OUR NOVELISTS

New Zealand Herald, Volume LXVI, Issue 20420, 23 November 1929, Page 1 (Supplement)

OUR NOVELISTS

BY JANE BALLAN.

SOME OF THE PIONEERS.

Tho writing *of novels is scarcely a colonial accomplishment. Very few of tho thousands published annually come from tho new countries. The fault lies in there being in tho colonies no definite literary section of society such as there is in England and on tho Continent. Genius often thrives in spite of an unsympathetic atmosphere, but talent needs all the encouragement available. No one would say that New Zealand is sympathetic toward her would-be writers. She. looks askance at anyone who shows signs of taking any art seriously. In the very young tho inclination is, of course, treated lightly, in much the same manner as the youthful desiro to go on the stage. It is a transient phase.

For the older countries New Zealand's enchantment lies in its remoteness from tho rest of the world. It is seen as a little Utopia washed by tho glamorous South Seas. It is true that no country could bo more ideal for early youth to develop in-, but it is this remoteness from tho rest of the world, remoteness from tho encouragement of a sympathetic atmosphere, that is inclined to dwarf immature artistic talent.

Katlicrine Mansfield, New Zealand's outstanding literary genius, left New Zealand when she was in her teens. She died at the age of 38, and never ceased in ,her stories lo relive tho vivid impressions of her childhood. Knlhcrine Mansfield put New Zealand on tho literary map of tho world. New Zealand is still diffident about her, bat her genius has been spoken of in tones that leave no room for doubt. Tho literary world, enchanted with the first taste of her genius, turned expectantly toward the colonics—could there be others 1

Crop of Green Shoots. In the last decade in New Zealand quite a crop of novelists have put forth green shoots. With one exception these aro all women. Jane Marnier perhaps heads the, list, by reason of her " Story of a New Zealand River," which is the outstanding New Zealand novel. Unfortunately, being published at the close of Iho war, it did not receive tho recognition it deserved. This first Look proved M iss Mander to have definite talent for novel writing. Her relationships are deftly manipulated, her outlook mature. The book had depth and breadth, and carried a convincing and unforced New Zealand atmosphere. ller later novels havo sometimes denied the promise of her first. Hurt by the lack of recognition received in her own country, she has gone to America, whose life and customs now claim her novels. In theso her talent is still undenied, but it would appear to a critical reader that her inspiration often flags. She no longer, writes outstandingly of the country that is her natural background—she is a novelist writing consciously of New York. Behind Jane Mander comes a little band of three women—Rosemary Rees, Isabel Maud Peacocke, and Jean Devanny. All havo several books to their credit, all show a certain talent for story-telling, yet all three lack the gift of making their characters behave in anything but a storybook manner. Rosemary Rees writes pleasant sentimental books with too much local colour for true artistry. New Zea landers are not as conscious of the Maoris and pohntukawas and luis as Miss Rees would havo one believe: and a long list of New Zealand characteristics does not necessarily give a book a New Zealand background. Miss Peacocke—we have not yet come to think of her as Mrs. Cluett—has more artistry, as a book of childhood impressions proves. Her latest, a full-sized novel, featured a he-man hero, who used his strength U> assert his affection and win the heroine's adoration. One feels that Miss Peacocke, tongue in cheek, is making a bid for a certain type of popularity. Jean Devanny aspired to be

the New Zealand Elinor Glyn. She successfully attained notoriety by having her first book, " The Butcher's Shop," banned by tho New Zealand censor. Her later books arc slightly less crude. They give a highly coloured and entirely erroneous idea of Now Zealand farming life, and are unbalanced and hysterical. In literature, as in everything else, it is the sudden things that take us by storm, tho new planets that swim into our ken, tho surprises. There is no longer any hope of surprise from .'fane Mander, Rosemary Rees, Isabel Maud Peacocke, or Jean Devanny. These are in I heir way old-established novelists who have given of their best. A study of their books shows that our hopes lie not in them. Instinctively we turn to the younger generation. A Suggested Collaboration.

Of these we havo had two novelists Hector Bolitho and Mnrin Gordon. Hector Bolitho, if one can believe tho printed word, has had something of a success in the more sophisticated circles. Ho has circulated the very excellent notices he has received that all who run might read.

Better books have before now denies

their notices, and in spite of, even because of, his New Zealand extraction, one must, admit that neither of his novels,

" Solemn Boy " or " Judith Silver," is anywhere near the first class. The best

at can bo said of 'Mr. Bolitho is th

he belongs to his own time, ho echoes a youthful note, precocious perhaps, but a note that really rings true for a. certain section of the twentieth-century generation. He is sensitive, imitative,

and because of his sense of humour much should bp forgiven him. His talent is slight. One often catches glimpses of the immaturo boy, cheeky, showing off, " putting it over." Mr. Bolitho is a good journalist, and undoubtedly a good publicity man. Even the fact that he has little honour in his own country has been deftly turned to good publicity account. But ho is not yet a good novelist.

Mona Gordon, on the other hand, is

the direct antithesis of Mr. Bolitho. It collaboration, what might not they accom

plisli ? Ho has all the modernity that Miss Gordon lacks. Equipped with his lightness of touch, his gamin quickness and sense of humour, what might she not achieve? Miss Gordon has sincerity

and a feeling for tho pageantry of history that inveigles her readers from page to page. , Yet one turns from tho last page of 'Torn Tapestry" with a sense of disappointment. Its chief fault seems to be that it is overwritten. Miss Gordon

has chosen for her first, attempt too largo a canvas, and has taken infinite pains tn cover it. One feels (hat it is not with a modern background that her hope of success lies. Hers is not a modern spirit —she lives in her imagination in another age. She has talent and inspiration, and her next book is awaited with interest. Fashion, for want of a better word, changes in novels just as it does in dress.

A Mirror of Life. A hook that faithfully mirrors tho life of its own time is of more than momentary interest. Mr. Alan Mulgan's book " Home " is a typical example of tho inevitable success of a simple, sincerely written narrative. The book is frankly autobiographical. Mr. Mulgan tells of the fulfilment of his longing to visit England Ho expresses in dignified prose the deep emotion many colonials experience oil such a visit. Reading " Homo " one comes to know Mr. Mulgan. It is his literary portrait. Any book that expresses a personality, that is sincere, that is tho outcome of some deep emotional feeling, is literature. It, is such expression in tho form of a novel that sooner or later a New Zealandcr will write. There are signs that the time is ripe. Slowly the country is awakening to an interest in literary matters. Never before in New Zealand

liavo (hero been so many people reading and listening to serious drama. Tho movement is bound to extend; already it has extended some of tho way to general literature, and it will then demand to bo in tho movement even to the extent oX being on tho stage.;