Described as a sequel to his memoir, My Bright Abyss, I shall be reading backwards, getting to the prequel after He Held Radical Light, which I’ve just finished reading three times, back to back.
Wiman is a poet wrestling with spiritual matters yet nothing to him is more central and worthy of attention than the raw facts of living. His optimistic thesis is that no one is spiritually so out of reach as to be forever removed from communication with things infinite and mystical.
“I’m usually suspicious of claims that privilege one generation’s experience, always of some form of suffering, over another’s. (Why do we never compare our joys or our relative capacities for experiencing joy?) Contemporary culture is awash with anxiety over the disease of anxiety, the endless onslaught of technology, and the diminishment of individual attention our electronic immersion entails. It’s a genuine problem, no question, one I feel myself, but it’s not as new or as dependent upon contemporary technology as we make it out to be. Way back in 1790, in his “Preface to Lyrical Ballads,” Wordsworth decried the “degrading thirst after outrageous stimulation” against which his poetry–interior, meditative, focussed on common people and things–was trying to find an audience. The argument is more eloquent and sophisticated than we’re used to, but the heart of his critique would make a fine tweet.”
It would be boring to say much about Middlemarch, acknowledged by so many as the most accomplished English-language novel of the nineteenth century. It affected me like a piece of fine music, in part making me happy, others sad, but also like, say, Beethoven’s late sonatas, I would find it difficult to adequately explain the magic of Middlemarch to someone. Its psychology is quite brilliant and Eliot may not be bettered at breathing individual life into her characters and their relationships with each other. But these things have been uttered before to the point of triteness.
The length and depth of Middlemarch, combined with the strange magic of Eliot’s prose gave me an immense tranquility, and I came to realise that this happens often when allowing myself to sink into very long novels.
It isn’t only books of fiction that have this power to disengage us from ourselves. My renewed enthusiasm for long works gave me the momentum to start Michael Schmidt’s The Novel: A Biography. At over a thousand pages it may appear forbidding but quickly one discovers it has no arid scholarliness, but is a refined and witty history of the novel in English. It has the effect of Montaigne or Marcus Aurelius. With no distinction between the writer and the writer’s voice, it is possible to feel a sort of intellectual rapport with Schmidt, not aways in agreement, but as with any affinity, a difference that is stretching.
Reading Middlemarch with no particular desire to finish reading Middlemarch brought home to me just how much I love reading what Henry James denounced as ‘loose baggy monsters’ or very long books (as defined, say, of more than five hundred pages).
I don’t think Middlemarch is that loose or baggy, quite the opposite in fact. It is a novel of immense discipline with a great deal of thought put into the architecture and the skeleton building. Nor do I think looseness is such a bad thing in a novel. Looseness gives one room to breathe, to slow down.
There is something in the psychological experience of burrowing into a long and expansive novel that is very special. That isn’t too say I don’t admire writers who can achieve the concentrated unity of an effective shorter novel, but all too often they rely overly much on plot, creating those tiresome “page-turners” that end up being exhausting and ephemeral. Besides, are monsters such a bad thing? The word stems from monstrum, something that upsets thought, that lives at the edge of reason, and that is an apt word to underpin the unsettling, time-shifting nature of a long, complex novel.
So I have in my sights some other monsters that I’ve not read before. This might be a year I read only another dozen books:
Alexander Theroux, Einstein’s Beets
Péter Nádas, Parallel Stories
Lawrence Durrell, The Alexandria Quartet
Cora Sandel, Alberta trilogy
Peter Handke, My Year in the No-Man’s-Bay
George Eliot, Daniel Deronda
Katherine Anne Porter, Ship of Fools
Divine Comedy (Dorothy Sayers’ translation)
Uwe Johnson, Anniversaries
Thomas Mann, Joseph and his Brothers
Dorothy Richardson, Pilgrimage (last four books to finish)
Maybe more Nádas, or Tolstoy, or Weymouth Sands, or rereading Proust or Karamazov, or . . .
If you have a favourite monster I’ve not mentioned please drop into comments.
Evidence of George Eliot’s brilliance is easy to find in Middlemarch, but there are some passages incapable of any discernible improvement:
“There was no denying that Dorothea was as virtuous and lovely a young lady as he could have obtained for a wife; but a young lady turned out to be something more troublesome than he had conceived. She nursed him, she read to him, she anticipated his wants, and was solicitous about his feelings; but there had entered into the husband’s mind the certainty that she judged him, and that her wifely devotedness was like a penitential expiation on unbelieving thoughts — was accompanied with a power of comparison by which himself and his doings were seen too luminously as a part of things in general. His discontent passed vapour-like through all her gentle loving manifestations and clung to that inappreciative world which she had only brought nearer to him.
Poor Mr. Casaubon! This suffering was the harder to bear because it seemed like a betrayal: the young creature who had worshipped him with perfect trust had quickly turned into the critical wife; and early instances of criticism and resentment had made an impression which no tenderness and submission afterwards could remove. To his suspicious interpretation Dorothea’s silence now was a suppressed rebellion; a remark from her which he had not in any way anticipated was an assertion of conscious superiority; her gentle answers had an irritating cautiousness in them; and when she acquiesced it was with a self-approved effort of forebearance. The tenacity with which he strive to hide this inward drama made it the more vivid for him as we hear with the more keenness what we wish others not to hear.”
George Eliot structured Middlemarch as an eight part novel, serialised bi-monthly, resulting in a four-volume book. Each of the sections, she wrote, have a ‘certain unity and completeness within itself’. Each, she expected would be the ideal length to read at one time. I’m finding my reading going slower than Eliot would have preferred, partly down to extensive travelling, but also as it is an intense novel that rewards care.
In writing about her young doctor Lydgate, on whom Charles Bovary casts a shadow, it seems to me that she outlines in part her own intellectual approach to writing Middlemarch:
“But these kinds of inspiration [cheap narration] Lydgate regarded as rather vulgar and vinous compared with the imagination that reveals subtle actions inaccessible by any sort of lens, but tracked in that outer darkness through long pathways of necessary sequence by the inward light which is the last refinement of Energy, capable of bathing even the ethereal atoms in its ideally illuminated space. He for his part had tossed away all cheap inventions where ignorance finds itself able and at ease: he was enamoured of that arduous invention which is the very eye of research, provisionally framing its object and correcting it to more and more exactness of relation; he wanted to pierce the obscurity of those minute processes which prepare human misery and joy, those invisible thoroughfares which are the first lurking-places of anguish, mania, and crime, that delicate poise and transition which determine the growth of happy or unhappy consciousness.”