“But who ever felt the sun set or rise in London or Torquay either? It doesn’t: you just turn on or off the electric light.”
Yes, a collection of shorts by Leonard Woolf aka Mr Virginia Woolf, the man with the famous missus. A Tale Told by Moonlight is one of those delicious little gems from Hesperus Press–3 short stories and two extracts from Woolf’s memoir Growing: An Autobiography of the Years 1904-1911. Woolf (1880-1969) was a civil servant in Ceylon during this time, so the extracts of the memoir along with the stories are bundled together appropriately and are Conradian in tone. This volume also includes an excellent foreword from Victoria Glendinning. Glendinning’s name added to the attraction of this slim volume. She’s an excellent biographer (she’s written bios on Leonard Woolf and Anthony Trollope amongst others), and she’s also written a number of novels including the very, very funny Grown-Ups).
The three short stories are: A Tale Told by Moonlight, Pearls and Swine, and The Two Brahmans. The first two are superior, I think, but I prefer Pearl and Swine.
A Tale Told by Moonlight begins with a group of middle-aged and elderly men who are gathered at the home of a novelist called Alderton. Mrs. Alderton is not at home, so it’s an evening of men, for men:
It was a piping hot June day, and we strolled out after dinner in the cool moonlight down the great fields which lead to the river. It was very cool, very beautiful, very romantic lying there on the grass above the river bank, watching the great trees in the moonlight and the silver water slipping along so musically to the sea. We grew silent and sentimental–at least I know I did.
As the men sit in the cool of the evening, two lovers walk by, and their presence sparks a discussion on the subject of love. This is then, a tale within a tale. There’s the narrator who recalls an evening spent in the company of other men, and then the narrator relates a tale told by one of the men– Jessop, a man “many people did not like.”
The conversation turns to first loves as the men “looked back with regret, with yearning to our youth and to love.” The men discussed “love, the great passion, the real thing which had just passed us by so closely in the moonlight.” Jessop, however, is initially silent, but is provoked to speak when it seems he can stand the talk of romance no longer. Jessop insists that real love is rare:
It’s you novelists who’re responsible, you know. You’ve made a world in which everyone is always falling in love–but it’s not this world. Here it’s the flicker of the body.
I don’t say there isn’t such a thing. There is. I’ve seen it, but it’s rare, as rare as-as-a perfect horse, an Arab once said to me.
According to Jessop, he’s only seen two cases of “real love.” He argues:
It’s only when we don’t pay for it that we call it romance and love, and the most we would ever pay is a 5 pound note.
A singular view indeed. But Jessop then rewards his listeners with the story of one of the two cases of “real love” and it isn’t pretty. He recalls knowing a man he calls Reynolds–a man he’d known in school:
There seemed to be in him something in him somewhere, some power of feeling under nervousness and shyness. I can’t say it ever came out, but he interested me.
After the two men left school, Reynolds became the successful author of a number of romantic novels, and Reynolds and Jessop kept in touch. One day Reynolds arrives in the Ceylon and Jessop takes him under his wing and commits to giving him a taste of life in the East. Inevitably they visit a brothel and Reynolds becomes obsessed with one of the young girls there.
A Tale Told by Moonlight is a tale within a tale, and it seems to be the complex story of love in which the tale teller, Jessop, claims a story of ‘real love” without really understanding what he’s talking about. This is a tragic tale which echoes shades of Pechorin’s love affair with Bela–the relationship and clashes between two cultures with the dominant culture (British in the case of Reynolds and Jessop) labouring under the tragic illusion that only a so-called ‘superior’ culture is capable of finer feelings.
Pearls and Swine has a similar sort of set-up–a room full of men harping on about their favourite subject. In this story, the narrator is on a week’s holiday in a “large gaudy uncomfortably comfortable hotel” in Torquay. It’s evening, and the male guests have gathered in the “smoking rooms” and are drinking before going to bed. The subject at hand is colonialism, “Indian unrest” and how the colonies should be ‘managed.’ Each man has his own theory of what should be done, and pomposity, ignorance, and hypocrisy are thick in the air that night, until finally a man who’s lived in Ceylon for years weighs in. He tells a horrific story of pearl harvesting:
Well, we rule India and the sea, so the sea belongs to us, and the oysters are in the sea and the pearls are in the oysters. Therefore the pearls belong to us.
The man describes the pearl harvesting operation which involves the British government taking 2/3 of the oysters hauled up and leaving 1/3 to the men who takes all the risks bringing the oysters up from the sea. The man describes how a young British man named Robson–a man with “views” is sent out to manage the oyster farming camp:
Yes, he had views; he used to explain them to me when he first arrived. He got some new ones I think before he got out of that camp. You’d say he only saw details, things happen, facts, data. Well, he did that too. He saw men die–he hadn’t seen that in his Board School–die of plague or cholera, like flies, all over the place, under the trees, in the boats, outside the little door of his own little hut. And he saw flies, too, millions, billions of them all day long buzzing, crawling over everything, his hands, his little fresh face, his food. And he smelt the smell of millions of decaying oysters all day long and all night long for six long weeks.
The man who tells this dire tale relates what happened one horrible, unforgettable night, and through this tale he hopes to illustrate that “views” fall apart when faced with the ugly reality of colonial life in the East.
In the foreword, Victoria Glendinning writes that Leonard Woolf’s literary works are eclipsed by his wife’s accomplishments. He published his two novels A Village in the Jungle and The Wise Virgins before Virginia’s first novel was published. Glendinning states that Leonard’s friend Lytton Strachey did not think that Leonard was “cut out to write fiction.” And for this reason, combined with the need for money and “recognition of his wife’s gift,” Leonard Woolf stuck with “political books” along with journalism and some editing. These gems in this slim edition hint at an untapped talent.