Literary Friendships

 

I must apologise for the break in transmission – I’m not entirely sure why the past few days have felt so busy, but having family to stay has been one reason why I’ve not managed to post. The other seems to be just a general lack of focus caused by the dying of the light. Each twenty-four hour segment seems to be three-quarters night to a quarter daylight and in consequence I’ve felt sleepy and inefficient. I also have a lot of friends I’d like to catch up with and I’m slowly making contact; one is recently returned from Australia, another has just had a baby, a third is teaching my students while I’m on leave, another has begun a new university job. ‘A Friend may well be reckoned the masterpiece of Nature,’ wrote dear old Emerson, who liked the concept of friends a lot, without being able to make or keep many of them. It’s true that he had extremely high standards for friendship, whilst what probably glues a lot of friends together is a high degree of tolerance for the other’s peculiarities and flaws. Making friends is relatively straightforward when you find someone with whom you have a great deal in common, whom you like and admire instinctively and who can lift your mood when you’re together. But to keep friends you need to forgive long periods of silence, careless remarks, organisational mistakes and differences of opinion.

 

Take, for instance, two literary friendships that veered off in wildly differing directions. George Sand was one of the best friend-makers in the nineteenth century. She was friends with a vast number of the European literati, artists and musicians of her age, and she was really good at keeping friends too. One important friendship that came later in her life was with the French writer Gustave Flaubert, which was surprising as on matters political, sexual and literary they held fundamentally opposing views. But they worked their way around this with gentleness and understanding. Flaubert sent sections of his novel L’Education Sentimentale to Sand for her to read, a move that risked being inflammatory in one sense as the novel derided the Christian anti-capitalists of the 1840s for mixing politics, Romanticism and religion, that’s to say, it mocked precisely the group and the perspective that Sand loyally supported. Sand replied with a generous defence of idealism. The vanquished, she suggested, deserve our forgiveness rather than our scorn, and whatever mistakes they had made, they had learnt their lessons and were ready to progress. ‘I rely on you,’ she told Flaubert, ‘to practise magnanimity. With one word more or less you can use the lash without leaving a wound when the hand on the whip is strong and gentle. You are too good-natured to be cruel.’ Flaubert was determined to maintain the political vision of his novel, but he also wanted to appease his friend. He wrote back to Sand, declaring ‘when my third part is finished I will read it to you and if there is anything in my work that you think spiteful I shall remove it.’ He did just as he promised: it took eight hours, with an hour off for dinner. Who was the more heroic in that encounter, I wonder?

 

Now compare that to the bitter political quarrel that split up the friendship between Jean-Paul Sartre and Albert Camus. Ostensibly the argument began over a bad review of Camus’s new book, L’Homme revolté (The Rebel), which appeared in Sartre’s literary magazine, Les Temps modernes. Camus was furious and hurt and denounced Sartre in an open letter to the journal for having made a personal attack on him, which he claimed was intended to gain Sartre political points with his Left wing friends (although Sartre himself did not write the review). It’s probably not a good idea to rile a man in his own journal, and the matter might have been better settled over a drink or three, but instead the argument became all the more vindictive as both man’s public reputation now seemed to be at stake.

 

The row was over a difference of political opinion that was bound up with the experience of the Second World War. At that time in France (1951) those who had participated in the Resistance instantly received moral credit, and so both Sartre and Camus, who had fought against the Nazis in their different ways, were figures of respect and glamour to the French nation. France was a broken and disoriented country after the invasion, struggling to come to terms with the extent of collaboration that had gone in on the war – necessary for survival at the time, most probably, but viewed in a very poor light after the Germans had left. The big questions, as France faced further crisis in Algeria, were all about finding a politics that would be ethically sound, sincerely committed and radically different. Sartre supported Communism because, although he believed it could be an oppressive party, they were the best of a bad lot and did support the oppressed. Camus believed that all political parties were oppressive, and the best one could do was a highly personal, individual form of revolt. Sartre felt Camus had sold out on the collective rebellion that had been the Resistance movement. Camus thought Sartre had sold out. Sartre said: ‘The only way of helping the enslaved out there is to take sides with those who are here.’ Camus said: ‘Stupidity has a knack of getting its own way.’

 

As with all political quarrels, there is no sense in trying to find out who was right in all of this: the question they were debating (and which is far more complex and subtle than my brutal account allows), does collective political action always end up doing more harm than good, is not one that has any ready answers. The point was that underneath a perfectly valid debate on the contemporary political scene (in which both men, incidentally were rather naïve and idealistic) a more vindictive battle was buried. Camus felt let down by Sartre, and Sartre, once attacked in public, could not let it go. Neither was able to tolerate the other’s position for in both cases it looked like an unbearable slur on their own. How many friendships have ended over similarly entrenched positions in irresolvable disputes? Because neither party has been wise enough (cf. George Sand ) to remind the other of their reserves of good nature, flexibility, sympathy, open-mindedness?

 

And so my book blogging friends, may all your friendships be long, happy and mutually supportive ones, in which you are able to acknowledge the differences in each other and admire them, rather than feel threatened by them. Particularly when it comes to politics, which causes enough trouble as it is, without adding broken friendships to its tally of catastrophe. As a final coda, I will take the opportunity to remind you all of your wonderful levels of tolerance as I catch up on my blog reading. It may take a little while, but I’ll get there in the end!

10 thoughts on “Literary Friendships

  1. This is a fun post — I love reading about famous friendships, even ones that didn’t last. They are in a lot of ways more fun to learn about than marriages, maybe because the factors that keep them going are more varied??

  2. As always you have erased an area of my ignorance. I had thought that Satre and Camus had always been at loggerheads. Of course, as I grew up in the late 50’s, there was no past, only a present and a future. Is there ever a past for a teenager?

  3. What I have always struggled with is knowing the difference between an acquaintance and a friend. Would a friend risk something for you? Or don’t people do that any mores these days?

  4. Litlove, this is a wonderful topic. Reading about George Sand makes me grateful for my own tolerant and patient friends.

    Poor Emerson. At least he knew exactly what he wanted in a friendship.

  5. What a great coincidence, I just started reading the letters between Sand and Flaubert! The big difference is that even though Sand and Flaubert didn’t agree on many subjects, they respected each other, while in the famous Camus/Sartre quarrel, I don’t see any respect. Now that Communism has been proven wrong by history it’s easy to be on Camus’ side, but beyond the philosophic and political demonstrations, I most dislike the tone of Sartre’s critics. He feels so superior and condescending that I don’t think the quarrel was fair.

  6. Great post, Litlove! I am now very intrigued the the George Sand and Gustav Flaubert friendship.

    I still think you should publish your blog as a colletion of essays. Someone get this woman an agent!

  7. Dorothy, I’m sure you’re right. Friendships are such complex things and there are as many different varieties as there are friends. Archie – to begin with Sartre and Camus were so close that Beauvoir was distinctly jealous. Could be to do with the fact that the endlessly womanising Camus turned her advances down, though! Quillhill, I think that a real friend is precisely someone who would take risks for you, so perhaps we have to wonder whether the Camus-Sartre relationship was ever a heartfelt friendship – which takes me to Pauline’s point. Sartre knew he wrote at his best when shooting his rhetoric from the hip, and I think he couldn’t resist it in this instance. So perhaps whatever the political question, Camus was the wronged party? Ella – when I read that about George Sand, I couldn’t help but think what a lovely friend she must have been to have. What a pity Emerson didn’t know her! Stefanie – your Emerson interest is very contagious! And bless you, LK. I’d be delighted for someone to find me an agent!!

  8. I just wanted to chime in (late, as usual) to defend one of my all-time favorite books, Camus’ _The Rebel_. Sometimes I think that academics have never held themselves responsible for supporting communism during the first half of the 20th century. Of course, the political question seems much less complicated today in light of post-cold-war history. But Camus’ form of revolt–he calls it “metaphysical rebellion”–stares straight into the face of the most difficult question of politics: how to live without Grace and without Justice (i.e., without faith in God or faith in law).

    It is a question that has never been answered satisfactorily–Sartre’s answer, I think, is dangerously romantic. But even worse than Sartre is the subsequent generation of French academics who turned their backs on the most difficult and important question of the 20th century, preferring instead the skeptical withdrawal into irresponsibility now called “postmodernism.”

    Instead, “theory” might have done well to concern itself with understanding how those millions of murders across Europe could have happened. I’m always struck how unpopular it is in contemporary academia to suggest–all these years later–the possibility that Stalin was exactly as contemptible as Hitler. Apparently, even those who were children as the cold war came to an end are unable to look critically at (and take historical responsibility for–) the theoretical foundations of so much violence.

  9. Ah Casey, you and I must have a little chat about postmodernism one of these days. I agree it is not a set of theories that overtly discuss responsibility for events like the Holocaust, however, if you take a step backwards, I think it’s possible to see how those theories are profoundly marked, even a product of, the unthinkable horror of those events. Postmodernism is shot through with nostalgia for everything stable and controllable that has now been lost forever – a sense of unity, a belief in rationality, the ability to access power, the hope of perfecting the human race. All we can do, it suggests, is to fragment experience and recognise the complexity of each fragment and maybe have some mastery over that (or maybe not). I think it’s a theory of despair. It may well be possible for our generation now to return to questions of engaged intellectuals and get to grips once again with the concept of ethics and responsibility, but that generation was in a state of intellectual depression, as far as I can see, that has its origins squarely in the unthinkable scale of tragedy engendered by the two world wars.

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