Grievance. Marguerite Alexander
highly educated population that was comfortable both with ideas and popular culture, about a nation that had thrown off the shackles of the past to forge a new identity, were true. And although he never visited the North, his experience of the Republic confirmed his political sympathy for the Northern Irish Catholics, who had only to free themselves of the last vestiges of colonialism to effect the same transformation.
He felt a euphoria of a kind that was new to him. He had gone to Ireland deeply committed to the theoretical position that had underpinned his work – that there is no such thing as a fixed national character that justifies hostile stereotypes, only a set of characteristics that are a response to historical circumstance – and had the satisfaction of seeing his theories triumphantly vindicated. The drab, pious, inward-looking Ireland that he had visited once as a student and found uncongenial, despite the magnificent literature and a history that could only enlist his sympathy, had disappeared as the people had responded to new opportunities. What had been for Steve an idea had become a romance.
Having always seen himself as the least sentimental, most rational of men, this new emotional attachment to his subject has taken Steve by surprise so, of course, he rationalises it. His enthusiasm, he argues, is for the pleasure of being right, of testing a theory and finding it true. And he has enough self-awareness to see that the revelation of Ireland came to him at a moment when the need for change in his own life had become a yearning. Ireland’s transformation was an inspiration.
So why is he sitting in his office, with his head in his hands, the picture of misery? He’s begun to wake up in the night with a feeling of dread because his book on Joyce has stalled and the bright new future he has envisaged for himself seems to depend on it. He urges himself to be patient, that it’s only his eagerness to move his life into a new phase that has produced the deadlock. But this has no effect on the panic he feels whenever he tries to work. What if he never achieves anything again, comparable to that precocious leap to academic stardom? Sometimes he feels on the verge of a creative breakthrough, the realisation of which will confound the world and force the admission that, highly though he was estimated before, he was in fact underestimated. At such times, the germ of a startling idea hovers on the edge of his consciousness, but when he tries to pull it to the centre of his mind, where it can be examined and developed, it proves elusive, not only refusing to shift but disappearing altogether.
He gets up and wanders over to the window, hoping to see something that will distract him, like the scene under the chestnut tree, but there’s nothing beyond the usual comings and goings. Maybe, he tells himself, this period of sterility is the prelude to a major breakthrough. If he can only be patient, not panic and be alert to possibilities, who knows?
There are more immediate claims on his attention, however, and soon the opening session of his course on Irish literature arrives.
‘So, one of our objectives on this course is to restore to the Irish their literary heritage.’
The room is packed with second-year students who have come in expectation of a performance from Professor Steven Woolf. His reputation has preceded him and so far he’s done nothing to disappoint them. He’s seated on, rather than behind, the desk, his motorcycle helmet perched next to him, and his stance draws attention to his effortless command of the subject, for he is speaking without notes, enforcing their attention, demanding their complicity in the critical position he’s outlining. He’s dressed like them, in leather jacket and jeans, though his were almost certainly bought new rather than second-hand, which both erases and confirms the differences between them. He hasn’t lost his youthful edge, the impression he gives of belonging to a generation in the vanguard of change, but he is also a legendary figure, occupying a position to which they might aspire but will almost certainly never reach. In asserting his intention to restore to the Irish what they have lost he speaks as their champion, as one who has the authority to make a grand gesture of restitution.
Except, of course, that such an act of restitution is now redundant. He is impressive, but the group is not without sceptics.
‘I’d have thought they’d got the hang of claiming their own heritage by now,’ says Nick Bailey, one of the stars of the year, to his friend Pete Taylor, who is sprawled across his chair as usual, as if he doesn’t know where to put his unusually long arms and legs.
‘World leaders, my son,’ says Pete. ‘But you can see his problem. What do you do when the disadvantaged refuse to stay shackled and destroy all your arguments?’
Steve stops abruptly and glances in their direction. As his eye comes to rest, first, on Pete, then on Nick, he is briefly puzzled, before the professional mask is resumed. ‘This isn’t a lecture,’ he says. ‘You’re quite free to make your point to the room at large – if it’s something you’re prepared to share.’
The two young men exchange a look, and then Pete says, ‘We were saying that the Irish seem to be pretty good at exploiting their own heritage these days. That’s when they can spare the time from being a tiger economy and relaxing with sex, drugs and rock and roll. I just wondered whether our idea of the Irish wasn’t a bit out of date.’
Steve is too practised to take offence, or at any rate to show that he has, especially since Pete’s point has been made with a good-humoured lack of aggression. When he responds, his manner is smooth and impenetrable.
‘You’re quite right that the Irish are no slouches in manipulating popular history for tourism, but that isn’t quite what I had in mind. I’m merely signalling my intention to look at texts not as timeless works of imperishable genius that are part of the English literary canon but in the context of Irish history, Irish society and Irish politics, and of the power relations that, however concealed, have shaped the writers’ attitudes.’ He pauses before landing his parting shot. ‘And it’s worth remembering, before we get too carried away, that there is one part of the island of Ireland where history isn’t yet over, and where the inhabitants don’t yet feel free to surrender themselves to the rock-and-roll culture. I don’t intend putting this to the test, but I would hazard a guess that even here, in this very room, there are pockets of ignorance about the historical roots of the situation in Northern Ireland that you’ve all grown up with.’
There is no doubting Steve’s political engagement and, duly chastened, Nick, Pete and the few others who are inclined to levity, settle down. However predictable Steve’s views might be to those who have read his books, his own history commands respect. This generation of students hadn’t yet started primary school when his book on critical theory was published, at the beginning of the Thatcherite revolution. The left, disabled by defeat, had embarked on a long and acrimonious quarrel with itself, but Steve’s particular brand of Marxism – playful, subversive, disrespectful of authority – offered a new kind of Utopian vision. English lecturers were being hired and fired according to divisions Steve had helped to create. People subscribed to a belief in him as they might to a religion. His ideas, like the Falklands War, created opposing camps. And, of course, it went without saying that if you were in favour of Steve you were against British action in the Falklands.
His status, however, is not just a matter of the theories promoted in his published work. He marched with the miners and was kicked by a policeman. This is a matter of record, captured by a BBC cameraman. And when he appeared on late-night arts programmes – for this was the beginning of his career as a minor television personality – he extended the academic debate into the public issues of the day, claiming, as he is now, that there is no distinction between critical and political practice.
He is known to have turned down a chair at Oxford, where he started his career as an undergraduate, and although some of his colleagues have hinted – privately, to one or two favoured students – that Steve’s preference is to be as close as possible to the television studios, that he may even, at this moment, be turning his attention to Irish literature because, in the current political climate when ideology is felt to be a handicap, Ireland is the flavour of the month and an issue on which righteous indignation might still be expressed, many here prefer to believe that he rejected Oxford on the grounds of élitism.
He is a star turn, and they are as mesmerised by his personal style as by what he has to say: the