Porter, Katherine Anne (Vol. 7)
Porter, Katherine Anne 1890–
An American woman of letters, a master stylist, the author of flawless, standard-setting short stories, Miss Porter is known to younger Americans primarily for her long-awaited Ship of Fools, a novel flawed but unremittingly revealing of the intensity of her political and moral sensibilities. (See also Contemporary Authors, Vols. 1-4, rev. ed.)
To the reviewer, Miss Porter is baffling because one cannot take hold of her work in any of the obvious ways. She makes none of the melodramatic or ironic points that are the stock in trade of ordinary short story writers; she falls into none of the usual patterns and she does not show anyone's influence. She does not exploit her personality either inside or outside her work, and her writing itself makes a surface so smooth that the critic has little opportunity to point out peculiarities of color or weave. If he is tempted to say that the effect is pale, he is prevented by the realization that Miss Porter writes English of a purity and precision almost unique in contemporary American fiction. If he tries to demur that some given piece fails to mount with the accelerating pace or arrive at the final intensity that he is in the habit of expecting in short stories, he is deterred by a nibbling suspicion that he may not have grasped its meaning and have it hit him with a sudden impact some minutes after he has closed the book.
Not that this meaning is simple to formulate even after one has felt its emotional force. The limpidity of the sentence, the exactitude of the phrase, are deceptive in that the thing they convey continues to seem elusive even after it has been communicated. These stories are not illustrations of anything that is reducible to a moral law or a political or social analysis or even a principle of human behavior. What they show us are human relations in their constantly shifting phases and in the moments of which their existence is made. There is no place for general reflections; you are to live through the experience as the characters do. And yet the writer has managed to say something about the values involved in the experience. But what is it? I shall try to suggest, though I am afraid I shall land in ineptitude.
Miss Porter's short stories lend themselves to being sorted into three fairly distinct groups. There are the studies of family life in working-class or middle-class households (there are two of these in The Leaning Tower), which, in spite of the fact that the author is technically sympathetic with her people, tend to be rather bitter and bleak, and, remarkable though they are, seem to me less satisfactory than the best of her other stories. The impression we get from these pieces is that the qualities that are most amiable in human life are being gradually done to death in the milieux she is presenting, but Miss Porter does not really much like these people or feel comfortable in their dismal homes, and so we, in turn, don't really much care. Another section of her work, however, contains what may be called pictures of foreign parts, and here Miss Porter is much more successful. The story which gives its name to her new collection [The Leaning Tower] and which takes up two-fifths of the volume belongs to this category. It is a study of Germany between the two wars in terms of a travelling American and his landlady and fellow-lodgers in a Berlin rooming house. By its material and its point of view, it rather recalls Christopher Isherwood's Goodbye to Berlin, but it is more poetic in treatment and more general in implication. (pp. 219-21)
But perhaps the most interesting section of Katherine Anne Porter's work is composed of her stories about women—particularly her heroine Miranda, who figured in two of the three novelettes that made up her previous volume, Pale Horse, Pale Rider. The first six pieces of The Leaning Tower deal with Miranda's childhood and her family background of Louisianians living in southern Texas. This is the setting in...
(The entire section is 14,059 words.)