by H.G. Wells
Published in The New Republic, 10 March 1917
[Ed. note: In 1916, James Joyce won mixed reviews for his daring first novel, A Portrait of the Artist as a Young Man. Occasional TNR contributor H.G. Wells encountered the book soon thereafter and found much to admire in Joyce's independence and flair for experimentation. This was surprising praise coming from a writer not known as a friend of modernism, and remarkable praise coming from the man already credited by some with inventing the genre of science fiction.]
A Portrait of the Artist as a Young Man
by James Joyce
An eminent novelist was asked recently by some troublesome newspaper what he thought of the literature of 1916. He answered publicly and loudly that he had heard of no literature in 1916; for his own part he had been reading "science." This was kind neither to our literary nor our scientific activities. It was not intelligent to make an opposition between literature and science. It is no more legitimate than an opposition between literature and "classics" or between literature and history. Good writing about the actualities of the war too has been abundant, that was only to be expected; it is an ungracious thing in the home critic to sit at a confused feast and bewail its poverty when he ought to be sorting out his discoveries. Criticism may analyze, it may appraise and attack, but when it comes to the mere grumbling of veterans no longer capable of novel perceptions, away with it! There is indeed small justification for grumbling at the writing of the present time. Quite apart from the books and stories about the war, a brilliant literature in itself, from that artless assured immortal Arthur Green (The Story of a Prisoner of War) up to the already active historians, there is a great amount of fresh and experimental writing that cannot be ignored by anyone still alive to literary interests. There are, for instance, Miss Richardson's Pointed Roofs, and Backwater, amusing experiments to write as the Futurists paint, and Mr. Caradoc Evan's invention in My Peopple, and Capel Sion, of a new method of grimness, a pseudo-Welsh idiom that is as pleasing in its grotesque force to the intelligent story-reader as it must be maddening to every sensitive Welsh patriot. Nowhere have I seen anything like adequate praise for the romantic force and beauty of Mr. Thomas Burke's Limehouse Nights. In the earlier 'nineties when Henley was alive and discovering was in fashion that book would have made a very big reputation indeed. Even more considerable is A Portrait of the Artist as a Young Man, by James Joyce. It is a book to buy and read and lock up, but it is not a book to miss. Its claim to be literature is as good as the claim of the last book of Gulliver's Travels.
It is no good trying to minimize a characteristic that seems to be deliberately obtruded. Like Swift and another living Irish writer, Mr. Joyce has a cloacal obsession. He would bring back into the general picture of life aspects which modern drainage and modern decorum have taken out of ordinary intercourse and conversation. Coarse, unfamiliar words are scattered about the book unpleasantly, and it may seem to many, needlessly. If the reader is squeamish upon these matters, then there is nothing for it but to shun this book, but if he will pick his way, as one has to do at times on the outskirts of some picturesque Italian village with a view and a church and all sorts of things of that sort to tempt one, then it is quite worth while. And even upon this unsavory aspect of Swift and himself, Mr. Joyce is suddenly illuminating. He tells at several points how his hero Stephen is swayed and shocked and disgusted by harsh and loud sounds, and how he is stirred to intense emotion by music and the rhythms of beautiful words. But no sort of smell offends him like that. He finds olfactory sensations interesting or aesthetically displeasing, but they do not make him sick or excited as sounds do. This is a quite understandable turn over from the more normal state of affairs. Long ago I remember pointing out in a review the difference in the sensory basis of the stories of Robert Louis Stevenson and Sir J.M. Barrie; the former visualized and saw his story primarily as picture, the latter mainly heard it. We shall do Mr. Joyce an injustice if we attribute a normal sensory basis to him and then accuse him of deliberate offense.
But that is by the way. The value of Mr. Joyce's book has little to do with its incidental insanitary condition. Like some of the best novels in the world it is the story of an education; it is by far the most living and convincing picture that exists of an Irish Catholic upbringing. It is a mosaic of jagged fragments that does altogether render with extreme completeness the growth of a rather secretive, imaginative boy in Dublin. The technique is startling, but on the whole it succeeds. Like so many Irish writers from Sterne to Shaw, Mr. Joyce is a bold experimentalist with paragraph and punctuation. He breaks away from scene to scene without a hint of the change of time and place; at the end he passes suddenly from the third person to the first; he uses no inverted commas to mark off his speeches. The first trick I found sometimes tiresome here and there, but then my own disposition, perhaps acquired at the blackboard, is to mark off and underline rather fussily, and I do not know whether I was so much put off by the thing itself as anxious, which after all is not my business, about its effect on those others; the second trick, I will admit, seems entirely justified in this particular instance by its success; the third reduces Mr. Joyce to a free use of dashes. One conversation in this book is a superb success, the one in which Mr. Dedalus carves the Christmas turkey; I write with all due deliberation that Sterne himself could not have done it better; but most of the talk flickers blindingly with these dashes, one has the same wincing feeling of being flicked at that one used to have in the early cinema shows. I think Mr. Joyce has failed to discredit the inverted comma.
The interest of the book depends entirely upon its quintessential and unfailing reality. One believes in Stephen Dedalus as one believes in few characters in fiction. And the peculiar lie of the interest for the intelligent reader is the convincing revelation it makes of the limitations of a great mass of Irishmen. Mr. Joyce tells us unsparingly of the adolescence of this youngster under conditions that have passed almost altogether out of English life. There is an immense shyness, a profound secrecy, about matters of sex, with its inevitable accompaniment of nightmare revelations and furtive scribblings in unpleasant places, and there is a living belief in a real hell. The description of Stephen listening without a doubt to two fiery sermons on that tremendous theme, his agonies of fear, not disgust at dirtiness such as unorthodox children feel but just fear, his terror-inspired confession of his sins of impurity to a strange priest in a distant part of the city, is like nothing in any boy's experience who has been trained under modern conditions. Compare its stuffy horror with Conrad's account of how under analogous circumstances Lord Jim wept. And a second thing of immense significance is the fact that everyone in this Dublin story, every human being, accepts as a matter of course, as a thing in nature like the sky and the sea, that the English are to be hated. There is no discrimination in that hatred, there is no gleam of recognition that a considerable number of Englishmen have displayed a very earnest disposition to put matters right with Ireland, there is an absolute absence of any idea of a discussed settlement, any notion of helping the slow-witted Englishman in his three-cornered puzzle between North and South. It is just hate, a cant cultivated to the pitch of monomania, an ungenerous violent direction of the mind. That is the political atmosphere in which Stephen Dedalus grows up, and in which his essentially responsive mind orients itself. I am afraid it is only too true an account of the atmosphere in which a number of brilliant young Irishmen have grown up. What is the good of pretending that the extreme Irish "patriot" is an equivalent and parallel of the English or American liberal? He is narrower and intenser than any English Tory. He will be the natural ally of the Tory in delaying British social and economic reconstruction after the war. He will play into the hands of the Tories by threatening an outbreak and providing the excuse for a militarist reaction in England. It is time the American observer faced the truth of that. No reason in that why England should not do justice to Ireland, but excellent reason for bearing in mind that these bright-green young people across the Channel are something quite different form the liberal English in training and tradition, and absolutely set against helping them. No single book has ever shown how different they are, as completely as this most memorable novel.