The Well of Loneliness: a novel by Radclyffe Hall

 

Radclyffe Hall (1880-1943) was a British poet and novelist who is best remembered for her fifth novel “The Well of Loneliness”, published in 1928. This was the first English novel to openly describe lesbian relationships. It led to an obscenity trial and a 20-year ban in Great Britain. It was also banned in the United States, but for a much shorter period.

The novel is the story of Stephen – a girl whose aristocratic father wanted a son and whose mother is frightened by her boyishness. She hates wearing dresses, has a series of passionate crushes on older women, and declares herself an “invert”, which was the term used by the sexologist Havelock Ellis to describe homosexuality.

Stephen drives an ambulance during World War I and finds love with Mary Llewellyn. When the war is over, the two women move to Paris and throw themselves into what would now be called gay and lesbian culture. However, happiness is impossible for them and their lifestyle is described by the novelist as being tragic and self-destructive.

The book was prosecuted by the British Home Office under the 1857 Obscene Publications Act. During the trial, Hall received support from several noted writers including Virginia Woolf, George Bernard Shaw, Rebecca West, Arnold Bennett and EM Forster. Despite the book describing no behaviour more explicit than kissing, the mention of the protagonists “not being divided” when spending the night together was probably enough to lose the case for the author.

Copies of the novel were sold in Paris and smuggled back to Britain, so it got a fairly wide readership. Reviews were generally positive and Hall received a large number of letters and telegrams of support. It was a bestseller in the United States and was selling around 100,000 copies a year internationally by the time of Hall’s death from cancer in 1943.

The Well of Loneliness was, for many years, the best known lesbian novel in the world. The attempts to ban it only increased its visibility and created greater awareness of female homosexuality. Even today – when the book’s attitudes and language seem dated and its message depressing – it still provokes discussion and academic debate and features in accounts of coming out.

© John Welford

Matthew Lewis: author of "The Monk"

 

Matthew Gregory Lewis (1775-1818) was a writer known to the literary world solely for one novel, The Monk, which appeared in 1796. This novel made such a dramatic impression that Lewis is often referred to simply as “Monk Lewis”.

The fashion for what became known as Gothic horror was born at the end of the 18^th century thanks mainly to the work of Ann Radcliffe, whose novels included The Mysteries of Udolfo (1797) which was satirised by Jane Austen in her early novel Northanger Abbey.

Lewis was undoubtedly the most skilful of Radcliffe’s imitators, although the Monk is very different in tone to her novels. He incorporated elements of Shakespearean and Jacobean drama, German Romanticism, folklore, the writings of the Marquis de Sade and Samuel Richardson’s “Clarissa”. He abandoned all restraint in his violent tale of ambition, murder and incest, set in a Spanish Monastery.

The protagonist, Ambrosio, struggles to balance monastic vows with his personal ambitions, giving way to temptation and committing sexual crimes which he covers up with murder. He falls victim to the Inquisition and is sentenced to death. He finally makes a pact with the Devil and ends up being hurled to damnation.

This sensational mixture of the supernatural and the carnal, so daring in its treatment of sexual fantasy and violence, was, unsurprisingly, extremely popular when it was published, although it attracted accusations of obscenity. Lewis was forced to tone it down when the third edition was published.

The Monk could scarcely be regarded as great literature, but it was powerfully written and contained powerful insights into criminal psychology and erotic neurosis. By going so extravagantly over the top with the carnage and horror, Lewis made it perfectly clear that his novel belonged firmly in the realms of fantasy.

Monk Lewis earned his place in literary history for his originality, but he will never be regarded as anything more than an entertainer.

© John Welford

Alexander Pushkin

 

Alexander Pushkin was, by common consent, Russia’s greatest poet. He was also the heroic ideal of the Romantic poet.

He was born in 1799 into a noble Russian family. Brilliant and precocious, his first poetry was published at the age of 14. His romantic narrative “Ruslan and Ludmila”, written six years later, was a runaway success and was recognised as breaking every literary convention of its day.

He displayed huge energy and drive that had the effect of transforming Russian literature. He did this by rejecting the traditional constraints of religion and censorship to create highly original works.

He revolutionised the way Russians thought about their history and drama, and especially the way they thought about their writers.

Among his best-known works was “Eugene Onegin”, written between 1825 and 1832, this being a verse novel that is regarded by some as the finest Russian novel ever written. It was a decisive move away from the allegorical tradition and towards the realism later displayed by writers such as Tolstoy, Dostoyevsky and Nabokov.

Pushkin was a radical in political as well as literary terms. He sympathised with the aims of the aristocratic set known as the Decembrists, who conspired to reform the oppressive autocracy of the Tsars. These sympathies attracted the attention of the autocrats and led to Pushkin’s exile from St Petersburg to some of the more remote parts of Western Russia. In 1825 he had to look on from the outside as a Decembrist uprising was put down and his generation’s dreams of liberty were smashed.

However, Pushkin was allowed back into imperial favour when Tsar Nicholas I made promises of reform that turned out to be less than promised. His radicalism was still very much to the fore, which meant that he fell increasingly out of favour at court. He wanted to retire to a life of literary seclusion, but this escape was denied him. The result was that he gave way to drinking and gambling.

One reason why Pushkin was not allowed to leave the court was that he had married an extremely beautiful woman named Natalya. By flirting with several of the men about the court, including the Tsar himself, she had unwittingly encouraged lustful ambitions that she had no intention of satisfying.

One of these would-be suitors was a French social climber named George d’Anthes. After insulting her in public he challenged Pushkin to a duel, and his challenge was accepted. Pushkin was fatally wounded, dying two days after the event at the age of 38.

The nature of Pushkin’s death, at such a young age, only served to cement his reputation as a Romantic icon. He has therefore gone down in literary history as the epitome of creativity triumphing over the dead hand of bureaucracy and philistinism.

© John Welford

Northanger Abbey, a novel by Jane Austen

 

The bulk of Jane Austen’s novels were revised for publication a considerable time after they were first written, and it is often impossible to tell how much rewriting was involved in the revision.

‘Northanger Abbey’ was originally written in 1797 and 1798, finally being finished in 1803. It was only published posthumously in 1818 (along with ‘Persuasion’), and it was therefore the first complete novel to have been written despite the appearance of ‘Pride and Prejudice’ and ‘Sense and Sensibility’ several years previously.

‘Northanger Abbey’ is the story of Catherine Morland, a somewhat ordinary girl, goodhearted and rather simple, who spends some weeks in Bath with friends of her family and makes various friends and acquaintances while there.

She meets Henry Tilney and his sister. Catherine falls in love with Henry and is invited to the Tilney’s family home under Henry’s father’s impression that she is a wealthy heiress who would make a good match for his son. The house – Northanger Abbey – is an old abbey building that Catherine expects to be just like the ancient ghost-ridden buildings that she has read about in the Gothic horror novels - particularly those of Ann Radcliffe – that were very popular at the time.

Things go wrong for Catherine when Henry’s father discovers that she is not a rich heiress after all and throws her out. However, everything works out all right eventually and the hero and heroine end up happily married.

The plot might sound dull enough, but the novel is far from dull, despite Jane Austen’s refusal to use any of the more violent contemporary novelistic devices in order to enliven it. The life of the novel comes from the combination of wit and profound sense of the meaning and interest of the events of daily life in the social world that Jane Austen knew so well.

Although the irony is somewhat cruder than that produced by Jane Austen in her later novels, it is always carefully poised and well directed. The tone is not burlesque or mock-heroic, and a note of affectionate understanding runs together with the irony.

It is noticeable that although Jane Austen pokes affectionate fun at Catherine’s ridiculous romantic expectations of a haunted house, this is only done to emphasise that real life can be every bit as interesting and enjoyable.

Catherine’s actual romance with Henry is not expressed in the passionate tones of later romantic novelists, but it is nonetheless sensitive and true.

One thing we can learn from this novel is that Jane Austen truly understood how young people come to fall in love, realising exactly the degree to which Nature imitates Art and the varying parts played by admiration, gratitude and vanity.

‘Northanger Abbey’ is rarely regarded as one of Jane Austen’s best novels, and it is only fully appreciated by those who have a basic knowledge of the Gothic horror tradition at which she pokes gentle fun, but it is certainly worth a read.

© John Welford