Literary
Distinctions
BRENDAN: I understand, Neal, that you are of the opinion that a novelist isn't
necessarily an artist, these days, just because he writes novels, but can be
one of three things.
NEAL: That is
correct. He can be an artist, an
anti-artist, or a philosopher, using the latter term in the contemporary sense
as applying, in the main, to metaphysical writers, or men who identify more
with essence than appearance.
BRENDAN: How, then, do
you distinguish between novelists as artists and novelists as anti-artists?
NEAL: Very simply! Between those who write in an illusory vein,
intimating of truth or envisaging a future society in an expressive style, and
those, on the contrary, who specialize in writings of an autobiographical
character, making the crux of their novels hinge on the story of their lives.
BRENDAN:
Thus you are distinguishing, I take it, between novelists like George Orwell on
the one hand, and Henry Miller on the other.
NEAL: Yes, between
those who indirectly extend literature towards objective truth, and those who
directly indulge in subjective fact - a distinction, in effect, between
bound-electron equivalents and pseudo-electron equivalents, bearing in mind
that we are discussing the novelist, within the broader framework of
bourgeois/proletarian civilization, in relation to petty-bourgeois culture, as
relative to contemporary Western society, with particular reference to the
United States.
BRENDAN: So we are not
referring the novelist-as-artist to bourgeois criteria, which would presumably
be to discuss the novel in traditional fictional terms.
NEAL: No, the
story-teller of old is precisely the kind of artist that the anti-artist is in
rebellion against in his 'romantic' fixation on autobiography. The modern novelistic anti-artist is
anti-fiction, fiction being the traditional preserve of the artist, who
abstracts fictions from external facts and thus creates a story. The modern novelistic artist, on the other
hand, is pro-truth, truth being the goal of evolution in pure spirit, the
approach to this goal in literary terms necessarily requiring of the artist
either fidelity to illusion, i.e. anticipations or intimations of truth, which
is a quasi-philosophical approach, or (assuming he is more of a pure artist) an
extension of abstract technical procedures in his work towards some
consciously- or unconsciously-envisaged future literary goal of a totally
non-expressive art, an art reflecting the post-atomic status of a free-electron
age, in which only pure poetry would be produced. This artist takes the direct route to truth
by approximating literature to a free-electron status whereby words, the
electron equivalents, are freed from the proton/neutron constraint of
emotions/meanings, about which, in atomic writings, they invariably revolve. The artist who intimates of truth, however,
takes the indirect route to it, since his use of illusion requires fidelity to
grammatical conventions in the interests of a meaningful expression of this
intimation. He approximates more closely
to the modern philosopher, who also approaches truth indirectly ... through the
medium of expression, albeit in a more intensively non-literary way than the
artist.
BRENDAN: You are
distinguishing, I presume, between a kind of lesser modern artist and a greater
modern artist, as applying to the indirect and direct approaches to truth,
conceived in literary terms.
NEAL: I am! And while the lesser artist approximates to
the metaphysical philosopher, the greater artist approaches, in his
predominantly abstract prose, the pure poet of the future absolute civilization,
a civilization in which all forms of relative literature, including the most
poetic of petty-bourgeois novels, would be taboo. Generally speaking, these two types of modern
artist are relative to the distinction, within the wider parameters of
bourgeois/proletarian civilization, between what I call mainstream
petty-bourgeois culture on the one hand, and subsidiary petty-bourgeois culture
on the other hand, so that, as a rule, the greater artist will be indigenous to
the United States, the lesser one to Western Europe, with particular reference
to Britain and France, which are fundamentally bourgeois nations influenced by,
though not pioneering, petty-bourgeois trends.
BRENDAN: So you would
contend that while the predominantly abstract tradition especially appertains
to the United States, the illusory, or indirect, route to truth appertains more
to the United Kingdom and France, thereby enabling us to distinguish between
novelists, on the one hand, like William Burroughs, particularly with regard to
works such as The
Naked Lunch and The Soft Machine, and novelists, on the other hand,
like George Orwell, whose 1984 must rank as one of the best examples of
a novel's intimating, for its time, of what were then future trends, and
thereby approaching truth indirectly - through the medium of literary
expression.
NEAL: Yes, such a
distinction is certainly apposite, although it will usually be found, with the
British, that the intimation of future trends, as you put it, is less than
objective, falling woefully short of optimism, as can also be borne out by such
an illusory novel as Aldous Huxley's Brave New World,
with its nightmare projection of an envisaged artificial society of the future.
BRENDAN: Would you
describe Huxley as generally a lesser artist?
NEAL: No, for apart
from the above-mentioned work the only novel I can think of which entails an
illusory projection of characters into a futuristic setting is Ape and Essence,
which focuses on the aftermath of a nuclear war, as affecting