Edward T. Wheeler
Edward T. Wheeler, a frequent contributor, is the former dean of the faculty at the Williams School in New London, Connecticut.
By this author
Half-way through Peter Mathiessen’s final novel, In Paradise, the chief character, Olin, tells what he says is an alternate version of the crucifixion story to Catherine, a young novice soon to take her religious vows. The good thief makes his request that Jesus take him to Paradise. Jesus responds, not by saying “Thou shalt be with me this day in Paradise,” but rather, “No, friend, we are in Paradise right now ”
The virtual blasphemy points at the crucial conflict of the novel, called of course In Paradise: overwhelming bleakness of death and yet redemptive transcendence. The physical “paradise” is the Auschwitz Concentration camp. The plot involves a retreat of one hundred participants fifty years after the liberation of the camps. The intent of the retreat is to allow those involved to come to terms with the death camp: they are survivors, bystanders, family members of those killed and of those who killed, some are local residents; but the majority come from many nations and represent different faiths.
I had a nine hour train journey and a Kindle with the complete works of George Eliot ($.99). The upshot? I had not read The Mill on the Floss and so I began. If you recall Maggie Tulliver, the heroine of the novel, faces unaccountable hardship. Her creator has the adolescent Maggie turn to Thomas a Kempis (The Imitation of Christ) to find the spirit of renunciation and acceptance to bear with the troubles that afflict her. So effective are a Kempis’s words that Maggie finds herself in conflict with her admirer Phillip Waken because she rejects the claims of the self and refuses to strike out to find her own happiness. Maggie’s self-denial, her rejection of self-love, underlies the moral courage that ultimately costs her her life in heroic self-sacrifice. The ways of the world, the temptations of self-indulgence, simply cannot break the integrity that is Maggie’s armor against moral failure. Her tutor in this, The Imitation of Christ, evokes this testimony from the narrator:
it is the chronicle of a solitary, hidden anguish, struggle, trust, and triumph, not written on velvet cushions to teach endurance to those who are treading with bleeding feet on the stones. And so it remains to all time a lasting record of human needs and human consolations; the voice of a brother who, ages ago, felt and suffered and renounced
I found an odd joy reading the passage Eliot quotes from The Imitation, as I traveled at seventy miles an hour on the train south. There was an unnerving and excited recognition of a voice very familiar and now strange, stranger sill for speaking out of a Victorian novel written by a very “advanced” religious and social thinker a hundred and fifty years ago. Written in the fifteenth century, The Imitation enjoyed on-going admiration among both Catholics and Protestants, and clearly affect the young Mary Ann Evans. I recalled that my copy of a Kempis’s book (I had to have been given it in my Jesuit high school) was yellow paged, printed in gothic script, and resonated with the word “compunction” which I dutifully looked up and attempted to feel. In the imagination it bore for me, as it must have for fictional Maggie, a sense of the sacred.
Kate Atkinson’s novel Life after Life comes as something of a surprise. Her earlier books featuring a feckless Scottish detective, Jackson Brodie, were inventive in plot and quirky in characterization. There was little to suggest the rather heavy themes signaled in the epigraphs from Nietzsche and Plato that appear in Life after Life; they focus, appropriately enough, on reincarnation. The plan of the novel is simple: follow a character, Ursula Todd, through her lives. The plural, “lives,” offers the plot mechanism: Ursula is born once, but her days follow multiple sequences, the first being her still born birth. She survives more successfully in following permutations. We return to her birthday in February 1910 and accompany her as she, after two fatal sidesteps, finally arrives at adulthood and again we experience her different life courses. Chance, yes, is the impartial determiner.
The novel is a fictional experiment of sorts: how consistent is Ursula’s character when subjected to various conflicts? And indeed what are the responses of her family as she challenges them with different life experiences? There is the close sister Pammy, the cherished younger brother Teddie, the risqué and sophisticated Aunt Izzy, and a host of boyfriends, suitors, husbands and lovers. Ursula is consistently “rather pretty,” but various in her sexual precocity and fidelity. She is well-read enough to quote appropriately from the classics and to correct the pretentious in their misquotations.
A friend reminded me of the artistry of Middlemarch when he mentioned how much he enjoyed listening to an audio book of the novel on his way to work. I had to reflect that I had read Eliot first fifty years ago, under a magnolia tree in Fordham’s Rose Hill in the Bronx, caught up in Dorothea’s story but equally aware that I had yet another novel to read that week for Dr. Santaniello’s English Fiction course. So taking up the book again, I was surprised and humbled by the number of times I had to read the following passage, Edward Casaubon’s proposal of marriage (in letter form) to Dorothea.
I am not, I trust, mistaken in the recognition of some deeper correspondence than that of date in the fact that a consciousness of need in my own life had arisen contemporaneously with the possibility of my becoming acquainted with you. For in the first hour of meeting you, I had an impression of your eminent and perhaps exclusive fitness to supply that need (connected, I may say, with such activity of the affections as even the preoccupations of a work too special to be abdicated could not uninterruptedly dissimulate); and each succeeding opportunity for observation has given the impression an added depth by convincing me more emphatically of that fitness which I had preconceived, and thus evoking more decisively those affections to which I have but now referred.
The knottiness of this passage, reminiscent of the frustrating Latin of Cicero, whose periods made me weep in the frustration of incomprehension, works in veritable counterpoint to the fluency of composition – and the ease of the prose rhythms. Casaubon’s self-regard, rendered in the subordination of the clauses and in the parenthetical notes to his own assertions are all too great warnings against the very proposal that Dorothea accepts. The weight of the words simply and ironically crushes any hope of realizing the “affections” that he mentions but are somehow buried in the qualifications that he has laid out earlier.
Perhaps it is too easy to comment that novelists do not write like this anymore. But I have to ask if that also means that our contemporaries do not make the demands upon us that the great Victorian writers did?
As we were tidying away the Christmas decorations, marking Twelfth Night in this somewhat tedious, somewhat reflective manner, I could not put by for the season the poem that follows. Southwell, as you probably are aware, was an English Jesuit Martyr, executed in 1595 as a traitor for his missionary work among English Catholics in the reign of Elizabeth I. How the times seem to frame the meaning of the Incarnation.
THE BURNING BABE.
By Robert Southwell
The setting of Robert Stone’s new book, Death of the Black-Haired Girl, is the vale of tears. This campus novel transcends genre largely through the psychological effect of place. Not so much as a New England college town but as the trial ground where acts of faith, betrayal, retributive justice, and redemption take place, and where, of course, evil constantly threatens.
The plot centers on the adulterous affair that Professor Steven Brookman has with his beautiful, brilliant and possessive student, Maud Stack. The title leaves no doubt as to the outcome of the affair. Vehicular homicide ends their parting quarrel. Her death is at the center of Stone’s meditations on love, the sanctity of life, abortion, vengeance, and fate – providence if you will, in the Divine Economy. Some critics have mentioned that they find the central relationship between Brookman and Maud insufficiently developed. But frankly I found myself too bound up in the peripheral characters who form a virtual chorus of speculation and assertion on deep matters of conscience, to be too concerned with the affair. The moral geography of the novel is never less than that of a battlefield, with real weapons and fatal or near fatal encounters.
The sense that the horizontal events of earthly life intersect with the verticals of the spiritual radiates throughout the book.
As would be clear to anyone who read the review in Commonweal of J.M. Coetzee’s new novel The Childhood of Jesus, the work is not a biblical narrative concerning the Holy Family. Serious playfulness to the point of obscurity challenges a reader of any of Coetzee’s works. It is as if one sits across from a great chess master in part in awe, in part in frustration as he moves his pieces in ways that both befuddle and illuminate. I find his prose and his unique insight compelling, if not compulsive, reading. The plot suggests some sort of parable in that the story concerns a young boy who in the course of the novel emerges as demanding, gifted, visionary, and troubling. He is accompanied by an adult who assumes responsibility for his well-being. When on the ship that transports them and unspecified others to a new life, the boy loses the papers that should establish his identity. The frame of the story involves a journey to a new beginning (Novilla is the city where Simón, the adult, and David, the boy, arrive.) They receive new names. [There are no surnames.] Simón reflects that they have been washed clean of their memories: their identities, adult and child, are fluid, unfixed by parentage or nation. The novel ends in a journey to another new beginning: the impulse grounded in escape from the society to which that have been inducted, one, although benign in intent, threatens the uniqueness of the child David.
The prize-winning Irish novelist, John Banville, leads a double authorial life writing detective mysteries under the penname, Benjamin Black. I have a friend who refuses to read Banville’s Dr. Quirke detective stories because he, my friend, ruined a summer holiday by starting an early novel in the series. Quirke’s character simply depressed him too much to finish the book, and by extension, he spoiled his vacation. I must admit that Quirke as a pathologist and canny Watson to a dour Holmesean DI Hackett affects me in the opposite manner. Banville creates, with an admittedly dismal joy, a neurotic near-alcoholic sorting out the dingier crimes of Dublin in the nineteen fifties. With a nod to that other Dubliner, James Joyce, Banville offers an array of characters that populate an equally broad array of watering holes. And the patter of the speakers might mix happily with that of those who accompany the journeys of Leopold Bloom. We know of the childhood darkness that feeds the melancholy root of Dr. Quirke’s soul: his abusive upbringing at Carricklea, a Christian Brothers’ orphanage, and his subsequent adoption by Judge Garret Griffin who with his natural children simply complicate the primal scene of Quirke’s upbringing. Quirke suffers yet another blow, the loss of his wife, and then the aching burden of discovering his daughter, who had believed she was the child of Quirke’s step brother. No wonder the man has hands shaped to fit a glass that holds the spirits that will lift his own – or not.
The latest novel in the series, Holy Orders, offers us an apparently inexplicable murder, a Gypsy “tinker” encampment, threats to Quirke’s daughter, an avenging sibling, and a pedophile priest. Yet the real heart of the work is Banville’s development of Quirke.
“Consonance” echoes in my head: reading Edward Williams’ 1968 novel Stoner I felt I was hearing my own thoughts. There is more than wishful thinking here. The prose is enviably compelling, but, hubris apart, I find that the narrator’s voice mimicked the inner monologist that, for want of a better phrase, talks my thoughts to me. I know that I am not alone in this. The book’s reissue some years ago occasioned remarkable reviews. A brief look at the Amazon web page that features Stoner will more than confirm that.
The plot of the novel is devoid of grand incident: the title character, a poor farm boy, manages to work his way through the University of Missouri. He develops a great love for literature and has a clear aptitude for analysis and criticism. His mentor, a senior professor, guides him through his dissertation and also manages to divert him from enlisting to fight in the First War. Stoner becomes a brilliant teacher, a hen-pecked, nay pathologically dominated husband, and ultimately a victim of his wife’s malice. She estranges their daughter from her doting father. Stoner’s passionate and liberating love affair with a graduate student collapses, despite great depth of affection, before the pressures of university politics and the threat of scandal. Stoical acceptance balances the support of literature and scholarship as Stoner unselfconsciously finds his way to eccentricity – yet all within the compass of his small university classrooms.