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Complexity, subtlety, and breadth are the virtues here. If a writer is going to engage in the intellectual business of assigning meanings and showing relationships, he had better think very well. The novel of ideas had better be good. We are not interested in simple allegory, nor in a world so biased as to be unrecognizable, nor in any excited shoutings about. For most of us, the “whole truth” is necessarily complex; to simplify is to fudge. Nobody wants to read a well-ground axe.
All this is a paradoxical situation for intellectuals who turn to fiction as the best possible prose vehicle for their interpretations, only to discover that those very interpretations—the urgency of which prompted the work—are to the reader the work’s most dispensable aspect. They discover that in order to write fiction that anybody might want to read, they must painstakingly conceal what is to them its very point. (Here is the germ of truth in that funny, sweet saying of the ignorant, that the function of criticism in general, and of freshman critical essays in particular, is to “find the hidden meaning.”) In order to make a world in which their ideas might be discovered, writers embody those ideas in materials solid and opaque, and thus conceal them. In the process of fleshing out a thought, they brick it in. The more subtle they are as artists (not as thinkers, but as artists), the more completely their structures will vanish into the work, and the more grouchy they will become the more readers tell them what lovely, solid bricks they make.
The story contains no trace of that bundle of bias, enthusiasm, motive, morality, personality, and mind which we might term “the author.” Where is Joyce? The work is seamless. I do not mean that Joyce does not intrude his opinions into his story—that is a pleasing but not uncommon virtue—but instead I mean something more profound and less easy to name. The sentences have in their rhythms an austerity that is complete. They exhibit, by their perfect concealment of it, an absolutely controlled tension, like that of a mastered grief or longing. I suggest that the austerity with which a writer wholly subsumes his thoughts to his fictional materials reminds us of—or is even identical to—the difficult dignity with which some people control strong and private feelings. We are people, and we call this “power”; it will always command our respect.
Perhaps, then, this high degree of tension and control in prose, this sense of great emotional passion at short rein, attracts our mind and leads us to inquire into the sources of the tension and the principles of control. And perhaps, too, the absence of any hint of explanation or motive on the author’s part will lead us to seek it, lead us to inquire, as we do of “Leaving the Yellow House” and, somewhat differently, of “The Dead,” what these things are doing here in the first place. I hope so.
As symbol, or as the structuring of symbols, art can render intelligible—or at least visible, at least discussible—those wilderness regions which philosophy has abandoned and those hazardous terrains which science’s tools do not fit. I mean the rim of knowledge where language falters; and I mean all those areas of human experience, feeling, and thought about which we care so much and know so little: the meaning of all that we see before us, of our love for each other, and the forms of freedom in time, and power, and destiny, and all whereof we imagine: grace, perfection, beauty, and the passage of all materials to thoughts and of all ideas to forms.
The task, then, of all the arts in each century is to rescue the clichés, not to turn from them, and to dedicate themselves each new decade to more comprehensive forms of beauty and understanding. It is to expand those arts’ purviews, to expand the arc of the comprehended world, and not to restrict any vision according to the demands for purity set by theory. Purity of practice guarantees that the artist will not err, and that superficial critics will find no flaw in the work, and that nothing has been ventured. Within the bare pantry of purity, stocked solely with what the mind knows to be essential, symbol, which is itself material and which requires a chaotic wealth of materials, can neither grow nor flourish. Symbols arise from material messes.
When Lou was a girl, her breasts grew both calamitously early and big. Boys came at her, shouting to one another. Alone or together, running, they competed to touch a breast, capture the flag. Had those boys put her off males forever? Throughout boarding school she thought all males younger than her teachers possessed neither fears nor noble hopes, let alone fine feelings—or even any inner lives at all. They were more like bumper cars than people.
lol
She asked herself: Would she rather have his love, or hers for him? Would she rather have Primo himself, guaranteed to love her and only her forever, or would she rather have her love for Primo Dial forever, intact and untainted come who may? Astounded, she realized she would choose her love over his. Was she so selfish? Of course, if she lost him, and she did, the love might well dim—an apostasy to think, but lots of lovers lose. She took the chance, as any lover does, witting or not.
AFTER THEY MARRIED SHE learned to feel their skin as double-sided. They felt a pause. Theirs was too much feeling to push through the crack that led down to the dim world of time and stuff. That world was gone. They held themselves alert only in those few million cells where they touched. She learned from those cells his awareness and his courtesy. Love so sprang at her, she honestly thought no one had ever looked into it. Where was it in literature? Someone would have written something. She must not have recognized it. Time to read everything again.
cute
TWO YEARS LATER THEY were dancing in the kitchen to “Lady Be Good.” Maytree turned down the radio and ran his notion by Lou. It is an unnameable boon love hauls down, that people rightly prize as the best of life, and for which it fusses over weddings. Not only will a cave-dwelling pair cull food and kill so kids thrive, but their feeling for each other, not to mention for the kids, brings something beyond food people need. Each felt it between them when they danced. It was real as anything the mind could know. Her eyes’ crystal, her split-faced smile, agreed. He rolled the volume knob. Oh sweet and lovely.
One July morning, cold stirred Lou. The tide had withdrawn to the Azores. Wind through the windows smelled of mullions’ dust. She knew Maytree had loved her. The perception was correct; only her inference was false. What should Maytree have done? Stayed in harness? She just had not known she was harness. Nor presumably does baitfish consider itself baitfish. Nor did she know how long she had been harness.
What gave adults the cheer to tolerate their hypocrisy? Even his mother praised generosity and hoarded; she preached industry and barely worked. Perhaps every generation passes to the next, to hand down to yet more children, an untouched trunk of virtues. The adults describe the trunk’s contents to the young and never open it.