Books and Persons - Arnold Bennett (phonics readers .TXT) 📗

English land system. It depends for its sharp point on a terrific coincidence, as do many of Kipling's tales, for instance, "The Man Who Was"--the mere chance that these Americans should tumble upon the very ground and estate that had belonged to the English ancestors of one of them. It is written in a curiously tortured idiom, largely borrowed from the Bible, and all the characters are continually given to verbal smartness or peculiarity of one kind or another. The characters are not individualized. Each is a type, smoothed out by sentimental handling into something meant to be sympathetic. Moreover, the real difficulties of the narrative are consistently, though I believe unconsciously, shirked. The result, if speciously pretty, is not a bit convincing. But the gravest, and the entirely fatal fault, is the painting of the English land system. To read this story one could never guess that the English land system is not absolutely ideal, that tenants and hereditary owners do not live always in a delightful patriarchal relation, content. There are no shadows whatever. The English land system is perfect, and no accusation could possibly be breathed against it. And the worst is that for Kipling the English land system probably _is_ perfect. He is incapable of perceiving that it can be otherwise. He would not desire it to be otherwise. His sentimentalization of it is gross--there is no other word--and at bottom the story is as wildly untrue to life as the most arrant Sunday-school prize ever published by the Religious Tract Society. Let it be admitted that the romantic, fine side of the English land system is rendered with distinction and effectiveness; and that the puzzled, unwilling admiration of the Americans is well done, though less well than in a somewhat similar earlier story, "An Error in the Fourth Dimension."

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An example of another familiar aspect of Kipling is "With the Night Mail." This is a story of 2000 A.D., and describes the crossing of the Atlantic by the aerial mail. It is a glittering essay in the sham-technical; and real imagination, together with a tremendous play of fancy, is shown in the invention of illustrative detail. But the whole effort is centred on the mechanics of the affair. Human evolution has stood stock-still save in the department of engineering. The men are exactly the same semi-divine civil service men that sit equal with British military and naval officers on the highest throne in the kingdom of Kipling's esteem. Nothing interests him but the mechanics and the bureaucratic organization and the _esprit de corps_. Nor does he conceive that the current psychology of ruling and managing the earth will ever be modified. His simplicity, his naivete, his enthusiasms, his prejudices, his blindness, and his vanities are those of Stalky. And, after all, even the effect he aims at is not got. It is nearly got, but never quite. There is a tireless effort, but the effort is too plain and fatigues the reader, forcing him to share it. A thin powder of dullness lies everywhere.

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When I had read these stories, I took out "Life's Handicap," and tasted again the flavour of "On Greenhow Hill," which I have always considered to be among the very best of Kipling's stories. It would be too much to say that I liked it as well as ever. I did not. Time has staled it. The author's constitutional sentimentality has corroded it in parts. But it is still a very impressive and a fundamentally true thing. It was done in the rich flush of power, long before its creator had even suspected his hidden weaknesses, long before his implacable limitations had begun to compel him to imitate himself. It was done in the days when he could throw off exquisite jewels like this, to deck the tale:


_To Love's low voice she lent a careless ear;_
_Her band within his rosy fingers lay,_
_A chilling weight. She would, not turn or hear;_
_But with averted, face went on her way._
_But when pale Death, all featureless and grim,_
_Lifted his bony hand, and beckoning_
_Held out his cypress-wreath, she followed him,_
_And Love was left forlorn and wondering,_
_That she who for his bidding would not stay,_
_At Death's first whisper rose and went away_.



CENSORSHIP BY THE LIBRARIES

[_23 Dec '09_]

The immediate origin of the new attempt by the libraries to exercise a censorship over books, and particularly over novels, is quite accidental and silly. A woman socially prominent in the governing classes of this realm has a daughter. The daughter obtained and read a certain book from the circulating library. (Naturally the family is one of those that are too rich to buy books; it can only hire.) The mother chanced to see the book, and considered it to be highly improper. (I have not read the book, but I should say that it is probably not improper at all; merely a trivial, foolish book.) The woman went direct to an extremely exalted member of the Cabinet, being a friend of his; and she kicked up a tremendous storm and dust. The result was that "certain machinery" was set in motion, and "certain representations" were made to the libraries; indeed, the libraries were given to understand that unless they did something themselves "certain steps" would be taken. It was all very vague and impressive, and it brought recent agitations to a head. Hence the manifesto of the libraries, in which they announce that all books must be submitted in advance to a committee of hiring experts, and that the submitted books will be divided into three classes. The first class will be absolutely banned; the circulation of the second will be prevented so far as it can be prevented without the ban absolute; and the circulation of the third will be permitted without restrictions.

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Of course, that even the suggestion of a censorship should spring from such a personal and trifling cause is very scandalous. But I am fairly sure that it might happen under any Government and under any form of Government. All Governments must consist of individual members, and all individual members have friends. Most of them are acquainted with women, and with absurd women, who will utilize the acquaintanceship with all their might for their own personal ends. And exceedingly few members of any Government whatsoever would have the courage to tell a well-dressed and arrogant woman to go to the devil, even when that answer happened to be the sole correct answer to an impertinence. Wellington merely damned the portly darlings, but then Wellington, though preposterous as a politician, was a great man.

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The menacing letter from the Libraries was received by the Publishers on the very day of their Council meeting. This may or may not have been accidental, but at any rate it put the Publishers at a disadvantage. The Council meetings of the Publishers' Association, being dominated by knights and other mandarins, are apt to be formal and majestic in character. You can't blurt out whatever comes into your head at a Council meeting of the Publishers' Association. And nearly everybody is afraid of everybody else. No one had had time to think the matter over, much less to decide whether surrender or defiance would pay best or look best. Consequently the reply sent to the Libraries was a masterpiece of futility. The mildly surprising thing is that, in the Council itself, there was a strong pro-Library party. Among this party were Messrs. Hutchinson and Mr. Heinemann. Messrs. Hutchinson, it is well known, have consistently for many years tried to publish only novels for "family reading." It is an ambition, like another. And one may admit that Messrs. Hutchinson have fairly well succeeded in it. Mr. Heinemann issues as much really high-class literature as any publisher in London, but if his policy has had a "family and young lady" tendency, that tendency has escaped me. He has published books (some of them admirable works, and some not) which a committee of hiring experts would have rejected with unanimous enthusiasm. It is needless to particularize. Why Mr. Heinemann should have supported the Libraries in the private deliberations of the Publishers I cannot imagine. But that is the fault of my imagination. I have an immense confidence in Mr. Heinemann's business acumen and instinct for self-preservation.

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The Publishers, if they chose, could kill the censorship movement at once by politely declining to submit their books to the censorship. If only the three big fiction firms concerted to do this, the Libraries would be compelled to withdraw their project. But the Publishers will not do this; not even three of them will do it. The only argument against a censorship is that it is extremely harmful to original literature of permanent value; and such an argument does not make any very powerful appeal to publishers. What most publishers want is to earn as much money as possible with as little fuss as possible. Again, the Authors' Society might kill the censorship conspiracy by declining to allow its members to sign any agreement with publishers which did not contain a clause forbidding the publisher to submit the book to the committee of hiring experts. A dozen leading novelists could command the situation. But the Authors' Society will do nothing effective. The official reply of the Authors' Society was as feeble as that of the Publishers. I repeat that the only argument against a censorship is that it is extremely harmful to original literature of permanent value; such an argument does not make any very powerful appeal to authors. What most authors want is to earn as much money as possible with as little fuss as possible. Besides, the great money-makers among authors--the authors of weight with publishers and libraries--have nothing to fear from any censorship. They censor themselves. They take the most particular care not to write anything original, courageous, or true, because these qualities alienate more subscribers than they please. I am not a pessimist nor a cynic, but I enjoy contemplating the real facts of a case.

All the forces would seem to be in favour of the establishment of a censorship. (And by a censorship I mean such a censorship as would judge books by a code which, if it was applied to them, would excommunicate the Bible, Shakespeare, Defoe, Richardson, Fielding, Sterne, Swift, Shelley, Rossetti, Meredith, Hardy, and George Moore. "The Ordeal of Richard Feverel" would never, as a new work, pass a library censorship. Nor would "Jude the Obscure," nor half a dozen of Hardy's other books; nor would most of George Moore.) Nevertheless I am not