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Krištof Anetta 0 Introduction This thesis intends to document the presence and development of two major insecurities in the novels of David Lodge, the insecurities about Catholicism and academia. It is divided into two chapters. The first chapter, after extracting relevant data from biographical information, interviews and critical opinions about Lodge, traces the insecurity about Catholicism chronologically through Lodge‟s fiction. The second chapter, in a similar way, traces the development of the insecurity about academia. For the needs of this thesis, the word “insecurity” is understood basically according to its dictionary definition, representing a state of being “uncertain or anxious about oneself; not confident” (The Oxford Dictionary of English). More specifically, it is a cognitive or ideological insecurity, finding inconsistency or dissonance between one‟s theory and practice, between mental contents (for example opinions or attitudes) and real world behaviour (biographical information) or between individual components within one domain (for example dissonant attitudes or contradictory behaviour). This delimitation is consistent with the definition given that the word “oneself” stands for both physical and mental integrity of an individual. In the case of Lodge, it means finding criticism of institutions which he is a part of at the same time. The scope of this thesis is limited to the two central insecurities most widely distributed across Lodge‟s bibliography. Although there are many more to be found in Lodge‟s novels, for example the insecurities about the establishment, writing or death, this thesis attempts to do an exhaustive coverage of the central insecurities instead of a survey of many minor insecurities. Apart from other demonstrations of the insecurity about Catholicism, an important fact is that Lodge himself said about the succession of his novels that it 1 shows a gradually disappearing orthodox Roman Catholic, which alone suggests that there is some kind of a problem which is causing the disappearance. Having been brought up as a Catholic, Lodge began to address the issue of Catholicism early on in his bibliography. His first novel, The Picturegoers (1960), already examines the complicated position of Catholicism in a changing world, but its evaluation is mostly affirmative of Catholicism. The British Museum Is Falling Down (1965), humorously critical of the Rhythm method of contraception prescribed by the Church, implies insecurity by showing the psychological damage done by Catholicism to married Catholics. The most important novel in this respect, How Far Can You Go? (1980), analysed in minute detail in this thesis, is a large-scale narrative examining an unusually high number of characters over a time span of several decades. It directly targets Catholicism, its development in the second half of the 20th century and its influence on different social groups. There are many objects of criticism. Apart from the problem of contraception outlined in The British Museum Is Falling Down (1965), Lodge criticises certain harmful features of Catholic upbringing and the literal, dogmatic interpretation of the Catholic teaching, and he contemplates on how Catholicism can be integrated with scientific knowledge about the world and about human mental and physical health. He challenges the conduct of Vatican in the historical period ranging from the 50s to the 70s, but he also criticises the priests who are in direct contact with people for being obscurantist in the matters of the development of the Catholic theology. In the end of the novel, Lodge outlines a possible resolution of these insecurities in the form of something like the vital core of Catholicism stripped of all the negative features, admitting the arbitrariness of belief. This ending indicates that the criticism and ridicule found throughout the book are not aimed at an external phenomenon but rather at a part of Lodge‟s own biographical 2 background which he intended to answer for in How Far Can You Go? (1980). Paradise News (1991), a novel narrated by a priest who left the Church, documents the fading of the most intense insecurity as Lodge‟s viewpoint moves out of the Catholic faith. However, there are still passages implying doubt about the institution. Therapy (1995) is almost thoroughly secular, except for reminiscences of dealing with Catholicism. The insecurity about academia demonstrates itself by a development similar to that of the insecurity about Catholicism: it also increases in profundity and in the amount of text devoted to it over time, culminates in a single novel and then fades. Being strongly influenced by Kingsley Amis‟s Lucky Jim (1954), the young academic Lodge put the first indications of the insecurity about academia into The British Museum Is Falling Down (1965). Its main protagonist is in the process of finishing his doctoral thesis, and he makes the first observations about the academic world indicative of the future world-renowned campus novels, such as overly detailed and uninteresting thesis topics and academic struggles for power. Changing Places (1975) and Small World (1984) are both full of ridicule of certain aspects of academia, but as the criticism does not challenge the existence of academia itself, this thesis treats these novels as one stage of insecurity and chooses Changing Places (1975) to illustrate its features. The insecurity in Changing Places (1975) targets certain specific characteristics of British academia and the incompetence of some academics possessing power because of favouritism or tenure. The most important novel with respect to the insecurity about academia is Nice Work (1988). Co-occurring with Lodge‟s early retirement from a professor‟s chair at a university in 1987, this novel juxtaposes academia and industry and expresses profound insecurity about the entire academia as an institution. Apart from the problems already present in the previous novels, Nice 3 Work (1988) opens the question of whether literary theory and other research fields which allegedly lack an economic justification have any objective meaning for society. It does so by highlighting the statistical marginality of people interested in such inquiry and by setting it in the context of the physical operation of the world which, keeping people alive and safe, has to occur by definition before any intellectual endeavour takes place. Consequently, government funding of teaching such theoretical studies is questioned. Since the entire academia is viewed partly according to the laws of economics, tenure is challenged several times as violating competition. The most important passage of the book with respect to insecurity is a fictional letter in which a character announces that he is leaving academia and lists the reasons to do so. After having done away with academia both in fiction and in real life, Lodge wrote only one novel set into the academic environment. Thinks… (2001) shows the insecurity fading - it contains much less criticism than either Changing Places (1975), Small World (1984) or Nice Work (1988). David Lodge is known mainly as a writer of comedy. Examining the negative and insecure implications of his writing, this thesis argues that in order to study the complex literary significance of his work in the context of his life and the sociocultural situation in Britain, it is vital to be aware of and understand the underlying structures of insecurity in his bibliography. 4 1 The Catholic‟s Insecurity Take a writer who was brought up as a Catholic (Haffenden 147) and writes this sentence into his novel: “In fact there is no guarantee that Hitler is in Hell; he might have made an Act of Perfect Contrition a microsecond after squeezing the trigger in his Berlin bunker.” (How Far Can You Go? 9) The heavy sarcasm of this sentence acquires an entirely new meaning when we realize that, seemingly mocking something external, Lodge is attacking Catholicism, the faith which he was taught by his mother and with which he always identified, at least according to a 1985 interview: “I am a Catholic […]. Catholicism happens to be the ideological milieu I grew up in, that I know and write out of.” (Haffenden 152) As late as 2004, he is described as a “practising, if sceptical, Catholic” (Llewellyn). And he is a Catholic not only in practice but also in study – his seven hundred pages long master‟s thesis was titled “Catholic Fiction Since the Oxford Movement” (Haffenden 149) and as late as 1980 (How Far Can You Go?), he makes frequent allusions to Graham Greene and Evelyn Waugh. Lodge himself commented on the obviously recurring theme of Catholicism by saying that in chronological reading, his novels give a picture of an orthodox Roman Catholic becoming "less and less so as time went on" (Mullan). Intuition tells us that such a retreat is more likely to be caused by an abrasive insecurity than by impartial investigation of the “changes in Catholicism both in their comic aspect and as they impinged upon the most serious things in life” (Haffenden 153), a formal and cautious claim from the 1985 interview. A possible influence is the sociocultural change and the change of the Church itself – in Bernard Bergonzi‟s 1986 chapter about the decline of the Catholic novel, Lodge got close to admitting insecurity when he said that “Catholicism itself has become a much more confused – and confusing – faith, more 5 difficult to define, mainly in the last ten or fifteen years as a result of Pope John and the Vatican Council.” (Bergonzi 177) There are several critical voices which imply if not insecurity, then at least a fundamental problem. Robert A. Morace, in his book Dialogic Novels of Malcolm Bradbury and David Lodge provides, apart from Bakhtin-related theory, authoritative interpretations of individual novels: Lodge neither abandons the Catholic novel nor nostalgically attempts to perpetuate a dead form. Rather, he seeks to revitalize, or resurrect, the Catholic novel by renegotiating the terms upon which it, and the faith on which it depends, can be made viable in a postmodern, postChristian age.
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