I do not really know how I became a writer. I can give certain dates and certain facts about my career. But the process itself remains mysterious. It is mysterious, for instance, that the ambition should have come first—the wish to be a writer, to have that distinction, that fame—and that this ambition should have come long before I could think of anything to write about.
I remember, in my first term at Oxford in 1950, going for long walks—I remember the roads, the autumn leaves, the cars and trucks going by, whipping the leaves up—and wondering what I was going to write about. I had worked hard for the scholarship to go to Oxford, to be a writer. But now that I was in Oxford, I didn’t know what to write about. And really, I suppose, unless I had been driven by great necessity, something even like panic, I might never have written. The idea of laying aside the ambition was very restful and tempting—the way sleep was said to be tempting to Napoleon’s soldiers on the retreat from Moscow.
I felt it as artificial, that sitting down to write a book. And that is a feeling that is with me still, all these years later, at the start of a book—I am speaking of an imaginative work. There is no precise theme or story that is with me. Many things are with me; I write the artificial, self-conscious beginnings of many books; until finally some true impulse—the one I have been working toward—possesses me, and I sail away on my year’s labor. And that is mysterious still—that out of artifice one should touch and stir up what is deepest in one’s soul, one’s heart, one’s memory.
All literary forms are artificial, and they are constantly changing, to match the new tone and mood of the culture. At one time, for instance, a person of serious literary inclination might have thought of writing for the theater; would have had somehow to do what I cannot do—arrange his material into scenes and acts; would not have written for the printed page, but would have written “parts” to tempt actors and—as someone who has written plays has told me—would have visualized himself (to facilitate the playwriting process) as sitting in a seat in the stalls.
At another period, in an age without radio or records, an age dominated by print, someone wishing to write would have had to shape a narrative that could have been serialized over many months, or fill three volumes. Before that, the writer might have attempted narratives in verse, or verse drama, rhymed or unrhymed; or verse epics.
All those forms, artificial as they seem to us today, would have appeared as natural and as right to their practitioners as the standard novel does today. Artificial though that novel form is, with its simplifications and distortions, its artificial scenes, and its idea of experience as a crisis that has to be resolved before life resumes its…
This is exclusive content for subscribers only – subscribe at this low introductory rate for immediate access!
Unlock this article, and thousands more from our complete 55+ year archive, by subscribing at the low introductory rate of just $1 an issue — that’s 10 digital issues plus six months of full archive access plus the NYR App for just $10.