Rex

Fiction ~ novel
Published March/April 1925
Approx. 109,000 words
(First read 12/04/2014) 

[21/04/14] It's now well over a week since I finished Rex and I'm still trying to think of something good to say about it ... 
[24/04/14] This isn't what you'd call a 'good' thing: it's just something that came to me while I was lying there racked with insomnia (etc.) at 3.30 this morning.  When EFB had finished writing Colin (1923) and Colin II (1925) he found he had about 100,000 words left over: these he published under the title Rex.
Okay, serious now.  The plot: Rex is a young chap (24 in this case) who wants to be a playwright.  When he's not living in London and working as a solicitor's clerk, or something like that, he lives with his parents in Norfolk, or somewhere like that, somewhere with a beach nearby.  He and the said father, who's Benson Father Type A (much older than his

wife; cold; forbidding; cantankerous, etc.) don't get on at all; in fact they live in a state of

constant hostility.  During one of his spells in London, Rex meets a woman, a divorcée of 32 years, a certain Mrs Winton; he doesn't reckon much to her at first, but is happy enough to live rent-free in her flat while she goes off on holiday for a couple of months.  The pater finds out about this; incensed that his son should be living off a woman, he confronts Rex; there's a Big Scene, after which he just has enough time to cut the troublesome son off without a penny, get the train home, have tea with his wife, during which he tells her the news, then drop dead on the drawing-room carpet.
This comes more or less exactly half way through the book ...
... and is the point at which it turns into just another Bensonian 'drama', with not the least shred of humour, about a not-especially-interesting young man pursuing a not-at-all-interesting career.

Rex has a best friend named Oliver who is ~ I'm not going to beat about the bush here ~ a poorly repressed homosexual who's in love with our hero.  His declarations to Rex, coming from a supposedly straight man, are toe-curlingly embarrassing.  Rex, having no great liking for anything other than his 'work', finds Oliver a nuisance at best, and they have a falling-out, then eventually a reconciliation of sorts.  So that's one thing that happens.
The other ~ the Big One ~ is that Rex, despite having no soul to speak of, gradually realizes he's 'in love' with his divorcée, and convinces himself that it's reciprocal.  In a scene which I can only describe as 'risible', he declares himself, and goes into a clinch with said woman; after which, she turns round¹ and says to him, "If you think I'm in the least bit in love with you, you're a total div ~ I was just messing with your head."²  Rex is devastated and has a kind of nervous breakdowny affair.  He says to Oliver, of Mrs Winton:

She's a spiritual Sadist, of great intellectual and physical refinement, but with a passion for the torture and heart's blood of nice young men like you and me.

No, like you, Rexie.
Does any good come of all this?  Well, yes and no.  Mainly the latter.  Our hero, who's been plugging away at plays all this time only to have them all rejected, suddenly realizes that he needs to pander to the public's love of cruelty and cynicism, so he dips his pen in bile and pens a piece about a cruel and heartless woman etc.  And it's a hit!  (The funny thing is that from what EFB tells us of Rex's work before and after his Road to Damascus experience, it's all exactly the same!)

Is that the end?  No, the end is that Mrs W conveniently develops some mysterious illness or other; Rex visits her on her deathbed; and he forgives her.
Rex is, not to put too fine a point to it, a hopeless farrago of idiotic plotting, unbelievable characters you couldn't care less about, dead ends, red herrings, extremely feeble attempts at humour, missed opportunities, turgid dialogue, creaking moralities (difficult to believe EFB and, for example, D H Lawrence even inhabited the same planet, let alone the same country and time) ~ in short, it's a mess. 


¹ Oops, this sounds rather like he was kissing the back of her head.  He wasn't.
² This isn't a direct quote, obviously. 




THE CRITICS

There are some writers whom it is somewhat difficult to place. Mr E F Benson is one of them. He can be ethereal one minute and mundane the next. You never quite know ~ when you hear that he has a new book on the stocks ~ whether he is going to describe the stars or discuss the slums ~ as witness his several David books and Dodo the Second. But whether it relates to the heavens above or the earth beneath, a new book by him is a great literary event. In Rex […] we are moved by high moral considerations at one moment and are brought down to such everyday problems as the evacuation of the Ruhr the next. The title of the book is the Christian name of its chief character.

Rex Goodwin and his doings and his sayings provoke thought and reflection. No ordinary man is this, and the study of his character as portrayed by Mr Benson not only provides delightful reading, but stern teaching. My advice to those who like to think while they read is ~ read Rex. It is a really great novel.

~'The Bookworm' in The Western Morning News and Mercury, 06/04/1925

It is a hard thing to say about the author of the once daring Dodo (by the way, isn't Dodo's granddaughter almost ripe by now for analysis?), but Mr. Benson is an incorruptible Victorian. One has a rather Rip Van Winklish feeling about the people of his latest novel—that they went to sleep sometime in that relative age of innocence, the naughty 'nineties, and on awaking in the age of flapper went on behaving themselves as though nothing had happened. Rex Goodwin is not really of this day and generation, but of Mr. Benson's own, and it was about the time of the Boer War that he should have come down from Cambridge with an Ibsen in his pocket and in his heart the determination to go and do likewise. Even the successful play that he finally writes with a cynical snarl, prostituting his art because a lady has been unkind, is the sort of play that was ridiculed by the young intellectuals of the beginning of the century.

If Rex is a Victorian, or at latest an Edwardian, heredity may account for it, for more Victorian figures than his parents could hardly be imagined—an irascible, unreasonable father, a sweet, docile mother, palpitating with love and sacrifice for both the superior, and mutually irreconcilable, males of her family. There may still be fathers like Rex's, but one prefers not to believe it.

After all, however, Mr. Benson has a perfect right, if he pleases, to postulate Victorian survivals in a post-war world; and in this case it happens that the play is not the thing (Rex could have been an insurance broker just as well as a dramatist), but the character of the playwright. In Rex Goodwin the author has drawn a character probably more unusual in fiction than in life— hard, glittering, intellectual, able to stimulate love, but seemingly incapable of feeling it. As foils and victims are his mother and a man friend of school and Cambridge days. The interplay of the three characters, with the preposterous father appearing and disappearing as a diabolus ex machina, is dexterously handled and interesting to watch. The experienced reader would no doubt guess the dénouement even had the publisher's blurb not obligingly given it away. Love cavalierly treated will have its revenge, and in Rex's case the vampire lady chosen as the instrument of vengeance makes a remarkably good job of it The conclusion is just the sort of thing that Rex and his sophisticated young intellectuals (of the 'nineties) would have become ribald over, and if the novel were ever filmed there would undoubtedly be a title about the 'cleansing fires of love'; but there it is,— and Mr. Benson has again given us an entertaining novel in his second best style.

~The Saturday Review, 20/02/1926

Mr Benson's novels are always so fresh, full of the sage of life, and Rex is one of those stories, that, once begun must be finished. It savours of undergraduate repartee being so rich in finesse. It concerns parental responsibility and filial devotion. Parents would learn from it much wisdom, and sons and daughters much understanding of their duty and age. It clearly shows that the demands made by age from youth should not be demanded so much as a right but received as the bouquets from human understanding and direction. Rex is a highly-strung boy who whilst ready to be friends is quite as keen to be at variance with his father. He wants a reason for every action demanded of him. He is a sort of Cassabianca standing always on the burning deck, and even when friendly is always on guard for an undiplomatic word which will give him his chance. Mr Benson has [gauged] the psychology of youth in aspersed fashion. The criticisms are healthy, affording a much desired mental tone. Rex has his problems to face and faces them, even maintaining his sang froid against all the conventions. He accepts the flat of a woman friend who bears all expenses, yet sees nothing wrong, until his mother sees his predicament. Rex is selfish, always taking, and at times he thinks it is too much trouble even to receive.

~The Daily Mail [Hull], 20/03/1925. A curiously incoherent bit of writing. When he says 'Cassabianca' does he mean 'Cassandra'?  Also: I get the distinct impression the reviewer only read about one third of the book.  EDIT, after doing a bit of that research thing: No, the reviewer meant Casabianca ~ he just didn't know how to spell it.

 

A Hidden Power

Non-fiction ~ review
Published in The Spectator, 13th September 1934
1,370 words
(Read 27/03/2014)

Being a review of The Journal and Letters of Reginald Viscount Esher, Volume I, edited by his son Maurice V. Brett.  I'd never heard of Esher (1852-1930); nor do I particularly care to hear of him ever again.  He was, apparently, the hidden power behind at least two thrones.
The only vaguely instructive things to be had from the article are these: Benson is keen to point out, and I'm sure I was very reassured to learn that

[...] he had a personal charm of a feminine though emphatically not of an effeminate quality.

However, I was less reassured by this:

The last half of this fascinating book consists chiefly of extracts from Lord Esher's letters to his younger son Maurice.  They are like the eager notes of a lover to his beloved [...]  He writes to him about the passionate friendships of schooldays and the beauty of the love that inspires them.

Lord Arthur Somerset

I wouldn't normally do this but I'll let Wikipedia have the last word on the subject:

Although married with children, Esher had homosexual inclinations, but his flirtations with young men were regarded with tolerant amusement in polite society. He was evidently sufficiently discreet to avoid becoming entangled in the Cleveland Street Scandal, unlike his friend Lord Arthur Somerset.

'Nuff said.  The article is available online here.

The Inheritor

Fiction ~ novel
Published 1930
Approx. 108,000 words
(First read 14/08/2013)

SHORT VERSION: A young man of great beauty believes that (1) he is cursed, and (2) he needs to get away from the modern world and 'back to nature'.  Things don't turn out well for him so he goes for the simple unhappy ending option.  I guess this one might be classed 'a supernatural[ish] psychological melodrama', with the usual caveat about the Benson brand of melodrama.
LONG VERSION: Blimey! ~ never has an author taken so long (316pp.) to tell a story so insubstantial.
It kicks off at Cambridge University, more precisely at King's College [surprise!].  Steven Gervase, a student¹ is 20 years old [surprise! again] and [surprise! ~ okay, that's enough of that] has the looks of a Greek god and is a popular chap.  One of the dons watching over his career is Maurice Crofts, who is 25 ~ how he's got to be a don at that age isn't explained, maybe it was perfectly normal in those days.  'Those days', by the way, are 1929-30 ~ EFB mentions a date again, though really all his books are set in one and the same time: Benson Meantime, somewhere between 1890 and 1914, a magical period in which, though an occasional 'motor' might flash by on its way to a 'cinematograph', nothing really ever changes.

Where was I?  Ah yes.  This post-adolescent Maurice², this donkin is, despite his tender years, pretty much the stereotypical elderly Oxbridge don: rather stuffy, a shade over-devoted to the academic life, a confirmed bachelor dismissive of persons of the female persuasion ...
Maurice thinks he sees hidden depths in Steven, or rather, he thinks he sees another mysterious side to his character.  Steven, who has just unceremoniously dumped his best pal (who is known as 'The Child'!) and is on the look-out for a new one, obligingly gives Maurice a glimpse of what that other side is ... by charming a squirrel out of a tree.  [No, I'm not making this up.]  It turns out that this Greek god of a young man is ...

No, you really do have to read it to fully appreciate the unutterable daftness of the plot.  I'll just sum it up as follows: Maurice suddenly comes to the realization that he loves ~ no, not 'loves': adores ~ no, not 'adores': worships (these are all his own words ~ honest!) Steven and wants to be initiated into his mysteries.  Oh but it's not sexual, no! ~ Maurice is always very careful to point that out, immediately after he's alluded to his idol's breath-taking beauty for the umpteenth time ~ barely a page goes by without someone alluding to it³. 

Steven is wonderfully, miraculously, sublimely gorgeous, and Maurice loves-adores-worships him ~ despite not really knowing him to any great extent ... OH BUT IT'S NOT SEXUAL!
I was meant to be summarizing, wasn't I?  Well, Maurice goes for a holiday at the Gervases' ancestral home in Cornwall, over which there hangs a preposterous I-can't-be-arsed-to-dream-up-an-explanation-for-it curse.  He proves to be de trop and is effectively told, like 'The Child' before him⁴, to sling his hook.  He does.
After various tribulations (most notably marriage, y'know, to a woman), during which yet another perfectly blameless but sadly inconvenient character is summarily bumped off, Steven attempts to reform himself, but fails.  The End.

The Inheritor has one of the most idiotic plots I've ever laid eyes on, even by EFB's generally rather low standards.  With the exception of Maurice, who's really only interesting by virtue of being such a clear-cut case of violently repressed homosexuality, and who pretty much disappears halfway through (though he does at least manage to avoid the Benson guillotine), and Steven's aunt, who has some comic potential, the characters are sub-cardboard-cutout.  And vast swathes of the novel are endless interior monologue ... of the dull variety.  Nothing categorically and incontrovertibly supernatural happens, unless you count one case of squirrel-charming.  The whole thing is simply asinine.

P.S. If I was a serious literary critic with psychoanalytical tendencies [possibly a contradiction in terms] and, more importantly, if I gave at least half a stuff, I could perhaps cobble together a theory which would feature the phrase 'a metaphor for E. F. Benson's homosexuality' very heavily.  But I'm not, and I don't, so I won't.

¹ I'm not sure EFB ever gets round to mentioning what he's studying, but one can safely assume it's Classics.
² It has to be said that if Benson had made him 60 years old, the traditional age for your average literary don, the whole thing would've been creepy beyond belief.
³ After 50 pages or so you feel like punching Steven's perfect mush.  The feeling lasts until the last page.
⁴ Who EFB sees fit to kill off while he's off-stage, for no reason whatever.