Here I begin a series of blogs that I have been
thinking about for a long time. As I
have confessed in these precincts in the past, I regularly reread the
classics. Often I find an author from
the past, in the midst of telling his story will address the reader directly
and talk about what he is doing and why.
The last one I have come across who got away with such shenanigans was
John Fowles in The French Lieutenant’s
Woman. But that was nearly fifty
years ago. One cannot get away with that
sort of the thing in the 21st Century. But these musings can be very instructive and
consoling to the modern writer. Readers
will also find them amusing, I think, because they open a peephole into the way
writers think. Today I offer a preface
to Arnold Bennett’s Old Wives’ Tale. It doesn’t exactly fit my bill because it
was an addendum, not part of the novel’s original text, but it sure speaks to
me about what it meant to be a novelist a hundred years ago, and how similar it
is to today—when it comes to inspiration and when it comes to pleasing one’s
publisher and one’s readers.
PREFACE
In the autumn of 1903 I used to dine frequently in
a restaurant in the Rue de Clichy, Paris. Here were, among others, two
waitresses that attracted my attention. One was a beautiful, pale young girl,
to whom I never spoke, for she was employed far away from the table which I
affected. The other, a stout, middle-aged managing Breton woman, had sole
command over my table and me, and gradually she began to assume such a maternal
tone towards me that I saw I should be compelled to leave that restaurant. If I
was absent for a couple of nights running she would reproach me sharply:
"What! you are unfaithful to me?" Once, when I complained about some
French beans, she informed me roundly that French beans were a subject which I
did not understand. I then decided to be eternally unfaithful to her, and I
abandoned the restaurant. A few nights before the final parting an old woman
came into the restaurant to dine. She was fat, shapeless, ugly, and grotesque.
She had a ridiculous voice, and ridiculous gestures. It was easy to see that
she lived alone, and that in the long lapse of years she had developed the kind
of peculiarity which induces guffaws among the thoughtless. She was burdened
with a lot of small parcels, which she kept dropping. She chose one seat; and
then, not liking it, chose another; and then another. In a few moments she had
the whole restaurant laughing at her. That my middle-aged Breton should laugh
was indifferent to me, but I was pained to see a coarse grimace of giggling on
the pale face of the beautiful young waitress to whom I had never spoken.
I reflected, concerning the grotesque diner:
"This woman was once young, slim, perhaps beautiful; certainly free from
these ridiculous mannerisms. Very probably she is unconscious of her
singularities. Her case is a tragedy. One ought to be able to make a
heartrending novel out of the history of a woman such as she." Every
stout, ageing woman is not grotesque—far from it!—but there is an extreme
pathos in the mere fact that every stout ageing woman was once a young girl
with the unique charm of youth in her form and movements and in her mind. And
the fact that the change from the young girl to the stout ageing woman is made
up of an infinite number of infinitesimal changes, each unperceived by her,
only intensifies the pathos.
It was at this instant that I was visited by the
idea of writing the book which ultimately became "The Old Wives'
Tale." Of course I felt that the woman who caused the ignoble mirth in the
restaurant would not serve me as a type of heroine. For she was much too old
and obviously unsympathetic. It is an absolute rule that the principal
character of a novel must not be unsympathetic, and the whole modern tendency
of realistic fiction is against oddness in a prominent figure. I knew that I
must choose the sort of woman who would pass unnoticed in a crowd.
I put the idea aside for a long time, but it was
never very distant from me….I was already, in 1903, planning a novel ("Leonora")
of which the heroine was aged forty, and had daughters old enough to be in
love. The reviewers, by the way, were staggered by my hardihood in offering a
woman of forty as a subject of serious interest to the public…. I have been
accused of every fault except a lack of self-confidence, and in a few weeks I
settled a further point, namely, that my book…must be the life-history of two
women instead of only one. Hence, "The Old Wives' Tale" has two
heroines….I was intimidated by the audacity of my project, but I had sworn to
carry it out. For several years I looked it squarely in the face at intervals,
and then walked away to write novels of smaller scope, of which I produced five
or six. But I could not dally forever, and in the autumn of 1907 I actually
began to write it, in a village near Fontainebleau, where I rented half a house
from a retired railway servant. I calculated that it would be 200,000 words
long (which it exactly proved to be), and I had a vague notion that no novel of
such dimensions (except Richardson's) had ever been written before. So I
counted the words in several famous Victorian novels, and discovered to my
relief that the famous Victorian novels average 400,000 words apiece. I wrote
the first part of the novel in six weeks. It was fairly easy to me, because, in
the seventies, in the first decade of my life, I had lived in the actual
draper's shop of the Baines's, and knew it as only a child could know it. Then
I went to London on a visit. I tried to continue the book in a London hotel,
but London was too distracting, and I put the thing away, and during January
and February of 1908, I wrote "Buried Alive," which was published
immediately, and was received with majestic indifference by the English public,
an indifference which has persisted to this day.
I then returned to the Fontainebleau region and
gave "The Old Wives' Tale" no rest till I finished it at the end of
July, 1908. It was published in the autumn of the same year, and for six weeks
afterward the English public steadily confirmed an opinion expressed by a
certain person in whose judgment I had confidence, to the effect that the work
was honest but dull, and that when it was not dull it had a regrettable
tendency to facetiousness. My publishers, though brave fellows, were somewhat
disheartened; however, the reception of the book gradually became less and less
frigid.
With regard to the French portion of the story, it
was not until I had written the first part that I saw from a study of my
chronological basis that the Siege of Paris might be brought into the tale. The
idea was seductive; but I hated, and still hate, the awful business of
research; and I only knew the Paris of the Twentieth Century. Now I was aware
that my railway servant and his wife had been living in Paris at the time of
the war. I said to the old man, "By the way, you went through the Siege of
Paris, didn't you?" He turned to his old wife and said, uncertainly,
"The Siege of Paris? Yes, we did, didn't we?" The Siege of Paris had
been only one incident among many in their lives. Of course, they remembered it
well, though not vividly, and I gained much information from them. But the most
useful thing which I gained from them was the perception, startling at first,
that ordinary people went on living very ordinary lives in Paris during the
siege, and that to the vast mass of the population the siege was not the
dramatic, spectacular, thrilling, ecstatic affair that is described in history.
Encouraged by this perception, I decided to include the siege in my scheme. I
read Sarcey's diary of the siege aloud to my wife, and I looked at the pictures
in Jules Claretie's popular work on the siege and the commune, and I glanced at
the printed collection of official documents, and there my research ended.
It has been asserted that unless I had actually
been present at a public execution, I could not have written the chapter in
which Sophia was at the Auxerre solemnity. I have not been present at a public
execution, as the whole of my information about public executions was derived
from a series of articles on them which I read in the Paris Matin. Mr. Frank
Harris, discussing my book in "Vanity Fair," said it was clear that I
had not seen an execution, (or words to that effect), and he proceeded to give
his own description of an execution. It was a brief but terribly convincing bit
of writing, quite characteristic and quite worthy of the author of "Montes
the Matador" and of a man who has been almost everywhere and seen almost
everything. I comprehended how far short I had fallen of the truth! I wrote to
Mr. Frank Harris, regretting that his description had not been printed before I
wrote mine, as I should assuredly have utilized it, and, of course, I admitted
that I had never witnessed an execution. He simply replied: "Neither have
I." This detail is worth preserving, for it is a reproof to that large
body of readers, who, when a novelist has really carried conviction to them,
assert off hand: "O, that must be autobiography!"
ARNOLD BENNETT
I have taken out a few sentences, but this is pretty
much the whole preface. I laughed out
loud when I read “Neither have I.” I hope
you find it as amusing as I did.
Annamaria
