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  Every age has its own outlook. It is specially good at seeing certain truths and specially liable to make certain mistakes. We all, therefore, need the books that will correct the characteristic mistakes of our own period. And that means the old books. All contemporary writers share to some extent the contemporary outlook—even those, like myself, who seem most opposed to it. Nothing strikes me more when I read the controversies of past ages than the fact that both sides were usually assuming without question a good deal which we should now absolutely deny. They thought that they were as completely opposed as two sides could be, but in fact they were all the time secretly united—united with each other and against earlier and later ages—by a great mass of common assumptions.

  We may be sure that the characteristic blindness of the twentieth century—the blindness about which posterity will ask, ‘But how could they have thought that?’—lies where we have never suspected it, and concerns something about which there is untroubled agreement between Hitler and President Roosevelt or between Mr. H. G. Wells and Karl Barth. None of us can fully escape this blindness, but we shall certainly increase it, and weaken our guard against it, if we read only modern books. Where they are true they will give us truths which we half knew already. Where they are false they will aggravate the error with which we are already dangerously ill. The only palliative is to keep the clean sea breeze of the centuries blowing through our minds, and this can be done only by reading old books. Not, of course, that there is any magic about the past. People were no cleverer then than they are now; they made as many mistakes as we. But not the same mistakes. They will not flatter us in the errors we are already committing; and their own errors, being now open and palpable, will not endanger us. Two heads are better than one, not because either is infallible, but because they are unlikely to go wrong in the same direction. To be sure, the books of the future would be just as good a corrective as the books of the past, but unfortunately we cannot get at them.

  On the Role of the Marvellous

  Of Other Worlds

  (from “On Stories”)

  GOOD STORIES OFTEN INTRODUCE THE MARVELLOUS or supernatural, and nothing about Story has been so often misunderstood as this. Thus, for example, Dr Johnson, if I remember rightly, thought that children liked stories of the marvellous because they were too ignorant to know that they were impossible. But children do not always like them, nor are those who like them always children; and to enjoy reading about fairies—much more about giants and dragons—it is not necessary to believe in them. Belief is at best irrelevant; it may be a positive disadvantage. Nor are the marvels in good Story ever mere arbitrary fictions stuck on to make the narrative more sensational. I happened to remark to a man who was sitting beside me at dinner the other night that I was reading Grimm in German of an evening but never bothered to look up a word I didn’t know, ‘so that it is often great fun’ (I added) ‘guessing what it was that the old woman gave to the prince which he afterwards lost in the wood’. ‘And specially difficult in a fairy-tale,’ said he, ‘where everything is arbitrary and therefore the object might be anything at all.’ His error was profound. The logic of a fairy tale is as strict as that of a realistic novel, though different.

  Does anyone believe that Kenneth Grahame made an arbitrary choice when he gave his principal character the form of a toad, or that a stag, a pigeon, a lion, would have done as well? The choice is based on the fact that the real toad’s face has a grotesque resemblance to a certain kind of human face—a rather apoplectic face with a fatuous grin on it. This is, no doubt, an accident in the sense that all the lines which suggest the resemblance are really there for quite different biological reasons. The ludicrous quasi-human expression is therefore changeless: the toad cannot stop grinning because its ‘grin’ is not really a grin at all. Looking at the creature we thus see, isolated and fixed, an aspect of human vanity in its funniest and most pardonable form; following that hint Grahame creates Mr Toad—an ultra-Jonsonian ‘humour’. And we bring back the wealth of the Indies; we have henceforward more amusement in, and kindness towards, a certain kind of vanity in real life.

  But why should the characters be disguised as animals at all? The disguise is very thin, so thin that Grahame makes Mr Toad on one occasion ‘comb the dry leaves out of his hair’. Yet it is quite indispensable. If you try to rewrite the book with all the characters humanized you are faced at the outset with a dilemma. Are they to be adults or children? You will find that they can be neither. They are like children in so far as they have no responsibilities, no struggle for existence, no domestic cares. Meals turn up; one does not even ask who cooked them. In Mr Badger’s kitchen ‘plates on the dresser grinned at pots on the shelf’. Who kept them clean? Where were they bought? How were they delivered in the Wild Wood? Mole is very snug in his subterranean home, but what was he living on? If he is a rentier where is the bank, what are his investments? The tables in his forecourt were ‘marked with rings that hinted at beer mugs’. But where did he get the beer? In that way the life of all the characters is that of children for whom everything is provided and who take everything for granted. But in other ways it is the life of adults. They go where they like and do what they please, they arrange their own lives.

  To that extent the book is a specimen of the most scandalous escapism: it paints a happiness under incompatible conditions—the sort of freedom we can have only in childhood and the sort we can have only in maturity—and conceals the contradiction by the further pretence that the characters are not human beings at all. The one absurdity helps to hide the other. It might be expected that such a book would unfit us for the harshness of reality and send us back to our daily lives unsettled and discontented. I do not find that it does so. The happiness which it presents to us is in fact full of the simplest and most attainable things—food, sleep, exercise, friendship, the face of nature, even (in a sense) religion. That ‘simple but sustaining meal’ of ‘bacon and broad beans and a macaroni pudding’ which Rat gave to his friends has, I doubt not, helped down many a real nursery dinner. And in the same way the whole story, paradoxically enough, strengthens our relish for real life. This excursion into the preposterous sends us back with renewed pleasure to the actual.

  It is usual to speak in a playfully apologetic tone about one’s adult enjoyment of what are called ‘children’s books’. I think the convention a silly one. No book is really worth reading at the age of ten which is not equally (and often far more) worth reading at the age of fifty—except, of course, books of information. The only imaginative works we ought to grow out of are those which it would have been better not to have read at all. A mature palate will probably not much care for crème de menthe: but it ought still to enjoy bread and butter and honey.

  Growing Up Amidst a Sea of Books

  Surprised by Joy

  (from “The First Years”)

  I.A Product of Endless Books

  The New House [Little Lea, Lewis’s childhood home] is almost a major character in my story. I am a product of long corridors, empty sunlit rooms, upstairs indoor silences, attics explored in solitude, distant noises of gurgling cisterns and pipes, and the noise of wind under the tiles. Also, of endless books. My father bought all the books he read and never got rid of any of them. There were books in the study, books in the drawing room, books in the cloakroom, books (two deep) in the great bookcase on the landing, books in a bedroom, books piled as high as my shoulder in the cistern attic, books of all kinds reflecting every transient stage of my parents’ interest, books readable and unreadable, books suitable for a child and books most emphatically not. Nothing was forbidden me. In the seemingly endless rainy afternoons I took volume after volume from the shelves. I had always the same certainty of finding a book that was new to me as a man who walks into a field has of finding a new blade of grass.

  Surprised by Joy

  (from “The Great Knock”)

  II.The Ideal Day for a Young Scholar

  [At Great Bookham] We no
w settled into a routine which has ever since served in my mind as an archetype, so that what I still mean when I speak of a ‘normal’ day (and lament that normal days are so rare) is a day of the Bookham pattern. For if I could please myself I would always live as I lived there. I would choose always to breakfast at exactly eight and to be at my desk by nine, there to read or write till one. If a cup of good tea or coffee could be brought me about eleven, so much the better. A step or so out of doors for a pint of beer would not do quite so well; for a man does not want to drink alone and if you meet a friend in the taproom the break is likely to be extended beyond its ten minutes. At one precisely lunch should be on the table; and by two at the latest I would be on the road. Not, except at rare intervals, with a friend. Walking and talking are two very great pleasures, but it is a mistake to combine them. Our own noise blots out the sounds and silences of the outdoor world; and talking leads almost inevitably to smoking, and then farewell to nature as far as one of our senses is concerned. The only friend to walk with is one (such as I found, during the holidays, in Arthur) who so exactly shares your taste for each mood of the countryside that a glance, a halt, or at most a nudge, is enough to assure us that the pleasure is shared. The return from the walk, and the arrival of tea, should be exactly coincident, and not later than a quarter past four. Tea should be taken in solitude, as I took it at Bookham on those (happily numerous) occasions when Mrs Kirkpatrick was out; the Knock himself disdained this meal. For eating and reading are two pleasures that combine admirably. Of course not all books are suitable for mealtime reading. It would be a kind of blasphemy to read poetry at table. What one wants is a gossipy, formless book which can be opened anywhere. The ones I learned so to use at Bookham were Boswell, and a translation of Herodotus, and Lang’s History of English Literature. Tristram Shandy, Elia and the Anatomy of Melancholy are all good for the same purpose. At five a man should be at work again, and at it till seven. Then, at the evening meal and after, comes the time for talk, or, failing that, for lighter reading; and unless you are making a night of it with your cronies (and at Bookham I had none) there is no reason why you should ever be in bed later than eleven. But when is a man to write his letters? You forget that I am describing the happy life I led with Kirk or the ideal life I would live now if I could. And it is an essential of the happy life that a man would have almost no mail and never dread the postman’s knock.

  Surprised by Joy

  (from “Fortune’s Smile”)

  III.Learning to Love the Bodies of Books

  One other thing that Arthur [Greeves] taught me was to love the bodies of books. I had always respected them. My brother and I might cut up stepladders without scruple; to have thumb-marked or dog’s-eared a book would have filled us with shame. But Arthur did not merely respect, he was enamored; and soon, I too. The setup of the page, the feel and smell of the paper, the differing sounds that different papers make as you turn the leaves, became sensuous delights. This revealed to me a flaw in Kirk. How often have I shuddered when he took a new classical text of mine in his gardener’s hands, bent back the boards till they creaked, and left his sign on every page.

  ‘Yes I remember,’ said my father. ‘That was old Knock’s one fault.’

  ‘A bad one,’ said I.

  ‘An all but unforgivable one,’ said my father.

  On Encountering a Favorite Author for the First Time

  Surprised by Joy

  (from “Check”)

  I.Siren Songs and the Wind of Joy

  The glorious week-end of reading was before me. Turning to the bookstall, I picked out an Everyman in a dirty jacket, Phantastes, a faerie Romance, George MacDonald. . . . That evening I began to read my new book.

  The woodland journeyings in that story, the ghostly enemies, the ladies both good and evil, were close enough to my habitual imagery to lure me on without the perception of a change. It is as if I were carried sleeping across the frontier, or as if I had died in the old country and could never remember how I came alive in the new. For in one sense the new country was exactly like the old. I met there all that had already charmed me in Malory, Spenser, Morris, and Yeats. But in another sense all was changed. I did not yet know (and I was long in learning) the name of the new quality, the bright shadow, that rested on the travels of Anodos [the protagonist in Phantastes]. I do now. It was Holiness. For the first time the song of the sirens sounded like the voice of my mother or my nurse. Here were old wives’ tales; there was nothing to be proud of in enjoying them. It was as though the voice which had called to me from the world’s end were now speaking at my side. It was with me in the room, or in my own body, or behind me. If it had once eluded me by its distance, it now eluded me by proximity—something too near to see, too plain to be understood, on this side of knowledge. It seemed to have been always with me; if I could ever have turned my head quick enough I should have seized it. Now for the first time I felt that it was out of reach not because of something I could not do but because of something I could not stop doing. If I could only leave off, let go, unmake myself, it would be there. Meanwhile, in this new region all the confusions that had hitherto perplexed my search for Joy were disarmed. There was no temptation to confuse the scenes of the tale with the light that rested upon them, or to suppose that they were put forward as realities, or even to dream that if they had been realities and I could reach the woods where Anodos journeyed I should thereby come a step nearer to my desire. Yet, at the same time, never had the wind of Joy blowing through any story been less separable from the story itself. Where the god and the idolon were most nearly one there was least danger of confounding them. Thus, when the great moments came I did not break away from the woods and cottages that I read of to seek some bodiless light shining beyond them, but gradually, with a swelling continuity (like the sun at mid-morning burning through a fog) I found the light shining on those woods and cottages, and then on my own past life, and on the quiet room where I sat and on my old teacher where he nodded above his little Tacitus. For I now perceived that while the air of the new region made all my erotic and magical perversions of Joy look like sordid trumpery, it had no such disenchanting power over the bread upon the table or the coals in the grate. That was the marvel. Up till now each visitation of Joy had left the common world momentarily a desert—‘The first touch of the earth went nigh to kill’. Even when real clouds or trees had been the material of the vision, they had been so only by reminding me of another world; and I did not like the return to ours. But now I saw the bright shadow coming out of the book into the real world and resting there, transforming all common things and yet itself unchanged. Or, more accurately, I saw the common things drawn into the bright shadow. Unde hoc mihi? [Luke 1:43, Vulgate Latin]. In the depth of my disgraces, in the then invincible ignorance of my intellect, all this was given me without asking, even without consent. That night my imagination was, in a certain sense, baptized; the rest of me, not unnaturally, took longer. I had not the faintest notion what I had let myself in for by buying Phantastes.

  George MacDonald: An Anthology

  (from the Preface)

  II.Crossing a Great Frontier

  I have never concealed the fact that I regarded [George MacDonald] as my master; indeed I fancy I have never written a book in which I did not quote from him. But it has not seemed to me that those who have received my books kindly take even now sufficient notice of the affiliation. Honesty drives me to emphasize it. And even if honesty did not—well, I am a don, and ‘source-hunting’ (Quellenforschung) is perhaps in my marrow. It must be more than thirty years ago that I bought—almost unwillingly, for I had looked at the volume on that bookstall and rejected it on a dozen previous occasions—the Everyman edition of Phantastes. A few hours later I knew that I had crossed a great frontier.

  I had already been waist-deep in romanticism; and likely enough, at any moment, to founder into its darker and more evil forms, slithering down the steep descent that leads from the love of strangeness to t
hat of eccentricity and thence to that of perversity. Now Phantastes was romantic enough in all conscience; but there was a difference. Nothing was at that time further from my thoughts than Christianity and I therefore had no notion what this difference really was. I was only aware that if this new world was strange, it was also homely and humble; that if this was a dream, it was a dream in which one at least felt strangely vigilant; that the whole book had about it a sort of cool, morning innocence, and also, quite unmistakably, a certain quality of Death, good Death.

  What it actually did to me was to convert, even to baptize (that was where the Death came in) my imagination. It did nothing to my intellect nor (at that time) to my conscience. Their turn came far later and with the help of many other books and men. But when the process was complete—by which, of course, I mean ‘when it had really begun’—I found that I was still with MacDonald and that he had accompanied me all the way and that I was now at last ready to hear from him much that he could not have told me at that first meeting. But in a sense, what he was now telling me was the very same that he had told me from the beginning. There was no question of getting through to the kernel and throwing away the shell: no question of a gilded pill. The pill was gold all through. The quality which had enchanted me in his imaginative works turned out to be the quality of the real universe, the divine, magical, terrifying, and ecstatic reality in which we all live.