Читать книгу Why Authors Go Wrong, and Other Explanations - Grant M. Overton - Страница 8

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Now it is just here that the moral pressure of the great body of readers is felt, a pressure that is constantly misunderstood by the author. So surely as the writer has turned from writing to make money and has taken up writing for art’s sake (whatever that means) or writing for some ethical purpose or writing in the interest of some propaganda, though it be merely the propaganda of his own poor, single intellect—just so surely as he has done this his readers find him out. Whether they then continue to read him or not depends entirely on what they think of his new and unavowed (but patent) motive. Of course readers ought to be stern; having caught their author in a wrong motive they ought to punish him by deserting him instantly. But readers are human; they are even surprisingly selfish at times; they are capable of considering their own enjoyment, and, dreadful to say, they are capable of considering it first. So if, as in the case of Mr. Chambers, they find his new motive friendly and flattering they read him more than ever; on the other hand, if they find the changed purpose disagreeable or tiresome, aiming to uplift them or to shock them unpleasantly or (sometimes) to make fun of them, they quit that author cold. And they hardly ever come back. Usually the author is not perspicacious enough to grasp the cause of the defection; it is amazing how seldom authors think there can be anything wrong with themselves. Usually the abandoned author goes right over and joins a small sect of highbrows and proclaims the deplorable state of his national literature. “The public be damned!” he says in effect, but the public is not damned, it is he that is damned, and the public has done its utmost to save him.

Sometimes an author deliberately does work that is less than his best, but he never does this with the idea of making money, or, if he entertains that idea, he fools no one but himself. There are known and even (we believe) recorded instances of an author ridiculing his own output and avowing with what he probably thought audacious candor: “Of course, this latest story of mine is junk—but it’ll sell 100,000 copies!”

It never does. The author is perfectly truthful in describing the book as worthless. If he implies as he always will in such a case that he deliberately did less than his best he is an unconscious liar. It was his best and its worthlessness was solely the result of his total insincerity. For a man or woman may write a very bad book and write it with an utter sincerity that will sell hundreds of thousands of copies; but no one can write a very fine book insincerely and have it sell.

The author who thinks that he has written a rather inferior novel for the sake of huge royalties has actually written the best he has in him, namely, a piece of cheese. The author who has actually written beneath his best has not done it for money, but to avoid making money. He thinks it is his best; he thinks it is something utterly artistic, æsthetically wonderful, highbrowedly pure, lofty and serene; he scorns money; to make money by it would be to soil it. What he cannot see is that it is not his best; that it is very likely quite his worst; that when he has done his best he will unavoidably make money unless, like the misguided mortal we have just mentioned, deep insincerity vitiates his work.

We are therefore ready, before going further, to formulate certain paradoxical principles governing all literary work.