G.K. Chesterton and T.H. White shared a birthday, so it seems somehow apt that the author of The Once and Future King had been an ardent admirer of the author of The Man Who Was Thursday. White was an English teacher in 1936, when Chesterton died, and the story goes that the day after Gilbert's death, White addressed his students. 'Boys,' he said, 'G.K. Chesterton died yesterday. P.G. Wodehouse is now the greatest living master of the English language.'
I'm not wholly convinced that Wodehouse was a greater wordsmith than James Joyce, who was still alive at the time White decreed Wodehouse to be Chesterton's successor, but I take his point. I hardly think it possible to overstate Wodehouse's brilliance, and I think Douglas Adams got it spot on in introducing Sunset at Blandings when he said:
I'm not wholly convinced that Wodehouse was a greater wordsmith than James Joyce, who was still alive at the time White decreed Wodehouse to be Chesterton's successor, but I take his point. I hardly think it possible to overstate Wodehouse's brilliance, and I think Douglas Adams got it spot on in introducing Sunset at Blandings when he said:
'Master? Great genius? Oh yes. One of the most blissful joys of the English language is the fact that one of its greatest practitioners ever, one of the guys on the very top table of all, was a jokesmith. Though maybe it shouldn’t be that big a surprise. Who else would be up there? Austen, of course, Dickens and Chaucer. The only one who couldn’t make a joke to save his life would be Shakespeare.'
If anything, Adams understates Wodehouse's brilliance, perverse though that seems given the company with whom he ranks him:
'He doesn’t need to be serious. He’s better than that. He’s up in the stratosphere of what the human mind can do, above tragedy and strenuous thought, where you will find Bach, Mozart, Einstein, Feynman, and Louis Armstrong, in the realms of pure, creative playfulness.'
Adams focuses on Wodehouse's magical mastery of style, recognising him as a true musician, but -- and in this respect he is surely channelling his own strengths and weaknesses -- he pays no heed to Wodehouse's superlative command of structure. It's notoriously difficult to summarise a Wodehouse plot.
Anyway, this sprang to mind the other day, when I was browsing through the hillock of Spectators that adorns our bathroom floor, and came across an article about Kim Philby and his reading habits, as revealed in recently-discovered letters he'd written between 1984 and 1987 to Bowes & Bowes, a Cambridge bookshop. The article divides the books into nine categories, these being 'Modern Fiction', 'Memoirs', 'Travel', 'Literary Criticism', 'Popular Novels', 'Thrillers and Spy Fiction', 'History', 'Espionage', and 'Fitness'. In most categories each book is named, but 'Popular Novels' and 'Thrillers and Spy Fiction' are merely listed by author, with the number of book by each author in parentheses.
The result is that whereas the text elsewhere suggests that the one John le Carré book Philby bought was The Honourable Schoolboy, we're left guessing at which of Dashiell Hammett and P.G. Wodehouse's works he'd ordered.
I'm not sure whence this taxonomy derived. Why rank Wodehouse as a mere 'popular novelist'? Was it the journalist who wrote the piece who made that decision? After all, in any English bookshop nowadays, Wodehouse is securely fastened amidst amongst all the other canonical works of modern fiction, rather than being pigeonholed in 'Humour'; Hammett usually bilocates between 'Modern Fiction' and 'Crime'.
Truth be told, I hate the whole idea of genre fiction; or, rather, I hate the snobbish tendency to treat some books as though they're genre fiction and to treat others as though they're better than that, and are free of any genre constraints. Jane Austen wrote nineteenth-century chick-lit, Alexander Dumas wrote airport novels before there were airports, Kim is spy fiction, The Picture of Dorian Gray is a fantasy, The Name of the Rose is a detective novel, and who's to say that stories about frustrated academics or embittered milkmaids or youths on the threshold of manhood aren't genres in their own right?
Some months back I met some friends at home in Dublin, and a mutual acquaintance came up in conversation. 'Am I imagining things,' said one friend, 'or did you have a huge argument with him in my house once, with him trying to say that The Lord of the Rings wasn't a fantasy novel?' Indeed I did, I said. You're not imagining it. He seemed to think that because it was good, then it couldn't have been a fantasy.
There seems to be a mentality in play whereby works in commonly-recognised genres can be anointed as 'serious fiction' and treated as though they're distinct from their genres. Sometimes, and especially nowadays, this is simply down to marketing, of course, but more broadly, it seems to be something that we do. Rather than recognising the truth of Sturgeon's Law -- that 90 per cent of everything is crud -- we decide that such genres as horror and fantasy are intrinsically and completely worthless, such that any work done in those genres must be rescued from the pit as soon as they're recognised.
Most people will freely recognise that The Time Machine, The Island of Doctor Moreau, The War of the Worlds, The Invisible Man, 20,000 Leagues Under the Sea, and A Journey to the Centre of the Earth are all science-fiction novels, but if anything they tend to see them as a kind of proto-science-fiction, foundational works that were later corrupted by the pulps. Much the same will be admitted, after some thought, about Frankenstein and The Strange Case of Doctor Jekyll and Mister Hyde.
But what of such dystopian classics as 1984, Brave New World, and Fahrenheit 451? What of Cold Comfort Farm, Lord of the Flies, Slaughterhouse 5, A Clockwork Orange, The Handmaid's Tale, The Children of Men, Cryptonomicon, The Time-Traveller's Wife, Never Let Me Go, or The Road?
I really don't think this is a case of Science-Fiction people claiming classics as part of their field to give themselves credibility. In my experience, real science-fiction people are happy enough to brandish their acknowledged classics: Dune, Stranger in a Strange Land, Foundation, The Stars My Destination, The Left Hand of Darkness, Stand on Zanzibar, Rendezvous with Rama, The Drowned World, Lord of Light, A Canticle for Leibowitz, Flowers for Algernon, The Man in the High Castle, and so forth. If anything, I don't think science-fiction fans should be so shy.
If bookshops are going to insist on treating science-fiction as literature's embarrassing cousin, then those who love the genre should do their damnedest to have some of the genre's pinnacles restored to their rightful place. And that's nothing compared to what the fantasy aficionados could do.
Me? I don't really care. When the day comes for me to be able to put all my books into one place, all fiction will be together, alphabetically shelved, with no quarter given to genre. It's hard enough classifying non-fiction.











