Good as her Word: Selected Journalism. Lorna Sage

the curiosity, the primary thrill of the reader, never left her – that what she had in her hand was new; even Don Quixote felt to her passionately curious eyes like a tract of snow that no one else had walked upon. She was able rapidly to read one book after another, without pauses for assimilation, ritual movements or changes of place. Her attention was absolute. She did not appear to digest books at all. She read like this late into the night and began again early in the morning: she simply picked up the next volume, whether it was the Corpus Hermeticum or Tarzan of the Apes, propped it in front of her, her thin, long-nailed thumb creasing down the top three inches as she turned the page, and sped away in a trance of rapid eye-movement, dog-earing the leaves as she went whenever something was memorable. When laid aside, paperbacks, in particular, always had a subtly pot-bellied aspect, as if somehow they had more in them: the persistent creasing at the top caused their pages to bell out slightly. They looked as if they had been filled with reading.

      To write your reading was equally direct. Lorna’s habit of accuracy was like a religious devotion and her unusual memory, into which books sank, apparently whole, not a feather of their print disturbed, combined with a jesuitical kind of mischievousness, meant that she was a formidable opponent indeed in a literary discussion. She positively wielded quotation and was very canny about lines of argument. So: this very ‘directness’ is a paradox. When she was young, one of Lorna’s favourite quotations was Polonius’s ‘by indirections find directions out’. To represent your reading so directly is certainly a craft and a pleasure, to say nothing of the service it performs for your authors and readers. But that directness is the product of much meditation, a labour of indirection. When reviewing a book, Lorna would usually read the rest of the author’s works and whatever she could find (often whatever there was) of biography and criticism. Marina Warner has spoken of what it felt like as a writer to receive a Lorna Sage review. Before starting to stab, hunched and one-fingered, at the old Olivetti, or later, the little Toshiba, whose keyboard was transformed into rows of letterless cups by the furious battering it had taken, she liked to make sure she had an intimate grasp of the text. This meant picking out the one-liners she made emblematic of the whole. She often did this by ear, not eye; reading out loud with the special emphasis she put into even the smallest of phrases. The quality of her attention, witnessed by the letters and cards she used to receive from writers, came from the detailed work she put in, to represent not only that intimate grasp but also its logic, where it was heading, its implications in a wider context. Many reviewers, of course, work in this way, but what is different about Lorna’s writing is precisely what was different about her reading: a rare combination of warmth and sophistication, in which she mimes with strange fidelity the act of reading a text, while tactically holding it at arm’s length at the same time. The details eventually click to make an unexpected drift of argument that was, if you look back, there all along. There is always a lot more going on in a Lorna Sage review than the ostensible, but she is always uncannily faithful to the ostensible.

      The fact that her directness is also a rhetorical performance is what makes a lot of this writing so eerily coherent and readable. The articles and essays we’ve chosen seem not to develop, but to spring into print, fully fledged from the beginning. Lorna was a seasoned teacher and scholar by the time she started seriously writing for the papers in her late twenties. The development of her voice does not really take place in these pieces – it takes place offstage, earlier. It was curiously literal: a struggle against the lapidary written style of male academics – a kind of Attic dialect – which all students, regardless of gender, still had to acquire by the early sixties. You can see faint signs of that rebellion in the earlier pieces from the late seventies; the need to put the limp mandarin gesture in brackets as she speaks. When she began, Lorna would write out scripts for her voice. It was not long, however, before that’s how she spoke. The brackets were in her speech, often indicated by a switch of the gaze or a fleeting rise in pitch, to throw away the important point. This voice was the one she wanted, the one that did for all purposes, including public speaking, and writing became a staging of her own mercurial speech. When that happened, she rapidly developed the capacity to make a discussion out of an account.

      This work when put together has all the pleasure and risk of her bracing talk. Dialogue (between pieces, texts, authors, readers, different parts of herself) is everywhere like good sea air. Lorna pioneered for herself an informality of style that she used to translate into clear and accessible terms any form of perversity, jargon, or learned obscurity. She learned this defence of the common space of culture early on from Plato and it continually informs the ‘attack’ of these pieces. For all her tactical agility, that knack she has of seizing the acute angle, she is not to be deflected, always on a search for what is really there in front of her, its particularity.

      Our title comes from Lorna’s 1980 review of J. A. V. Chapple’s Elizabeth Gaskell: A Portrait in Letters. ‘Goodness’ was part of the politics of intimacy, a special preoccupation in Lorna’s writing about the lives of women, who can so easily become lost in what she calls, ironically, after George Eliot, ‘the womanly duty to mediate’. Lorna was acutely aware of the mystification of the personal life, something which was for her a spurious self-confirming logic, by which women cast themselves as appendages. She is suspicious in this piece. Gaskell is almost too normal. She must have a hidden, inner life. You can hear Lorna probing for this telltale flaw of self, calling her, cajolingly, ‘an almost infinitely divisible woman’. But in the end Gaskell’s fund of empathy seems to have matched her own, for she concedes: ‘Most good women turn out on closer inspection to be hypocritical, envious or dim (or of course bad), while she genuinely delights in living in and with others.’

      As with books, so with people. Intimacy was another paradoxical aspect of Lorna’s character. She disliked formal lecturing, but was a riveting public speaker, converting even her own shortness of breath to an intimate style. She read, wrote and received visitors at the kitchen table, her ear almost imperceptibly turned towards the door. She had a gift for intimacy, a trick of ‘seeing the point’ of people (a favourite phrase of hers in later years), especially outsiders. This was compounded of a genuine curiosity about the lives of others and a talent for benignly picking them up. She liked to keep open-house, sixties-style, often passing the latest apparition at the door a draft of what she had just finished. You were expected to read it on the spot, while she watched your face keenly for reactions. A conspiratorial need for close contact ran through all her relationships – intimacy was her style, but it was a public style, an argumentative style, a performative component of the writing life.

      We have split the pieces into six sections, each arranged according to an internal, chronological order of publication: ‘Pre-War Life Writing’; ‘Post-War Life Writing’; ‘The Women’s Camp’; ‘Classics’; ‘Critical Tradition’; and ‘Italy’. These divisions are essentially a shaping device – loose, but inclusive – intended to allow the reader to follow chronological development on one front, or on several at once. In the first two sections we have given prominence to biography, autobiography, memoirs, letters and sketches. From the mid-nineties on, while issuing bulletins from Bad Blood and then editing The Cambridge Guide to Women’s Writing in English, Lorna had been reflecting on the whole question of ‘Life-Writing’. The project she had begun to work on after Moments of Truth was a book entitled Writing Lives. She was fascinated by the links between lives and work; in much of what she writes she traces the cuspid points between inner and outer lives: in Dickens, for example, whose manic ‘busyness’ with people kept them away so that he could work, and Angus Wilson, whose ‘inner life was lived on the outside’. Even in the other central sections, which contain a more familiar range of materials, this theme can often be found surfacing too. Finally, ‘Italy’ collects a number of different pieces Lorna wrote over the years about the culture in which she spent so many springs and summers from the seventies on. A good Latinist from childhood, her familiarity with Italian was another means of subverting binary imprisonment. It gave zest to her Renaissance interests, and with the help of the language she also kept the texts and authors of the modern tradition in view, outside the canonical effect of their English packaging. You can feel this direct contact with the language in her pieces on Calvino, and in the punning connection (‘sapere’/‘sapore’) she spots in the Italian between knowledge and appetite. She’s amused, here, to be outside and inside at once.

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