Saturday, June 6, 2020

Wodehouse again

Some authors may want to expose the world’s injustices, or elevate us with their psychological insights. Wodehouse, in his words, preferred to spread “sweetness and light”. Just look at those titles: Nothing Serious, Laughing Gas, Joy in the Morning. With every sparkling joke, every well-meaning and innocent character, every farcical tussle with angry swans and pet Pekingese, every utopian description of a stroll around the grounds of a pal’s stately home or a flutter on the choir boys’ hundred yards handicap at a summer village fete, he wanted to whisk us far away from our worries. Writing about being a humourist in his autobiography Over Seventy, Wodehouse quoted two people in the Talmud who had earnt their place in Heaven: “We are merrymakers. When we see a person who is downhearted, we cheer him up.” ....

“What Wodehouse writes is pure word music,” said Douglas Adams, the author of The Hitchhikers’ Guide to the Galaxy. “It matters not one whit that he writes endless variations on a theme of pig kidnappings, lofty butlers, and ludicrous impostures. He is the greatest musician of the English language, and exploring variations of familiar material is what musicians do all day.” ....

Whatever was going on in his life, Wodehouse stayed buoyant; and whatever is going on in the reader’s life, he keeps us buoyant, too. “I was clinically depressed for most of 1999,” said Jay McInerney, the author of Bright Lights, Big City in a 2016 interview “and I would turn to Wodehouse, possibly the funniest writer in the English language. It seemed to be more effective at warding off despair than the antidepressants that I was taking.” .... (more)

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