Analysis

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The entirety of Joyce Cary’s fiction is, as the author himself suggests, about one world—the world of freedom, “the active creative freedom which maintains the world in beingthe source of moral responsibility and of good and evilof injustice and love, of a special comedy and a special tragic dilemma which can never be solved.” It is “a world in everlasting conflict between the new idea and the old allegiances, new arts and new inventions against the old establishment.” Cary sees human beings as condemned to be free and society as perpetually poised between the extremes of anarchy and totalitarianism. Because creative imagination is of the highest value, the individual must rebel against the forces that threaten to trammel or stultify the free expression of his imagination, whether the forces be those of the established church, the state, tribalism, nationalism, conventional morality, or whatever. Throughout his novels, Cary dramatizes the tension between the intuitive and the analytical, the imaginative and the conceptual, the concrete and the abstract, and the vital and the mechanical.

Cary’s romanticism, however, is not naïve. He is acutely aware that the tension between freedom and authority is necessary, that the will to create is continually in conflict with the will to preserve. His first trilogy, for example, sympathetically portrays a survivalist, a conservative, and a rebel. Even radically different characters, however, must enact their lives and secure their salvation or damnation in the moral world of freedom, imagination, and love.

In Joyce Cary (1973), R. W. Noble conveniently divides Cary’s novels into five categories, according to their subject matter: Africa and empire, youth and childhood, women and social change, the artist and society, and politics and the individual. The novels of Africa and empire are substantial achievements but not major novels of the twentieth century, save for Mister Johnson.

Early novels

Cock Jarvis, Cary’s first effort, was abandoned in 1937; it was published posthumously. The problem with the novel was that Cary could not construct a plot adequate to encompass the character of Cock Jarvis, for at this point Cary had not assimilated the modernist style. Without recourse to first-person narration or stream of consciousness, his eminently interesting character was locked into a melodramatic and conventional plot structure. Whether Jarvis was to murder his wife and her lover, forgive them, or commit suicide, Cary never decided; none of the resolutions would solve the essential problem, which is technical.

Aissa Saved, with its seventy or more characters, has so many cultural conflicts, disconnected episodes, and thematic concerns that the aesthetic experience for the reader is congested and finally diffuse. Its analysis of the transforming powers of religious conversion, however, is penetrating and ironic. The juxtaposition of Aissa, an African convert who understands the sacrifice of Christ in a dangerously literal way and ingests Him as she would a lover, and Hilda, an English convert, is effective. Though the backgrounds of the two converts are divergent, they both end by participating in gruesome blood sacrifices. The novel as a whole, however, suffers from two problems. First, its central action, which revolves around attempts to end a devastating drought, cannot unify the manifold details of the plot: the cultural, religious, and military conflicts among Christians, pagans, and Muslims. Second, its tone is somewhat ambiguous. It is not clear whether the novel is meant to be an outright attack on missionaries and thus an ironic and cynical treatment of Aissa’s so-called salvation or a more moderate assessment of the transforming powers of religious conversion.

An American Visitor has more manageable intentions. The book effectively dramatizes the difference between...

(This entire section contains 3988 words.)

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practical and theoretical knowledge and concrete and abstract knowledge. The preconceptions of the American visitor, Marie Hasluck, are not experientially based and are contrasted with the practices of the local district officer, Monkey Bewsher, who strives to strike a balance between freedom and authority. Even though reality forces Marie to abandon some of her pseudoanthropological beliefs, utopianism is so much a part of her psychological complex that she turns to religious pacifism for compensation, a turning that has tragic consequences for the pragmatic, imaginative, and somewhat self-deluded officer.

The African Witch is more panoramic in scope. It deals with the social, political, and religious lives of both Europeans and Africans. The plot revolves around the election of a new emir: The Oxford-educated Aladai is pitted against Salé, a Muslim. Aladai’s Western demeanor offends many of the Europeans; they prefer Africans to be noble savages rather than liberal rationalists. In the end, the forces of juju and political corruption prevail. Aladai is rejected and chooses a self-sacrificial death, presumably abandoning his rationalism and lapsing into stereotype. The conclusion of the novel is not convincingly wrought.

Castle Corner is part of a projected trilogy or quartet of novels that Cary decided not to continue. Covering a half century of life in Ireland, England, and Africa, the novel moves from the 1870’s to the brink of World War I. Because of its congeries of characters and variety of themes, the book resists summary. In general, however, it puts the world of individual freedom and responsibility in collision with the world of historical change, but it has too much explicit debate and attitudinizing to be dramatically effective.

Generally, Cary’s novels of Africa and empire are competent but not exceptional fiction. More materially than formally satisfying, they suffer finally from a lack of cohesion and unity; the form is not adequate to the content, which is rich and detailed. Nevertheless, these novels well delineate the everlasting conflict between new ideas and the old allegiances, the necessary tension between freedom and authority, reflecting Cary’s characteristic preoccupation with the struggle for imaginative freedom on personal, moral, social, religious, and political levels.

Mister Johnson

Mister Johnson is an exceptional piece of fiction. The character from whom the novel takes its title, as Cary points out in the preface, is a young clerk who turns his life into a romance, a poet who creates for himself a glorious destiny. Johnson is a supreme embodiment of imaginative vitality and, as such, a prototype for the picaresque heroes in Cary’s later novels. Even though Johnson’s fate is ultimately tragic, his mind is full of active invention until the end.

The novel occupies a pivotal moment in the dialectic of Cary’s art, for not only is the content exceptional—Mr. Johnson is an unforgettable character; his adventures indelibly impress themselves on the reader—but also the innovative form is adequate to that content. In Mister Johnson, Cary deploys third-person, present-tense narration. He notes in the preface that he chose this style because it carries the reader unreflectingly on the stream of events, creating an agitated rather than a contemplative mood. Because Johnson lives in the present and is completely immersed in the vibrant immediacy of his experience, he does not judge; nor does the reader judge, as the present-tense narration makes the reader swim gaily with Johnson on the surface of life.

Cary’s choice of third-person narration, which he does not discuss in the preface, is equally strategic. The first-person style that he uses so effectively in some of his later novels would have been appropriate. By using the third-person style, he is able not only to give the African scene a solidity of local detail but also to enter into the mind of Rudbeck, so that the reader can empathize with his conscientious decision to shoot Johnson, a personal act, rather than hanging him, an official act. The impact of the tragic outcome is thereby intensified.

The novel traces the rise and fall of Mr. Johnson, chief clerk of Fada in Nigeria. A southerner in northern Nigeria and an African in European clothes, he has aspirations to be civilized and claims to be a friend of District Officer Rudbeck, the Wazirin Fada, the King of England, and anyone who vaguely likes him. Johnson’s aspirations, however, are not in consonance with his finances, and his marriage, machinations, schemes, stories, parties, petty thefts, capital crime, and irrepressible good spirits become part of the exuberant but relentless rhythm of events that lead to his death. For Johnson, as Cary suggests, life is simply perpetual experience, which he soaks into himself through all five senses at once and produces again in the form of reflections, comments, songs, and jokes. His vitality is beyond good and evil, equally capable of expressing itself anarchistically or creatively.

Rudbeck, too, is a man of imagination, though not as liberated from constraint as Johnson. His passion for road building becomes obsessive once Johnson’s imagination further fuels his own. He goes so far as to misappropriate funds in order to realize his dream. Without the infectious influence of Johnson’s creativity, Rudbeck would never have rebelled against the forces of conservatism. The completed road demonstrates the power of creative imagination.

The road, however, brings crime as well as trade, and in his disillusionment, Rudbeck fires Johnson for embezzlement. In the end, Johnson murders a man and is sentenced to death by Rudbeck. Johnson wants his friend Rudbeck to kill him personally, and Rudbeck eventually complies with his clerk’s wish, putting his career as district officer in jeopardy by committing this compassionate but illegal act.

Charley Is My Darling and A House of Children

After Mister Johnson, Cary chose domestic settings for his novels. His novels of youth and childhood, Charley Is My Darling and A House of Children, are set in Devon and Ireland. The former deals with the evacuation of thousands of London children to Devon during World War II; the latter is a poetical evocation of childhood vacations in Ireland.

In Charley Is My Darling, the main character, Charley, like Mr. Johnson, is thrust into an alien world, and the urban values he represents are contrasted with the rural values represented by Lina Allchin, the well-intentioned supervisor of the evacuees. Charley, whose head is shaved as part of a delousing process, is isolated from his peers and consequently channels his imaginative energies into crime and ultimately into anarchistic destruction in order to gain acceptability. Because neither school nor society offers him any outlet for his creative individuality, it expresses itself in violence, an expression that is perhaps a microcosmic commentary on the causes of war.

A House of Children is autobiographical. Technically innovative, it has no omniscient point of view and relies instead on one central consciousness, which narrates the story in the first person. This was to become Cary’s characteristic narrative style. The novel has a poetic rather than a linear coherence, depending on a series of revelations or epiphanies rather than on plot. Cary obviously learned a great deal from James Joyce’s A Portrait of the Artist as a Young Man (1916), which he had read in Africa.

The first trilogy

Cary’s masterpiece, his first trilogy, focuses on the artist and society. Cary designed the trilogy, he said, to show three characters not only in themselves but also as seen by one another, the object being to get a three-dimensional depth and force of character. Each novel adapts its style to the perceptual, emotive, and cognitive idiosyncrasies of its first-person narrator. Herself Surprised, the narrative of Sara Monday, is reminiscent of Daniel Defoe’s Moll Flanders (1722), and its autobiographical style is ideally suited to dramatize the ironic disparity between Sara’s conventional moral attitudes and her “surprising,” unconventional behavior. To Be a Pilgrim, the narrative of Tom Wilcher, is akin to a Victorian memoir, and the formal politeness of its language reflects the repressed and conservative nature of its narrator. The Horse’s Mouth, the narrative of Gulley Jimson, uses stream of consciousness and verbally imitates the Impressionist style of painting, an imitation that strikingly reveals the dazzling power of Gulley’s visual imagination. The entire trilogy is a virtuoso performance, underscoring Cary’s talent for rendering characters from the inside.

Sara Monday is the eternal female—wife, mother, homemaker, mistress, and friend. In accordance with her working-class position as a cook, she consistently describes her world in domestic images and metaphors—the sky for her is as warm as new milk and as still as water in a goldfish bowl. Her desire to improve her socioeconomic lot is a major motivating factor in her life, and this desire often encourages her to operate outside the bounds of morality and law. Sara, however, is not a moral revolutionary; her values mirror her Victorian education. In her terms, she is constantly “sinning” and constantly “surprised” by sin, but in terms of the reader’s understanding of her, she is a lively and sensuous being with an unconscious genius for survival who succumbs, sometimes profitably, sometimes disastrously, to immediate temptation. Her language of sin, which is vital and concrete, belies her language of repentance, which is mechanical and abstract. Nevertheless, Sara, unlike Moll Flanders, does not seem to be a conscious opportunist and manipulator.

Sara betters her socioeconomic status by securing a middle-class marriage to Matthew Monday. The marriage, however, does not prevent her from having affairs with Hickson, a millionaire, and Jimson, an artist. (The narrative description of these “surprises” is exquisitely managed.) Though she sincerely believes in conventional morality, that morality is no match for her joy of life. Cary also shows the negative aspects of Sara’s mode of being. Like other characters in his fiction, she is a creative being whose imaginative vitality borders on the anarchistic and irresponsible. She virtually ruins her first husband and makes little effort to keep contact with her four daughters.

After her violent relationship with Gulley Jimson, Sara becomes a cook for the lawyer Wilcher and is about to marry him when his niece has Sara jailed for theft. She had been stealing in order to purchase art supplies for Gulley and to pay for his son’s education. Her will to live is thus an implicit critique of the conventional morality that her conscious mind mechanically endorses. She is a survivalist par excellence.

Unlike the events in Herself Surprised, those in To Be a Pilgrim are not presented chronologically. The narrative is layered, juxtaposing Wilcher’s present situation of imminent death with the social, political, and religious history of his times. The disrupted chronology poignantly accentuates Wilcher’s realization, which comes too late, that he ought to have been a pilgrim, that possessions have been his curse. Now his repressed energies can only counterproductively express themselves in exhibitionism and arson. Marriage to Sara Monday, which might have been a redemptive force in his life, is now impossible, for she has already been incarcerated for her crimes.

In the present time of the novel, Wilcher is a virtual prisoner at Tolbrook Manor, the family home. His niece Ann, a doctor and the daughter of his dead brother Edward, a liberal politician whose life Wilcher tried to manage, is his warden. She marries her cousin Robert, a progressive farmer devoted to the utilitarian goal of making the historic manor a viable commercial enterprise, much to Wilcher’s chagrin. Ultimately, Wilcher is forced to recognize that change is the essence of life and that his conservative fixation with tradition, the family, and moral propriety has sapped him of his existential energy, of his ability to be a pilgrim.

The Horse’s Mouth, a portrait of the artist as an old man, is justly celebrated as Cary’s most remarkable achievement. (Although the Carfax edition of Cary’s novels is complete and authoritative, the revised Rainbird edition of The Horse’s Mouth, 1957, illustrated by the author, includes a chapter—“The Old Strife at Plant’s”—that Cary had previously deleted.) Its reputation has been enhanced by the excellent film version, released in 1958, in which Alec Guinness plays the role of Gulley Jimson.

Gulley Jimson is a pilgrim; he accepts the necessity of the fall into freedom with joy and energy, conceiving of it as a challenge to his imagination and thereby seeking to impose aesthetic order on experiential chaos. For Gulley, anything that is part of the grimy reality of the contingent world—fried fish shops, straw, chicken boxes, dirt, oil, mud—can inspire a painting. The impressionist style of his narrative reflects his vocation, for he mainly construes his world in terms of physical imagery, texture, solidity, perspective, color, shape, and line, merging Blakean vision with Joycean stream of consciousness. Gulley’s sensibility is perpetually open to novelty, and his life affirms the existential value of becoming, for he identifies with the creative process rather than with the finished product. His energies focus on the future, on starting new works, not on dwelling on past accomplishments. Even though he is destitute, he refuses to paint in the lucrative style of his Sara Monday period.

Gulley is also a born con artist, a streetwise survivor. He is not averse to stealing, cheating, swindling, blackmailing, or even murdering if his imaginative self-expression is at stake. He is completely comfortable in a brutal, violent, and unjust world. His vision, therefore, has limitations. His pushing Sara down the stairs to her death shows the anarchistic irresponsibility implicit in regarding life as merely spiritual fodder for the imagination. Moreover, Gulley lacks historical consciousness. Even though the novel chronicles his life before and after the beginning of World War II, Gulley seems to have no conception of who Adolf Hitler is and what he represents.

For the most part, this novel clearly champions the creative individual and criticizes the repressive society that inhibits him, although Cary is always fairminded enough to imply the limitations of his characters. Gulley Jimson remains a paradigm of energetic vitality, an imaginative visionary who blasts through generation to regeneration, redeeming the poverty of the contingent world and liberating consciousness from the malady of the quotidian. The entire trilogy is a masterpiece; the created worlds of the three narrators mutually supplement and criticize one another, stressing the difficulty of achieving a workable balance between the will to survive, to preserve, and to create.

The second trilogy

Cary’s second trilogy—Prisoner of Grace, Except the Lord, and Not Honour More—deals with politics and the individual. It is a commentary on radical liberalism, evangelicalism, and crypto-fascism, moving from the 1860’s to the 1930’s and involving the lives of three characters (Nina Nimmo/Latter, Chester Nimmo, and Jim Latter) whose lives are inextricably enmeshed, unlike those of the characters of the first trilogy.

In Prisoner of Grace, Nina Nimmo (Nina Latter by the end of her narrative) tries to protect and defend both her lovers—the radical liberal politician Nimmo, maligned for his alleged opportunism and demagoguery, and the crypto-fascist Latter, a military man obsessed by a perverted notion of honor. The time span of the novel covers the Boer War, the Edwardian reform government, the World War I victory, the prosperous aftermath, and the 1926 General Strike. The action takes place mainly in Devon, where Chester Nimmo makes his mark as a politician and becomes a member of Parliament, and in London, where Nimmo eventually becomes a cabinet minister.

Nina, carrying the child of her cousin Jim Latter, marries the lower-class Chester Nimmo, who is handsomely remunerated for rescuing the fallen woman in order to secure a respectable future for the child. Nina never loves Nimmo but is converted to his cause by his political and religious rhetoric. She writes her account in order to anticipate and rebut criticism of his conduct.

Thrust into the duplicitous and morally ambiguous world of politics, she succumbs both to Chester’s ideals, values, morals, and beliefs and to his lusts, lies, schemes, and maneuverings, seemingly incapable of distinguishing the one from the other, as is the reader, who has only the information available in Nina’s unreliable account. Unlike the disingenuousness of Sara Monday in Herself Surprised, which the reader can easily disentangle—Sara’s sensuous vitality gives the lie to the maxims of conventional piety she mechanically utters—Nina’s disingenuousness is a fundamental part of her character. Nina, like Chester, is both sincere and hypocritical, genuinely moral and meretriciously rhetorical, an embodiment of the political personality. Even the politics of their marriage parallel in miniature the politics of the outside world.

Nina is a prisoner of grace once she has converted to the belief that Chester’s being is infused with grace and that his religious and political beliefs enjoy moral rectitude by definition. Her love for Jim is also a grace that imprisons her and ultimately impels her to divorce Chester and marry Jim. The reader, too, is a prisoner of grace, unable to get outside Nina’s “political” point of view and thus unable to separate truth and falsity, the authorial implication being that the two are necessarily confused and interdependent in the political personality. Like Sara, Nina is a survivalist, and after she becomes adulterously involved with Nimmo, she, like Sara, is murdered by a man whom she had helped. Survivalism has limits.

Except the Lord, the story of Nimmo’s childhood and youth, takes place in the 1860’s and 1870’s. It is the history of a boy’s mind and soul rather than one of political events. Like To Be a Pilgrim, it takes the form of a Victorian memoir in which the mature narrator explores the events and forces that caused him to become what he is. Nurtured in an environment of poverty, fundamentalist faith, and familial love, Nimmo becomes in turn a radical preacher, labor agitator, and liberal politician.

According to the first verse of Psalm 127, “Except the Lord build the house, they labour in vain that would build it; except the Lord keep the city, the watchman waketh but in vain.” Since this novel stops before the events of Prisoner of Grace and Not Honour More begin, and since it principally induces a sympathetic response to Nimmo, the reader has a difficult time interpreting the significance of the title. The reader tends to see Nimmo differently after having read the account of the latter’s youth but is still uncertain whether Nimmo is a knight of faith or an opportunistic antinomian. The trilogy as a whole seems to suggest that Chester is both.

Not Honour More is the story of a soldier, Jim Latter, who sees the world in dichotomous terms and cannot accept the necessarily ambiguous transaction between the realms of freedom and authority. The novel is a policewoman’s transcript of Jim’s confession; it is dictated as he awaits execution for the murder of Nina, provoked by his discovery of her adulterous relationship with Nimmo, her ex-husband. His language is a combination of clipped military prose, hysterical defensiveness, and invective against both the decadence of British society around the time of the 1926 General Strike and the corruption of politicians such as Nimmo.

Latter believes in authority, in imposing law and order on the masses. He has no sense of the moral ambiguity of human behavior, no sense of the complexity of human motivation. A self-proclaimed spiritual descendant of the Cavalier poet Richard Lovelace, Jim believes that his murder of Nina proves that he loves honor more. He conceives of the murder as an execution, a moral act, whereas it is in reality a perversion of honor, a parody of the code that Lovelace represents. District Officer Rudbeck, of Mister Johnson, is by comparison a truly honorable man: He personalizes rather than ritualizes Mr. Johnson’s death. Because Jim believes in the rectitude of authoritarians with superior gifts, he is a crypto-fascist. The best that can be said of him is that he has the courage of his misplaced convictions.

Throughout his novels, Cary focused his creative energies on human beings who are condemned to be free, to enact their lives somewhere between the extremes of anarchism and conformity. His achievement demonstrates that it is possible for a novelist to be at once stylistically sophisticated, realistically oriented, and ethically involved.