Greene on Capri

For anyone who values humanistic traditions, reading the works of Shirley Hazzard is intellectually refreshing. As Geordie Williamson wrote (The Australian, 3/25/16) in a review of her essays, (We Need Silence to Find Out What We Think), an “antiquated world view comes roaring back into view.”

I have found this to be true in all of Hazzard’s books that I’ve read including most recently Greene on Capri. In this short memoir, she recalls the friendship she and her husband, the Flaubert scholar, Francis Steegmuller had with Greene when they were visiting the island of Capri. Greene owned a house there and together they met frequently for lunch and dinner at a restaurant Greene liked.

For the most part, they talked about literature, the books and authors they liked. These conversational rambles during their long meals and walks constitute the heart of the book and bring alive their mutual joy in reading and writing.

Hazzard writes, “Literature was the longest and most consistent pleasure of Graham’s life. It was the element in which he best existed, providing him with the equilibrium of affinity and a life time to the rational as well as the fantastic.”

Greene on Capri is not meant to be a complete portrait of Greene but from time to time Hazzard does reflect on his personality. In The Man Within, Greene wrote: “Always while one part of him spoke, another part stood on one side and wondered, Is this I who am speaking? Can I really exist like this?” Hazzard comments:

“I think that Graham was not simply made up of two persons. Rather, that he gave rein to disparate states of mind as they successively possessed him, putting these to service in his work…with years, however, it had come to prevail for its own sake as a mood of defiance, directed against the tedium of rational existence.”

Elsewhere she notes how little Greene valued contentment “…pleasure could not be an assumption and was not a goal; whereas suffering was a constant, and almost a code of honour. Suffering was the attestable key to imaginative existence.”

Is suffering where writers really belong, what they need to experience in order to write fiction? If we can believe Hazzard, it was for Greene. However, I doubt it is necessary for most writers but perhaps it is why many of them become alcoholics.

In The Trip to Echo Spring, Olivia Lang explores the reasons why some authors were destroyed by excessive drinking. She writes: [Eugene] O’Neill had a terrible problem with alcohol. Most writers do. American writers nearly all have problems with alcohol because there’s a great deal of tension involved in writing, you know that. And it’s all right up to a certain age, and then you begin to need a little nervous support that you get from drinking.