, , , , , , , , , , , , , , , , , , , , , , ,

Kingsley Amis

“Begin with verse, if you have any taste for it. Any really gloomy stuff that you admire will do. My own choice would tend to include the final scene of Paradise Lost, Book XII, lines 606 to the end, with what is probably the most poignant moment in all our literature coming at lines 624–6. The trouble here, though, is that today of all days you do not want to be reminded of how inferior you are to the man next door, let alone to a chap like Milton. Safer to pick somebody less horribly great. I would plump for the poems of A. E. Housman and/or R. S. Thomas, not that they are in the least interchangeable. Matthew Arnold’s Sohrab and Rustum is good, too, if a little long for the purpose.

Switch to prose with the same principles of selection. I suggest Aleksandr Solzhenitsyn’s One Day in the Life of Ivan Denisovich. It is not gloomy exactly, but its picture of life in a Russian labour camp will do you the important service of suggesting that there are plenty of people about who have a bloody sight more to put up with than you (or I) have or ever will have, and who put up with it, if not cheerfully, at any rate in no mood of self-pity.

Turn now to stuff that suggests there may be some point to living after all. Battle poems come in rather well here: Macaulay’s Horatius, for instance. Or, should you feel that this selection is getting a bit British (for the Roman virtues Macaulay celebrates have very much that sort of flavour), try Chesterton’s Lepanto. The naval victory in 1571 of the forces of the Papal League over the Turks and their allies was accomplished without the assistance of a single Anglo-Saxon (or Protestant). Try not to mind the way Chesterton makes some play with the fact that this was a victory of Christians over Moslems.

By this time you could well be finding it conceivable that you might smile again some day. However, defer funny stuff for the moment. Try a good thriller or action story, which will start to wean you from self-observation and the darker emotions: Ian Fleming, Eric Ambler, Gavin Lyall, Dick Francis, Geoffrey Household, C. S. Forester (perhaps the most useful of the lot). Turn to comedy only after that; but it must be white—i.e. not black—comedy: P. G. Wodehouse, Stephen Leacock, Captain Marryat, Anthony Powell (not Evelyn Waugh), Peter De Vries (not The Blood of the Lamb, which, though very funny, has its real place in the tearful category, and a distinguished one). I am not suggesting that these writers are comparable in other ways than that they make unwillingness to laugh seem a little pompous and absurd.”


Another section from Kingsley Amis’s Everyday Drinking, this one “Hangover Reading”.