Our Family Affairs, 1867-1896Benson, E. F. (Edward Frederic)
General
Our Family Affairs, 1867-1896
Benson, E. F. (Edward Frederic)
Benson family
of mine still puts in a plea for originality, is in the region of its
conscious plan. Bad or good (it was undoubtedly bad) it introduced a
certain novelty into novel-writing which had “quite a little vogue” for
a time. The main character, that is to say, was made, in her
infinitesimal manner, to draw herself. In staged and acted drama even,
that principle--bad or good--is never consistently maintained, because
other people habitually discuss the hero and heroine, and the audience’s
conception of them is based on comment as well as on self-spoken
revelation. Also in drama there is bound to be some sort of plot, in
which action reveals the actor. But in this story which I scribbled at
for a few weeks, there was no sort of plot: there was merely a clash of
minor personalities breaking themselves to bits against the central
gabbling figure. Hideously crude, blatantly inefficient as the execution
was, there was just that one new and feasible idea in the manner of it.
What I aimed at was a type that revealed itself in an individual by
oceans of nonsensical speech.
I wrote with the breathless speed of creation (however minute such
creation was), almost entirely, but not quite, for my own private
amusement. It was not quite for that internal satisfaction alone,
because as I scampered and scamped, I began to contemplate a book
arising out of these scribblings, a marketable book, that is to say,
between covers and for sale. Eventually, for the information of any who
happen to remember the total result, I got as far as the lamentable
death of Dodo’s first husband, and that, as far as I knew then, was the
end of the story. Dodo would be thus left a far from disconsolate widow
dangling in the air like a blind-string in front of an open window. On
the last page of the book, she would remain precisely as she had been on
the first; she had not developed, she had not gone upwards or downwards
in any moral course; she was a moment, a detail, a flashlight photograph
flared on to a plate without the smallest presentment of anything,
except what she happened to be at that moment. All this I did not then
realize.... There it was anyhow, and having finished it, I bundled the
whole affair into a drawer, and with that off my mind, concentrated
again over the _Mythology and Monuments of Ancient Athens_.
Public-domain text, read in full here on John Shaqi.
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