The Novels ofDorothy RichardsonBy MAY SINCLAIR
By MAY SINCLAIR
... By imposing very strict limitations on herself she has brought her art, her method, to a high pitch of perfection, so that her form seems to be newer than it perhaps is. She herself is unaware of the perfection of her method. She would probably deny that she has written with any deliberate method at all. She would say: “I only know there are certain things I mustn’t do if I was to do what I wanted.” Obviously, she must not interfere; she must not analyse or comment or explain. Rather less obviously, she must not tell a story, or handle a situation, or set a scene; she must avoid drama as she avoids narration. And there are some things she must not be. She must not be the wise, all-knowing author. She must be Miriam Henderson. She must not know or divine anything that Miriam does not know or divine; she must not see anything that Miriam does not see. She has taken Miriam’s nature upon her. She is not concerned, in the way that other novelists are concerned, with character. Of the persons who move through Miriam’s world you know nothing but what Miriam knows. If Miriam is mistaken, well, she and not Miss Richardson is mistaken. Miriam is an acute observer, but she is very far from seeing the whole of these people. They are presented to us in the same vivid but fragmentary way in which they appeared to Miriam, the fragmentary way in which people appear to most of us. Miss Richardson has only imposed on herself the conditions that life imposes on us all. And if you are going to quarrel with those conditions, you will not find her novels satisfactory. But your satisfaction is not her concern.
And I find it impossible to reduce to intelligible terms this satisfaction that I feel. To me these three novels show an art and method and form carried to punctilious perfection. Yet I have heard other novelists say that they have no art and no method and no form, and that it is this formlessness that annoys them. They say that they have no beginning and no middle and no end, and that to have form a novel must have an end and a beginning and a middle. We have come to words that in more primitive times would have been blows on this subject. There is a certain plausibility in what they say, but it depends on what constitutes a beginning and a middle and an end. In this series there is no drama, no situation, no set scene. Nothing happens. It is just life going on and on. It is Miriam Henderson’s stream of consciousness going on and on. And in neither is there any grossly discernible beginning or middle or end.
In identifying herself with this life, which is Miriam’s stream of consciousness, Miss Richardson produces her effect of being the first of getting closer to reality than any of our novelists who are trying so desperately to get close. No attitude or gesture of her own is allowed to come between her and her effect. Whatever her sources and her raw material, she is concerned, and we ought to be concerned solely with the finished result, the work of art. It is to Miriam’s almost painfully acute senses that we owe what in any other novelist would be called the “portraits” of Miriam’s mother, of her sister Harriett, of the Corries and Joey Banks inHoneycomb, of the Miss Pernes and Julia Doyle, and the North London schoolgirls, inBackwater, of Fräulein Pfaff and Mademoiselle, of the Martins and Emma Bergmann and Ulrica and “the Australian” inPointed Roofs. The mere “word-painting” is masterly....
It is as if no other writers had ever used their senses so purely and with so intense a joy in their use.
This intensity is the effect of an extreme concentration on the thing seen or felt. Miss Richardson disdains every stroke that does not tell. Her novels are novels of an extraordinary compression, and of an extenuation more extraordinary still. The moments of Miriam’s consciousness pass one by one, or overlapping; moments tense with vibration, moments drawn out fine, almost to snapping-point.—From an article published in “The Egoist,” April 1918.
DUCKWORTH & CO., PUBLISHERS, COVENT GARDEN, LONDON