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Late Modernist Style in the Novels of Henry Green, Ivy Compton-Burnett, Samuel Beckett, and Elizabeth Bowen By

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Late Modernist Style in the Novels of Henry Green, Ivy Compton-Burnett, Samuel Beckett, and Elizabeth Bowen By In-Between Words: Late Modernist Style in the Novels of Henry Green, Ivy Compton-Burnett, Samuel Beckett, and Elizabeth Bowen by Damian Tarnopolsky A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of English University of Toronto © Copyright by Damian Tarnopolsky 2012 In-Between Words: Late Modernist Style in the Novels of Henry Green, Ivy Compton-Burnett, Samuel Beckett, and Elizabeth Bowen Damian Tarnopolsky Doctor of Philosophy Department of English University of Toronto 2012 Abstract This dissertation seeks to identify, contextualize, and explain the achievement of late modernist novelists. Late modernism represents a significant, under-examined chapter in the development of the twentieth-century novel. Unlike the majority of their peers in the decades after modernism‘s height, novelists such as Henry Green, Ivy Compton-Burnett, and Elizabeth Bowen—and the best-known, Samuel Beckett—continue to innovate in prose rather than returning to realism. Unlike their predecessors, late modernists move towards doubt, eschewing the sometimes ultimately redemptive ethos of high modernism. They do so without the insistence of later postmodernists, however, or their playful mood. The result is something new, strange, and ―in between.‖ ii The aims of this study are to specify the nature of late modernist style, place it in its aesthetic and historical context, and explain its significance. Each chapter is a close reading of key works by one writer: each novelist uses different techniques to add to the late modernist aesthetic, but they all move in the same direction. The first chapter explores Henry Green‘s work, analyzing the textual omissions and narrative construction that make his novels so evasive. In Compton-Burnett‘s case, the focus is on how dialogue creates a constantly shifting moral world in which nothing can be taken for granted. The chapter on Beckett explores repetition, both as a microscopic stylistic tool and an organizing device that prevents the text from reaching conclusion. In examining Bowen, the centre is how her syntax circles continually around various kinds of ―nothingness‖ and self-reflexively suggests ways to explore it. This study arranges late modernist novelists in a new continuum alongside Samuel Beckett, with the result that Beckett seems less a unique genius, and the other late modernist writers seem less eccentric and more profoundly challenging. They all seek ways to go on writing when doing so seems impossible. Late modernists bring something new to the novel. Through the smallest stylistic gestures, their works make and unmake themselves, refusing to allow the reader finality. They avoid the aesthetic and philosophical associations of either consolation or utter uncertainty; late modernists matter by refusing to matter in a familiar way. iii Acknowledgments I gratefully acknowledge the financial support for this thesis provided by the Social Sciences and Humanities Research Council of Canada. I wish to thank Professor Greig Henderson for his invaluable supervision and support; Professor Victor Li and Professor Garry Leonard for their advice and assistance throughout; Professor Allan Hepburn and Professor Gillian Fenwick for their acute comments. I also wish to thank Dr. Joseph Rosenberg for his many vitally helpful interventions as this work was in progress; William Toye for an extended loan of many hard-to-find books; Professor Stephen Brooke for many books and much kind advice; and many other friends and colleagues for their help. This thesis is dedicated to my family, in thanks for their love, patience and support: my parents, Alex and Alma Tarnopolsky; my stepson, Will; my son, Benjamin, and my daughter, Clara. Most of all it is for my wife, Kate, without whom it would have been impossible. iv Table of Contents 1 Introduction: Starting with Late Modernism 1 2 ―Screened but open‖: Henry Green‘s Presence and Absence 41 3 The Unconsoled: Ivy Compton-Burnett‘s Methods 72 4 ―Nothing else, yes, something else‖: Repetition in Samuel Beckett‘s Trilogy 105 5 Unmeaning: Something and Nothing in the Novels of Elizabeth Bowen 143 6 ―It would be foolish not to say goodbye‖: Conclusion 180 Works Consulted 195 v 1 Introduction: Starting with Late Modernism 1. Starting with Late Modernism A selection of late modernist beginnings shows some of what late modernist writers do and why it matters, helping us to begin. The famous first sentence of Henry Green‘s 1945 novel Loving is: ―Once upon a day an old butler called Eldon lay dying in his room attended by the head housemaid, Miss Agatha Burch‖ (18). A few of the markers of Green‘s style are already at work here, and though they may initially seem small matters, they prove to be significant. After ―Once upon,‖ for example, one might expect ―a time‖ to follow. Green‘s ―Once upon a day‖ is simultaneously an echo of a fairy tale opening and a turn away from it. ―Day‖ is more particular than ―time,‖ without being as specific as a calendar date or a day of the week. Green‘s beginning is a way of both employing convention and refreshing it, as Sebastian Faulks notes in his introduction to the Vintage edition of the novel (vi). Names are mentioned at the start, and they will be significant throughout the novel. The butler Eldon is dying in his room, and his passing will mean that the head footman, Raunce, will take over from him. As butler, Eldon is referred to by only his surname; as footman, Raunce is known as ―Arthur,‖ even though his own first name is Charlie, because all his employer‘s footmen are known as ―Arthur.‖ When Raunce becomes butler he will be known by his 1 2 surname, which the OED defines as a rare and poetic word for bramble. The politics of John Scott (1751–1838), the Earl of Eldon, were ―regarded as typical of ‗diehard‘ toryism,‖ the OED entry for ―Eldonian‖ says. It is the kind of name one can imagine Henry Yorke knowing— ―Henry Green‖ was the pseudonym of an Eton-educated businessman. But there is perhaps also the suggestion of something verbal in Eldon, as there often is in Loving. One can imagine the ambitious Raunce, who has a habit of dropping aitches when he gets emotional, showing his irritation at the way that Eldon ―held on‖ for so long. When we get to ―Miss Agatha Burch,‖ we are given a marital status, first name, and surname. As Faulks notes, we may wonder why all this is provided, and why in a novel called Loving she is at the butler‘s deathbed at all—and why soon after she is seen in tears (vi). But this is to jump ahead. Reading the first sentence, we may note that things are already a little askew; that though a butler usually waits on people, this one is being waited on. We might also notice the odd rhythm of the sentence. Some things seem to be missing, such as commas after the introductory ―Once upon a day‖ or after ―in his room.‖ That is, one might expect the first sentence to be punctuated: ―Once upon a day, an old butler called Eldon lay dying in his room, attended by the head housemaid, Miss Agatha Burch.‖ Commas would slow the sentence down and divide it up. Without any punctuation until after ―housemaid,‖ the sentence has its own, peculiarly stretched-out music, in which many elements are bundled together before there is some respite. The absence of commas may also visually or aurally suggest the connection between Eldon and Miss Agatha Burch—or readers may silently provide the anticipated commas for themselves. Odd though they are, these absences are not as stark as the omission of articles in the first sentence of Green‘s earlier novel Party Going (1939): ―Fog was so dense, bird that had been disturbed went flat into a balustrade and slowly fell, dead, at her feet‖ (384). 3 Even the two words ―lay dying‖ may matter. Green admired William Faulkner (Treglown 47, 211), and one might try to find an echo of As I Lay Dying in the first sentence of Loving. It is the thinnest of possibilities, and yet even considering it points to some similarities and differences between high modernism and Green‘s writing, the kind this study will explore. Faulkner‘s title ends with a verb in action, even if the action is death (one thinks of Samuel Beckett‘s title Malone Dies); but where Faulkner uses a Homeric allusion in his grand title, Green‘s nod of the head to a contemporary, if there is one, is a much subtler matter. For late modernist writers, myths and allusions tend to come and go, rather than serving as real signposts or overarching frameworks the way they do for high modernists.1 Green‘s images and symbols also work this way, Melchiori noted (193). Starting a novel one is finding one‘s feet, and there is much one does not know. It would be a mistake to try to read Loving‘s first sentence in complete isolation from the novel as a whole. No one reads only the first sentence of a book by Henry Green. And yet, looking at it tells us what to look for. The gaps make it sound particular and give it an unusual beauty, but it is hard to say exactly what the gaps do and how they affect what remains. The sentence makes reference to fairy tale contexts, but then turns away to something that is at once quotidian and mysterious (we are never told exactly why Agatha Burch is at Eldon‘s deathbed; the only time Eldon speaks, he calls out the name ―Ellen‖ repeatedly).
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