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method and form carried to punctilious perfection. Yet I have heard
other novelists say that they have no art and no method and no
form, and that it is this formlessness that annoys them. They say
that they have no beginning and no middle and no end, and that to
have form a novel must have an end and a beginning and a middle.
We have come to words that in more primitive times would have
been blows on this subject. There is a certain plausibility in what
they say, but it depends on what constitutes a beginning and a
middle and an end. In this series there is no drama, no situation, no
set scene. Nothing happens. It is just life going on and on. It is
Miriam Henderson’s stream of consciousness going on and on. And
in neither is there any grossly discernible beginning or middle or
end.
In identifying herself with this life, which is Miriam’s stream of
consciousness, Miss Richardson produces her effect of being the first
of getting closer to reality than any of our novelists who are trying
so desperately to get close. No attitude or gesture of her own is
allowed to come between her and her effect. Whatever her sources
and her raw material, she is concerned, and we ought to be
concerned solely with the finished result, the work of art. It is to
Miriam’s almost painfully acute senses that we owe what in any
other novelist would be called the “portraits” of Miriam’s mother, of
her sister Harriett, of the Corries and Joey Banks in Honeycomb, of
the Miss Pernes and Julia Doyle, and the North London schoolgirls, in
Backwater, of Fräulein Pfaff and Mademoiselle, of the Martins and
Emma Bergmann and Ulrica and “the Australian” in Pointed Roofs.
The mere “word-painting” is masterly....
It is as if no other writers had ever used their senses so purely
and with so intense a joy in their use.
This intensity is the effect of an extreme concentration on the
thing seen or felt. Miss Richardson disdains every stroke that does
not tell. Her novels are novels of an extraordinary compression, and
of an extenuation more extraordinary still. The moments of Miriam’s
consciousness pass one by one, or overlapping; moments tense with
vibration, moments drawn out fine, almost to snapping-point.—From
an article published in “The Egoist,” April 1918.
DOROTHY RICHARDSON
Pointed Roofs
Backwater
Honeycomb
The Tunnel
Interim
DUCKWORTH & CO., PUBLISHERS, COVENT GARDEN, LONDON
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