ORWELL WEEK 8: IN DEFENSE OF THE NOVEL…
0800 by Jeff HessBy the time of his writing of this essay, George Orwell had published three of his six novels: Burmese Days, 1934; A Clergyman’s Daughter, 1935 and Keep the Aspidistra Flying, 1936. None did particularly well, which might have led him to write his defense.
Orwell begins his 2,758 word essay, In Defense Of The Novel, written in 1936, this way:
It hardly needs pointing out that at this moment the prestige of the novel is extremely low, so low that the words ‘I never read novels’, which even a dozen years ago were generally uttered with a hint of apology, are now always uttered in a tone of conscious pride. It is true that there are still a few contemporary or roughly contemporary novelists whom the intelligentsia considers it permissible to read; but the point is that the ordinary good-bad novel is habitually ignored while the ordinary good-bad books of verse or criticism is still taken seriously. This means that if you write novels you automatically command a less intelligent public than you would command if you had chosen some other form. There are two quite obvious reasons why this must presently make it impossible for good novels to be written. Even now the novel is visibly deteriorating, and it would deteriorate much faster if most novelists had any idea who reads their books. It is, of course, easy to argue (vide for instance Belloc’s queerly rancorous essay) that the novel is a contemptible form of art and that its fate does not matter. I doubt whether that opinion is even worth disputing. At any rate, I am taking it for granted that the novel is worth salvaging and that in order to salvage it you have got to persuade intelligent people to take it seriously. It is there fore worth while to analyze one of the many causes—in my opinion, the main cause—of the novel’s lapse in prestige.
Orwell blames bad press. Really:
The trouble is that the novel is being shouted out of existence. Question any thinking person as to why he ‘never reads novels’, and you will usually find that, at bottom, it is because of the disgusting tripe that is written by the blurb-reviewers. There is no need to multiply examples. Here is just one specimen, from last week’s Sunday Times: ‘If you can read this book and not shriek with delight, your soul is dead.’ That or something like it is now being written about every novel published, as you can see by studying the quotes on the blurbs.
I have to wonder how the blurbs for Aspidistra read. What starts out as a defense of novels, quickly becomes a defense of reviewers of novels, a trade that Orwell himself practiced with some regularity. (Volume I, 1920-1940, of Orwell’s collected essays, journalism and letters contains 16 such reviews, including, perhaps most famously, his take on Henry Miller’s Tropic Of Cancer, published in New English Weekly, 14 November 1935. The review would later form the core of Orwell’s Inside The Whale, published in 1940.)
A periodical gets its weekly wad of books and sends off a dozen of them to X, the hack reviewer, who has a wife and family and has got to earn this guinea, not to mention the half-crown per vol. which he gets by selling his review copies. There are two reasons why it is totally impossible for X to tell the truth about the books he gets. To begin with, the chances are that eleven out of the twelve books will fail to rouse in him the faintest spark of interest. They are not more than ordinarily bad, they are merely neutral, lifeless and pointless. If he were not paid to do so he would never read a line of any of them, and in nearly every case the only truthful review he could write would be: ‘this book inspires in me no thoughts whatever.’ But will anyone pay you to write that kind of thing? Obviously not. As a start, therefore, X is in the false position of having to manufacture, say, three hundred words about a book which means nothing to him whatever. Usually he does it by giving a brief résumé of the plot (incidentally betraying to the author the fact that he hasn’t read the book) and handing out a few compliments which for all their fulsomeness are about as valuable as the smile of a prostitute.
But there is a far worse evil than this. X is expected not only to say what a book is about but to give his opinion as to whether it is good or bad. Since X can hold a pen he is probably not a fool, at any rate not such a fool as to imagine that The Constant Nymph is the most terrific tragedy ever written. Very likely his own favourite novelist, if he cares for novels at all, is Stendhal, or Dickens or Jane Austen, Or D. H. Lawrence, or Dostoyevsky — or at any rare, someone immeasurably better than the ordinary run of contemporary novelist. He has got to start, therefore, by immensely lowering his standards.
That sadly has been the bane of all journalists. A few rise to the place where their reputation is strong enough that they are permitted—as long as the advertisers don’t scream too loudly—to write what they understand to be the truth. They do not get there, however, without spending their time in the trenches writing, as it were, on their knees.
Orwell does offer a scheme that answers:
I believe that in some such way as I have indicated the prestige of the novel could be restored. The essential need is a paper that would keep abreast of current fiction and yet refuse to sink its standards. It would have to be an obscure paper, for the publishers would not advertise in it; on the other hand, once they had discovered that somewhere there was praise that was real praise; they would be ready enough to quote it on their blurbs. Even if it were a very obscure paper it would probably cause the general level of novel reviewing to rise, for the drivel in the Sunday papers only continues because there is nothing with which to contrast it. But even if the blurb reviewers continued exactly as before, it would not matter so long as there also existed decent reviewing to remind a few people that serious brains can still occupy themselves with the novel. For just as the Lord promised that he would not destroy Sodom if ten righteous men could be found there, so the novel will not be utterly despised while it is known that somewhere or other there is even a handful of novel reviewers with no straws in their hair.
Earlier in the essay, Orwell mentions that there are some 5,000 novels published in England each year and that perhaps 100 of them are good. I did a quick check online and found a source that estimates publishing houses released more 12 times that number of adult (as opposed to juvenile, not pornographic) novels last years. That number gives me hope. One more novel won’t break the bank.
Coming next week: Spilling The Spanish Beans….












