Hitch-22

On the cover of the first published version was a paragraph from Commodore Perry’s report to Congress in 1856 (just one year before India rose in rebellion against the East India Company). “It seems to me,” opined the gallant Commodore:

that the people of America will, in some form or another, extend their dominion and their power, until they shall have placed the Saxon race upon the eastern shores of Asia. I think too that eastward and southward will her great rival in future aggrandizement (Russia) stretch forth her power to the coasts of China and Siam and thus the Saxon and the Cossack will meet… Will it be in friendship? I fear not! The antagonistic exponents of freedom and absolutism must thus meet at last and then will be fought the mighty battle on which the world will look with breathless interest; for on its issue the freedom or the slavery of the world will depend.

This seemed quite redolent of the huge drama then playing itself out in Indochina (a comparison to which James himself drew attention), but it came at the subject in a very different and much less propagandistic way than I had been doing. I take down my first edition of this poem, very finely bound by the Sycamore Press (a hand-set- type operation run out of the garage of the poet and tutor of Magdalen College, John Fuller). “To Christopher Hitchens from James Fenton with much love,” it says on the flyleaf, the inscription dated “November 1969.” When James’s first collection of published poems, Terminal Moraine, came out in 1972, I have just noticed to my irritation, it was inscribed “To Chris, from the author, with lots of love.” I hadn’t before registered this qualitative degeneration. What I had noticed at the time was an observation by the great Roy Fuller, honored laureate of the 1930s and father of John, at a party at the latter’s house in Benson Place. “You’re a friend of young Fenton’s, then?” he said gruffly. I allowed as much. “I rather think that he writes as well now, if not better, than Wystan did at his age.” I knew this would please James, who had first been introduced to Auden and Kallman through some mutual friends in Florence, but I also knew it wouldn’t go to his head.

Ah, that head! Redmond O’Hanlon was later to compare it to an owl’s egg. It certainly did have the most domed and sapient appearance. And under the arc and curve of that skull lay an extraordinary variety of elements and materials. The first of these was a sort of direct line to the tradition of English poetry, the second was a talent for burlesque and parody, often manifested with an almost manic glee, and the third was a buried seriousness that, as with his mentor Auden, derived from a sort of post-Christianity based on a form of English Protestantism. He also, broke as he was and as we all were, invariably had the price of a drink or a smoke about his person, and I am glad that I loved and love him so, because it was he who awakened my thus far buried and dangerous lust for alcohol and nicotine. Friends, somebody said, are “god’s apology for relations.” I was one of those who had tended to think of friends at school as comrades or acquaintances or co-conspirators or cronies or sex partners (or an occasional salad of all four). Monastic school and college traditions, I will plead, made this less freakish and grotesque than it may now look on the page. I did have a friend, Michael Prest, my former rescuer from bullying and the only man I still knew from school. And I had a comrade, James Pettifer, who was a playwright and polymath and internationalist. It was so that we could all three find a fourth person to share the expenses of a house in the wastes of Cowley Road that we were meeting Fenton in that pub. All of us, I am sure, would still date our future moments from the one in which this encounter occurred.

It isn’t a matter of looking back and thinking: this was when I met the finest English poet of his generation. I already knew, or at any rate believed, that he was the finest poet of his generation writing in English. The pressing question was: Could he be induced to write a few stanzas that would be of immediate help to the cause of the socialist revolution? I knew that Auden had been inconvenienced by similar demands but I also believed that I was more persuasive and subtle and less dogmatic than those who had tried to induce him, too, into composing lines that could be employed as weaponry.

James was absolutely ready to do anything he could in order to help the struggling people of Indochina (indeed, in a quieter way he was much more decided upon this than I was), but he thought there were other things in life as well. He liked long walks, and he loved the ancient buildings and antique trees and botany of Oxford. He liked to talk about Italy and Greece and all matters classical. He had a huge talent for rude songs and crude puns, rescued from vulgarity by a sort of innocence. He was tremendously impressed, as well as a bit put off, by the extreme seriousness of George Steiner, who had just published his imposing collection of essays Language and Silence. In rather the same way as I had felt a bit overawed by Isaiah Berlin, James was unable to forget the embarrassment of an undergraduate dinner with Steiner, in which he had overdone his own insouciance and had too languidly said that there were no great unifying causes left anymore: no grand subject of the sort that had sent Auden to Spain or China. Steiner had snapped at this Fentonian display of the blase and told him to take a hard look at what seemed to be happening in Vietnam. And this had certainly worked with James, who was swift on the uptake and who cringed to remember how smug he must have sounded. However, before this full confession could be registered, there was some other business to be done, as we tramped across Magdalen Bridge: the polishing of the rude songs:

I Am The King Of China
And I Like A Tight Vagina:
It Lets Me Show The Things I Know—
Like The Prose Style Of George Steiner.

James’s “King of China” series—which had to follow the scheme laid out above, where the first line could not be changed at all and the subsequent lines should be obscene and if possible (failing in the above case) mildly homosexual—was obviously a minor-key achievement for the times. However, I would defend it very strongly and believe it has its place in the history of Auden-inspired minor but useful obscenity. The model verse ran like this, and all others had to observe the rules:

I Am The King of China
And My Court Is Crammed With Sages.
But When I Want A Bit Of Bum,
I Ring Around My Yellow Pages.

I cannot be sure if the Sycamore Press’s (very limited and hand-printed and elegant) edition of this collection of trivia yet survives, but if so, there is a sporting chance that my own contribution is still in print:

I Am The King of China.
I’m A Patron of the Prize-Ring.
And Every Time My Man’s On Top—
You Can Feel My Boxer Rising.

I already knew in principle that word games, like limericks and acrostics and acronyms and crosswords, are good training in and of themselves. I could not then guess at the harvest of such marvels that lay ahead, but I did dimly appreciate that the Fenton factor was having the effect of making me somewhat less rigidly disapproving. In his copy of Steiner’s Language and Silence, though, I found a thumbed-over dog-eared page that fell open at an essay titled “Trotsky and the Tragic Imagination,” and realized that my new chum had suggested to me a possible relationship, which was that of politics to literature but this time beginning at the literary end and not at the ideological one.

James was a son of the Church: his father was a leading Anglican divine, the principal of a theological training college in Durham and author of a standard commentary on the Gospel of Luke. James’s mother had died