Dickens, Beckett, Domesticity, and Modernism
February 4, 2012 § 1 Comment
Finished: Malone Dies and The Unnamable, by Samuel Beckett; Bleak House, by Charles Dickens.
Reading now: A Chronicle of the Madness of Small Worlds, by Mac Wellman.
Reading next: Dubliners, by James Joyce.
It is an exaggeration, but an interesting one, to say that modernist literature is a reaction to Dickens. In his massive popularity (and desire to be and remain popular), his embrace of transparent plot and familiar character, his omnipresent sentimentality, and his fastidious avoidance of any mention of sex, he represents a nicely dialectical figure for the modernist authors. From Henry James to Woolf and Joyce, the modernists found Dickens ridiculous and bourgeois.
Read the Victorian fabulist/realist master Dickens in close proximity to the modernist/postmodernist master Samuel Beckett and you can feel like these two men inhabited completely different universes, completely different ways of experiencing and translating the experience of being in the world. But as I was reading Malone Dies, I found myself thinking of Dickens, and seeing the text as a kind of unwitting reply to one of the dominant themes in his work (as in much of Victorian literature): belief in domestic bliss, in the comforts of home.
It was the story of the Lamberts, especially, that brought this to mind. All of Malone Dies — and, to a lesser degree, all of Molloy, and to a greater and more overt degree, all of The Unnamable — is self-conscious of the creation of fictions and exposure of the mechanisms by which narrative is produced. The Lamberts are one of the many attempts by Malone to distract himself, to tell a story, this one about a farming family for whom the young creation of Malone named Saposcat is boarding. Malone introduces the family by saying, “There was the man, the woman, and two children, a boy and a girl. There at least is something that admits of no controversy.” But this quick, self-consciously “normal” nuclear family is immediately made weird: “Big Lambert” has married his “young cousin.” Nothing all that weird about that, according to Victorian/Dickensian mores; after all, there is the bizarre (to us) engagement of Esther and Jarndyce in Bleak House. But Lambert has also been married two or three times before, with children from these past marriages now grown. And Lambert is a butcher, of both animals and his family, with an omnipresent threat of violence hanging over his wife and children. Beckett also brings sex to the foreground of the domestic situation, in the crudest possible terms.
Sapo’s place in the family is as the hard-working unfortunate lad, the Copperfield of the narrative. But Mrs. Lambert is no kind caregiver; instead, she often pauses in her hard work to give voice to “angry unanswerable questions, such as, What’s the use?” And Sapo cannot stay with the family, but flees. There are faint, faint echoes of Copperfield’s trek to Betsey Trotwood’s house in Saposcat’s journey. But the quality of despair in Saposcat’s journey is so very different than in Copperfield’s irrepressible optimism:
My bed at night was under another haystack, where I rested comfortably, after having washed my blistered feet in a stream, and dressed them as well as I was able, with some cool leaves. When I took the road again next morning, I found that it lay through a succession of hopgrounds and orchards…. I thought it all extremely beautiful, and made up my mind to sleep among the hops that night: imagining some cheerful companionship in the long perspectives of poles, with the graceful leaves twining around them. -David Copperfield, chapter 13
But the face of Sapo as he stumbled away, now in the shadow of the venerable trees he could not name, now in the brightness of the waving meadow, so erratic was his course, the face of Sapo was always grave, or rather expressionless. And when he halted it was not the better to think, or the closer to pore upon his dream, but simply because the voice had ceased that told him to go on. Then with his pale eyes he stared down at the earth, blind to its beauty, and to its utility, and to the little wild many-coloured flowers happy among the crops and weeds. -Malone Dies
Beyond that, Beckett (through Malone) continually points to how “traditional” narratives are constructed, with such asides by Malone to himself as, “That’s it, reminisce” and hesitant corrections of the course of the narrative. It does seem that Beckett and Dickens would find in each other perspectives on the world that the other could not possibly countenance. The experience of the twentieth century makes it hard for any of us to fully participate in the Dickensian comedy, as much as we love and aspire to it. Beckett could not write the family as a utopia any more than Dickens could imagine an irredeemably dystopian and solitary world.