is, when it comes to subject. Truth is in his eye, in that roving eye: there are, and should never cease to be, unmistakable moments of recognition. Yet such moments may be daunting and unacceptable—’Must this be my subject?’ the writer sighs. He is not so young, perhaps; he foresees with dismay endless demands and challenges . . . .”

“The Roving Eye,” originally published as “The Search for a Story to Tell,” in the New York Times Book Review, 1952. I found it in The Mulberry Tree: Writings of Elizabeth Bowen, ed. Hermione Lee (New York: Harcourt Brace Jovanovich, 1986), 64.

Pronouns are those used by Bowen. In light of the weight pronouns have acquired in recent years, I find myself wondering to what degree earlier women writers felt empowered, rather than dismissed, by the “universal” masculine pronoun. I am certain that in writing of the writer’s subject, Bowen was drawing on her own experience. Did she think of her writer-self as a masculine alter-ego? Did she feel a mischievous pleasure in cloaking her woman-writer’s experience in masculine pronouns and making the readers of the NYT Book Review imagine a man who was actually herself? Or was this just what she did, a practice no more to be questioned than the use of articles?—not that a writer might not also question whether to use a direct or indirect article, or none at all, but that’s a very subtle stylistic point, I think.

Elizabeth Bowen on writing

She focuses on the creative writer, but I think much of what she says here is applicable to scholarly writers, as well:

“How, and why, does the writer find the subject—his subject, which germinates into play or story, poem or novel? Is this a matter of chance, or of expert calculation? . . . Writers are not secretive, but they are shy—shy behind the façade they learn to put up, and most shy about what is most simple to them. The fact is, they are of a childishness which could seem incredible, and which is more than half incredible to their thinking selves. The childishness is necessary, fundamental—it involves a perpetual, errant state of desire, wonder, and unexpected reflex. The writer, unlike his non-writing adult friend, has no predisposed outlook; he seldom observes deliberately. He sees what he did not intend to see; he remembers what does not seem wholly possible. Inattentive learner in the schoolroom of life, he keeps some faculty free to veer and wander. His is the roving eye.

“The Roving Eye,” originally published as “The Search for a Story to Tell,” in the New York Times Book Review, 1952. I found it in The Mulberry Tree: Writings of Elizabeth Bowen, ed. Hermione Lee (New York: Harcourt Brace Jovanovich, 1986), 63. Another book that hopped off the shelf into my hands!

Hope Mirrlees

You know how when you learn a new word, suddenly you see it everywhere? Miss Mirrlees seems to be having a moment. I had notice of this translation in my inbox yesterday: Paris. And one of my students is doing a project on the Hogarth Press, so perhaps the original dust cover will soon swim into my ken.

Twelve minutes to the End

“Presently I begin to look ahead, to see the end of the journey . . . . So it comes, the day that was invisible, the moment that I never thought to live. Nothing can stop this being the day when I shall print THE END again . . . . but there have been interruptions, even on this day. . . .

“From nearly a thousand pages of Rough, I had at last distilled the Smooth: not more than three hundred pages in all. And I was racing towards THE END; three pages to go. I should be a little late for lunch.

“‘I said—oughtn’t you to be getting ready?’

“Dragged back, I blinked upon my friend. ‘We are lunching with Dash and Blank,’ said my torturer.

“‘You go,’ I said, ‘Say I’m sorry but—‘

“‘You can’t do that. It’s a party.’

“‘I can’ I said, with some expletives let in. . . . I surrendered. . . . I changed my clothes. . . . Six more guests were well ahead of us on the terrace. Pulling myself together, apologising politely, I tried to behave. And, halfway through luncheon, received my reward.

“‘How much longer will you be working on your novel out here?’ asked the civilised gentleman sitting opposite.

“‘Never a bit of luck like this again,’ I reflected as I answered thoughtfully, ‘Oh—about twelve minutes.'”

Pamela Frankau, From Pen to Paper, New York: Doubleday, 1962, pages 29-31.

Portability; or not

“The Rough illustrates perfectly the fact that writing is a portable profession. I can carry on with it anywhere. I have written it in dentists’ waiting rooms, in casinos, in trains and at the hairdresser’s; in a B.B.C. control-room with ‘Woman’s Hour’ coming through from the studio, biding my time for the operating-theatre, sitting in a bar, watching by a deathbed.

“But the Smooth demands a long solid surface of desk or table, with a rigid attendance upon the notebooks, the Rough and the clean foolscap before me.”

Pamela Frankau, From Pen to Paper, New York: Doubleday, 1962, page 28.

Frankau’s Smooth

“Things have changed. Among them my state of mind, my approach to work and my time-table. Four hours a day could content me while I worked on the Rough. Now the minimum is six; more often I write for eight or ten hours. Because of my handwriting and the impending typist, I must go at it as neatly as possible. This slows the pace. But the longer day and the complete confidence give the Smooth a predictable lifetime: five months at most. As I work, I realise that the Rough was more fun than I thought; there wasn’t the obligation to keep my eyes on—as it might be—two saucepans and the oven at the same time.

“Usually I digest and memorise the immediate notes before I begin. They are severely practical, impersonal notes now. They will include the results of factual research. . . . But, by and large, magic has taken over. The discoveries go on. Again I find that some random, seemingly-pointless part of the Rough has acquired authentic value. It relates to the book in a way that I could not have foreseen.”

Pamela Frankau, From Pen to Paper, New York: Doubleday, 1962, pages 26-27.

Beautiful morning

When I went out to get the paper, at just past seven, there was a touch of frost on the grass, a fingernail paring of a waning moon in the dusky blue sky, and apricot tinting the eastern horizon behind the hemlocks. I could see my breath.