Like Yiyun mentions, the sudden interuption of the narrator does surprise. Interesting that the narrator seems to guess where the reader's sympathies lie--in frustration with Reardon. To me , Biffen seems hopeless but not as self-serving. The sudden action involved in saving the finally finished "Mr. Bailey, Grocer" felt almost like melodrama. Biffen's "gymnastic endeavor" on the rooftop reminded me that Biffen is only 35 years old.
Still, Reardon and Biffen seem unwilling move away from their ideals. To comfort themselves, they dream of the Acropolis. But for me, Biffen is still the one who sees more clearly if painfully. He challenges more selfish Reardon:
“What are we—you and I?” pursued [Biffen].“We have no belief in immortality; we are convinced that this life is all; we know that human happiness is the origin and end of all moral considerations. What right have we to make ourselves and others miserable for the sake of an obstinate idealism? It is our duty to make the best of circumstances."
To me, Gissing's interruption is like Oz pulling back the green curtain to central command. He is showing us the nuts and bolts of how he has constructed NGS, how he has pitted Jasper against Edwin, Edwin against Jasper, for the very purpose of manipulating our sympathies. I think this is his superpower as a writer - character development and juxtaposition.
These two men, "holy unfitted for the rough and tumble of the world's labor market," on the brink of defeat and death, oddly lucky to be revived by gruesome turns of events.
Biffen is inspired to heroism by fire and his affection for his work "Each sentence was as good as he could make it, harmonious to the ear, with words of precious meaning skillfully set."
Reardon is prompted from his deathbed of despair by the faint glimmer of love and connection with Amy, thanks to the imminent loss of their son - "The poor little fellow has no great place in my heart..."
Biffen channels the wisdom of the ages - "Do be human, and put away your obstinate folly." and "We have no right to foster sensibilities, and conduct ourselves as if the world allowed of ideal relations..." in his sweet effort to prevent Edwin from blowing it once he gets there.
I was surprised to find out that Biffen has a prosperous brother - and that Biffen wouldn't turn to the "unreluctant" source of relief before he got to his last two pence and two farthings.
Both of these men might have died on the same night despite each having access to money that could keep them alive.
I enjoyed the comparison of lives in review; the unforgiving possibilities of the rat-race in London ("a will-o'-the wisp attraction") on the one hand, and on the other a fantasy which assumed the gratitude one might feel for an unambitious yet ultimately satisfactory life in the country or a small town.
What a roller coaster ride. I felt exactly as Yiyun, worried, worried, worried, for the manuscript and Biffen. And touched by Biffen's ultimate recounting, "Ah, but my books, my books, my books! All my classics, with years of scribbling in the margins!"
As Yiyun noted previously “the only thing that makes writing a worthwhile pursuit is the joy one gets out of putting words together." Despite the harsh material conditions of Biffen’s existence, he palpably – and poignantly – reflects such “joy”: [H]e laboured over ['Mr. Bailey, Grocer'] … patiently, affectionately, scrupulously. Each sentence was as good as he could make it, harmonious to the ear, with words of precious meaning skillfully set. All in service of illuminating the “ignobly decent” within quotidian lives. A “novel of modern life,” indeed! Ahhh, Biffen.
I for one, have not felt a moment of “disdain” toward Biffen (Reardon is another story!), but rather admire his realism, and clear-sighted human vision, particularly with respect to friendship. He does not hesitate to call Reardon to account, when necessary: ‘What an absurd question! ... Do be human, and put away your obstinate folly … What right have we to make ourselves and others miserable for the sake of obstinate idealism. It is our duty to make the best of circumstances.” And, still, in parting, Biffen offers his heart, a tender tone of reassurance to Reardon: ‘Forgive my plain speech. Go and be happy!’
Biffen stands alone as the “train whirled away into darkness and storm.” This left me desolate. A foreboding image, perhaps the most painful (for me) in the book, thus far.
I’m not sure why Gissing put Reardon and Biffen in the same box. Yes, both are starving writers. But unlike Reardon, Biffen isn’t consumed with self-pity, blaming, and depression. He has made a choice and lives with it, retaining his good humor and persistence.
Reardon carries on and on: he says he no longer wants fame, and yet bewails the loss of it, then he blames London for his demise, then wallows in regret that he has been “only trying to live.” It seems true. And through all of this monologue, he has convinced himself that “I have had no choice.” Of course, I’ve probably sounded like him too at times.
Biffen, a real friend, listens and then tells him the truth: he’s just got to face reality. “The art of living is the art of compromise...Why will you go cutting your loaf with a razor when you have a serviceable bread-knife?....Perhaps––perhaps––perhaps!...there goes the razor again!”
I find it funny that Gissing refers to Biffen as passive. Reardon, sure. But Biffen runs into a burning building!
It’s a lot of work to keep track of characters, an entire world of laborers, and otherwise , is nearly impossible. I couldn’t help but latch on to the phrase “loafing blackguards” that Biffen pushes past on his way to his precious. Hearing sirens in the distance, I couldn’t help but picture police officers at first, until fortunately Google search saved me from embarrassing myself in my assumptions. I was so ready to believe that there were idle police officers in the middle of a crisis.
As disarming as it may be to be personally addressed by the narrative voice, I think the proper beginning for this chapter should have been the quote Yiyun used today. The previous comparison that Gissing sets up btw Reardon/Biffen and Milvain is misleading.
We don't want Reardon to be more like Jasper. If anything, the other way around.
"The sum of their faults was their inability to earn money." I would not agree with that, either. First, Reardon and Biffen do not share the same faults. And second, they don't have an inability to earn, rather they choose for various reasons not to, at least not in certain ways.
On the whole it's clear that the main fault is society's and can't be laid at the foot of any one character entirely.
I enjoy Reardon's summation of London, nearly ending with "London is only a huge shop, with an hotel on the upper storeys. To be sure, if you make it your artistic subject, that's a different thing."
According to Reardon, London, the unforgiving and distinctly uncharitable city, ruins people with "brains" who should be romantically idling in quieter places, penning their masterpieces in solitude. As an argument, this doesn't seem feasible, either.
Gissing is just the man to, after allowing his beloved Biffen to save his manuscript, put a small defenseless child in mortal peril with diphtheria. The self-correcting realism again.
"...view them [Reardon and Biffen] in a possible relation to a humane order of society, and they are admirable citizens." Many would be altered in our perception (and in their reality) by changing the order of society... Hmm
Reardon and Biffen might be able to take a leaf from the book of Milvain, but they can't be Jasper and I'm not sure how long they could sustain the "push and bustle." At some point, personality does matter. One of the most disillusioning things artists discover in our current order of society is that it isn't enough to do the work. You have to meet the right people at the right time, attend the right program, get the fellowship, etc. and then capitalize on those opportunities. Otherwise, it's the slush pile, which is very hard to rise out of. Some people can do these things indefatigably; others struggle to do them at all; some get better at them but don't necessarily become adept. And they are no guarantee. That being said, I'm hoping for a Cinderella turn of events with Mr. Bailey, Grocer! I don't care if it's implausible; for Biffen's sake, I would suspend disbelief!
"To have had even a small reputation, and to have outlived it, is a sort of anticipation of death." This passage of Reardon's struck me. I think he may be worse off for having experienced success. He had momentum and lost it, and the ruin wasn't swift. He fought against it and was not able to recover. Unappealing though his behavior and attitude are, he has had a miserable experience. He's trying to regroup, but bitterness seems almost inevitable. To avoid or overcome it takes an enlightened nature. Biffen perhaps has such a nature. What would he be like in a marriage, with the various domestic and emotional challenges? I think he might well be equal to it, but then I wonder if his very forbearance would drive someone crazy.
Biffen to Reardon: "The art of living is the art of compromise." No truer words were ever spoken.
Like Yiyun mentions, the sudden interuption of the narrator does surprise. Interesting that the narrator seems to guess where the reader's sympathies lie--in frustration with Reardon. To me , Biffen seems hopeless but not as self-serving. The sudden action involved in saving the finally finished "Mr. Bailey, Grocer" felt almost like melodrama. Biffen's "gymnastic endeavor" on the rooftop reminded me that Biffen is only 35 years old.
Still, Reardon and Biffen seem unwilling move away from their ideals. To comfort themselves, they dream of the Acropolis. But for me, Biffen is still the one who sees more clearly if painfully. He challenges more selfish Reardon:
“What are we—you and I?” pursued [Biffen].“We have no belief in immortality; we are convinced that this life is all; we know that human happiness is the origin and end of all moral considerations. What right have we to make ourselves and others miserable for the sake of an obstinate idealism? It is our duty to make the best of circumstances."
So am I the only one who thinks that Biffen might have considered saving the alcoholic guy on the stairs instead of his manuscript? Just sayin . . .
To me, Gissing's interruption is like Oz pulling back the green curtain to central command. He is showing us the nuts and bolts of how he has constructed NGS, how he has pitted Jasper against Edwin, Edwin against Jasper, for the very purpose of manipulating our sympathies. I think this is his superpower as a writer - character development and juxtaposition.
These two men, "holy unfitted for the rough and tumble of the world's labor market," on the brink of defeat and death, oddly lucky to be revived by gruesome turns of events.
Biffen is inspired to heroism by fire and his affection for his work "Each sentence was as good as he could make it, harmonious to the ear, with words of precious meaning skillfully set."
Reardon is prompted from his deathbed of despair by the faint glimmer of love and connection with Amy, thanks to the imminent loss of their son - "The poor little fellow has no great place in my heart..."
Biffen channels the wisdom of the ages - "Do be human, and put away your obstinate folly." and "We have no right to foster sensibilities, and conduct ourselves as if the world allowed of ideal relations..." in his sweet effort to prevent Edwin from blowing it once he gets there.
I was surprised to find out that Biffen has a prosperous brother - and that Biffen wouldn't turn to the "unreluctant" source of relief before he got to his last two pence and two farthings.
Both of these men might have died on the same night despite each having access to money that could keep them alive.
I enjoyed the comparison of lives in review; the unforgiving possibilities of the rat-race in London ("a will-o'-the wisp attraction") on the one hand, and on the other a fantasy which assumed the gratitude one might feel for an unambitious yet ultimately satisfactory life in the country or a small town.
I’ve seen how a crisis can bring families together. Here’s hoping, but I’m concerned about Reardon’s health.
What a roller coaster ride. I felt exactly as Yiyun, worried, worried, worried, for the manuscript and Biffen. And touched by Biffen's ultimate recounting, "Ah, but my books, my books, my books! All my classics, with years of scribbling in the margins!"
As Yiyun noted previously “the only thing that makes writing a worthwhile pursuit is the joy one gets out of putting words together." Despite the harsh material conditions of Biffen’s existence, he palpably – and poignantly – reflects such “joy”: [H]e laboured over ['Mr. Bailey, Grocer'] … patiently, affectionately, scrupulously. Each sentence was as good as he could make it, harmonious to the ear, with words of precious meaning skillfully set. All in service of illuminating the “ignobly decent” within quotidian lives. A “novel of modern life,” indeed! Ahhh, Biffen.
I for one, have not felt a moment of “disdain” toward Biffen (Reardon is another story!), but rather admire his realism, and clear-sighted human vision, particularly with respect to friendship. He does not hesitate to call Reardon to account, when necessary: ‘What an absurd question! ... Do be human, and put away your obstinate folly … What right have we to make ourselves and others miserable for the sake of obstinate idealism. It is our duty to make the best of circumstances.” And, still, in parting, Biffen offers his heart, a tender tone of reassurance to Reardon: ‘Forgive my plain speech. Go and be happy!’
Biffen stands alone as the “train whirled away into darkness and storm.” This left me desolate. A foreboding image, perhaps the most painful (for me) in the book, thus far.
I’m not sure why Gissing put Reardon and Biffen in the same box. Yes, both are starving writers. But unlike Reardon, Biffen isn’t consumed with self-pity, blaming, and depression. He has made a choice and lives with it, retaining his good humor and persistence.
Reardon carries on and on: he says he no longer wants fame, and yet bewails the loss of it, then he blames London for his demise, then wallows in regret that he has been “only trying to live.” It seems true. And through all of this monologue, he has convinced himself that “I have had no choice.” Of course, I’ve probably sounded like him too at times.
Biffen, a real friend, listens and then tells him the truth: he’s just got to face reality. “The art of living is the art of compromise...Why will you go cutting your loaf with a razor when you have a serviceable bread-knife?....Perhaps––perhaps––perhaps!...there goes the razor again!”
I find it funny that Gissing refers to Biffen as passive. Reardon, sure. But Biffen runs into a burning building!
It’s a lot of work to keep track of characters, an entire world of laborers, and otherwise , is nearly impossible. I couldn’t help but latch on to the phrase “loafing blackguards” that Biffen pushes past on his way to his precious. Hearing sirens in the distance, I couldn’t help but picture police officers at first, until fortunately Google search saved me from embarrassing myself in my assumptions. I was so ready to believe that there were idle police officers in the middle of a crisis.
As disarming as it may be to be personally addressed by the narrative voice, I think the proper beginning for this chapter should have been the quote Yiyun used today. The previous comparison that Gissing sets up btw Reardon/Biffen and Milvain is misleading.
We don't want Reardon to be more like Jasper. If anything, the other way around.
"The sum of their faults was their inability to earn money." I would not agree with that, either. First, Reardon and Biffen do not share the same faults. And second, they don't have an inability to earn, rather they choose for various reasons not to, at least not in certain ways.
On the whole it's clear that the main fault is society's and can't be laid at the foot of any one character entirely.
I enjoy Reardon's summation of London, nearly ending with "London is only a huge shop, with an hotel on the upper storeys. To be sure, if you make it your artistic subject, that's a different thing."
According to Reardon, London, the unforgiving and distinctly uncharitable city, ruins people with "brains" who should be romantically idling in quieter places, penning their masterpieces in solitude. As an argument, this doesn't seem feasible, either.
Gissing is just the man to, after allowing his beloved Biffen to save his manuscript, put a small defenseless child in mortal peril with diphtheria. The self-correcting realism again.
"...view them [Reardon and Biffen] in a possible relation to a humane order of society, and they are admirable citizens." Many would be altered in our perception (and in their reality) by changing the order of society... Hmm
Reardon and Biffen might be able to take a leaf from the book of Milvain, but they can't be Jasper and I'm not sure how long they could sustain the "push and bustle." At some point, personality does matter. One of the most disillusioning things artists discover in our current order of society is that it isn't enough to do the work. You have to meet the right people at the right time, attend the right program, get the fellowship, etc. and then capitalize on those opportunities. Otherwise, it's the slush pile, which is very hard to rise out of. Some people can do these things indefatigably; others struggle to do them at all; some get better at them but don't necessarily become adept. And they are no guarantee. That being said, I'm hoping for a Cinderella turn of events with Mr. Bailey, Grocer! I don't care if it's implausible; for Biffen's sake, I would suspend disbelief!
"To have had even a small reputation, and to have outlived it, is a sort of anticipation of death." This passage of Reardon's struck me. I think he may be worse off for having experienced success. He had momentum and lost it, and the ruin wasn't swift. He fought against it and was not able to recover. Unappealing though his behavior and attitude are, he has had a miserable experience. He's trying to regroup, but bitterness seems almost inevitable. To avoid or overcome it takes an enlightened nature. Biffen perhaps has such a nature. What would he be like in a marriage, with the various domestic and emotional challenges? I think he might well be equal to it, but then I wonder if his very forbearance would drive someone crazy.