Almost immediately after the publication of Party Going at the onset of WWII, Henry Green handed over to his publisher the manuscript to Pack My Bag, his ‘interim’ autobiography (at 35), that he had written at top speed in a matter of weeks. After the slow process and completion of Party Going, the gates must have opened. Other contributing factors was Green’s fear of imminent death in the war, hence the title which were the last words of the philosopher F.H Bradley, and the fact that Green was reportedly completely drunk the entire time of the writing process.
In Pack My Bag we find a passage that is as close as Green ever got to stating an artistic credo:
Prose is not to be read aloud but to oneself alone at night, and it is not quick as poetry but rather a gathering web of insinuations which go further than names however shared can ever go. Prose should be a long intimacy between strangers with no direct appeal to what both may have known. It should slowly appeal to feelings unexpressed, it should in the end draw tears out of the stone …
Green volunteered for the London Fire Service during the Blitz, the experience of which formed the basis of his next novel Caught. His wife Dig had moved away from London to the countryside and as the time was one of general ‘unmarriedness’, Green indulged in numerous extra-martial affairs. Dig would tolerant these liaisons, even befriending the women involved.
His next novel Loving was published in 1943 and is Green’s most well know and popular novel. In The Paris Review interview with Terry Southern he describes the genesis of the novel:
I got the idea of Loving from a manservant in the Fire Service during the war. He was serving with me in the ranks, and he told me he had once asked the elderly butler who was over him what the old boy most liked in the world. The reply was: “Lying in bed on a summer morning, with the window open, listening to the church bells, eating buttered toast with cunty fingers.” I saw the book in a flash.
Curiously enough Loving was published at the same time as his friend Evelyn Waugh’s novel Brideshead Revisited, which is also set in a large country house. But whereas Brideshead Revisited is a nostalgic paean to a rapidly vanishing way of life, wistfully conveying a time where everyone knew their place and was grateful for it, from the loyal servants to the obliging lords of the manor, Green was too clear-eyed to be having any of this self-serving sentimentality. His portrayal of down-stairs life resembles Jonathan Swift’s masterful satire Directions To Servants much more than the obsequious, incidental characters offered by Brideshead Revisited or indeed its present day variation that peddles the same insidious fantasy, DowntonAbbey.
In a master stroke, Green’s country estate is set in neutral Ireland, a country he knew well and had great fondness for, owned by Anglo-Irish gentry and staffed entirely with English staff with the important exception of the symbolically incomprehensible Irish lamp-man Paddy O’Conor . This immediately places the narrative in the realm of absurdity. The owners of Kinalty are, appropriately enough, the Tennants. However the novel is much more concerned with life down-stairs, in particularly the over-promoted and unscrupulous butler Charley Raunce and his much younger girlfriend, the housemaid Edith In his usual oblique, off-hand way Green introduces an ambiguous apocalyptic note regarding the future of Kinalty: The Blue Drawing Room is, we are told, ‘the most celebrated eighteenth-century folly in Eire that had still to be burned down.’ However this fear is only vaguely in the background, all the characters, whether up-stairs or down-stairs are too busy pursuing their respective love-interests or lining their pockets and stomachs to spare much thought to all that imperils their precarious paradise, whether it be the war raging back home, the IRA or indeed the intrinsic absurdity of Kinalty, where even the dovecotes are modelled on the Leaning Tower of Pisa.
In 1946 Green published Back, which concerns a wounded war veteran returning to civilian life. It is certainly his most sombre novel, however it contains one of his most sustained passages of lyricism:
…climbing around and up these trees of mourning, was rose after rose after rose, while, here and there, the spray overburdened by the mass of flowers, a live wreath lay fallen on a wreath of stone, or on a box in marble colder than this day, or onto frosted blooms which, under glass, marked each bed of earth wherein the dear departed encouraged life above in the green grass, the cypresses and in those roses gay and bright which, as still as this dark afternoon, stared at whosoever looked, or hung their heads to droop, to grow strained, to die when their turn came.
I will be concluding this series on Henry Green in part three with brief reviews of his last three novels and his later life.