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Though Not Wholly Successful, Jeanette Winterson's Writing Bravely Continues The Modernist Experiment.
By Randall Holdridge
The World and Other Places, by Jeanette Winterson
(Knopf). Cloth, $22.
FOLLOWING THE GREAT success of her first book, Oranges
Are Not the Only Fruit, winner of the Whitbread Prize for
best first novel in 1985, Jeanette Winterson published a number
of stories in various magazines. The World and Other Places
is a gathering of these efforts, though unfortunately they are
neither chronologically arranged nor individually dated. If they
were, they might provide a sketchy documentation of the impression
that through five subsequent novels a very talented writer is
sinking into self-deluded incoherence.
As disappointment has mounted from book to book, and as her audience
correspondingly shrinks, Winterson has aggressively defended herself
as the greatest living writer in English. Her critics, she says,
are motivated by envy. And while the claim is dubious at best,
it is true that she's attempting something very different and
difficult. Although realism has reasserted itself trenchantly
in English-language fiction since 1940, Winterson goes on with
the modernist experiment, in the neo-classical strain of Proust
and Woolf.
Proust wrote, "Truth--and life too--can be attained by us
only when, by comparing a quality common to two sensations, we
succeed in extracting their common essence and in reuniting them
to each other within a metaphor, liberated from the contingencies
of time." Increasingly, Winterson strives to express abstract
ideas by metaphor alone, too often without grounding her metaphors
in common or relevant sensations. It is steadily becoming harder
to know what she hopes to suggest.
In this her style resembles the poems of John Donne and other
metaphysical poets; appropriately, Winterson's novels have often
revealed her fondness for the 17th century. The concentric circling
of images, the wordplay and the mysterious riddling of Donne's
writing are richly rewarding only when--and if--a poem finally
cracks open to the understanding. Otherwise, a reader wallows
in a boggy pit of obscurity lighted fitfully by occasional flashes
which come from the words only. Most of the "stories"
(if that's what they are) in The World and Other Places
offer that kind of isolated glimmering, and very little else.
This is too bad, because the crags and jags of coherence jutting
out of the pathless swamp of her luxuriant prose offer evidence
that Winterson has a program of ideas to offer along with her
technical virtuosity. She is hostile to scientism, materialism,
social conformity, formal religion, urbanization and mechanization.
She is contemptuous of attitudes which marginalize lesbianism
by explaining or eroticizing it. She is happily anti-intellectual,
intuitive and sensual. Perhaps this goes some distance in explaining
her ever more ephemeral style, but it doesn't excuse it. For comparison,
even a sincere appreciation of Gertrude Stein's writing does not
equal wanting or needing to read very much of such peculiar genius.
Similarly, if Orlando were all that Woolf had written,
one would not rank her so highly.
Yet, it's the responsibility of a good reader to take an author
on her merits; and who could fail to take pleasure in this, from
"Disappearance II": "April the first. Opening Day.
This garden is an orchestra of flowers; strings of wild clematis,
tulip flutes, a timpani of lily pads on the skin of the pond,
and the raised horns of the daffodils blaring light. Spring is
so noisy."
And if these metaphors seem like timid clichés, consider
this feminist Shandyism from the same story: "My mother,
as healthy and clean a creature as you could wish for, developed
an eating disorder and preferred to take her meals in the stable
with the horses. Eventually, to help her, my father let her have
her own stall and she slept on straw and ate out of a leather
bucket. He had a little saddle made for her so that we children
could ride on her back. He called her filly and beauty and treated
her as kindly as he could but she had a wild thing's nature and
what should have been soft was hoof."
Of course, in addition to hints of Sterne, in such a passage
Winterson suggests a lineage from Swift, and The World and
Other Places is chock-full of such erudite cross-referential
delights, worthy of her Oxford tutors in English.
Winterson is at her best in this collection when she stitches
such fireworks of technique and learning together on a rhetorical
thread. The stories "The Green Man" and "Newton"
are examples.
In "The Green Man," the narrator is a suburban husband
and father who takes his wife and daughter to the annual gypsy
fair on the village green. In an accidental collision with a gypsy
woman selling bracelets he falls on his knees to the grass, staining
his trousers, which draws a reproach from his wife. He is shamed:
"I let my eyes travel downwards and there were two green
splotches neatly capping my white ducks. Yes I know we have only
just bought these trousers. These trousers were expensive. These
trousers are blatant in their whiteness. Sassy as a virgin courting
a stain. These are bachelor trousers not gelded chinos."
Later he muses, "When I come home caught in the cobwebs
of my days, my wife has been planning our next holiday or working
out the finance for a new car. I am still building the extension
she designed two years ago. I have to fit it in with my job and
the garden and time for my daughter who loves me. My wife strides
us on into prosperity and fulfillment and I shuffle behind clutching
the bills and a tool box...We were nothing and she has coaxed
out the grit in me and held me to my job. Why do I wish we were
young again and she would hold me in her arms?" The narrator
is lured into a gypsy caravan by a woman who promises she can
clean his trousers if only he will remove them. He awakes later
to buy for his daughter the pony she covets, but which he can
not afford.
"Newton" is the story of Tom, who would like to be
left in the solitude of his dirty house to read Camus and eat
alone, keeping his own timetable, protecting his privacy, and
pursuing his own interests. However, all his neighbors in the
town of Newton are classical physicists who have Tom's best interests
at heart, and they mean to socialize him and get him on a schedule.
Ungrateful wretch, he walks away. " 'But now', says Tom,
'the hills are ripe and the water leaps at my throat when I shave.'
" Other strong stories in The World and Other Places
are "The 24-Hour Dog" and "Atlantic Crossing."
However, Winterson often leaves the reader adrift. No matter
how accustomed we are to fables, myths and other symbolic schemata,
metaphor needs ultimately to tie itself back to recognizable moorings.
In fiction, this is most frequently story. E.M. Forster called
story "the lowest and simplest of literary organisms."
The great mission of modernist fiction has been to free fiction
from story, this primitive, unevolved literary convention. Among
the notable examples are Joyce, Stein, Woolf, Faulkner and the
young Hemingway, each of whom proposed and executed coherent alternatives
to narrative. Winterson, seeking an original alternative, appears
more and more to have lost her way.
Those who cheer the movement's liberalizing long-term project
should support Winterson sympathetically--and that means reading
this ill-begotten book. She would do better to drop the defensive
posturing and consider more carefully Plato's allegory of the
cave.
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