|. . . Clover Hooper Adams|
|. . . 1999-07-15|
Oh great (by way of Robot Wisdom). I just recently got over the appearance about five years ago of a "historical novel but it's really the truth, it's just that I don't want to be bothered with proving any of my ridiculous delusions" dedicated to the theory that Henry Adams killed his wife, Clover Hooper Adams, during her oh-so-convenient suicidal depression. And now there's another one, this time dedicated to the theory that Charlotte Brontë was a criminal mastermind who successfully poisoned Emily Brontë, Anne Brontë, and Branwell Brontë, only to be poisoned in turn by her new husband.
Probably because Charlotte Brontë revealed herself in her writing (unlike Emily Brontë) with a singularly honest viciousness (unlike Anne Brontë), she's often been targeted by simpleminded vulgarizers. In Hollywood's Devotion, Charlotte the flighty fluffy flirt (!) was contrasted unfavorably to the Sensible Sister, Emily (!), played sensibly well by Ida Lupino. In her group biography of the Brontë family, Juliet Barker almost managed to obscure the wonderful thoroughness of her research by the equally wonderful anti-Charlotte chip on her shoulder, going so far as to bury pro-Charlotte evidence in the footnotes.
Was Charlotte Brontë a nice person? She'd be the first to describe in exacting detail why she wasn't. On the other hand, it's hard to find any contemporary reactions worse than bemused acknowledgment that she was too hard on others and still harder on herself.
I don't know who makes a sillier murderer, Charlotte Brontë, whose most unlikable trait was her stranglehold on moral superiority, or husband Whatsisname, whose only noticeable humor was phlegm. I do know that the silliest aspect of the whole business is the BBC reporter's swallowing this Yorkshire pudding whole. Let it be a warning to all of us: self-knowledge is a dangerous thing, at least when combined with self-expression.
|. . . 2000-04-02|
"The gentleman reader cannot fairly be expected to work up a professional interest in a woman who picked up threads and ate them." -- newspaper review of The Shutter of Snow by Emily Holmes ColemanWell, that's obviously changed. The Shutter of Snow must be the twentieth-or-so "woman goes crazy but eventually gets out of the institution" novel I've read. Which is the kind of number I'd a priori only expect from plotlines like "boy gets girl" or "detective solves mystery."
Let's take it for granted that insanity is interesting. Why the gender gap, then? Why the Padded Ceiling?
One obvious reason is that well-educated women are (still) more likely to be institutionalized than well-educated men. As the old formula goes, women are institutionalized, poor men are jailed, and the rest of us pretty much do what we want.
Another (not necessarily unrelated) reason is that story-consumers and story-makers prefer that protagonists who show weakness be female. And going crazy and recovering are both pretty obvious signs of weakness. When I was trying to write fiction about loonies I've known, most of whom have been male, I felt immense internal pressure to turn them into female characters instead. (Like, try imagining Repulsion with a male protagonist. No, I mean it: try. It's good for you.) The standard storylines tell us that women go into institutions because they go crazy and men go into institutions because they're rebels. Women get better and men keep insisting they were right. (Sylvia Plath vs. Ezra Pound; The Shutter of Snow vs. One Flew Over the Cuckoo's Nest....) Men-going-under stories tend to be about addiction rather than madness: appetite, not fragility.
But there's another reason for the twentieth century having produced so many of these stories: the number of untold and unrecoverable stories left over from the nineteenth.
"My mom says that when she was growing up in New Zealand in the Fifties, there were three career options for women: emigrate, become an airline stewardess, or go crazy." -- Juliet ClarkTake out emigration and airlines, and you're left with the options for the nineteenth-century Anglo-American upper class. In feminist-backlash post-abolitionist late-1800s America, good girls had achieved Stendhal's proto-feminist dream: women were being educated but only so that they might be fitter companions to educated men. In the post-feminist era, it wouldn't be tasteful to try to be anything else. A nice New England woman in politics? Laughable. In literature? In art? Etc.
"Any woman learning Greek must buy fashionable dresses." -- Henry Adams regarding his wife, Clover Hooper AdamsThe Civil War, with its bandage-making and fund-raising, was the high water mark of usefulness for the Adams/James generation of American women. Afterwards, if you were lucky, you could have children till you died in childbirth. If you weren't lucky, you either (like Alice James) shrunk into a mockingly dense point of invalidism or you found yourself over an abyss.
"We are working very hard, but it is all for ourselves." -- Clover Hooper AdamsAn abyss-swimming man might clutch for a job; a woman could only be headed for the bin. And in the nineteenth century they tended not to come back out.
"I shall proclaim that any one who spends her life as an appendage to five cushions and three shawls is justified in committing the sloppiest kind of suicide at a moment's notice." -- Alice JamesAs a girl, Clover Hooper swapped dark comparisons of the hospitals that swallowed up her female relatives and friends:
"I wish it might have been Worcester instead of Somerville which is such a smelly hideous place."As an adult, after almost a year of depression, she poisoned herself with her own photo-developing chemicals rather than face institutionalization.
"Ellen I'm not real -- Oh make me real -- you are all of you real!" -- Clover Hooper Adams to her sister, a few months before her death
|A hundred years' worth of vanished victims seems to call for at least fifty years' worth of survivor testimony: It is possible to come out of the bin; it is possible to describe it....
Of course, the downside of so much survivor testimony is that the survivors are likely to get fetishized. And then a demand naturally develops, and the supply of survivors has to be periodically replenished....
|. . . 2000-07-03|
If there are any feminist scholars out there who're getting tired of Lacan (phallus phorphend!), they might consider directing their female gaze toward a new edition of Clover Hooper Adams's letters. The only existing collection was published in 1936 and practices, I suspect, something less than full disclosure. Since then, she's gotten a biography, a splashy supporting role in a group biography, and a scurrilous novel, but what's really called for with such an articulate woman is easier access to the primary documents. Otherwise wilfull ignorance like that displayed by some talking heads I saw recently who said that she probably contributed details of fashion and furnishings to the anonymous novel Esther (actually, her husband was much more obsessed with exterior and interior decoration -- "We shall instruct her. She dresses badly," he wrote to a friend about his then fiancée -- while Clover was the household member who could read Greek) too easily continues to work its will.
Besides heading up the nearest thing Washington ever had to an intellectual salon, Hooper Adams was an excellent portrait photographer and a notorious wit; no less finnicky an observer than Henry James considered her one of the most brilliant minds in America, a "Voltaire in petticoats," although his repectful tone wasn't returned in kind:
"At the same minute came Portrait of a Lady, which the author kindly sent me. It's very nice, and charming things in it, but I'm aging fast and prefer what Sir Walter called the 'big bow-wow style.' I shall suggest to Mr. James to name his next novel Ann Eliza.... he chaws more than he bites off."
"Apropos of Jesse, I had a letter from Henry James, Jr., written Tuesday at midnight on the eve of sailing. He wished, he said, his last farewell to be said to me as I seemed to him 'the incarnation of my native land.' Am I then vulgar, dreary, and impossible to live with?"
|. . . 2013-12-30|
I draw most of my reading from a decades-old compost pile of decontextualized recommendations. But shuffle play establishes its own narratives, and somehow Eddie Campbell's lifework was followed with a series of forgotten books by great wasters.
First came Saturnine by Rayner Heppenstall, precious documentation of bad behavior in England's finest hour. Then The Crust on Its Uppers by Derek Raymond (all flash and no trousers), La Fanfarlo by Charles Baudelaire (sad stuff), An Anecdoted Topography of Chance by Daniel Spoerri (a less plot-driven Robbe-Grillet), and Minutes of the Last Meeting by Gene Fowler, purportedly a mean-spirited biography of a grotesque old fart once justly loathed by Whitman and Debussy, but more sincerely a shelf of humble-brags honoring the author's parasitism during John Barrymore's and W. C. Fields's terminal declines.
(That last formed a twofer posthumous-character-assassination setlist of its own with Nollekens & his Times by John Thomas "Antiquity" Smith, projected as friendly tribute but executed as vengeance for Nollekens's will.)
Then The Bohemians by Anne-Gédéon Lafitte, Marquis de Pelleport, a 1790 proto-novel formally closer to Thomas Nashe than to Ann Radcliffe. And now The Monkey Puzzle by Veronica Hull — a female waster at last!— and, in a way, probably that very way, my favorite of the lot.
* * *
What with The Golden Notebook and The Bell Jar and so on, and between Piper Laurie and Julie Harris and Liza Minnelli and so on, the post-Home-Front pre-feminist era seems like a bloody golden age of feminine breakdowns, bottoming out alongside the post-feminist pre-suffragette era of Alice James and Clover Hooper Adams.
Hull's "Catherine" hits familiar marks, even including an old-school try at governessing: a questing young woman isolated in an aggressively male academic environment (here, the philosophy department of University College London); emotional collapse followed by traumatic institutionalization; substance abuse; joyless sleeping around; unplanned pregnancy; unsupportive marriage; fag-haggery; and a first experience of political demonstrations, teaching her the first lessons taught by all political demonstrations in every time and place:
‘But what I don’t understand,’ said Catherine, rubbing her head and feeling a bit better for the whisky, the crisis extravagance was still on, ‘is why. Why they charged us. What were we doing?’
‘Existing dear,’ said John, ‘if there are too many people existing in the same place at the same time they have to be removed. On a big scale it’s done by war. On a small scale by the police.’ [...]
‘I find it so extraordinary, when all one’s doing is trying to stop war, and people spit at you.’
What distinguishes The Monkey Puzzle from title onwards is its classically waster attitude, as if the whole mess is redeemed by providing so many told-on-oneself bar stories and flaring bar rants. It's the Paula Prentiss of young-woman-goes-insane novels.
* * *
Veronica Hull's recoverable literary career consists of a few months in 1958, during which she provided four (unsigned) reviews for the TLS:
The publishers have spared no pains to produce a book that is easy on the eye and has every appearance of scholarship. The writing is often good. But it is as if an intelligent, expert artist were commissioned to paint the portrait of an eminent but stupid general. Unable, for fear of hurting his sitter's feelings, to reproduce the complete vacuity of expression, the artist has instead concentrated on other aspects. The portrait that emerges is a curious one. The man has no face; but on his ample chest is a row of medals depicted, down to the last tedious detail, with the utmost care and accuracy.
This association ended around the time Hull's own book was blasted by (unsigned) Peter Myers in a group review:
Mrs. Hull, however, has succeeded only in being cynical in a juvenile way; she is inclined to rely too much on the merely crude (the dust-jacket delicately describes it as 'outrageous') to create an effect, and the reader, having been suitably shocked, as intended, in the first thirty pages or so, will find the repetition wearisome as he works his way towards the end. The story is told jerkily, in one sudden gush of effusiveness, and this style does not make the heroine's chaotic happenings any easier to follow. Characters are unpleasant and unsympathetic (doubtless they are meant to be) while the occasional flashes of mature wit do little to relieve these loosely packed trivia of an unattractive adolescence.
Mr. Richard Charles, in his enchanting novel, A Pride of Relations, has succeeded in full measure. He writes with real humour of three Great-Aunts, Betty, Frances and Jessica, of Grandfather Quincey Charles, and especially of Great-Uncle Justly....
Others provided kinder blurbs: Time and Tide with "the most promising first novel from a new English writer that I have read since the night I stayed up reading Iris Murdoch's Under the Net," Angus Wilson with "remarkably amusing, frightening, and intelligent," and young V. S. Naipaul with "shrewd, barbed, lit up with delicious perceptions" (albeit including reservations about her punctuation).
The book was not reprinted, however, nor published overseas, and its title lived on only among analytic philosophers. With the "rightly confident" blinkeredness so characteristic of the breed, Lord Quinton even declared her "a pseudonym."
It always puzzled Catherine that they should be able to indulge in this mysterious study of the meta without any reference to the science in question. She supposed she would understand one day, in the meantime the whole business seemed unimportant.
The final word I've found on her (or her editor-bookseller husband Tristram) was dropped in a boast by the aforementioned trouserless fellow.
UPDATE, December 28 2015: Last year I was completely at a loss as to how to find the novel's current rightsholder. Almost exactly one year later, Richard Hull, Veronica Hull's son, sent a very kind email mentioning his hope to find a house who will finally give The Monkey Puzzle the second (and longer-lived) edition it deserves. Go to, publishers!
Copyright to contributed work and quoted correspondence remains with the original authors.
Public domain work remains in the public domain.
All other material: Copyright 2015 Ray Davis.