Frederick Turner: Guaranteed to captivate Miller enthusiasts
Renegade: Henry Miller and the Making of Tropic of Cancer by Frederick Turner is engaging, erudite, fluent and succinct yet full of novel biographical paraphernalia, which is guaranteed to captivate most Miller enthusiasts. The pulchritudinous little hardback, published by Yale University Press, chronicles how Miller’s first published novel “has risen from smuggled dirty book to American classic”. Turner employs Yankee folklore to explain Miller’s savage abandon and fascination with an anarchically subversive way of life steeped in “murky fringe land between a strict fidelity to the law and actual illegality”. It’s a daring interpretative mode, psychoanalytical speculation always is, but it works. Turner pinpoints certain undeniable similarities between Miller and his folklore primogenitors, the infamous Mississippi brawlers, gamblers, crooks and filibusterers, who like Miller lived on their wits, shape-shifting, altering occupations, addresses and personae as circumstances dictated. Following in the same line of thought, Turner positions Miller alongside Mark Twain and Walt Whitman – both once considered on the literary sidelines for their scabrous argots and iconoclast subjects – to show how Miller inherited a tradition of prose “in the outsized, colourful monologue mode” of the colloquial, and subsequently nurtured it into his very own brand of “rude hieroglyphics”.
Miller had been jawing about becoming a writer long beforeTropic of Cancer, but for all his boorish braggadocio he had perilously little to show for it; or indeed his 30-odd years, except a divorce, a second falling marriage, chronic penury, a handful of literary rejection slips and a profound hatred of America, the unremitting “slaughterhouse” and “monstrous death machine,” as he called it. It is not clear when Miller’s fascination with Europe began, but Turner suggests it may have been inspired by his old school friend Emil Schnellock, with whom Miller corresponded extensively throughout his time in Paris and beyond. Miller left for the French capital in February 1930, cajoled by his second wife June Mansfield Smith. He shipped out with a borrowed ten dollar note, two valises and a trunk. Turner explains: “In these he had some suits made by his tailor father; the drafts of two failed novels, and a copy of Walt Whitman’s Leaves of Grass. But within him, buried within the accumulated detritus of a random and crudely assembled self-education, Miller was carrying a great deal more than these meagre effects.” Indeed. He was in fact carrying a myriad of fantasises, which fuelled by his imminent experiences would eventually materialize into a book that now “belongs on a select shelf of works that best tell us who we are, for better or worse”.
While this may only be marginally true for humanity as a whole, it is certainly true for Miller. Tropic of Cancer tells us everything we need to know about its writer, “the gangster author,” who penned a literary deviant, which reads like a variegated autobiography of inescapable Americanism and an aspiration to European sensibility, a libidinous and comical picaresque of a sexual adventurer and a lovable knave, a daring exposition of an ironic moralist, a manual to the lifestyle of the bohemian deadbeat and a triumph of crude and creative splendour. Turner’s sympathetic and skilful evocation of Miller’s time in the US and in Paris, spent mostly in depravation with a retinue of factotums, the work that followed and how it ought to fit into the American canon offers some interesting insights; but it never unequivocally states the fact that for all his raging and retreating from the establishment Miller actually yearned to be integrated into the high-end literary tradition. For as Turner himself notes, while talking about his subject’s impoverished background, Miller was “cut from different cloth…so Miller the failed Ivy Leaguer, the college dropout… refused to submit to his cultural and personal fate,” by means of a literary self-erudition, a fanatical interest in EVERYTHING (hamburger sandwiches, collar buttons, poodle dogs, slot machines, grey bowlers, typewriter ribbons, oranges sticks, free toilets, sanitary napkins, mint jujubes, billiard balls, chopped onions, crinkled doilies, manholes, chewing gum etc) and a desperate desire for self-actualisation. In fact, he became a sort of microcosmic noosphere, bursting with ubiquitous knowledge on the page as well as in person.
But neither the writing nor the inspiration came easily, not until Miller met June – at the time the only person who “believed in his star”. Following the chance meeting in the summer of 1923, Miller – then a husband, a father and a man with a responsible job at the Western Union – quit his career, divorced his wife, married June and embarked on a quest to become a writer. With very little success. Turner records Miller’s life with June – the woman who led to his emotional labefaction – with great attention to detail, concluding that “for Miller, June in one way and another inspired his three finest works, the Tropics and Black Spring”. Though often disputed, this is certainly true, for long-after the two separated June remained a permanent fixture throughout Miller’s life, indelibly looming over the man and his work. But there was another force behind Miller’s drive. Upon his arrival to Pairs, Miller had “apparently lost everything, nationality, job, wife, even his language” thus to stave off loneliness he hit the streets with a notebook and a pen “walking great distances and making notes on virtually anything he happened to see, from the life of the cafes to the carcasses of the newly slaughtered horseS hanging from the market stall hooks”. And almost everything he did see made it into the book. It is precisely this, his observational deft and pyrotechnical delivery – albeit occasionally blemished by overindulgence in periphrasis and even unabashed flummery -that makes Tropic of Cancer remarkable, brilliant.
Renegade: Henry Miller and the Making of Tropic of Cancer is a considered and intriguing book, which aims to show how Miller’s “heroic confrontation” of his own failures eventually made him into a success. Turner treats his subject objectively but with great enthusiasm and at times with much-needed caution, knowing all too well that Miller was prone to casuistry and embellishment. The discerning biographer does well to outline most of Miller’s influences, friendships, struggles and aspirations, the main one of which was to write a magnum opus for his wife (June), which earned him great admiration among certain circles and a “shadowy reputation as a writer of truly dirty books” among others. Turner remains the voice of reason throughout the narrative, only occasionally showing disdain for Miller’s callousness and dubious morality, when for example Miller refers to his aborted baby as the “seven month toothache” or neglects his duties as a husband and father. On the whole, Turned does well to pieces all the elements together to show how Tropic of Cancer materialised, even if he doesn’t place the book or its legacy into a greater political and socio-economic context. (Some reviewers have griped.) Still, there is something he says which is on the money, namely that “writing with an increasingly naked candour about his life” Miller was bridging the gap between “autobiography and literature,” and since many a great writer has followed the path that Miller bravely blazed.