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Marvellous Money
Michael Wood: Eça de Queirós

• Maias: Episodes from Romantic Life by José Maria Eça de Queirós translated by Margaret Jull Costa

Balzac is named several times in The Maias. Two characters are said to have a ‘Balzacian eye’, and Balzac is elsewhere called a ‘prodigy of observational powers’. A love nest is called the Villa Balzac, an intricate, critical irony because the owner of the house is a ‘great fantasist’ far from fully aware of what he is doing when he adopts the great realist as his ‘patron saint’. The book itself, I should say, is subtitled ‘Episodes from Romantic Life’, so these touches are important. ‘Romantic’ in this context has all kinds of associations, and its near-synonyms could include ‘poetic’, ‘stylish’, ‘idealistic’, ‘liberal’, ‘deluded’. As in ‘all English songs were alike, they always struck the same sorrowful rom antic tone,’ or (spoken of a poem that has just been recited) ‘such romantic outpourings’. ‘Literature,’ we are told, ‘used to be all about the imagination, fantasy, ideas. Nowadays, it’s all about reality, experience, facts, documentation.’ And about money, which is this character’s main translation of ‘facts’. But then he calls it ‘marvellous money’, slipping unconsciously back into the romantic mode, in spite of his attempt at irony. Eça de Queirós’s chief question, perhaps, is whether realism is possible in Portugal, in literature or anything else, and his mischievous suggestion is that ‘Portugal’ may just mean ‘romantic’ – there couldn’t be episodes of any other sort of life there. He is doing this, however, with sly intelligence, in an undeniably realist Portuguese novel. Read more

A Man with My Trouble
Colm Tóibín: Henry James leaves home

• Complete Letters of Henry James, 1855-72 edited by Pierre Walker and Greg Zacharias

After the death of Henry James’s father in 1882, his sister-in-law Catharine Walsh, better known as Aunt Kate, burned a large quantity of the family papers, including many letters between Henry James senior and his wife. Henry James himself in later life made a number of bonfires in which he destroyed a great quantity of the letters he had received. He often added an instruction to the letters he wrote: ‘Burn this!’ To one correspondent, he wrote: ‘Burn my letter with fire or candle (if you have either! Otherwise, wade out into the sea with it and soak the ink out of it).’ In two of his stories, ‘The Aspern Papers’ and ‘Sir Dominick Ferrand’, valued letters are turned to illegible ashes – ‘as a kind of sadism on posterity’, in the words of his biographer Leon Edel. James was fully alert to the power of letters, having paid close attention to the published correspondence of Balzac, Flaubert and George Sand, and alert to the power of editors. After reading Sidney Colvin’s edition of the letters of his friend Robert Louis Stevenson, he wrote: ‘One has the vague sense of omissions and truncations – one smells the thing unprinted.’ Read more

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