I'm reading, or re-reading (what does it matter when it's been fifty years since the last go-around) Henry James' The Wings of the Dove. Once again, I'm variously stimulated, frustrated and infuriated. Has there ever been a writer who cries out to be parodied more than does Hank the J? Try to resist the impulse to make fun house mirrors of this representative, convoluted sentence.
"Her welcome, her frankness, sweetness, sadness, brightness, her disconcerting poetry, as he made shift at moments to call it, helped as it was by the beauty of her whole setting and by the perception at the same time, on the observer's part, that this element gained from her, in a manner, for effect and harmony, as much as it gave -- her whole attitude had, to his imagination, meanings that hung about it, waiting upon her, hovering dropping and quavering forth again, like vague faint snatches, mere ghosts of sound, of old-fashioned melancholy music."
Let me guess that most of Dr. M.'s loyal readers did not finish reading the quoted bit. They made a good faith attempt at the first few words, then whistled, threw up their metaphorical hands, and surrendered. Or if they did get all the way to the end of the sentence, they were certainly puzzled as to whether they had fully deciphered the Jamesian code. It's not that the sentence has no meaning, but is it worth a reader's time to parse and disentangle its many syntactic knots? Now, dear friends, just Imagine 539 small-print pages of prose, every paragraph on every page loaded with similar abstractions, assertions, modifications, withdrawals, subordinations, and equivocations. It's taxing. James takes it out of you, wears you down.
And therefore let me confess that a big chunk of my Henry James problem is that it's so damn hard to keep the ol' eye on the ball when every sentence is so laborious to construe. In most novels, readers are pulled along by the plot. You might have trouble "getting into it," but once you do, your attention is galvanized and you start to sail. In the case of HJ, there's very little plot, very little in the way of story. It's all hyper-subtle character analysis and teasing conversation. I can't speak for every reader, but I must admit that, while reading Wings, my mind frequently took flight. I regularly had to forcibly snap myself back to attention. It's anything but effortless to stay with the Jamester.
But let me return to the exemplary sentence that I quoted above. The two key words are "poetry' (line 1) and "meanings" (line 5). To paraphrase: she (i.e. James's character Millie Theale) has "poetry" and the situation has "meanings." Underneath all the wobbly circumlocutions, that's kind of it.
But neither of these two crucial nouns gives much away. What sort of poetry does Millie 'have,' you might ask?' What particular 'meanings' inhere in the situation? I myself want --crave, in fact -- further definition and explication. That's the novelist's job. If he wants to keep me happy and focused, he has to provide considerably more specificity that HJames deigns to supply. Words such as "poetry" and "meanings" don't constrain a reader; rather, they are empty vessels into which I, or any other reader, can pour a variety of significations. The reader, i.e. me, is simply asked to do far too much of the work. I resent it, some of the time.
Which takes me back to where I came in, in the 50s and 60s, when James was the king of the American canon -- or at least he was very much the boss in the Large Eastern University where I was a graduate student in literature. I don't know how my ever-so-civilized teachers managed it, but to appreciate and understand Henry James was framed not as a test of the author's creative skill, but as a test of the reader's sensitivity. James, it was confidently and regularly asserted, was subtle, delicate, loaded to the gills with the most exquisite sensibility. Did I, a kid from Coney Island Avenue, possess the sophistication, the tact, the sensitivity to grasp James superfine insights and his characters' inclinations and velleities?
You know what? I didn't.I failed the test.
James portrays a world to which I could not easily relate. No one in Wings of a Dove works for living.The characters all live off their incomes, derived who knows how? When HJ has to bring two characters together, he has two choices and two choices only -- a dinner party or a chance encounter at a museum. Action? Yes, the characters travel from one resort city to another. I'm exaggerating just the tiniest bit. There is one character in Wings who has an occupation. Although we never see him at work, Merton Densher is a journalist. Which is precisely his problem. How can he be a suitable mate for Kate Croy if he has a job? How shockingly vulgar!
It was a chore to take James seriously, especially in 1960 and especially for someone of my background. But then, not to take James seriously, not to understand him, was presumed to disqualify a guy from the serious study of literature. Which turned out not to be the case.
But I'm glad to say that I persevered with Wings. If I hadn't, I never would have re-read the infinitely splendid, magnificently tawdry piece of dialogue between Densher and Croy that brings Book 8 to a conclusion -- a conversation that's as well done as anything in English since WS lay down his quill in 1613.
Coming soon to these pages: my Marcel Proust problem. Hint: way worse than my James problem.