the law said we had to be in chapel every day but they couldn’t force us to pray on top of that, or even compel us to pretend to do so. I admired this stand without emulating it. Within a few days I had made a new and fast friend and then one morning, as everyone else but Michael crashed lazily forward in their pews, I took a deep breath and held myself upright. It felt very lonely for a moment but soon there was nothing to it. I started bringing books to read during the sermons and the prayers, in order to improve the shining hour. R.H. Tawney on Religion and the Rise of Capitalism was, I remember, an early choice.
The lexicographer Wilfred Funk was once invited to say what he thought was the most beautiful word in the English language and nominated “mange.” If asked, I would without hesitation give the word “library.” The Leys not only had a fine library of its own, but my house—“North B” (the other houses, since shamed by the magnificence of Hogwarts, being unimaginatively named “North A,” “East,” “West,” and “School”)—also had its own mini-version. From this hoard I one evening borrowed a life-changing book called Hanged by the Neck, a Penguin paperback issued as part of the growing national debate over the death penalty. It had two authors: one was Arthur Koestler and the other C.H. Rolph. The latter was the crime correspondent for the New Statesman: the name concealed the identity of Inspector Bill Hewitt of the City of London police, whom I was later to meet. Between them, these two simply demolished the case for capital punishment and gave some hair-raising examples of cold, hideous miscarriages of justice. This had two effects on me: it drew me further into the then-raging argument over the historic British institution of the gallows, which eventually culminated in its abolition in 1967, and it decided me that I would read anything by Arthur Koestler. Before long I was re-reading Darkness at Noon for what felt like (and quite possibly was) the third time in a month.
Things were quickening with me, in other words. I was in a sophisticated city with a treasure-house of culture. (One evening I found myself sitting in King’s College chapel, listening as Yehudi Menuhin played, just in front of the newly acquired Rubens, Adoration of the Magi. I recall thinking that this was almost too rich a mixture for a Navy brat.) The Leys if anything favored sciences over the arts—its old boys tended to be “quietly eminent,” as one newspaper article rather devastatingly phrased it—but we could boast of having produced James Hilton (“Mr. Chips” having been based upon a veteran master of the school named W.H. Balgarnie[8]) as well as Malcolm Lowry and J.G. Ballard. I became too omnivorous in my reading, trying too hard to master new words and concepts, and to let them fall in conversation or argument, with sometimes alarming results. I gained a reputation among the sporting types (and perhaps, to be fair, not only among them) as a pseudo-intellectual. I recall two diagnoses from this period. The first, from some school counselor with a psychologist’s bent, awarded me an “Aladdin’s Cave complex.” This was flattering in a way, since it suggested that I had an embarras de choix. But it also suggested that I was too brittle to decide among so many possible treats. The second, blunter verdict came from my fairly genial if unillusioned housemaster. He informed me, in the course of one of several harangues about my character, that I was in some danger of “ending up as a pamphleteer.” It was one of those moments that one knows instantly will always be retained in the memory. At last I had a word for it! And a word that had been applied to Defoe, at that.
By the time that I was fifteen or so, then, I had acquired some precocious knowledge of the Cambridge- related worlds of Bloomsbury and the Fabians, symbolized by the figure of Bertrand Russell, whose books I was also smuggling into the chapel. I knew enough to know that my next stop ought to be Oxford, which furnished the other half of this socio-intellectual equation. I even had a clear notion that the ideal Oxford college would be Balliol, and the desired course of study Philosophy, Politics and Economics, or the famous “PPE.” I was doing well enough at “The Lit”: the Literary and Debating Society run by one of the more urbane classics masters. My stutter almost banished, I even did a little acting and made a small success of the part of Taplow in Terence Rattigan’s classic The Browning Version. And I was beginning to try some writing.
I had “known” for years that this was what I really wanted to do. Indeed, in my grander moments I would want to claim that I had always “understood” that it was what I had to do. But I had no real concept of writing as a “living,” let alone as a life. At prep school and in the holidays, I had filled little exercise books with chiefly historical efforts, including a soon-abandoned grand narrative of the Napoleonic Wars. At The Leys there was an annual thing called the Thomas Essay Prize, with a book-token at the end of it and a handshake from the headmaster on the school’s open “speech day” every summer, for the doting parents to witness. I entered myself for this prize in my first year and was runner-up, and I won it in one form or another every subsequent year. The only set topic that I can now remember (because there was always a set topic and it was always a worthy and elevated one) was Martin Buber’s homely maxim that “True Living Lies in Meeting.” (How was I to know that this pious old hypocrite, the author of I and Thou, had after 1948 moved into the Jerusalem house from which the family of my one-day-to-be friend Edward Said had been evicted?) Cacoethia scribendi, says Paul Cavafy somewhere: “the itch to scribble.” If I could be moved to write by the banalities of Buber, I was plainly a bit more than just itchy. The eclectic urge struck me in every department of scribbling, and I flung myself into verse parodies, short stories (for some reason very often about animals) and, in one especially regrettable episode which involved brooding, meaning-of-life, moody walks along the river that led from Cambridge to Grantchester, a project for a “libretto” to be co-written with a musically inclined boy named Spratling.
This could all have ended very badly indeed, with wilting affectation and high self-indulgence. But then I discovered something that I have struggled ever since to convey to my own students. In writing and reading, there is a gold standard. How will you be able to detect it? You will know it all right. I got full marks for an essay on Chaucer’s wonderful “Prologue” to the Canterbury Tales (and how fortunate I was to have Colin Wilcockson, one of the world’s experts on Langland, as my instructor). I couldn’t sleep for two nights after first reading Crime and Punishment. Yet never did I breathe the pure serene, as I might fetchingly have tried to say in those days, until my little craft crashed on the reefs of, first, Wilfred Owen and then George Orwell.
It can be good to start with a shipwreck. Your ideal authors ought to pull you from the foundering of your previous existence, not smilingly guide you into a friendly and peaceable harbor. Just as Llewellyn’s tale of Huw Morgan had upended my sense of the social scale, so the words of Owen’s “Dulce et Decorum Est” went off like a landmine under my concept of history and empire. The moment came in class. It was the turn of a very handsome boy named Sean Watson to read. As he stumbled his bored and boring way through the lines, I was consumed first by a sense of outrage, as if seeing somebody taking an axe to a grand piano. How could anybody be so brutish and insensitive? I wanted to wrench the book from his hands and declaim the poem. But then I found that this would not in fact be possible, because my eyes were blinded with stinging tears. To this day, I have difficulty reciting the poem out loud without a catch in my throat.
I became consumed with the subject and got hold of a revisionist history of the First World War, In Flanders Fields, by Leon Wolff, as well as All Quiet on the Western Front and an anti-war British novel of the trenches called Covenant with Death, by John Harris, the neglect of which I would still define as a huge injustice. (Its action follows a group of workers from Sheffield, from the day they enlist as friends to the day their lives are callously thrown away.) I read all the other war poets, from Siegfried Sassoon to Edmund Blunden to Robert Graves. I could feel all the ballast in my hold turning over as I came to view “The Great War” not as an episode of imperishable valor, celebrated every year on 11 November with the jingoistic verse of Rupert Brooke and Lawrence Binyon, but as an imperialist slaughter that had been ended on such bad terms by such stupid statesmen that it necessitated an even more horrible second round in 1939. Even Winston Churchill and the “Finest Hour,” in this perspective, seemed open to question, and if there was one thing that was not open to question, to someone brought up in a British military atmosphere in the 1950s, it was Winston Churchill and the “Finest Hour.” When allied with my socialist and Fabian readings in other areas, this soon had me thinking of the Spanish Civil War as the only “just” war there had probably ever been. And so I was fairly soon immersed in Homage to Catalonia.
I actually couldn’t make head or tail of this book in those days because the ideological battles within the Left were still opaque to me. And I had come to Orwell by an unusual path anyway. We were all expected to read Animal Farm and Nineteen Eighty-four, which had been placed on the syllabus as part of the curriculum of the Cold War. (I took the opportunity to show off, and to compare and contrast Animal Farm to Darkness at Noon, which I alone in the class had read.) But I had chanced on Orwell’s “social” novels first, and had consumed Keep the Aspidistra Flying and A Clergyman’s Daughter as well as
