The Complete Works. George Orwell
that is—but a small pointed chin, so that the face as a whole was pear-shaped rather than oval. Hair mouse-coloured and unkempt, mouth unamiable, eyes hazel inclining to green. He lengthened the focus of his eyes again. He hated mirrors nowadays. Outside, all was bleak and wintry. A tram, like a raucous swan of steel, glided groaning over the cobbles, and in its wake the wind swept a debris of trampled leaves. The twigs of the elm-tree were swirling, straining eastward. The poster that advertised QT Sauce was torn at the edge; a ribbon of paper fluttered fitfully like a tiny pennant. In the side-street too, to the right, the naked poplars that lined the pavement bowed sharply as the wind caught them. A nasty raw wind. There was a threatening note in it as it swept over; the first growl of winter's anger. Two lines of a poem struggled for birth in Gordon's mind:
Sharply the something wind—for instance, threatening wind? No, better, menacing wind. The menacing wind blows over—no, sweeps over, say.
The something poplars—yielding poplars? No, better, bending poplars. Assonance between bending and menacing? No matter. The bending poplars, newly bare. Good.
Sharply the menacing wind sweeps over
The bending poplars, newly bare.
Good. 'Bare' is a sod to rhyme; however, there's always 'air', which every poet since Chaucer has been struggling to find rhymes for. But the impulse died away in Gordon's mind. He turned the money over in his pocket. Twopence halfpenny and a Joey—twopence halfpenny. His mind was sticky with boredom. He couldn't cope with rhymes and adjectives. You can't, with only twopence halfpenny in your pocket.
His eyes refocused themselves upon the posters opposite. Foul, bloody things. He had his private reasons for hating them. Mechanically he re-read their slogans. 'Kangaroo Burgundy—the wine for Britons.' 'QT Sauce Keeps Hubby Smiling.' 'Hike all day on a Slab of Vitamalt!' 'Are you a Highbrow? Dandruff is the Reason.' 'Kiddies clamour for their Breakfast Crisps.' 'Pyorrhea? Not me!' 'Roland Butta enjoys his meal with Bovex.'
Ha! A customer—potential, at any rate. Gordon stiffened himself. Standing by the door, you could get an oblique view out of the front window without being seen yourself. He looked the potential customer over.
A decentish middle-aged man, black suit, bowler hat, umbrella and despatch-case—provincial solicitor or Town Clerk—keeking at the window with large pale-coloured eyes. He wore a guilty look. Gordon followed the direction of his eyes. Ah! So that was it! He had nosed out those D. H. Lawrence first editions in the far corner. Pining for a bit of smut, of course. He had heard of Lady Chatterley afar off. A bad face he had, Gordon thought. Pale, heavy, downy, with bad contours. Welsh, by the look of him—Nonconformist, anyway. He had the regular Dissenting pouches round the corners of his mouth. At home, president of the local Purity League or Seaside Vigilance Committee (rubber-soled slippers and electric torch, spotting kissing couples along the beach parade), and now up in town on the razzle. Gordon wished he would come in. Sell him a copy of Women in Love. How it would disappoint him!
But no! The Welsh solicitor had funked it. He tucked his umbrella under his arm and moved off with righteously turned backside. But doubtless tonight, when darkness hid his blushes, he'd slink into one of the rubber-shops and buy High Jinks in a Parisian Convent, by Sadie Blackeyes.
Gordon turned away from the door and back to the bookshelves. In the shelves to your left as you came out of the library the new and nearly-new books were kept—a patch of bright colour that was meant to catch the eye of anyone glancing through the glass door. Their sleek unspotted backs seemed to yearn at you from the shelves. 'Buy me, buy me!' they seemed to be saying. Novels fresh from the press—still unravished brides, pining for the paper-knife to deflower them—and review copies, like youthful widows, blooming still though virgin no longer, and here and there, in sets of half a dozen, those pathetic spinster-things, 'remainders', still guarding hopefully their long preserv'd virginity. Gordon turned his eyes away from the 'remainders'. They called up evil memories. The single wretched little book that he himself had published, two years ago, had sold exactly a hundred and fifty-three copies and then been 'remaindered'; and even as a 'remainder' it hadn't sold. He passed the new books by and paused in front of the shelves which ran at right angles to them and which contained more second-hand books.
Over to the right were shelves of poetry. Those in front of him were prose, a miscellaneous lot. Upwards and downwards they were graded, from clean and expensive at eye-level to cheap and dingy at top and bottom. In all bookshops there goes on a savage Darwinian struggle in which the works of living men gravitate to eye-level and the works of dead men go up or down—down to Gehenna or up to the throne, but always away from any position where they will be noticed. Down in the bottom shelves the 'classics', the extinct monsters of the Victorian age, were quietly rotting. Scott, Carlyle, Meredith, Ruskin, Pater, Stevenson—you could hardly read the names upon their broad dowdy backs. In the top shelves, almost out of sight, slept the pudgy biographies of dukes. Below those, saleable still and therefore placed within reach, was 'religious' literature—all sects and all creeds, lumped indiscriminately together. The World Beyond, by the author of Spirit Hands Have Touched Me. Dean Farrar's Life of Christ. Jesus the First Rotarian. Father Hilaire Chestnut's latest book of RC propaganda. Religion always sells provided it is soppy enough. Below, exactly at eye-level, was the contemporary stuff. Priestley's latest. Dinky little books of reprinted 'middles'. Cheer-up 'humour' from Herbert and Knox and Milne. Some highbrow stuff as well. A novel or two by Hemingway and Virginia Woolf. Smart pseudo-Strachey predigested biographies. Snooty, refined books on safe painters and safe poets by those moneyed young beasts who glide so gracefully from Eton to Cambridge and from Cambridge to the literary reviews.
Dull-eyed, he gazed at the wall of books. He hated the whole lot of them, old and new, highbrow and lowbrow, snooty and chirpy. The mere sight of them brought home to him his own sterility. For here was he, supposedly a 'writer', and he couldn't even 'write'! It wasn't merely a question of not getting published; it was that he produced nothing, or next to nothing. And all that tripe cluttering the shelves—well, at any rate it existed; it was an achievement of sorts. Even the Dells and Deepings do at least turn out their yearly acre of print. But it was the snooty 'cultured' kind of books that he hated the worst. Books of criticism and belles-lettres. The kind of thing that those moneyed young beasts from Cambridge write almost in their sleep—and that Gordon himself might have written if he had had a little more money. Money and culture! In a country like England you can no more be cultured without money than you can join the Cavalry Club. With the same instinct that makes a child waggle a loose tooth, he took out a snooty-looking volume—Some Aspects of the Italian Baroque—opened it, read a paragraph and shoved it back with mingled loathing and envy. That devastating omniscience! That noxious, horn-spectacled refinement! And the money that such refinement means! For after all, what is there behind it, except money? Money for the right kind of education, money for influential friends, money for leisure and peace of mind, money for trips to Italy. Money writes books, money sells them. Give me not righteousness, O Lord, give me money, only money.
He jingled the coins in his pocket. He was nearly thirty and had accomplished nothing; only his miserable book of poems that had fallen flatter than any pancake. And ever since, for two whole years, he had been struggling in the labyrinth of a dreadful book that never got any further, and which, as he knew in his moments of clarity, never would get any further. It was the lack of money, simply the lack of money, that robbed him of the power to 'write'. He clung to that as to an article of faith. Money, money, all is money! Could you write even a penny novelette without money to put heart in you? Invention, energy, wit, style, charm—they've all got to be paid for in hard cash.
Nevertheless, as he looked along the shelves he felt himself a little comforted. So many of the books were faded and unreadable. After all, we're all in the same boat. Memento mori. For you and for me and for the snooty young men from Cambridge, the same oblivion waits—though doubtless it'll wait rather longer for those snooty young men from Cambridge. He looked at the time-dulled 'classics' near his feet. Dead, all dead. Carlyle and Ruskin and Meredith and Stevenson—all are dead, God rot them. He glanced over their faded titles. Collected Letters of Robert Louis Stevenson. Ha, ha! That's good. Collected Letters of Robert Louis Stevenson! Its top edge was black with dust. Dust thou art, to dust returnest. Gordon kicked Stevenson's buckram backside. Art there, old false-penny?