If that was your plot, the reviewer might say, you have hidden it rather
successfully. I have certainly done my best to hide it. For although the
personalities of the villain and his legal spouse crop up periodically,
with ominous insistence, from the first chapter onwards, they are always
swallowed up again. The reason is given in the penultimate chapter,
where the critic might have found a resume of my intentions and the key
to this plot - to wit, that a murder under those particular circumstances
is not only justifiable and commendable but - insignificant. Quite
insignificant! Not worth troubling about. Hundreds of decent and honest
folk are being destroyed every day; nobody cares tuppence; "one dirty
blackmailer more or less - what does it matter to anybody"? There are so
many more interesting things on earth. That is why the bishop - i.e. the
reader - here discovers the crime to be a "contemptible little episode,"
and decides to "relegate it into the category of unimportant events." He
was glad that the whole affair had remained in the background, so to
speak, of his local experiences. It seemed appropriate. In the
background: it seemed appropriate. That is the heart, the core, of the
plot. And that is why all those other happenings find themselves pushed
into the foreground.
I know full well that this is not the way to write an orthodox English
novel. For if you hide your plot, how shall the critic be expected to
see it? You must serve it on a tray; you must (to vary the simile) hit
the nail on the head and ask him to be so good as to superintend the
operation. That is the way to rejoice the cockles of his heart. He can
then compare you to someone else who has also hit the nail on the head
and with whose writings he happens to be familiar. You have a flavour of
Dostoievsky minus the Dickens taint; you remind him of Flaubert or
Walter Scott or somebody equally obscure; in short, you are in a
condition to be labelled - a word, and a thing, which comes perilously
near to libelling. If, to this description, he adds a short summary of
your effort, he has done his duty. What more can he do? He must not
praise overmuch, for that might displease some of his own literary
friends. He must not blame overmuch, else how shall his paper survive?
It lives on the advertisements of publishers and - say those persons,
perhaps wisely - "if you ill-treat our authors, there's an end to our
custom." Commercialism....
Which applies far less to literary criticism than to other kinds. Of
most of the critics of music and art the best one can say is that there
are hearty fellows among them who, with the requisite training, might
one day become fit for their work. England is the home of the amateur in
matters intellectual, the specialist in things material. No bootmaker
would allow an unpractised beginner to hack his leather about in a
jejune attempt to construct a pair of shoes. The other commodity, being
less valuable than cowhide, may be entrusted to the hands of any
'prentice who cares to enliven our periodicals with his playful
hieroglyphics. Criticism in England - snakes in Iceland. [15]
All alone, for a wonder, I climbed up to the sanctuary of St. Michael
above Serrone, that solitary white speck visible from afar on the upper
slopes of Mount Scalambra. It is a respectable walk, and would have been
inconveniently warm but for the fact that I rose with the nightingales,
reaching my destination at the very moment when the sun peered over the
ridge of the mountain at its back. A delicious ramble in the dewy shade
of morning, with ten minutes' rest on a wall at Serrone, talking to an
old woman who wore those ponderous red ornaments designed, I suppose, to
imitate coral.
I had hoped to meet at this hermitage some amiable and garrulous
anchorite who would share my breakfast. It is the ideal place for such a
life, and many are the mountain solitaries of this species I have known
in Italy (mostly retired shepherds). There was he of Scanno - dead, I
doubt not, by this time - that simple-hearted venerable with whom I
whiled away the long evenings at the shrine of Sant' Egidio, gazing over
the placid lake below, or up stream, at the dusky houses of Scanno
theatrically ranged against their hill-side. I became his friend, once
and for ever, after finding a wooden snuff-box he had lost - his only
snuff-box; it lay at the edge of the path among thick shrubs, and he
could hardly believe his eyes when he saw it again. One of my many
strokes of luck! Once I found a purse -
The little structure here was barred and deserted. I had no company save
a couple of ravens who, after assuring themselves, with that infernal
cunning of theirs, that I carried no gun, became as friendly as could be
expected of such solemn fowls. They are always in pairs - incurably
monogamous; whereas the carrion crow, for reasons of its own, has a
fondness for living in trios. This menage a trois may have subtle
advantages and seems to be a step in the direction of the truly social
habits of the rook; it enables them to fight with more success against
their enemies, the hawks, and fosters, likewise, a certain
lightheartedness which the sententious raven lacks. No one who has
watched the aerial antics of a triplet of carrion crows can deny them a
sense of fun.
After an hour's contemplation of the beauties of nature I descended once
more through that ilex grove to Serrone. And now it began to grow
decidedly warm. The wide depression between this village and Olevano
used to be timbered and is still known as la selva or la foresta.
