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Patrick White - Fragments of a Swedish Correspondence

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Patrick White - Fragments of a Swedish Correspondence NOEL MACAINSH PATRICK WHITE - FRAGMENTS OF A SWEDISH CORRESPONDENCE Patrick White received the Nobel Prize for Literature in 1973. Per- sistent rumours that he was a candidate for the prize had circulated since 1969, the year when it went to Samuel Beckett. It seems that these rumours filled White with divided feelings. In a letter to Ingmar Björkstn, in 1970, he wrote that he had heard of the dreadful rumours and had to make plans in great haste of where he could hide himself if any of them should be true. Of course, they were not true, and he was left feeling pained and humbled. He stated that he saw a photograph of poor Beckett who looked thoroughly depressed as he fled to Tunisia. In a Christmas greeting, written to Magnus Kison Lindberg in 1972, after the choice for the prize had fallen at the last moment on Heinrich Boll, White wrote that he no longer believed in the Nobel Prize - it should be discontinued; the money from it should benefit the hungry. It seems that The Vivisector, published in 1970, might have gained him the Prize but in the Swedish Academy it was reputedly said that this would have been a faulty decision, as it would have honoured an author whose latest work rested on the unsympathetic conclusion that the artist in the course of following his vision must step over corpses and use people as raw material for his art. The above information, purportedly from letters written by Patrick White, is taken in turn from the German translation (Patrick White - Die Stinne Auetraliens 1973, Claassen Verlag, DUsseldorf, 144pp, price DM 15.00) of a Swedish book, Patrick White - epikern frrn Australien by Ingmar Björksten, published Verlag Forum, Stockholm, 1973. Rather than simply review the book here, it is thought better to draw attention to material in it that may interest students of White's work. Apart from the work under consideration, other Swedish works concern- ing White are those by Arthur Lundkvist, President of the Nobel Prize committee: Ausflige mit ausl.indischen Schriftstellern (1969) and Lesefrichte (1973). Ingmar Bj5rkstn has also produced an interview- portrait of White in his Australieches Tagebuch (1964) and an essay Patrick White und das Mysteriwn des Menschen (printed in Welt der Bücher, No.6, 1971). BjOrkstn, like other foreign writers, remarks on the contrast between White's reception at home and abroad, and says that in 1956. White was as good as unknown in Australia. In support he quotes Meanjin's editor at the time as being astounded to learn that White was not living overseas but was residing about five miles from the heart of Sydney. In a letter written in 1970 to Magnus Kison Lindberg, one of his Swedish translators, White, in reply to Lindberg's information that Bonniers had delayed the publication of his translation of The Vivisector, seems to have come to terms with his neglect by the public. He writes that he fears he is not a rewarding investment for a publisher, that Gallimard, the French publisher, has thrown him out again; some years ago they had published his first novel Happy Valley and had ordered a trans- lation of The Aunt's Story, which was prepared by the same woman trans- lator, but Happy Valley was such a fiasco that they decided not to bring out The Aunt's Story at all. lie thinks that this is in a way depressing, but on rethinking the matter he is happy that his books are not sold: it would be dreadful to be popular in this world in which so much human cattle tramples around; like Stendahi, he prefers to turn to The Happy Few ("what a desecration of the temple, and that here in Australia!"). Further to White's readership, it may be of interest to mention some figures given for Germany. Here, there appeared first Zur Ruhe kern der Baum dee Menechen nie (1957) (The Tree of Man), in the translation by Anne-Marie and Heinrich B611. It had no particular success, though 4000 copies were sold. Voes, the second novel on the German market, appeared in 1958, translated by John Stickforth, and reached an edition of 3500. Of Kurt and Maria Prerauer's translation, Die im feurigen Wagen (Riders in the Chariot), 3200 copies were sold. Per Maler (The Vivisector) (1972), translated by Wilhelm Borgers and Edwin Bootz, reached sales of 3500. These figures of course pertain to sales before the award of the Nobel Prize. New editions have appeared since (for a review, see last issue of LiNQ). In a letter from New York, to Lindberg, in 1971, White says he can understand why The Vivisector failed in the United States: he finds New York depressing and dead, everything seems to vegetate away, one never meets anyone who could be imagined as ever taking a book into his hand to read it, things are different to Australia but depressing in another way, people are like a herd of dark, confused animals, urged through the streets at evening, squeaking rats hustle about on building-lots on which new mastodon-buildings are to be erected. He has always found it a handicap to live in Australia but he believes he'll gladly turn back and be happy to finish his days there. When asked in a letter, in 1973, why The Aunt's Story was the dear- est to him of his works, White replied that it was because it had been either ignored or, in Australia, regarded as a miscarriage. His feelings, he writes, were in many ways like those of parents towards a child that is not quite normal: they must defend it. But he also states in the same year that The Solid Mandala is also very close to him, if for a different reason, because it creates a certain dream-like, anxiety-laden atmosphere which he has experienced, even if the events in the book have had little to do with his life. This note of alienation, of rejection by his countrymen, is sounded repeatedly in the letters. Bj3rkstn remarks that White's letters, in contrast to his speech and his novels, are direct and open, often person- al and frank like a diary-entry. Only when he is asked about his writing, to explain it, does he react with slight irritation or worse. The letters are mainly typewritten. White's handwriting, says Bj5rkstn, is regular but sprawling and spread out. The writing looks to be a lot but the letters flow in a uniform cardiographic trace that is rather difficult to interpret. White's sense of alienation is ascribed by Björkstn to his divided background. His grandparents on both sides came to Australia in the 19th century, his father's father arriving in 1826 from England, and his mother's father in 1855 likewise. But White was born in England. His parents, who were cousins, married young; both of them belonged to a thin upper-class of well-to-do land-owners that had formed itself above the dominating middle-class in Australia. During their two-year honeymoon in Europe, their first child, Patrick Victor Martindale White, was born in Knightsbridge, London, on 28th May, 1912. A daughter arrived three years later. For the parents, this meant the son was born where they and their strata of society felt "at home". For the son, this meant that from the beginning he was separated from his fellow-countrymen and was to have an inescapable, life-long feeling of alienation. He grew up in Australia but was sent "home" to school - as we already know from his autobiographical essay in Australian Letters (1958). In 1929, he was back in Australia, back in the hell of an extroverted society. Bj5rkstn remarks that White's speech, his melodic Cambridge-English, deviates strongly from the slight- ly vulgar-sounding, Cockney-influenced speech of the Australians. White wrote his first novels while on the land, and he remarks that these were fortunately not published. He also passed the admittance- requirements for King's College, Cambridge, and returned to England in 1932 where he spent three stimulating years studying history. Soon after this, he changed over to Germanic and Romance studies and gained a thorough grounding in German and French literature. He travelled extens- ively in Europe. His debut, as a writer, with a book of poems issued in Sydney, 1935, lay behind him. Happy Valley appeared in 1939, firstly in an English, then in an American edition. Two years later, there appeared The Living and the Dead, the only novel whose setting is predominantly outside Australia. Prior to being called up, White was occupied with some poems and a novel that was never completed. He was an officer in the war, firstly in the Near East, and he spent the last of the war in Greece. Before he returned to Australia in 1948, his first play Return to Abyssinia was performed in London in 1946. The Aunt's Story appeared in 1948. The title of the play is suggestive of the third part of The Aunt's Story, of Theodora Good- man's return to Australia. With regard to dramatic work, it seems that White was already writing dramas at ten years of age, and that long before he gave up poetry for prose, he was writing texts for a theatre. The first of these was perform- ed in Sydney in 1933 - a social comedy. Towards the end of the 30 1 s, he wrote sketches and song-texts in London and attempted realistic pieces in the spirit of the times.
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