Leonard Woolf: A Life by Victoria Glendinning (2006)

Leonard and Virginia were agreed that his chief fault was cowardice, and hers was snobbery.
(page 151)

‘If it were not for the divine goodness of L. how many times I should be thinking of death.’
(Virginia Woolf diary 28 May 1931, quoted p.291)

Having read most of Virginia Woolf’s adult work, why read a biography of her husband, Leonard, and not her?

1) Because I’d had enough of Virginia: the essays finished me off, my cup overflowed with Woolf style, snobbery and delirium. 2) I’d learned most of the important facts about her life from the short biographies and notes in each of her novels, and the essays. 3) These notes sometimes referred to books by Leonard, notably a book he wrote called Quack! Quack! mocking the 1930s dictators, Mussolini and Hitler, which intrigued me. He wrote two novels, over 15 books of political science, was a committed socialist, literary editor, publisher, and wrote six volumes of autobiography. Does anyone ever read these? No.

So 4) Leonard is the underdog. The critical industry around Woolf is now mountainous – as Glendinning puts it, ‘There is a small mountain of books and articles on the life and work of Virginia Woolf’ (p.502) – and will only increase year by year. She is a patron saint of feminist writing, as iconic as fellow feminist saints Frida Kahlo and Sylvia Plath. There are lots of biographies of her, hundreds of books and tens of thousands of critical essays about her writing. But what about the mystery man who loved and supported her throughout the years of her great achievements, who tried to manage her recurring bouts of mental illness, who co-founded and ran their famous Hogarth Press? Let’s find out.

Jewish

Woolf was Jewish. He came from a large and extensive Jewish family. I enjoyed Glendinning’s handy summary of the history of the Jews in England, their slow liberation from various legal and customary restrictions during the nineteenth century, and then the transformation in the size of the Jewish population and in attitudes towards them triggered by the mass immigration of Jews from Russia in the 1880s and ’90s.

This more than quadrupled the size of the Jewish community in England and, because so many of them were very poor, from peasant communities, and often settled in the slummiest parts of the East End, it was this mass influx which gave rise to the casual antisemitism you find (distressingly) in so many Edwardian and Georgian writers (Saki and D.H. Lawrence spring to mind. The fact that Virginia includes antisemitic comments in some of her novels, and was regularly casually antisemitic in her letters and diaries – ‘I do not like the Jewish voice, I do not like the Jewish laugh,’ (p.189) – requires a separate explanation).

Father

Woolf was born in London in 1880, the third of ten children of Solomon Rees Sidney Woolf (known as Sidney Woolf), a barrister and Queen’s Counsel, and his wife Marie, maiden name de Jongh). Both parents were Jewish, and from extended families. This is why Glendinning needed four pages to depict the full, extended family trees of both parents. At various points, family members are quoted jokingly referring to it as ‘the Woolf pack’. From time to time grown-up Leonard, feeling sorry for himself, referred to himself as ‘a lone Woolf’.

The family lived at 101 Lexham Gardens off the Earl’s Court Road. The household was:

an example of a typical, well-to-do Victorian way of life, underpinned by an unquestioned social hierarchy and set of values. (p.13)

As a young man Leonard was conscious of ‘the snugness and smugness, snobbery, its complacent exploitation of economic, sexual and racial classes’ (quoted p.15).

We are told all kinds of things about Sidney Woolf but the single most important fact is that he died in his prime, in 1892, aged 47 (p.23). He had earned a lot as a lawyer and that income ended overnight. Now relatively impoverished his widow, Marie, was fortunate enough to have a legacy to live off. She hung on at Lexham Gardens for two years then moved the family to a smaller house further out of town – 9 Colinette Road, off the Upper Richmond Road in Putney.

School

After prep school, Leonard was sent to the prestigious St Paul’s School in west London. Lots of anecdotes, prizes and whatnot, but the important thing is that it was as a slight, shy, Jewish teenager that he developed what he called his ‘carapace’, the protective shell he was to deploy for the rest of his life.

Trinity College, Cambridge

In 1899 he won a classical scholarship to Trinity College, Cambridge. Glendinning vividly paints how he encountered a small group of fellow undergraduates who became soul mates, including the flamboyant Lytton Strachey and the hulking great Thoby Stephen, nicknamed The Goth, son of the biographer Sir Lesley Stephen and brother of the sisters, Vanessa and Virginia Stephen, the second of which Leonard was, of course to marry. But Strachey was the man. Before he’d arrived at Cambridge Strachey was a fully-formed individual with outrageous views and a particular way of speaking which influenced all his friends. Leonard became closer to Lytton Strachey than anyone else in the world, calling him ‘the most charming and witty of human beings since Voltaire’ (p.189).

I tend to think of E.M. Forster as being an old man, but he was actually a year younger than Leonard and they got to know each other at Cambridge.

Leonard was elected to the elite discussion society called The Cambridge Apostles and it is fascinating to learn the rules of this elite club and the kind of topics they discussed. When I was a sixth-former I read A.J. Ayer, learned about Logical Positivism, and went on to read Wittgenstein, all of which convinced me that talk of Beauty and Love and Truth and God is enjoyable, entertaining but ultimately meaningless.

More precisely, they may have a psychological importance and impact on the people who discuss, write and read about such topics, but they don’t really relate to anything in the real world. They derive from a misunderstanding of language. Because we talk about a good meal, a good person and a good day, it’s easy to be deluded into thinking there must be something they have in common. Plato started the ball rolling by writing dialogues in which Socrates and his followers endless debate the True Nature of The Good. Two and a half thousand years later, clever undergraduates at Cambridge were doing just the same.

I follow Wittgenstein in believing there can be no answer to these kinds of questions because they are non-questions based on a misapplication of language. Viewed from a correct understanding of language i.e. that language consists of a vast number of language games – then any given use of language may or may not be appropriate to the vast number of language games people continually play, invent and evolve and self-important Oxbridge discussions of these great big concepts simply take their place among myriads of other linguistic interactions.

Anyway, all this was to come. For the time being these clever young men thought Truth and Beauty were excellent subjects to write long papers about and present at gatherings of like-minded chaps who all considered themselves part of a literally self-selecting intellectual elite, the Apostles. Members of the Apostles included Leonard, Strachey, E. M. Forster and a year or so later, John Maynard Keynes. Thoby Stephen (his future wife’s brother) was friendly with the Apostles, though not a member himself. What comes over from Glendinning’s comprehensive accounts of these meetings and discussions is how absolutely irrelevant everything they discussed is to us today. Here are the dates of Leonard and significant contemporaries:

  • E.M. Forster b. 1879
  • Lytton Strachey b.1880
  • Thoby Stephen b.1880
  • Leonard Woolf b. 1880
  • Clive Bell b.1881
  • John Maynard Keynes b.1883

G.E. Moore

All of them were deeply in thrall to the moral philosopher George Edward (G. E.) Moore (1873 to 1958), himself an older member of the Apostles. They were still undergraduates when Moore published his influential book, Principia Ethica, in 1903, which was concerned with that age-old problem, What is the good? Moore decides that ‘the good’ is ultimately unknowable, so that:

By far the most valuable thing, which we can know or can imagine, are certain states of consciousness, which may roughly be described as the pleasures of human intercourse and the enjoyment of beautiful objects.’ (p.63)

1. The pleasures of human intercourse and 2. the enjoyment of beautiful objects. Friends, lovers and art. Or, as Wikipedia summarises it:

that the summum bonum lies in achieving a high quality of humanity, in experiencing delectable states of mind, and in intensifying experience by contemplating great works of art,

Moore’s conclusions led his book to be treated as a kind of Bible by the network of friends which came to be known as the Bloomsbury Group, validating their belief that human relationships are what count most: Love and Beauty. Sounds like Keats, doesn’t it, from almost a century earlier? Glendinning quotes John Maynard Keynes’s extravagant response to Moore’s theory: ‘It seemed the opening of a new heaven on a new earth’ (p.64).

The thing to understand is that the younger generation experienced this as a tremendous liberation from the oppressive burden of Victorian beliefs in duty and honour and nation and empire and queen and country and all the rest of it. For believers like Leonard the book stripped away centuries of oppressive religious beliefs, shedding the calm light of common sense on the agonising questions of how to live and what to believe.

‘Isn’t that the supreme, the only thing – to be loved.’ (Strachey, quote p.98)

But there were plenty of critics who mocked these earnest young believers. Glendinning quotes Beatrice Webb’s shrewish view that the book had little or no value and simply gave the young generation who worshipped it ‘a metaphysical justification for doing what you like’ (p.65).

Glendinning herself criticises the Principia because:

  1. Its unquestioning definition of The Beautiful was heavily Victorian and becoming out of date as the new aesthetics of the 20th century kicked in
  2. Moore’s idea of the good life was very passive and quiescent i.e. simply ignored the active life of politicians, engineers, administrators, people who did things. It was a privileged academic’s conclusion that the best possible way of life was… to be a privileged academic.
  3. No sex please, we’re British: Moore’s ‘asexual mind-set seemed to preclude the “intrinsic value” of any “state of consciousness” elicited by anything more urgent than affection’ (p.63). In other words, Moore’s was a very pallid, underpowered, sexless view of human emotions.

Choice of career and the Civil Service exam

Woolf was awarded his BA in 1902 but stayed on at Cambridge for another year to study for the Civil Service examinations which he took in the summer of 1904. He got a low pass, 69th in the list, and was offered a job as an imperial administrator in Ceylon. First he went the round saying goodbye to his uni friends and this included dinner at the Stephens new house. Sir Leslie Stephen had recently died (February 1904) and his children had moved out of the gloomy family house in Hyde Park Gate to a roomier lighter one in Bloomsbury. Visiting his friend Thoby (the Goth), meant meeting the two beautiful sisters, Vanessa and Virginia. Glendinning points out that the latter was still recovering from the nervous breakdown triggered by her father’s death, one of what was to become a string of breakdowns and mental health problems. During this breakdown she had made the first of several suicide attempts (p.129).

Ceylon

Woolf was in Ceylon for 7 long years, 1904 to 1911. Glendinning makes the point that he met hundreds of native Sinhalese and Tamils but never became friendly with one of them. He liked Ceylon, some of the scenery was breath-taking. He wrote that the jungle:

‘is a cruel and dangerous place, and, being a cowardly person, I was always afraid of it. Yet I could not keep away from it.’ (quoted p.109)

, but he became an increasingly conflicted imperialist. As he was slowly, systematically promoted, he found himself adjudicating law cases and arguments and realised the only thing to do was be as strict and impartial as possible. At the same time he came to hate the impact many imperial laws and restrictions had on the natives.

Glendinning gives a vivid and fascinating account of all this, based on the twin sources of the official diary he kept of his duties, along with the many letters he exchanged with his friends back in England, Thoby, a friend called Saxon but above all Lytton Strachey.

He lost his virginity to a Singhalese woman and seems to have had occasional sexual encounters, but didn’t keep a native mistress as many other young male imperial administrators did.

The conversation of whores is more amusing than the conversation of bores.

The correspondence with Lytton back in England, in Cambridge, is extraordinarily candid about sex. Lytton deploys what he himself calls ‘the dialect of their intimacy’ (p.146). Lytton was a promiscuous homosexual who needed to be falling in love with new young men all the time. Glendinning quotes liberally from his letters which depict not just his sex life, but the sex lives of those in their set or circle, including Duncan Grant, Clive Bell and Keynes. For example, where he explains that he is having an affair with Duncan Grant, who is also sleeping with Keynes. Lytton and the others delighted in using the word ‘copulate’, in a self-mocking tone.

‘I copulated with him [Duncan] again this afternoon, and at the present moment he is in Cambridge copulating with Keynes.’ (p.115)

As always, it’s the promiscuity of gay men which staggers me, compared with the, as far as I can tell, complete chastity of their female contemporaries, specifically Virginia and Vanessa.

A note that Leonard’s sister, Bella, came out to Ceylon in 1907. She married a colonial administrator, Robert Heath Lock, Assistant Director of the Peradeniya Botanical Gardens, near Kandy in 1910. She wrote children’s books and the first tourist guide to Ceylon. She was one of many voices advising Leonard to get married. She merits a Wikipedia page of her own.

The Longest Journey

While Leonard was in Ceylon, his friend E.M. Forster published an autobiographical novel, The Longest Journey which describes the coming-to-maturity of young Frederick ‘Rickie’ Elliott, including lengthy descriptions of his time as an undergraduate at Cambridge. Critics think the character of Stewart Ansell, the clever student which Rickie’s and their circle look up to, is at least partly based on Woolf. Certainly the flashy pseudo-philosophical conversations at Cambridge which the novel opens with, are based on The Apostles. Woolf and Strachey both hated it.

Back from Ceylon

After seven years service Leonard was given an extended leave to return to England. Glendinning quotes many of the colleagues and managers in the Colonial Service who advised him to get married. it’s interesting to read the opinions of quite a few contemporaries all advising that marriage is the best thing or only thing which a young man can do to acquire focus and purpose in his life. ‘Marriage was the only way forward’ (p.120).

We know from their letters and diaries that it was Lytton who first proposed to Virginia, in a panic that she might accept (p.114). You have to have followed the text quite closely to understand why this flamboyant queer would even consider such a mad move in the first place. She sensibly turned him down.

Virginia’s character As the focus of the story turns towards Virginia Stephen, Glendinning gives a useful profile and description of her (pages 128 to 130). The bit that stood out for me was the notion that her mother was aloof and distant, so that the girl Virginia hardly ever had time with her alone.

In adolescence and beyond, she became emotionally attached to older women. (p.128)

Aha, I thought – this sheds light on the warmth and fondness for mother figures and older women which you find in her fiction – Betty Flanders, Clarissa Dalloway, Mrs Ramsay, Lucy Swithin.

Virginia’s physicians We learn about the wonderfully named Dr Savage, the physician treating her mental illness, and that he had treated her father for depression, and one of her cousins, who ended up committing suicide. Also, we learn that her sister, Vanessa, was also prey to anxiety and depression. She had her own ‘nerve doctor’, Dr Maurice Craig of 87 Harley Street. So was it genetic?

Brunswick Square The Stephens children moved again, to 38 Brunswick Square, and invited several friends to move in and take rooms. Among these was Leonard who moved in on 20 November 1911. Their wooing was slow and painful.

The Aspasia Papers Constant company led Leonard to fell deeper and deeper in love with the beautiful, mercurial, charismatic Virginia, who he came to nickname Aspasia. This was the name of the wife of Pericles (495 to 429 BC), leader of Athens during its so-called Golden Age. He wrote descriptions of her and these expanded to become sketches of the entire social circle or set, all under pen-names, eventually called the Aspasia Papers. The whole gang he joking referred to as The Olympians.

Leonard proposes to Virginia On 10 January 1912 he proposed to her. This upset her so much she took to her bed. But over the following weeks he maintained his suit and the great day came on Wednesday 29 May when she acknowledged the loved him. They told the gang who reacted in different ways. Rupert Brooke claimed it was Leonard’s sexual know-how that got her. He described her eyes lighting up when Leonard described having sex with prostitutes in Ceylon. Put simply, he was the only man she knew who wasn’t gay and had had sex. With a woman!

He was 31, she was 30, both getting on a bit.

Quits the Colonial Service The Colonial Office required him to end his leave and return to Ceylon by May at the latest but Leonard realised he couldn’t go back, and after some surprising shows of flexibility by Whitehall, he eventually resigned his position. Now what was he going to do? He was writing a novel and had written some short stories, but hadn’t made any money from them.

Wedding They were married on Saturday 10 August 1912 at St Pancras Registry Office, a very small low-key affair. As Glendinning puts it:

Leonard and Virginia were agreed that his chief fault was cowardice, and hers was snobbery.
(p.151)

And both faults lay behind his failure to invite his mother to the wedding. Not being invited to the most important day of a son for whom she had made such sacrifices as a single mother deeply hurt her.

Sex

Glendinning (like all their friends) moves onto the subject of sex. Virginia seems to have got to the ripe old age of 30 without every experiencing sexual feelings. This is what you’d deduce from her novels and essays which have a kind of hallucinatory sexlessness. So she didn’t have a clue and he wasn’t savvy enough to be a teacher. He’d only slept with a few Singhalese prostitutes and prostitutes are 1) experienced and 2) compliant. Apparently when Leonard went to make his move, Virginia became increasingly anxious and over-excited in the way which preceded her breakdowns so he had to desist. Permanently.

Glendinning cites a letter exchange of 1933 with Ethel Smyth the feminist composer, where they talk about a news story that young women are having operations to break their hymens ahead of getting married, and joke about going to have the operation themselves. Woolf was 51 and apparently serious. Glendinning concludes from this and plenty of other evidence that Leonard and Virginia never had penetrative sex, so the marriage was never consummated in the normal way. Within a year they took to sleeping in separate rooms and never again slept together.

Events

Breakdown and suicide attempt After the marriage Virginia’s anxiety, nerves and depression grew worse. She became extremely anxious about the likely reception of her first novel, ‘The Voyage Out’. They went to the country hotel to celebrate the first anniversary of their honeymoon but it was a disaster. Virginia had high anxieties about food and refused to eat. Back in Brunswick Square, unattended for a few hours, she took an overdose of veronal (100 grains of veronal) sleeping pills. Prompt action by Keynes’s brother, Geoffrey who was staying in the house, and a stomach pump, saved her life but this necessitated a round of carers, nurses, consultations with the three physicians now treating her.

The Village in the Jungle In the middle of all this Leonard’s first novel, The Village in the Jungle, was published to good reviews. It’s set in Ceylon but not among the white ex-pat and colonial community, instead it entirely habits the minds of poor Singhalese villagers. And it’s written in what, for the times, was very plain factual English, what Glendinning calls ‘spare and unmannered’. Woolf’s old boss, Sir Hugh Clifford, wrote that:

‘Your book is the best study of Oriental peasant life that has ever been written, or that I have ever read.’ (p.168)

It’s available online and I’ve read and reviewed it for this blog.

Virginia Woolf was five feet ten inches tall. She had a ‘cut glass accent’ (p.299).

The Women’s Co-operative Guild The misery with Virginia lasted for months. Throughout this period Leonard became involved with the Women’s Co-Operative Guild, led by its young and energetic president, Margaret Llewelyn Davies. He went to meetings and the annual conference and write articles to promote their work.

He was by this stage writing lots of articles and reviews for a variety of journals, including the New Statesman.

Exempted from war service When the war came the army was at first fuelled with volunteers. The Military Service Act of 1916 widened the age of conscription to all men aged between 16 and 41. Leonard was 35 but underweight and anxious, with a permanent tremor in his hands. In the next three years he underwent three medical examinations but each time presented a letter from his doctor exempting him, predicting that if he were conscripted he would have a physical and mental breakdown within months.

The Fabian Society As well as the Women’s Co-Operative, Leonard had been collared by Sidney and Beatrice Webb, leading lights of the Fabian Society, who were always recruiting likely young chaps for their cause. Sympathetic to gradualist socialism based on facts and figures, Leonard was commissioned to research and write various reports. Thus in 1916 was published the result of extensive researches, his International Government. The book’s central proposal was for an international agency to enforce world peace, and he went on to join a number of the organisations lobbying for a League of Nations to be set up, becoming friendly with the genial H.G. Wells in the process.

Labour Party Leonard joined the Labour Party and helped research and write policy papers. Women’s Co-Operative, League of Nations charities, Fabians and Labour, he wrote research papers, pamphlets and books for all of them. His next book was the thoroughly researched Empire and Commerce in Africa.

1917 Club As a left-winger Leonard welcomed the Russian Revolution. As promptly as December 1917 he helped set up the 1917 Club in Soho as a discussion forum.

The Hogarth Press In 1917 the couple bought an old printing press for £19 and set it up on the dining room table of Hogarth House in Richmond and taught themselves how to use it, to print pages and stitch them together into books. Their first publication was Two Stories, one by Leonard, one by Virginia. Hers was The Mark On The Wall, a free-associating flight of fancy. It was her first published story. His old friend Lytton Strachey immediately saw it was a work of genius. But as Virginia’s confidence grew, Leonard’s shrank. He had published two novels but began to lose faith. He was happier writing factual books.

Mark Gertler, Lady Morrell, Katherine Mansfield They make friends with Mark Gertler, self-obsessed Jewish painter and lover of Dora Carrington. At Garsington Manor, home of Lady Ottoline Morell, they meet the New Zealand short story writer Katherine Mansfield and her husband, the editor John Middleton Murray. They agreed to published Mansfield’s 68-page story The Prelude on their press

Leonard produced another book, Co-operation and the Future of Industry and agreed to edit a journal called International Review. The publishing sensation of 1918 was his old friend, Lytton Strachey’s debunking work of biography, Eminent Victorians.

In the war one of Leonard’s brothers, Cecil, was killed and one, Philip, badly wounded.

Recap When the war ended Glendinning summarises that Woolf had established himself as a documentary journalist and political propagandist, an experienced public speaker and author of distinguished books, as well as a seasoned book reviewer, and publisher in his own right. He was a behind-the-scenes figure in the growing Labour Party and was offered a seat to contest as an MP but, after some hesitation, turned it down.

James Joyce In April 1918 Harriet Weaver, patron of The Egoist magazine, approached them with the unfinished manuscript of James Joyce’s Ulysses but they had to turn it down. Far too big for their expertise, it was rejected on the grounds of obscenity by the two commercial printers they approached. Obscenity was Virginia’s central objection to Joyce, see her essay Mr Bennett and Mrs Brown (1923). She couldn’t get past her snobbish aversion to his references to peeing, pooing and the male anatomy. (The book’s central character, Leopold Bloom, has a bath and idly watches his willy floating in the water.) In her own fictions, almost all references to the body, let alone sex (God forbid) are rigorously excluded, which helps to give them their strange, bloodless, ethereal character.

Woolf’s problematic reaction to Joyce (admiration, envy, rivalry, disgust at his physicality) are explored in two excellent essays by James Heffernan:

T.S. Eliot Conversation with Weaver turned to her other protegé, T.S. Eliot, who they invited to tea to discuss whether he had anything to publish. As a result they published seven of his poems in a small edition of 140 in November 1919. Initially stiff and inhibited, Eliot became friends with Virginia who referred to him, unpretentiously, as Tom. He, like Leonard, was to become carer to a mad wife. He was six years younger than Virginia (born 1888 to Virginia’s 1882). (Later Glendinning wryly notes that ‘Eliot continued to consult Leonard as an expert on mad wives,’ p.265. Ten years later they could have both helped Scott Fitzgerald with Zelda.)

Monk House In 1919 they were meant to go down to Cornwall to join the ménage which had been set up by D.H. Lawrence, his wife Frieda, Middleton Murray and Mansfield – but never did. They had been used to a place in the country named Asheham House but it was sold by the owner. They looked around and settled on Monks House in the village of Rodmell in Sussex. They paid £580 plus £120 for the freehold. This is now a National Trust property. When they moved in it had no running water, electricity or toilet facilities. These two highbrows put up with conditions which would nowadays as unfit for human habitation. Leonard became addicted to working in the garden and had to be dragged away to take Virginia for constitutional walks.

Back in London they bought a bigger press and began to consider the Hogarth Press as a commercial venture. They published Virginia’s story, Kew Gardens. It was 1919 the year of the Paris Peace Conference and Leonard nearly went. They printed Leonard’s Three Tales from the East with a cover by Dora Carrington, to very positive reviews.

Friends’ success Lytton had become a famous name with his Eminent Victorians and Keynes became famous for writing a scathing indictment of the peace terms imposed on Germany in The Economic Consequences of the Peace (December 1919). But although much of Leonard’s research for International Government was used by the British government or other organisations at the Conference, he got little recognition.

Empire and Commerce in Africa: A Study in Economic Imperialism (1920) a scathing indictment of British imperial policy in Africa. He was writing for the New Statesman and wrote leading articles on foreign affairs for the Nation. He was secretary to the Labour Party Committee on International and Imperial Questions. He was in the loop.

The Memoir Club Molly McCarthy set up the Memoir Club to bring together old pals from Cambridge to read works in progress. A propos of this you realise that Leonard, the man, was the objective authoritative and grounded one; Virginia, the woman, was flighty, solipsistic, experimental (p.237).

Gorki and the Russians In 1919 Maxim Gorky sent a friend of theirs, Kotelianski, a manuscript of his life of Trotsky, which he brought to the Woolfs. Thus began a series of careful translations of contemporary Russian literature by the Hogarth Press.

Teeth out In June 1921 Virginia had another nervous collapse. It is mind-boggling to read that some experts thought that having your teeth extracted was a cure from mental illness. On this occasion she had three pulled out. By the end of her life she’d had all her teeth pulled out by these experts.

Jacob’s Room In November 1921 she finished writing Jacob’s Room but with the end of any book came a rush of doubt, anxiety and sometimes collapse. She had come to rely on Leonard entirely, and he had evolved to know his place was by her side and supporting. At the time of the peace conference he had been asked to travel abroad, the Webbs asked him to visit Bolshevik Russia and report back, but he turned all offers down in order to remain by Virginia’s side. This makes him a hero, doesn’t it?

Passage To India Leonard played a key role in helping Morgan Foster complete his most important novel, A Passage To India, when Forster had severe doubts and thought of abandoning it (p.242). Passage was published in 1926 and made Forster famous and financially secure. Leonard was the grey eminence behind it.

Stands for Parliament Leonard stood as a Labour candidate for Liverpool in the 1922 General Election but, thanks to his lacklustre speeches about international affairs and against imperialism, came bottom of the poll. It was a relief.

Literary editor

‘I expect you have heard that, having failed as a) a civil servant b) a novelist c) an editor d) a publicist, I have now sunk to the last rung… literary journalism. I am now Literary Editor of The Nation and Athenaeum.’ (letter to Lytton Strachey, 4 May 1923)

The salary, £500 a year, gave the couple some financial stability and coincided with the start of ‘the most prolific and successful period of Virginia’s writing life’ (p.248). She had published Jacob’s Room and started the long process of writing Mrs Dalloway and was, in addition, writing important essays and reviews.

Leonard’s literary positions Wikipedia gives a handy list of Leonard’s editorial positions:

  • 1919 – editor of the International Review
  • 1920 to 1922 edited the international section of the Contemporary Review from 1920 to 1922
  • 1923 to 1930 – literary editor of The Nation and Athenaeum (generally referred to simply as The Nation)
  • 1931 to 1959 – joint founder and editor of The Political Quarterly from 1931 to 1959

The Waste Land It’s a bit mind-boggling to learn that the Hogarth Press published The Waste Land and the type was set in the household larder. ‘Tom’ was pleased with the typescript and layout. In the same year he established a literary magazine of his own, the Criterion and he and Leonard now were friendly and conspiring literary editors, swapping reviewers and ideas. Tom became a regular visitor to their house, mostly alone, in fact maybe a bit too often as his marriage with the mentally unstable Vivian sank into misery.

Glendinning very entertainingly punctuates the key events of Leonard’s life with a roundup of what all the other Bloomsburies were doing, which is mainly having hetero or bisexual affairs with each other. A little grenade was thrown into the mix when Keynes announced he was not only in love with, but going to marry a dancer from the Ballets Russes, Lydia Lopokova (p.249).

52 Tavistock Square Virginia felt out of it in Richmond and wanted to socialise more. So they sold Hogarth House (for £1,350) and rented 52 Tavistock Square for £140 a year.

Vita Sackville-West At this time Virginia met and became friends with socialite and author Vita Sackville-West. She was married to diplomat Harold Nicholson but they led separate lives, he with a string of boyfriends, she having affairs with women and, eventually, with Virginia. They became ‘tentative’ lovers for about three years. But sex was alien to Virginia’s nature and Vita was a passionate collector of conquests.

Labour As well as working full time as literary editor of the Nation, he continued to be secretary to Labour’s Advisory Committee on International and Imperial Questions. He drafted the foreign policy section of Labour’s 1929 manifesto. Throughout the 1920s he campaigned for India and Ceylon to be given independence. If they had, he later wrote, the murder and mayhem of the independence struggle and the catastrophe of partition would never have happened.

Freud The Hogarth Press embarked on publishing the complete works of Freud being translated by James and Alix Strachey. This project carried on into the 1960s, long after Leonard had parted company with Hogarth, and they’re the edition I own, as republished by Penguin. Despite this, Leonard grew more anti-analysis as he grew older. I’ve reviewed quite a few of Freud’s works:

Vita It became a love affair in December 1925. They took trouble to conceal the full depth of it from Leonard.

Car In August 1927 he bought a car. He drove Virginia all round the country. They drove to the south of France. He wrote that nothing changed his life as much as owning a car.

Mrs Dalloway was published by the Hogarth Press on 14 May 1925. The Common Reader, a volume of 21 short literary essays, was published the same year, and the following year was the first one in which Virginia’s income exceeded Leonard’s. In 1927 her masterpiece To The Lighthouse was published. In 1928 she earned £1,540 to his £394.

Nicknames Virginia never called him Len, she called him Leo. From the start of the marriage they had numerous nicknames for each other but the enduring ones were the Mongoose and the Mandrill. Before she married, Virginia’s nickname in the Stephen household was ‘the Goat’.

They went to Berlin to visit Harold Nicholson, it was a long draining visit with many late nights, and on her return she had a relapse and was in bed for three weeks. Glendinning quotes her as saying she really wanted ‘the maternal protection which… is what I have always wished from everyone’. Suddenly, reading that, I saw how Woolf was a child, endlessly seeking reassurance. And it made me see her novels as essentially childlike, a sexless, jobless, workless, child’s-eye view of life.

Orlando: A Biography was published on 11 October 1928 and sold well, securing their finances. A year later, in October 1929, A Room of One’s Own was also successful.

Richard Kennedy, 24, was the latest young graduate taken on to help out at the Hogarth Press. He describes how Leonard was:

the magician who keeps us all going by his strength of will… and Mrs W is a beautiful, magical doll, very precious but sometimes rather uncontrollable.’

He describes how, when she was lifting off into one of her manic spells, Leonard would gently tap her on the shoulder and she would stop talking, and quietly follow him, go to her bedroom where he talked quietly, read to her and calmed her down. Leonard had to warn new people what they could not say to Virginia to avoid a problem/getting her over-excited. I hadn’t realised she was this on the edge, all the time.

Ethel Smyth During 1930 Virginia gets to know the deaf, feminist composer Ethel Smyth and they become regular, and sometimes bawdy, correspondents. Smyth was 72, Virginia 48. Here’s Smyth’s most famous work, The March of The Women. Very worthy, but heavily Victorian and boring.

New Fabian research Bureau Leonard is appointed to its executive committee in 1931.

Kingsley Martin, an earnest young nonconformist, is appointed editor of the New Statesman which he would remain for 30 years. Leonard became joint editor of the Political Quarterly which he remained for the next 27 years.

The Hogarth Press published 31 books or pamphlets in 1930, 34 in 1931.

John Lehmann just down from Trinity Cambridge, was hired to work on the Press. He lasted two years. While here he published New Signatures, the selection which introduced the poets of the Auden generation. He introduced the Woolfs to Christopher Isherwood. They published Laurens van der Post’s first book. The more I read about the Hogarth press, the more impressive it becomes.

Glendinning cites eye witness accounts from Lehmann, Barbara Bagenal and Harold Nicholson of how Virginia needed Leonard to calm her when she got over-excited or had a fugue, a loss of awareness of where she was or what she was doing (p.294).

There are plenty of eye witnesses testifying to how happy Leonard and Virginia were at Monks House, how relaxed with each other and a civilised routine. Visitors heard Virginia endlessly talking to herself, in the bath, as she pottered round the big garden, and along country lanes, so that the locals came to think of her as bonkers. The servant Louie Everest came to recognise when Virginia was having one of her bad headaches because she pottered round the garden, bumping into trees.

1932

21 January: Lytton Strachey died of cancer. Leonard wrote a sensitive obituary. He had been Leonard’s best friend in their youth. His death confirmed Leonard was middle aged.

11 March, Lytton’s partner, the painter Dora Carrington, shot herself.

Mains water is brought to Monks House and they get a telephone, Lewes 832. Virginia buys new beds from Heals.

1 October Oswald Mosley founded the British Union of Fascists. Marches, rallies and violence in the East End. The Woolfs were connected to all this because up till this point Virginia’s lover, Vita Sackville West’s husband, Harold Nicholson, had been secretary to Mosley. Now he quit.

Conversely, T.S. Eliot‘s mentally unstable wife, Vivian, joined the Fascists. Eliot separated from her and never saw her but she stalked him and made public scenes. Virginia sympathised and ‘Tom’ became a good friend and regular visitor to their London or Sussex house.

1933

1933: Victor Gollancz asked Leonard to edit An Intelligent Man’s Way to Prevent War. This is the same subject as prompted Virginia’s great book, Three Guineas. In April Mosley held a rally for 10,000 followers at the Albert Hall. Leonard and the Fabians thought he might be in power in five years’ time.

1934

July: they visited the fabulously wealthy Victor Rothschild and promised to look after his pet marmoset while he went abroad. It was called Mitzy and became so attached to Leonard’s kindness that she never went back. She perched on Leonard’s shoulder or head and the back of his jacked was routinely strewn with her poo.

5 to 10 September: Leonard listens to the Nazi Nurenberg rally, relayed on the radio. He was inspired to write his satire on the totalitarian regimes, Quack Quack!

9 September: art critic and populariser of the French post-impressionist painters, Roger Fry, died. Vanessa had had a fiercely sexual affair with him (13 years older than her) and was inconsolable. Slowly the idea crystallised that Virginia should write his biography. This was to turn into a chore and produce a not very good book.

1935

May: Driving to Italy Leonard decided to take a detour through Nazi Germany. Glendinning points out that in his autobiographies he doesn’t mention the antisemitism of the 1930s, doesn’t mention Mosley or the British Union of fascists. She thinks this is because he didn’t want to put down in black and white even the possibility of his country’s rejection of himself, as a Jew. The British Foreign Office advised Jews not to visit Hitler’s Germany. Brief description of their journey through Nazi Germany, soldiers everywhere, public notices against Jews, mobs of children giving the Nazi salute. They had taken Mitzy the marmoset with them who made people laugh and defused tensions.

June: published his attack on the Fascist governments, Quack Quack!

September: Nazi Nuremberg Race Laws Jews legally different from their non-Jewish neighbours introducing all kinds of legal discrimination.

September: Leonard and Virginia attended the Labour Party Conference where Ernest Bevin argued that Britain had to rearm to face the Fascist powers, annihilating pacifist speaker in the process.

2 October: Mussolini invaded Abyssinia. Sanctions were useless as didn’t include Germany or the USA. Leonard wrote bleakly about the failure of the League of Nations. He had spent 20 years arguing that the only way to keep peace was international co-operation. Now he was forced to abandon that position and agree with Bevin that Britain needed to re-arm and make itself strong.

1 November: UK General Election in which Labour were thrashed and the new coalition government of Conservatives along with small breakaway factions of the Labour and Liberal parties, was headed by Conservative Stanley Baldwin.

Tom Eliot brought Emily Hale, a former love and confidante, to meet Leonard and Virginia, who left a record of their tea, finding Leonard more sympathetic, warm and tired.

1936

20 January: King George V died, succeeded by his son, Edward VIII.

6 March: Hitler’s troops reoccupied the Rhineland in breach of the Versailles Treaty. The atmosphere of growing antisemitism in Britain. British Union of Fascists symbols drawn on the walls.

Trying to finalise The Years and separate out the polemical book which was to become Three Guineas brought Virginia closer to breakdown than she’d been since 1913. She lost half a stone and for over three months was unable to work, an unusual hiatus. Only in the last 3 months of the year could she resume work on what was to be her longest novel.

July: Spanish Civil War broke out with the army’s coup against the republican, anti-clerical socialist government. Leonard concluded the international system had collapsed and a European war was inevitable.

Sunday 4 October: the Battle of Cable Street as anti-fascists attacked a march by the British Union of Fascists through the East End.

5 to 31 October: the Jarrow march.

19 December: after a prolonged constitutional crisis, Edward VIII abdicates because of the Establishment’s refusal to let him marry the American divorcee, Wallis Simpson.

1937

Leonard was ill for an extended period of time. Glendinning thinks it expressed his anguish about the international situation and dread for the plight of the Jews. He tried various consultants who thought it was diabetes or prostate trouble i.e. didn’t have a clue.

April: the bombing of Guernica.

24 June: Leonard and Virginia were among many artists and performers onstage at the Albert Hall for a concert to raise money for Basque orphans.

20 July: the terrible news that Virginia’s nephew (Vanessa’s son) Julian Bell had been killed after volunteering to drive an ambulance in Spain.

Leonard was diagnosed with numerous ailments and prescribed loads of medicines none of which worked. He even went to see the inventor of the Alexander technique, Frederick Alexander, but gave it up as too arduous. His ongoing illness prompted love and support from Virginia. Glendinning quotes Virginia’s diary describing them walking round Tavistock Square like a lovestruck couple:

‘love-making – after 25 years can’t bear to be separate…you see it is enormous pleasure being wanted: a wife. And our marriage so complete.’ (Virginia’s diary 22 October 1937)

21 October: after a long gestation, Virginia’s final and longest novel, The Years was published. It received good reviews and was her most commercially successful novel although Leonard thought it was her worst.

In late 1937 John Lehmann became a partner in the Hogarth press, buying out Virginia’s share for £3,000.

1938

March: Lehmann started full time as co-director of the Hogarth Press. Endless bickering with Leonard. But it was making more money than ever, £6,000 in this tax year.

March: Leonard installs a wireless in 52 Tavistock Square. He himself makes regular radio broadcasts.

12 March: the Anschluss, Nazi Germany marches into Austria and takes it over. At the Labour Party Executive Leonard argues for a coalition with the Conservatives and the introduction of conscription.

April: Lady Ottoline Morrell, hostess of the literary salon at Garsington Manor, died.

June: Three Guineas published. Leonard thought it typified Virginia’s impeccable feminism but their friends didn’t like it. Forster thought it cantankerous, Keynes thought it silly, Vita thought it unpatriotic. I think its structure (like a lot of Woolf’s writing) is eccentrically oblique and sometimes confusing, but the picture she builds up, especially through the extended notes, of the patriarchy which held back British women, is magnificent, radiating scorn and quiet rage.

August: Tom Eliot’s wife Vivian was certified insane and sent to a lunatic asylum where she spent the last 9 years of her life. Eliot never visited her.

September: the Munich Crisis, Neville Chamberlain flies to Munich and along with the French Prime Minister allows Hitler to annex the Sudetenland, part of Czechoslovakia with a large German population. Leonard predicted war. Virginia is still very much in love with him. She bakes a loaf of bread and calls out to the garden, where he’s up a ladder ‘where he looked so beautiful my heart stood still with pride that he had ever married me’ (letter to Vanessa Bell, October 1938).

9 November: Kristallnacht when the Nazis unleashed stormtroopers on Jewish homes, business and synagogues across Germany. Hundreds of synagogues throughout Germany, Austria and the Sudetenland were damaged, over 7,000 Jewish businesses were damaged or destroyed, and 30,000 Jewish men were arrested and incarcerated in concentration camps. Leonard has a recurrence of the painful rash which covers his back and other parts. He sees doctors but Glendinning thinks it was psychosomatic, stress, and to do with the persecution of the Jews.

December: Leonard finished the first volume of After the Deluge, an analysis of Enlightenment thought into the early nineteenth century. His aim was to show the psychological and sociological process which bring about wars, and so avoid them. Fat chance. When it was published in September 1939 it sold pitifully.

1939

January: Leonard and Virginia go to tea with Sigmund Freud, recently escaped from Nazi Vienna. The Hogarth press had been publishing his works for 15 years. Leonard was struck by Freud’s aura of greatness. Freud died a few weeks into the war, on 23 September 1939.

15 March: German army annexes the rest of Czechoslovakia and claims the country has ceased to exist. France and Britain bring forward their rearmament programmes. Leonard’s psychosomatic rash returns with a vengeance.

23 June: their friend the artist Mark Gertler gassed himself. He was suffering from financial difficulties, his wife had recently left him, his most recent exhibition had been slammed, he was still depressed by the death of his mother and the suicide of Dora Carrington with whom he’d been madly in love, and was fearful of the imminent world war.

Victor Gollancz commissioned Leonard to write a book in defence of civilisation and tolerance for the Left Book Club for £500. But the final manuscript of Barbarians at the Gate contained criticisms of the Soviet Union which were unacceptable to the communists at the club, leading to a prolonged exchange of angry letters.

2 July: Leonard’s mother died. He was unsentimental.

The Woolfs moved to 37 Mecklenburg Square, taking their thousands of books and the Hogarth printing press.

23 August: Germany and Russia signed their non-aggression pact. 1 September Germany invaded Poland. 3 September Britain was at war with Germany.

November: The Barbarians at the Gate was published and slated by left-wing fellow travellers.

1940

The War for Peace published in which Leonard defended what critics called his utopianism in international relations.

June: France collapsed. Hitler enters Paris. Dunkirk. Leonard was shaken.

September: the Blitz began and was to last until May 1941. The blackout is enforced in Rodmell (the village where they had their country home). Virginia spoke to the local Women’s Institute then became its secretary. Like many others they equipped themselves with means of committing suicide should the Germans invade (p.353).

Correspondents: Virginia was still writing letters about her everyday life to Ethel Smyth who didn’t die until May 1944. Leonard still wrote letters to Margaret Llewelyn Davies of the Women’s Co-operative Guild.

They drove to London but couldn’t get as far as Mecklenburgh Square because of the bombing. A pill box was built in the field beyond their garden. German planes flew overhead every day. The flat in Mecklenburgh had its windows blown out by bombs, but their old place at 52 Tavistock Square was reduced to rubble. The Hogarth press machinery was evacuated to Letchworth. The books from Mecklenburgh were shipped down to Monks House where they packed the corridors.

23 November: Virginia finishes first draft of Between the Acts. She slowly fell into a depression, Her hand started to shake.

1941

25 January: Virginia turned 59 and Leonard began to be worried about her persistent depression. She was revising Between the Acts, always a dangerous time. They socialise, Virginia telling people her new novel is no good, though Leonard praised it.

March: she went for a walk in the fields and fell into the river whose banks had broken and flooded some of their land. Leonard returned from giving a talk to find her staggering back towards the house, wet and upset. Vanessa visits and tries to cheer her up.

Monday 24 1941: he realised she was becoming suicidal. The situation was as bad as her collapse in 1913. He consults a friend, Octavia Wilberforce, about whether to his nurses and force 24 hour supervision on Virginia against her will. But this is what had triggered furious psychotic breakdowns in the past so they decided to try and gentler approach, of Leonard calmly supporting and encouraging her.

Next day was a series of humdrum chores, recorded by Leonard and the house servant, and Virginia said she was going for a walk before lunch. An hour or so later Leonard went up to his sitting room and found two letters there, one for Vanessa one for himself, suicide notes. The letter to him is so full of love it made me cry. She thanked him and said she had had a wonderful life but she could feel her madness coming on, she was hearing voices, she couldn’t read, he would be better off without her.

Obviously he came running downstairs, hailed all the servants, sent one to get the police and help and spent the day till sunset searching the flooded river Ouse. He found Virginia’s walking stick lying on the bank. In subsequent days the river was dragged for the body. Eventually the authorities gave up the search for her body.

Three weeks later he body was discovered floating in the river by some teenagers having a picnic. They called the police. Leonard had to identify it. Coroner’s report etc. Leonard drove on his own to the cremation.

All his friends tried to console him, saying she was better off dead than really mad, but Leonard swore she would have recovered from this attack as from previous ones. He buried her ashes under two elm trees in the garden at Monks House which they had jocularly named after themselves.

Joyce and death Born February 2, 1882, Joyce was precisely eight days younger than Virginia. Two days after his death on January 13, 1941, she noted in her diary that he was ‘about a fortnight younger’ (D 5: 352-53). She outlived him by just a little over ten weeks.

Virginia asked Leonard to destroy all her papers

He disobeyed and in the years to come Virginia Woolf’s diaries and letters, autobiographical writings and unpublished works, were to be published and pored over in ever greater detail. The shape of her legacy, and the broader picture of the Bloomsbury Group, would have been very different if he’d obeyed her wishes.

Was he right to ignore her explicit, direct request, as Max Brod disobeyed Kafka’s request to burn his papers?

The shocked response of friends and family, other writers, journalists, and the wider world, are described and done with by about page 380 of this 500-page book. Leonard Woolf still had 28 years to live (died 14 August 1969). A man who was born the year Gladstone replaced Disraeli as Prime Minister (1880) lived to see men land on the moon. The twentieth century, century of marvels but also cataclysmic disasters.

After Virginia

What’s interesting is the power of the biography completely evaporates with Virginia’s death. I hadn’t realised how much Leonard’s story had come to be entwined with hers, and his existence justified by his support of her as she wrote her masterpieces. When it’s back to just him it remains sort of interesting in a journalistic gossipy way but the pressure drops right down.

Twenty-eight more years of living, writing, politicking, editing, publishing and loving – one year less than his marriage to Virginia (1912 to 1941). According to Glendinning ‘Few people are so fortunate in their later life as Leonard Woolf’ and he had many happy years. But for this reader, at any rate, all the life went out of the book when Virginia died.

Trekkie

In the next few years he fell in love with a woman called Trekkie (real name Margaret Tulip) Parsons, a keen but nondescript painter, married to Ian Parsons, an editor at Chatto and Windus, a handsome charming man. Ian sort of permitted a menage a trois to develop though it’s doubtful that Leonard and Trekkie ever had sex, and I hate myself for reading about other people’s sex lives, though this is an unavoidable aspect of modern biography. Ian meanwhile was having an affair with his editorial assistant Norah Smallwood so… so people will be people.

Superficial though it sounds, the relationship with Trekkie lasted for the rest of their lives.

The growth of Bloomsbury

The other theme which emerges is the slow steady growth of the Bloomsbury industry. Post-war interest in Virginia and other figures just kept on growing. The surviving members of the network –published books every year and fed the market throughout the 1950s (p.433). The advent of the swinging 60s, sexual liberation, the decriminalisation of homosexuality in 1967, a greater openness about sex, made the Bloomsburies, with their fluid sexuality and open relationships, seem forebears and founders.

The members wrote autobiographies and memoirs, and a steadily growing tribe of academics wrote books about them. Glendinning describes some of the early Virginia scholars who began to approach Leonard asking for help, advice, an interview, and whatever papers he could spare.

Glendinning records Leonard’s growing involvement with not just American scholars but professional buyers of manuscripts such as Hamill and Barker, to whom he sold off packets and parcels of letters, manuscripts and diaries, through the 1950s and ’60s, for lucrative sums (pages 427, 450).

The schism between academics and public intellectuals

This move to biography was encouraged by the growing schism between general, freelance public intellectuals such as Leonard, and the growing number of professional academics housed in the growing number of postwar universities. When Virginia and Leonard started writing all intellectuals were on about the same level, with some being experts at universities, but many freelance writers knowing quite as much across a broad range of subjects. The tone of discourse across public writers and academics was comparable. In the new era of academic specialisation, academics developed technical terms and jargon, assumed specialist knowledge, which increasingly cut them off from generalists let alone the man in the street.

Leonard fell victim to this specialisation with his book on international politics, After the Deluge, published in 1955. He intended it to form the third part of a trilogy (the previous books published in 1931 and 1939) which he allowed himself to be persuaded to give the grandiose title Principia Politica. This begged comparisons with the masterworks of Newton (Philosophiæ Naturalis Principia Mathematica), Whitehead and Russell’s Principia Mathematica or GE Moore’s Principia Ethica, but it was nothing of the kind, as reviewers were quick to point out. Compared to the new ranks of professional academics, Leonard appeared discursive, repetitive, anecdotal and amateurish (p.444).

The spread of universities and growth of a class of specialist academics was epitomised by the opening, in 1961, of the University of Sussex, just outside Brighton and only 5 miles from Leonard’s rural retreat in the village of Rodmer (p.465).

For the public intellectual locked out of the growing ivory tower of academia, there remained publishing (he continued to be a director of the Hogarth Press), ‘the higher journalism’ (he continued to edit the Political Quarterly, and biography and memoirs. So this feeds back into the growth of Bloomsbury books – none of the survivors (Vanessa, Duncan, Quentin and so on) were really expert, scholarly expert-level on anything except… themselves.

Leonard himself epitomised the trend. Having had his masterwork of political commentary rubbished he retreated to the safer territory of his own life, and commenced his own autobiography which ended up taking no fewer than six volumes:

  • Sowing: An Autobiography of the Years 1880 to 1904 (1960)
  • Growing: An Autobiography of the Years 1904 to 1911 (1961)
  • Diaries in Ceylon 1908 to 1911, and Stories from the East: Records of a Colonial Administrator (1963)
  • Beginning Again: An Autobiography of the Years 1911 to 1918 (1964)
  • Downhill All the Way: An Autobiography of the Years 1919 to 1939 (1967)
  • The Journey Not the Arrival Matters: An Autobiography of the Years 1939 to 1969 (1969)

I’d never heard of these but they won him prizes. Beginning Again won the W.H. Smith book prize and the handy sum of £1,000.

Michael Holroyd’s two-volume biography of Lytton Strachey published in 1967-8 proved to be a turning point. Its openness about Strachey’s homosexuality, his numerous affairs, his thousands of camp letters, shed a completely new light on the Bloomsburies, rendering much that had been written up to that point obsolete, but confirming their reputation as sexual pioneeers (p.475).

Pointless

In the last volume of his autobiography Leonard candidly, devastatingly, adjudged that a lifetime of political activism, sitting on innumerable committees, spending years researching and writing position papers and polemical books (calling for international co-operation for peace) achieved more or less nothing.

‘I see clearly that I achieved practically nothing.’ (quoted p.484)

Thoughts

Authoritative, thorough, empathetic, insightful, fascinating and often very funny, nonetheless Glendinning’s definitive biography becomes increasingly focused on the mental illness of poor Virginia, relentlessly building up to Virginia’s suicide which is so terrible, so upsetting, so devastating, that I could barely read on and stopped trying to review it after that point.


Credit

‘Leonard Woolf: A Life’ by Victoria Glendinning was first published by Simon and Schuster in 2006. Page references are to the 2007 Pocket Books paperback edition.

Related links

Virginia explaining and justifying her technique in ‘Modern Novels’ (TLS 10 April 1919):

The mind, exposed to the ordinary course of life, receives upon its surface a myriad impressions–trivial, fantastic, evanescent, or engraved with the sharpness of steel. From all sides they come, an incessant shower of innumerable atoms, composing in their sum what we might venture to call life itself; and to figure further as the semi-transparent envelope, or luminous halo, surrounding us from the beginning of consciousness to the end. Is it not perhaps the chief task of the novelist to convey this incessantly varying spirit with whatever stress or sudden deviation it may display, and as little admixture of the alien and external as possible.

Let us record the atoms as they fall upon the mind in the order in which they fall, let us trace the pattern, however disconnected and incoherent in appearance, which each sight or incident scores upon the consciousness. Let us not take it for granted that life exists more in what is commonly thought big than in what is commonly thought small.

Revised as ‘Modern Fiction’ in The Common Reader (1925).

The Longest Journey by E.M. Forster (1907)

He was not an inquisitive boy; but as he leant against the tree he wondered what it was all about, and whether he would ever know.
(E.M. Forster’s milksop protagonist limply pondering in The Longest Journey, page 137)

Forster’s second novel, The Longest Journey, is the diametric opposite of his first, Where Angels Fear To Tread. Angels is short (160 pages), focused, and its main narrative moves at speed. Journey is long (290 pages), slow, digressive and self indulgent. It opens abruptly and a bit confusingly, with a series of scenes depicting Frederick ‘Rickie’ Elliott as an undergraduate at Cambridge, having jokey philosophical debates with his close friends led by the boy they all look up to, Stewart Ansell, before – confusingly – going into a flashback describing Rickie’s earlier life and how he ended up at Cambridge.

Rickie has a deformed foot which gives him a pronounced limp and requires him to wear specially adjusted shoes. As a boy he came to realise that his parents never loved each other; then they both died within 11 days of each other, leaving him an orphan. He inherited a tidy sum of money and was sent to live with a family called the Silts, ‘needy cousins of his father’s’. He had already begun at a public school as a day boy and continued there till he passes his exams to go up to Cambridge and it is here that we catch up with the scenes depicted in the opening pages.

What’s missing from Forster

The first 50 or 60 pages prompted a Big (negative) Thought which dominated the rest of my reading. This that the book contains many, many, many conversations about life and human nature and so on but, placed in a historical context, all these conversations are rendered moot, or even worthless, by their ignorance of everything we, a hundred years later, now know about human nature, science and society…

A few years after the book was published came the Great War which triggered a complete disillusion with the values of previous generations, then the Bolshevik revolution which swept away previous socialist rhetoric and replaced it with a much more militant model of violent revolution and anti-bourgeois terror. There followed the Jazz Age decade of amoral hedonism, short skirts, wild dances and the advent of Fascism in Italy. At the end of the decade, a worldwide economic collapse encouraged the spread of communist belief across the West, which helped the rise to power of the genocidal Nazi movement, all of which led up to the most destructive conflagration in human history. This climaxed with the dropping of the two atom bombs which ushered in the atomic age and generations of fear that the entire human race might be wiped out in a nuclear holocaust. Alongside this, in the post-war years, went the decolonisation which ended the European empires and led to the rise of what we call the Third World, often characterised by ruinous civil wars and/or famines, which recur across Africa to this day. From the 1960s onwards women’s liberation, gay rights and so on have transformed our attitudes to sex, sexuality and gender identity.

By the time I came along, as a schoolboy in the 1970s, all this history was the basic, entry-level materials of serious discussion. As earnest 6th formers our debates about politics or the meaning of life weren’t based on the ancient Greeks or the Renaissance but were informed by the horrors of twentieth century history. Entry-level debate was aware that any line of thought about, say, trying to improve society by scientific means, risked raising eugenics and the Nazis; arguments about trying to enforce a fairer society sooner or later invoked the dire example of Stalin and the gulags; anyone promoting belief in could easily be refuted by the atom bomb, and so on.

Debate about the big issues was both a) informed by the extreme political, social and scientific experiments of the 20th century and b) hemmed in by the way so many of these experiments had ended in utter disaster.

My point is that Forster and his characters know none of this. Everything which makes up the backdrop, the atmosphere, of serious modern debate on almost every issue (politics,economics, socialism, imperialism, feminism, the environment, multicultural society, science and technology, art and aesthetics, you name it) hadn’t happened yet, was invisible, didn’t exist. Although Edwardian people were as clever, canny, passionate, loving, cruel etc as you or me, they lived and thought and acted in a world Before The Fall.

This explains several things about Forster’s novels and our feeling about the Edwardian period as a whole. The obvious one is an idealised nostalgia for a much simpler, more innocent world. This explains the popularity of the Merchant Ivory dramatisations of his novels, especially ‘A Room With A View’, and the tremendous popularity of ‘Downton Abbey’ on the telly.

But the reason I’ve described all this is that, for me, the vast absence of knowledge drums home the boring triteness of the characters’ supposedly ‘serious’ conversations.

Forster’s novels regularly pause while the characters discuss the nature of Truth or Beauty or Love, ‘the Spirit of Truth’, ‘real Life’ and so on, in an embarrassingly callow, undergraduate way – but to our jaded modern eye i.e. to anyone born After the Fall, after the calamitous twentieth century, these conversations, recorded in loving detail and clearly intended to indicate important differences between characters’ beliefs and attitudes, come across as vapid, naive and irrelevant. Basically, who can care for these characters when they’re all so dim and ignorant of everything the 20th century revealed to us about human nature?

This is particularly problematic in ‘The Longest Journey’ because it is a Bildungsroman, the German term for ‘a novel dealing with one person’s formative years or spiritual education’. It is the story of the development of a mind and personality (Rickie’s) – but before most of the issues which form modern minds and personalities even existed.

To take the subject of Art which the characters waste lots of breath talking about, Forster’s novels were written before Modern Art existed or, more precisely, had become known in Britain. The full force of Symbolism across northern Europe, Cubism and the Fauves in France, the Expressionists in Germany, the first stirrings of Futurism in Italy and Vorticism in England – all these are completely absent from Forster’s texts and endless conversations about Art. His and his characters’ notions of Beauty with a capital B are almost unbearably simple-minded. They are late-Victorian, bourgeois clichés about Masterpieces of the Renaissance and the most stiflingly conventional of British salon art.

Mr. Elliot [Rickie’s father] had not one scrap of genius. He gathered the pictures and the books and the flower-supports mechanically, not in any impulse of love. He passed for a cultured man because he knew how to select, and he passed for an unconventional man because he did not select quite like other people. In reality he never did or said or thought one single thing that had the slightest beauty or value.

These people’s one aesthetic idea is that ITALY is the venerated location of Life and Beauty and, above all, the treasures of Renaissance Art, which anyone who aspires to be anyone has to know and remember, down to the finest detail of the obscurest painting in the remotest Tuscan chapel.

These axioms explain how the characters can talk the most almighty guff about the same three subjects (Beauty, Art, Italy) over and over again, in complete ignorance of the worlds of art and philosophy and politics (and communism and existentialism, feminism and environmentalism) which were to colour modern, 20th century, conversations. What I’m trying to explain is the oppressive feeling of painfully limited horizons, petty provincial opinions, naivety and simple-mindedness, which hamper and limit every conversation, character and the overall the narration.

The worship of the Renaissance is tied up with the way Rickie and his friends’ intellectual life is cabined and confined by The Classics. Top subject at the school Rickie joins is Classics. The teachers dream of editing Sophocles. In the British Museum Ansell and Widdrington marvel at how immature they are against a background of Grecian friezes. Ansell, trapped in the Classics perspective, compares everyone and everything to Greek personages and philosophy. So does Rickie, who comments on one of his fellow teachers, Mr Jackson, that:

‘He cheers one up. He does believe in poetry. Smart, sentimental books do seem absolutely absurd to him, and gods and fairies far nearer to reality. He tries to express all modern life in the terms of Greek mythology, because the Greeks looked very straight at things, and Demeter or Aphrodite are thinner veils than ‘The survival of the fittest’, or ‘A marriage has been arranged,’ and other draperies of modern journalese.’

A lot later, commenting on Stephen’s fondness for getting drunk, the narrator says:

Drink, today, is an unlovely thing. Between us and the heights of Cithaeron the river of sin now flows. Yet the cries still call from the mountain, and granted a man has responded to them, it is better he respond with the candour of the Greek. (p.266)

The very same Classics and ancient world which forms the foundation and perspective of almost all these characters’ thought and which they consider an escape from the brutality of British commercial culture, to the modern mind seems more like an incredibly constricted prison-house they can’t escape.

Forster is a subtle, intricate writer but he is writing about a tiny world, a small pond of terribly nice chaps, their paramours and maiden aunts, all displaying exquisite feelings about trivia. Seven years after the book was published they would all be marched off to the meadows of Flanders and blown to pieces in their millions, exposing their naive vapourings about Art or Beauty for the childish posturing it was, for its pitiful inadequacy to the catastrophic possibilities of life.

The Wikipedia article about ‘The Longest Journey’ quotes the critic Gilbert Adair saying that the greatest weaknesses for readers is the book’s ‘unrelenting intellectuality’, which struck me as hilariously wrong. The greatest drawback for readers is the book’s unrelenting dimness. It may often be emotionally subtle, but it is intellectually bereft. And this is important, in fact it’s vital, because the book sets out to be a description of the intellectual journey of the central character.

The plot

The book is divided into three sections which have symbolic meanings associated with the three key locations in Rickie’s life:

He was extremely sensitive to the inside of a house, holding it an organism that expressed the thoughts, conscious and subconscious, of its inmates. He was equally sensitive to places. He would compare Cambridge with Sawston, and either with a third type of existence, to which, for want of a better name, he gave the name of ‘Wiltshire’.

1. Cambridge obviously symbolises Rickie’s callow student days, more generally the life of the mind, intellect etc, and his revered friend Ansell.

2. Sawston becomes associated with his career as a teacher, work, his adult life with Agnes, supervised by her father, Mr Pembroke.

3. Wiltshire stands apart as symbolising the pagan countryside, Rickie’s malicious aunt and his stupid, virile half-brother Stephen.

Part 1. Cambridge

Frederick ‘Rickie’ Elliot has inherited his father and grandfather’s deformed foot, which makes him walk with a limp. His father is quite heartless to him, nicknaming him ‘Rickie’ as short for ricketty. His parents are well-off enough to send him to public school as a day boy. When he’s 15 his father dies and shortly afterwards so does his mother so he is passed to the care of cousins. His only friends from boyhood is the Pembroke family.

Rickie goes up to Cambridge where he makes like-minded friends (Ansell, Widdrington, Tilliard). Handily the Pembroke family son, Herbert, is there and is involved in some scenes. His little band are intellectuals or at least self-consciously aware that they are not sporty types, what later generations would call Jocks or hearties. Rickie is in awe of / worships Ansell, a philosophy student who his little group all think is the real thing although, as always with books like this, there is absolutely no evidence whatsoever of his philosophical abilities.

In the vacation Rickie goes to stay with the Pembroke family where he observes young Miss Pembroke, Agnes, engaged to a hearty a year or so older than him, Gerald Dawes. Something really weird happens to the narration whereby the narrator describes the couple in visionary terms almost as Greek gods, writing paragraphs of purple prose about how the sight of them inspires him to lyrical paeans.

This is all the odder because, once the narration comes back down to earth, it turns out that Gerald was at school with Rickie and sadistically and systematically bullied him. I found it impossible to understand how Rickie the character combines terrorised memories of Gerald with such overblown idealisation of the couple. Maybe it’s meant to indicate how young and callow he is, but it just comes over as weird.

Anyway, shortly afterwards Gerald dies (in a football match, the details are left vague and completely unconvincing). To nobody’s surprise this clears the way for Rickie’s lyrical feelings to spill over into Miss Pembroke and a few short years later he is introducing her to his Cambridge friends as his fiancée.

The minute-by-minute subtleties of interaction between Rickie and his friends, the descriptions of his parents and their tense household, the strange descriptions of Gerald and Miss Pembroke (Agnes), his debates about Love and Art with his best friend Ansell, his visit back to the old school, all the other little interactions with his relatives or friends at uni or his bedder or Miss Pembroke’s chaperone (Mrs Lewin) – I register all the micro-discriminations embedded in the text but just didn’t care. His depiction of Cambridge stinks of the kind of incestuous pretentiousness where everyone talks about each other having a ‘first rate mind’, being a genius, being fearfully bright etc. The Bloomsbury style of navel-gazing much of which, to us, sounds like children.

Rickie: ‘Doing right is simply doing right.’
Agnes: ‘I think that all you say is wonderfully clever.’ (p.143)

Anyway, his best friend Ansell takes against Agnes and thinks they are badly mismatched. He thinks ‘she is happy because she has conquered; he is happy because he has at last hung all the world’s beauty on to a single peg’ but, in Ansell’s view, they are both deluded.

So: sensitive young man goes to Cambridge, falls in love with schoolfriend’s fiancée, his best friend disapproves, he hopes to become a writer but his ambitions are disappointed yadda yadda.

Mrs Failing in Wiltshire

The happy couple go to visit his closest living relative, his aunt, his father’s sister, Mrs Emily Failing who lives in a grand grey house, Cadover, with a farm in flat Wiltshire (‘From the distance it showed as a grey box, huddled against evergreens’).

Aunt Emily is a distracting character, a widow deliberately taunting her staff and in particular a beefy young man Agnes’ and Rickie’s age who’s staying with her, named Stephen Wonham, who is remarkably stupid and earthy. She has a gift for making everyone uncomfortable. She makes Rickie go for a horse ride he doesn’t want to and then is tiresome and contrary with Agnes who she takes on a walk to her arbour. She nastily insists on calling Stephen a ‘hero’ for belittling and mocking Rickie.

Anyway, one day on a walk out to a barrow near her land Miss Failing deliberately shocks and upsets Rickie by telling him the family secret that Stephen is his half-brother. Rickie is so shocked he faints. When he tells Agnes she is repelled but cross at Miss Failing. She confronts her and the latter admits she did it partly to shock Rickie. She reassures Agnes that she hasn’t told Stephen himself. They fob the poor dolt (Stephen) off, in a bizarre way, by giving him a few sovereigns and telling him to go for a walk down to the sea (a journey which will take several days) and off he lumbers into the night.

If I may hazard an interpretation, the two brothers symbolise opposites, like Cain and Abel. Where Rickie is effete, over-intellectual callowness, Stephen is under-brained and earthy. Spirit versus matter. Soul versus body, etc etc.

Oddly, with the odd change of perspective and unexpected events which you wouldn’t have expected, the narrator very casually tells us that Rickie found this news so traumatic that he took to his bed for a year. During this period he tried to get his eight or nine little short stories published. When we are told they are tales of paganism in England and he has titled the volume ‘Pan Pipes’ we realise this is very close to Forster’s own short stories which are unexpectedly strange and visionary tales of paganism in England.

(Agnes is justifiably sceptical about Rickie’s chances as a writer: ‘she had always mistrusted the little stories, and now people who knew agreed with her. How could Rickie, or any one, make a living by pretending that Greek gods were alive, or that young ladies could vanish into trees?’ p.156.)

Rickie goes to see the editor of Holborn magazine who is supportive but unfortunately can’t publish any of his stories, saying they are good in parts but need to be good throughout (p.149). He meets Agnes in a London restaurant:

‘Can’t you try something longer, Rickie?’ she said; ‘I believe we’re on the wrong track. Try an out-and-out love story.’
‘My notion just now,’ he replied, ‘is to leave the passions on the fringe. She nodded, and tapped for the waiter: they had met in a London restaurant. ‘I can’t soar; I can only indicate…’

Is that a self portrait, Forster’s deprecating view of his own fiction? Or, more probably, a view he once and sometimes held, attributed to this ambitious but ineffectual young character? If so it’s ironic that so much of this novel is strange and visionary – in other words, does soar.

Anyway, the (unnamed) editor suggests that Rickie try to see a little more of Life. All very well but as he takes a cab through the London streets, Rickie wonders where you find this Life.

As he rumbled westward, his face was drawn, and his eyes moved quickly to the right and left, as if he would discover something in the squalid fashionable streets some bird on the wing, some radiant archway, the face of some god beneath a beaver hat. He loved, he was loved, he had seen death and other things; but the heart of all things was hidden. There was a password and he could not learn it, nor could the kind editor of the Holborn teach him. He sighed, and then sighed more piteously.

Alack-a-day.

2. Sawston

Part two describes how Agnes’s weak-willed schoolmaster father, Mr Pembroke, in need of help, suggests to his daughter Agnes that she and Rickie get married, come and live and work at the school. (There is a comic digression when Mr Pembroke proposes to his kindly old friend Miss Orr, who has the good sense to turn him down.) Agnes thinks it’s a great idea and sets about persuading him, using the argument that there’ll be long holidays to write in, and it’s an altruistic profession with lots of opportunities to do good. Which triggers a typically naive effusion from Rickie:

To do good! For what other reason are we here? Let us give up our refined sensations, and our comforts, and our art, if thereby we can make other people happier and better. The woman he loved had urged him to do good! With a vehemence that surprised her, he exclaimed, ‘I’ll do it.’ (p.156)

So Rickie and Agnes move into the free accommodation arranged by her father and he is paid to become a trainee teacher, learning about the gown, the timetable, how to manage the boys, the other members of staff. He is supervised and supported by Agnes’ brother, Herbert, who had been with him at Cambridge and has gone on to follow his father into teaching. Slyly, Forster shows us how Rickie finds himself being manipulated and used in the tiny but fiercely fought micro politics of the staff room, specifically by Herbert whose drawbacks Rickie slowly comes to realise.

Rickie and Agnes get married

They all get married, don’t they, the young characters in novels by Forster, H.G. Wells and Arnold Bennett? In one sense it’s all they can do with their lives, it’s the only interest in them as characters. Rickie’s marriage to Agnes is treated as an anti-climax. The ceremony isn’t described, instead the way they settle into their new roles as man and wife both living at Sawston school. Agnes dislikes emotion and turmoil and quite quickly Rickie gets used to not discussing his deeper feelings.

Remember the rather ludicrous vision Rickie had of Agnes and Gerald as Greek gods when he saw them embracing? Now that turns out to be playing a sort of structural role for Rickie, because it turns out he is destined never again to see Agnes with the same intensity.

In such a bustle, what spiritual union could take place? Surely the dust would settle soon: in Italy, at Easter, he might perceive the infinities of love. But love had shown him its infinities already. Neither by marriage nor by any other device can men insure themselves a vision; and Rickie’s had been granted him three years before, when he had seen his wife and a dead man clasped in each other’s arms. She was never to be so real to him again. (p.171)

They settle into a frank good fellowship.

Ansell and Widdrington

Ansell is in the British Museum studying for his second dissertation. Tellingly, his first one failed. I think the novel is dramatising the discovery that real life turns out not to be the glamorous cakewalk we think it’ll be when we’re carefree students.

Widdrington is a mutual friend of his and Rickie’s. He went to see the newly married couple at Sawston and discovered two things: 1) he doesn’t like Agnes, who he finds stony and abrupt, no soul; and 2) Rickie is unhappy. This is due to something which the narrator told us about earlier and I didn’t really understand, but which this character Widdrington explains with admirable clarity. It is that the school where Rickie’s teaching was established as a private school for day boys from the locality. However the more ambitious head master and teachers want to expand the number of boarders because 1) more money 2) posher, like a proper public school. But this will reduce the places available for day boys and so there is quite a fierce debate going on between two factions of the staff but also with angry parents of day boys who feel their being bilked. Ansell says he couldn’t care less. He and Rickie now have nothing in common and describes Agnes as ‘that ghastly woman’.

Back at school

Back at Sawston School Rickie has realised he is not cut out to be a teacher, that Agnes doesn’t respect him and he was ceasing to love her. The boys despise Rickie and hate Agnes’s strictness. Oh dear, we’re on page 186 of 288. Will he find another love or will he soldier on becoming more lonely and sad? In one sense it’s a portrait of the many men who were relieved by the outbreak of the First World War because it liberated them from lives of quiet despair.

The daughter

Agnes gets pregnant and in due course goes into labour. As was the custom Rickie wasn’t even told, just a tap at the door of the prep class he’s taking and Herbert takes him into the corridor to deliver the news. He has a daughter but she is lame, much lamer than him, will only walk with crutches. Everyone is very nice but Rickie is stricken. After just a week the poor mite dies.

Varden

Another bad thing happens. The weakest member of the house he’s in charge of, Varden, is set upon by virtually the entire class one night after school, pushing him down onto the floor, rubbing his nose in the dirt and yanking his ears. Herbert hears and breaks it up but Varden is injured and has to have an operation before being taken out of the school by his parents. Herbert can’t understand how his young men could be so beastly but the narrator has an explanation:

What had come over his boys? Were they not gentlemen’s sons? He would not admit that if you herd together human beings before they can understand each other the great god Pan is angry, and will in the end evade your regulations and drive them mad.

Forster genuinely seems to believe in his rather limp-wristed form of paganism. In the complete absence of Freud, Jung and modern psychology, this kind of literature-based – and Classical literature-based – theory of human nature appears to be all Forster had.

Agnes has gotten over the dead daughter (‘She had got over the tragedy: she got over everything.’) She tells Rickie he needs to make up the argument he had with Aunt Emily. In a flash he perceives it’s because Agnes is after Aunt Emily’s money and they have a big quarrel, their first big fight. Agnes despises him for thinking in poetic terms; he is desperately disappointed she is so mundane and mercenary. He is learning wisdom = the disillusionments of life.

He perceived more clearly the cruelty of Nature, to whom our refinement and piety are but as bubbles, hurrying downwards on the turbid waters. They break, and the stream continues.

In a strange and wildly improbable development it turns out that this wretched bullied boy Varden had been sending letters to a variety of people, public and private, asking for their help and prayers, many of whom had charitably replied. What’s improbable is that the boy had somehow managed to write to Stephen, Rickie’s half-brother, who had written a semi-illiterate reply. This is a wild improbability but it is here so that Rickie can be plunged into a crisis about his life, filled with anger and despair that his half-brother, in his sturdy peasant illiteracy, is the one who will survive and flourish.

Forster’s narrators are surprisingly intrusive, explaining, judging, leaping gaps in the narrative and generally showing us round. Just such a passage ends a horrible sleepless night of dreams and nightmares when the narrator baldly tells us:

Henceforward he deteriorates. Let those who censure him suggest what he should do. He has lost the work that he loved, his friends, and his child. He remained conscientious and decent, but the spiritual part of him proceeded towards ruin. (p.197)

In a department store in London the pair bump into Maud Ansell, Stewart’s sister. She informs them that Stewart failed his dissertation a second time. Now he will never be a don, never have a Cambridge career, everything they scrimped and saved for has been wasted. Agnes is patronising to her; Maud gets angry.

A digression in which Forster, to be fair, tells us Agnes has her own tragedy. She realises her marriage has failed but refuses to be sentimental about it. She wishes her husband was taller, richer, more domineering. Ho hum. Life goes on.

But this is prelude to a big family fight. At dinner with Agnes and Herbert when the post arrives. First a small surprise, that Mr Jackson, a teacher in the rival ‘progressive’ faction has invited them to dinner. This is because, slightly incomprehensibly, Jackson is playing host to Stuart Ansell who has invited himself down to the school but not wanting to stay with Rickie, who he has been so long estranged from.

But another letter is from Aunt Emily and it’s this that triggers the bitter argument. Rickie knows that Agnes has been to visit Aunt Emily several times. Now a letter comes with the upshot of these visits which is that Emily is dismissing Stephen from staying with her and sending him off to a colony to make his own way. Rickie is outraged to learn that Agnes has been using his name to blacken Stephen in his aunt’s eyes and lets slip the secret fact that his father ‘strayed’ i.e. Stephen is his half-brother.

Rickie’s anger against his wife not surprisingly makes Herbert rise to the defence of his sister but also because Herbert doesn’t like disorder and wants to calm any argument. He backs up her accusation that the Elliots are an odd family, that Aunt Emily has behave badly, that Stephen is a monster best out of the country etc. Rickie could weep with frustration at not being able to make him see what Agnes has done wrong and how manipulative she’s being. For a moment brother and sister are very close in their wrong-headedness. Then the narrator goes on to editorialise.

There are moments for all of us when we seem obliged to speak in a new unprofitable tongue. One might fancy a seraph, vexed with our normal language, who touches the pious to blasphemy, the blasphemous to piety. The seraph passes, and we proceed unaltered. (p.210)

Whether you like this kind of rhetoric and diction will determine whether you like this book. I understand its delicate poetic intent. I understand it is a metaphor. But in the difficult lives we are faced with I find it neither really insightful nor a practical help.

Ansell visits

I haven’t mentioned that Aunt Emily’s deceased husband, Anthony Failing (‘He loved poetry and music and pictures, and everything tempted him to live in a kind of cultured paradise, with the door shut upon squalor’), left a volume of essays (titled ‘What We Want’) to which she wrote a little introduction and which has now been published. Ansell, the failed philosopher is reading and annotating it in the garden of Sawton School.

The passage he’s reading is on the difference between coarseness and vulgarity (coarseness, revealing something; vulgarity, concealing something). This is an example of the useless, superficial diddling which passes for ‘thought’ among these people. It’s more a question of manners and etiquette than any kind of serious structural analysis. No wonder England was considered the unintellectual country all across the Continent.

Anyway Ansell is quietly seething because at dinner the night before, old Mr Pembroke and his daughter, Agnes, had both commiserated in a way which made it clear they consider him a failure. His reflections are interrupted when someone throws a clod of earth at his back and he gets into a ridiculous fight with Stephen Wonham although it takes him a moment, and the narrator quite a long time, to confirm his identity. When you’re a hammer, everything looks like a nail. Ansell is oversoaked in late-Victorian fetish for all things ancient Greek and so is struck that Stephen is like…an ancient Greek.

He gave the idea of an animal with just enough soul to contemplate its own bliss. United with refinement, such a type was common in Greece. It is not common today (p.216)

Because this is such an obvious thought the narrator tries to dress it up in fancy syntax.

Was it only a pose to like this man, or was he really wonderful? He was not romantic, for Romance is a figure with outstretched hands, yearning for the unattainable. Certain figures of the Greeks, to whom we continually return, suggested him a little. (p.217)

Anyway Stephen tells the story of how Aunt Emily, backed up by the old retainers, kicked him out, giving him £100 and throwing a packet at him which contained the documents proving he is Rickie’s half-brother. He’s been travelling rough across country to the school to tell Rickie (not realising that Rickie already knows). At this point, the maid comes to call Stephen into the house for an interview with Mrs Elliot (not Rickie). Ansell fantasises that the menfolk will have gone up to dress for dinner not realising what a bombshell was bursting downstairs and, characteristically, sees it through the prism of ancient Greek drama.

The irony of the situation appealed to him strongly. It reminded him of the Greek Drama, where the actors know so little and the spectators so much. (p.221)

Part one of the denouement is Stephen and Mrs Elliot (Agnes). She invites him in for an interview and immediately gets down to business offering him £2 if he will sign a contract swearing to keep silent forever about being Rickie’s brother. it takes him some minutes to understand what is going on which Agnes takes for playing hard to get. Once he understands he stands up, outraged or disgusted, and simply walks out.

Part two of the denouement comes when Agnes, Rickie and Herbert call Ansell to come into the hall because it is now dinner time. The hall is full of their boys and servants bringing in the meal. It is in front of all these that Ansell deliberately humiliates Rickie by telling him he has a brother he doesn’t know about, and that his wife has hidden from him. Much gasping among the boys, and some prefects stand as if to make a physical defence but Ansell ploughs on to accuse Rickie of being the one who’s passed on accusations about Stephen and so caused his brother to be turned out of his home and sent to be a tramp. It’s hard to imagine a more ruinous accusation and in front of Rickie’s entire House.

But Rickie compounds the situation by admitting he had a philanderer for a father and a dark horse for a brother. In front of all the boys. Who will go home and tell their parents. Who will threaten to withdraw their boys from the school. But it’s then that Ansell drops the real bombshell which none of us expected: Stephen is not the son of his philandering father but of his unfaithful mother! Rickie faints and has to be carried from the hall. Pandemonium. The gossip is broadcast throughout the school within the hour.

Part 2 ends with a page of Forster editorialising which I will include in its entirety as a chunk of his style and thought. I understood all the words and read it twice but still don’t know what it means.

The soul has her own currency. She mints her spiritual coinage and stamps it with the image of some beloved face. With it she pays her debts, with it she reckons, saying, ‘This man has worth, this man is worthless.’ And in time she forgets its origin; it seems to her to be a thing unalterable, divine. But the soul can also have her bankruptcies.

Perhaps she will be the richer in the end. In her agony she learns to reckon clearly. Fair as the coin may have been, it was not accurate; and though she knew it not, there were treasures that it could not buy. The face, however beloved, was mortal, and as liable as the soul herself to err. We do but shift responsibility by making a standard of the dead.

There is, indeed, another coinage that bears on it not man’s image but God’s. It is incorruptible, and the soul may trust it safely; it will serve her beyond the stars. But it cannot give us friends, or the embrace of a lover, or the touch of children, for with our fellow mortals it has no concern. It cannot even give the joys we call trivial – fine weather, the pleasures of meat and drink, bathing and the hot sand afterwards, running, dreamless sleep. Have we learnt the true discipline of a bankruptcy if we turn to such coinage as this? Will it really profit us so much if we save our souls and lose the whole world?

If we start from the position that there is no soul and no God then surely these 250 words are literally meaningless. They may have value as a metaphor but like so many of Forster’s metaphors are such hard work for so little reward that it’s not worth the effort.

I liked the Great Scene of Ansell denouncing his old friend because it was dramatic, and the entire storyline of the disreputable relative carries the whiff of Victorian melodrama at its most garish. Think of Pip discovering the truth about Magwitch in Great Expectations. But the comparison also highlights Forster’s limp-wristed diffuseness. He has regular moments of great perspicuity and imagines his characters in great detail – but at the same time he drowns them in half-hearted treacle about The Greek Spirit and the Great God Pan and the currency of the soul.

Part 3. Wiltshire

I was expecting Rickie to quit being a schoolmaster, maybe separate from Agnes, and retire injured to Aunt Emily’s estate where, maybe, he finds his true self amid the pagan countryside… Maybe someone has to die or commit suicide to give it the real oomph that a serious novel of his time aspired to…

But the book commences a new part because it denotes a change not only of scenery but of time. It took me a few pages to realise what was going on, but the entire narrative ups sticks and flashes back twenty years or more, to an account of How Mrs Elliot, Rickie’s Mother, Ran Off With a Farmer i.e. how Stephen the half-brother was conceived.

Basically a farmer named Robert fell hopelessly in love with Mrs Elliot on first meeting her at Tony and Emily Failing’s house when Mr and Mrs Elliott are visiting. Tony Failing gets wind of it and escorts him off the premises but not too sharply since he is the author of those whimsical essays about vulgarity and whatnot and so tolerates Robert’s visits on condition they are squeaky clean. Typically, Tony’s confused moral position is expressed in classical metaphor:

For he remembered that sensual and spiritual are not easy words to use; that there are, perhaps, not two Aphrodites, but one Aphrodite with a Janus face. (p.233)

And so Robert nurses his love but remains outwardly clean, polite and civil for six long years until one day he calls and finds Mrs Elliot alone and, in his blunt country way, declares his love for her. She tells him to leave this instant but Mr Elliot returns at this point and is much more civil and suave. This turns out to be a mistake because it breaches the emotional defences against Robert which Mrs Elliot was just about holding together and next thing you know… they have run off to Stockholm!

Tony and Emily Failing get a letter from her from Stockholm, debate what to do, then set off to Stockholm to confront her. However, by the time they arrive, Robert has drowned. A landsman, he had never swum in the sea before and didn’t know about tides, got carried away and drowned. (You can’t help feeling Forster has a very casual way with his characters’ lives.) So the lover is conveniently out of the way but not before impregnating Mrs Elliot. The Mrs and Mrs Elliot manage to reconcile but Mrs Elliot remains abroad in order to conceal her pregnancy and giving birth: she returns to England with him, giving out that he is the baby of a family friend. Everything about her elopement and having another man’s baby is covered up.

She comes to dislike her forgiving husband but, strangely, to love both her boys. Love for Stephen, who’s the spitting image of his father, rough and strong and blunt, makes her love Rickie the more. When Mr Elliot dies in middle age, his wife looks forward to the autumn of her years raising her two boys but fate had other plans and she herself dies shortly afterwards.

So there’s the backstory – how Rickie has a half-brother of a completely different characters – all neatly explained. The next chapter describes the growth of young Stephen. Actually it jumps straight to his young manhood when he wanders like a pagan god among the rolling farmland of Wiltshire. The deaths in quick succession of Mr Failing who was looking after him, Mr Elliot and then Mrs Elliot who was always kind to him (because she was, unknown to him, his mother) means none of them had had time to make a will or leave him any money. Instead he falls into the care of Mrs Failing, Aunt Emily, who maliciously thinks it will be comical to keep the two boys apart and in ignorance of their true relationship.

Jump back to the present and the scene we left, with Stephen blundering out of Sawston school. Ansell goes running round looking for Stephen but the latter has hidden under a railway archway. He heads into London and gets a job for a few weeks with a removal company. He holds a horse for a man who overtips him. He sends some of the money to Cadover to pay for the windows he smashed after being kicked out by Mrs Failing. Then, unable to stay away, he gets blind drunk and makes his way back to Sawston where he announces his presence by throwing a brick through a window and breaking down the front door, waking up Rickie, Herbert and Ansell.

So. There are 40 pages of the novel left and we are in a pickle. What can possibly happen next? What happens is next day Stephen is full of contrition while Rickie, Herbert and Agnes have to go about their days’ duties. Once Stephen’s woken up from his hangover sleep, Rickie has an interview with him which goes wrong because Stephen is pagan simplicity and refuses to fit into Rickie’s bourgeois preconceptions and concerns.

Above all, Stephen realises that Rickie’s wish to have him (Stephen) stay at Sawston isn’t based on a true understanding of his personality, but because Stephen reminds him of his mother who he has never stopped loving. Stephen rejects all this sentimental tripe and tears up the photo of their mother which Rickie hands him, steps outside into the fog and then… asks Rickie to come with him! It is a key decision point. Rickie looks back at the house containing Herbert, an average scheming teacher who sides against him, and his wife who despises him and… what the hell! goes running off into the fog with Stephen.

Rickie set free

I was hoping the two half-brothers would roam like swaggering vagabonds across the south of England but this is a Forster novel, timid and fearful like its author. So Rickie and Steven end up going to stay with the Ansells in some village. Agnes quickly learns that Rickie’s gone there, she and Herbert try to persuade him to come home but he isn’t interested.

There’s some chaff about this but the last big action of the novel comes when Aunt Emily invites Rickie to visit her at Cadover. Again. So off he sets. Just for a lark, Stephen at the last minute jumps into the train in order to come with him, despite all Rickie’s protestations. He’s grown to like his straightforward, undeceitful brother, even if they all disapprove of his new penchant for heavy drinking.

There follows a surprisingly prolonged description of Rickie’s railway journey towards Salisbury. During it Rickie extracts a promise from Stephen that he’ll remain sober for the duration of their two or three-day stay. Then he gets a pony and trap out to Mrs Failings’ house. Rickie forbids Stephen from accompanying him so Stephen instead goes to the local pub, The Antelope.

The title phrase and homosexuality

The phrase ‘the longest journey’ comes from Percy Bysshe Shelley’s poem Epipsychidion. Rickie reads this section of the poem aloud when he’s in Wiltshire.

I never was attached to that great sect
Whose doctrine is, that each one should select
Out of the crowd a mistress or a friend,
And all the rest, though fair and wise, commend
To cold oblivion, though it is in the code
Of modern morals, and the beaten road
Which those poor souls with weary footsteps tread,
Who travel to their home among the dead
By the broad highway of the world, and so
With one chained friend, perhaps a jealous foe,
The dreariest and longest journey go.

I’m not completely certain what it means or what its relevance is to the narrative. Does it imply that Rickie is one of ‘those poor souls’ who condemns himself to travelling the ‘longest journey’ (of life?) ‘with one chained friend, perhaps a jealous foe’? In which case, who precisely is this chained friend and jealous foe? Is it Stephen, the half-brother who haunts his respectable life? Or his heartless wife, Agnes?

The phrase is repeated again, right at the end of the book, when Stephen has come along with Rickie on his visit to Aunt Emily. Before Rickie goes on to visit the aunt the pair play like schoolboys in a stream, lighting paper lanterns which float down the stream, rather beautifully. Rickie is caught wondering what his life has been about.

Romantic love is greater than this. There are men and women — we know it from history — who have been born into the world for each other, and for no one else, who have accomplished the longest journey locked in each other’s arms. But romantic love is also the code of modern morals, and, for this reason, popular. Eternal union, eternal ownership—these are tempting baits for the average man. He swallows them, will not confess his mistake, and — perhaps to cover it — cries ‘dirty cynic’ at such a man as Stephen. (p.271)

Again, I didn’t really follow this. As Rickie follows Stephen’s instructions for making the lanterns, he feels transformed.

Rickie obeyed, though intent on the transfigured face. He believed that a new spirit dwelt there, expelling the crudities of youth. He saw steadier eyes, and the sign of manhood set like a bar of gold upon steadier lips. Some faces are knit by beauty, or by intellect, or by a great passion: had Stephen’s waited for the touch of the years?

Is this gay? The scene is set at dusk in a country stream and the mood is of tremendous acceptance and affection between the brothers. It’s a lyrical scene and all the better for not being saddled with one of Forster’s heavy classical references, just being itself.

But is the obscurity of phrasing because Forster feels in his heart a gay or queer connection between them? He’s feeling the love that dare not speak its name and so is censoring himself and so it comes out in this cryptic mode?

Dinner and the pub

Rickie goes on to have dinner with Aunt Emily. She advises him to go back to Agnes but he seems to have made his mind up to devote his life to literature. Some friends have encouraged him to write and also advise him to go to Italy (as Forster himself did). Anyway, he’s not going back to Agnes.

And in a far bigger ‘anyway’, he is now obsessed with Stephen. He replays the scene at dusk in the stream during dinner and, afterwards, asks Aunt Emily’s youngish manservant, Leighton, if he wants to accompany him to the village to find Stephen. When they get to the pub where Stephen’s staying, Rickie asks Leighton to go in, to ask if Stephen wants to come for a walk (Rickie is scared of going into a pub. That’s what a ‘milksop’ he is). Meanwhile Rickie’s feelings about Stephen are blossoming.

Stephen was a hero. He was a law to himself, and rightly. He was great enough to despise our small moralities. He was attaining love. This evening Rickie caught Ansell’s enthusiasm, and felt it worth while to sacrifice everything for such a man. (p.278)

But Leighton discovers that Stephen’s been drinking, in fact he’s so drunk he can’t stand. Rickie is outraged that Stephen has broken his promise but then directs his disillusionment against himself. He was foolish to trust him, to believe in people i.e. a typically immature over-reaction.

The brutal shock ending

It’s worth portraying Rickie’s state of mind just before he dies.

He leant against the parapet and prayed passionately, for he knew that the conventions would claim him soon. God was beyond them, but ah, how far beyond, and to be reached after what degradation! At the end of this childish detour his wife awaited him, not less surely because she was only his wife in name. He was too weak. Books and friends were not enough. Little by little she would claim him and corrupt him and make him what he had been; and the woman he loved would die out, in drunkenness, in debauchery, and her strength would be dissipated by a man, her beauty defiled in a man. She would not continue. That mystic rose and the face it illumined meant nothing. The stream — he was above it now — meant nothing, though it burst from the pure turf and ran for ever to the sea. The bather, the shoulders of Orion-they all meant nothing, and were going nowhere. The whole affair was a ridiculous dream.

You feel there could be no arguing for a young man who was so immature and melodramatic. Leighton goes back to the pub to reason with Stephen only to be told Stephen left a while ago to follow them. Puzzled they arrive at the railway level crossing as a slow goods strain is approaching, to see Stephen drunkenly sprawled across the rails. Rickie runs forward and throw his drunken brother free of the rails, but is too slow himself. It’s worth quoting the entire scene in full, mostly because of the abrupt and brutal, throwaway treatment of the event, but also because it demonstrates Forster’s peculiar way with language and psychology. I’ve reread it numerous times and don’t really understand exactly how or why it happens.

He wandered a little along the Roman road. Again nothing mattered. At the level-crossing he leant on the gate to watch a slow goods train pass. In the glare of the engine he saw that his brother had come this way, perhaps through some sodden memory of the Rings, and now lay drunk over the rails. Wearily he did a man’s duty. There was time to raise him up and push him into safety. It is also a man’s duty to save his own life, and therefore he tried. The train went over his knees. He died up in Cadover, whispering, ‘You have been right,’ to Mrs Failing.

‘It is also a man’s duty to save his own life, and therefore he tried,’ what does that mean? What does he mean ‘tried’. If he was stone cold sober surely there was time to nip out of the train’s way. But why is it phrased like this, ‘It is also a man’s duty to save his own life’? Is the implication that he is so, so tired and disillusioned that, although consciously aware of this ‘duty’, he is only half-hearted? But the text says ‘he tried’? Maybe it’s me but I find Forster’s psychology, I mean the way he depicts the minds and feelings of all his characters, very often bewilderingly obtuse.

Coda

What’s surprising is that, after this ‘random’ brutal killing of his protagonist, Forster gives us a final chapter of six more pages. In this Stephen has established himself as a farmer, and is discussing the posthumous publication of Rickie’s stories in a volume to be titled Pan’s Pipes, with Mr Pembroke, who is now a clergyman. They are arguing, Stephen is supplying 10 of Rickie’s stories to the clergyman’s 4, and demands a similar percentage of the royalties. Disgruntled, the clergyman leaves in a pony and trap.

Stephen is now married and has a three-year-old daughter so this must be 4 years (?) later. Now, as dusk falls, he wraps his little girl up and insists, despite his wife calling, that they go and sleep out on the Downs, in the warm evening. After opening with the silly conversation of the over-educated Cambridge undergraduates, the novel closes with the man of the soil Stephen, refusing his wife’s womanly entreaties to stay home, and insisting on wrapping up his small daughter and taking her to commune with the earth. From spirit to body. From air to earth. This ending has a surprisingly D.H. Lawrence primitivism, despite that the face the Lawrence hadn’t yet published a word.


Rickie the intellectual midget

He was only used to Cambridge, and to a very small corner of that. He and his friends there believed in free speech. But they spoke freely about generalities. They were scientific and philosophic. They would have shrunk from the empirical freedom that results from a little beer.

Ludwig Wittgenstein arrived in Cambridge in autumn 1911 and came to loathe it for its intellectual provincialism, its idiocy and its smug air of self congratulation. This novel helps you understand why. I found the self-satisfied triteness about ‘morality’ and ‘the Good’ and ‘the True’ unbearable, stuff like:

The sense of purity is a puzzling and at times a fearful thing. It seems so noble, and it starts as one with morality. But it is a dangerous guide, and can lead us away not only from what is gracious, but also from what is good. (p.144)

You can argue that Rickie, his friends and girlfriend are meant to be immature, silly, callow, and that this is the novel’s deliberate aim. But this is the narrator speaking, this is the narrative voice, which interchanges quite easily with the characters. It’s only when Rickie arrives in Sawston that the narrator comes clean about his limitations:

Rickie’s intellect was not remarkable. He came to his worthier results rather by imagination and instinct than by logic. An argument confused him, and he could with difficulty follow it even on paper. (170)

But by then it was too late for me, I was irrevocably put off the book by its undergraduate callowness. W.H. Auden has a line in ‘To a writer on his birthday’, looking back on himself and Isherwood as two sniggering students, declaring that ‘all the secrets we discovered were extraordinary and false.’ All the great ‘intellectual’ and ‘moral’ findings in this novel strike me in the same way.

Purple patches

With a canvas twice the long as his first book, Forster lets himself go and I don’t like it.

The rain tilted a little from the south-west. For the most part it fell from a grey cloud silently, but now and then the tilt increased, and a kind of sigh passed over the country as the drops lashed the walls, trees, shepherds, and other motionless objects that stood in their slanting career. At times the cloud would descend and visibly embrace the earth, to which it had only sent messages; and the earth itself would bring forth clouds — clouds of a whiter breed — which formed in shallow valleys and followed the courses of the streams. It seemed the beginning of life. Again God said, ‘Shall we divide the waters from the land or not? Was not the firmament labour and glory sufficient?’ At all events it was the beginning of life pastoral, behind which imagination cannot travel.

I’m afraid I think this is rubbish, on every possible level, as either literal description or as insight into Rickie’s supposed state of mind; and the casual invocation of the kind of meek God that suits Forster made me barf. There’s a lot, lot more written in the same overblown style. Here’s Rickie in love:

She had been a goddess both in joy and sorrow. She was a goddess still. But he had dethroned the god whom once he had glorified equally. Slowly, slowly, the image of Gerald had faded. That was the first step. Rickie had thought, ‘No matter. He will be bright again. Just now all the radiance chances to be in her.’ And on her he had fixed his eyes. He thought of her awake. He entertained her willingly in dreams. He found her in poetry and music and in the sunset. She made him kind and strong. She made him clever. (p.71)

Masquerading as Significant Thought, there are repeated passages saying what frail insects we are on the huge indifferent earth etc etc, which just feel banal and obvious:

Ah, the frailty of joy! Ah, the myriads of longings that pass without fruition, and the turf grows over them! Better men, women as noble — they had died up here and their dust had been mingled, but only their dust. These are morbid thoughts, but who dare contradict them? There is much good luck in the world, but it is luck. We are none of us safe. We are children, playing or quarrelling on the line, and some of us have Rickie’s temperament, or his experiences, and admit it. So he mused, that anxious little speck, and all the land seemed to comment on his fears and on his love…

He had lost all sense of incident. In this great solitude — more solitary than any Alpine range — he and Agnes were floating alone and for ever, between the shapeless earth and the shapeless clouds. An immense silence seemed to move towards them. A lark stopped singing, and they were glad of it. They were approaching the Throne of God. The silence touched them; the earth and all danger dissolved.

It feels like Thomas Hardy without Hardy’s rich lugubriousness. Then again, is all this a sly game? Is it over-written and shallow like this to indicate Rickie’s immaturity and callowness?

Name-dropping

The characters move in a miasma of artistic and literary references. I don’t think a single one of these does anything to move the story forwards. As far as I can tell they are there solely to signal the educated class the characters come from and the book is aimed at and, more practically, to flatter the bourgeois reader by dispensing cultural references easy enough for us to recognise and feel smug about:

He thought of Renan, who declares that on the Acropolis at Athens beauty and wisdom do exist, really exist, as external powers.

Suddenly she stopped, not through any skill of his, but because she had remembered some words of Bacon: ‘The true atheist is he whose hands are cauterized by holy things.’ (p.97)

Having changed her dress and glanced at the poems of Milton, she went to them, with uplifted hands of apology and horror. (p.97)

And when Rickie and Stewart exchange letters criticising each other’s worldview:

Read poetry – not only Shelley. Understand Beatrice, and Clara Middleton, and Brunhilde in the first scene of Gotterdammerung. Understand Goethe when he says ‘the eternal feminine leads us on.’ (p.87)

Understand Xanthippe, and Mrs. Bennet, and Elsa in the question scene of Lohengrin. Understand Euripides when he says the eternal feminine leads us a pretty dance. (p.87)

Even Mrs Failing’s two horses are named Dido and Aeneas, ho ho.

Again he spoke of old Em’ly, and recited the poem, with Aristophanic variations.

In the scene between Mr Wonham and the soldier you can feel the way the narrator’s deployment of cultural references like this is not an amplification of lived experience but an old maid escape, a denial or rejection of life. Books are safer than life, an attitude Forster embodies and lightly satirises in the character of the intellectual eunuch, Ansell. But although his story mocks Ansell the text itself subscribes to Ansell’s bookish values.

There may be moments of insight and clever psychology in such a long baggy monster, but overall I didn’t enjoy this book.

Gay

What makes all the purple patches about heterosexual love so funny is that Forster was gay, homosexual, queer. In 1914 he wrote ‘Maurice’, a novel about a gay love affair which he kept secret and wasn’t published until after his death, in 1971. I’m afraid knowledge of his lifelong homosexuality completely undermined my belief in the scores of passages where Rickie waxes lyrical about his beloved Agnes being a goddess, a spirit, a divine being etc.

Obviously the main intention of these passages is to flag Rickie’s hopeless immaturity but it’s hard to avoid the suspicion that Forster was also overdoing it, overcompensating, replacing the subtleties and edginess of real love (gay or straight) with great dollops of Victorian romanticism, and doing it for security reasons. In order to be safe and avoid the slightest accusation of homosexuality. He was writing just ten years after the Oscar Wilde case. Everyone was scared. Lilia’s infatuation with Gino and Philip’s obsession with Miss Abbott in his previous novel, ‘Where Angels Fear To Tread’ both felt more convincing (relatively speaking).

The passages at the very end, from the train journey Rickie and Stephen share and especially the lovely description of lighting the paper lanterns on the stream, and the lyrical mood it puts Rickie in, is this all queer love, Rickie’s gay love for lovely rough and manly Stephen? And is this why Rickie has to die? Partly because, as a character, he’s pretty much played out? But mostly because the love that dare not speak its name needs to be censored out of existence?


Credit

The Longest Journey by E.M. Forster was first published in 1907 by Blackwood. References are to the 1982 Penguin paperback edition.

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