art, and of how the work of this particular poet has become modified in these particular guts – modified, metabolised and metastasised. There has been so much written about Auden by so many people – brilliant and insightful people – over so many years, that the best I can do is to try and explain the impact that reading and studying this poem has had on me. Not because there’s anything particularly interesting about me – on the contrary – but because I might usefully represent the common reader, the sensual man-in-the-street, the entirely average individual with a rather unusual interest in a particular work of art.
In the end, I hope that this book amounts to more than a record of my own peculiar tastes and notions and gives expression to that common sense of awe and inadequacy that we might all experience in the presence of great art, for how can one possibly begin to cope with someone like Auden, who was clearly a genius, and with something like this, which is clearly a masterpiece? What can one possibly say, except … ‘Wow!’?
I sit in one of the dives
On Fifty-Second Street
Uncertain and afraid
As the clever hopes expire
Of a low dishonest decade:
Waves of anger and fear
Circulate over the bright
And darkened lands of the earth,
Obsessing our private lives;
The unmentionable odour of death
Offends the September night.
Accurate scholarship can
Unearth the whole offence
From Luther until now
That has driven a culture mad,
Find what occurred at Linz,
What huge imago made
A psychopathic god:
I and the public know
What all schoolchildren learn,
Those to whom evil is done
Do evil in return.
Exiled Thucydides knew
All that a speech can say
About Democracy,
And what dictators do,
The elderly rubbish they talk
To an apathetic grave;
Analysed all in his book,
The enlightenment driven away,
The habit-forming pain,
Mismanagement and grief:
We must suffer them all again.
Into this neutral air
Where blind skyscrapers use
Their full height to proclaim
The strength of Collective Man,
Each language pours its vain
Competitive excuse:
But who can live for long
In an euphoric dream;
Out of the mirror they stare,
Imperialism’s face
And the international wrong.
Faces along the bar
Cling to their average day:
The lights must never go out,
The music must always play,
All the conventions conspire
To make this fort assume
The furniture of home;
Lest we should see where we are,
Lost in a haunted wood,
Children afraid of the night
Who have never been happy or good.
The windiest militant trash
Important Persons shout
Is not so crude as our wish:
What mad Nijinsky wrote
About Diaghilev
Is true of the normal heart;
For the error bred in the bone
Of each woman and each man
Craves what it cannot have,
Not universal love
But to be loved alone.
From the conservative dark
Into the ethical life
The dense commuters come,
Repeating their morning vow,
‘I will be true to the wife,
I’ll concentrate more on my work’,
And helpless governors wake
To resume their compulsory game:
Who can release them now,
Who can reach the deaf,
Who can speak for the dumb?
All I have is a voice
To undo the folded lie,
The romantic lie in the brain
Of the sensual man-in-the-street
And the lie of Authority
Whose buildings grope the sky:
There is no such thing as the State
And no one exists alone;
Hunger allows no choice
To the citizen or the police;
We must love one another or die.
Defenceless under the night
Our world in stupor lies;
Yet, dotted everywhere,
Ironic points of light
Flash out wherever the Just
Exchange their messages:
May I, composed like them
Of Eros and of dust,
Beleaguered by the same
Negation and despair,
Show an affirming flame.
Your Least Favourite Auden Poem?
INTERVIEWER: What’s your least favourite Auden poem?
AUDEN: ‘September 1, 1939.’
Michael Newman, interview with W. H. Auden, The Paris Review (1972)
Me too.
*
I have been trying to write a book about W. H. Auden for twenty-five years.
It could not be described as a cost-effective enterprise.
It may not have been the best use of my time.
The poet cannot understand the function of money in modern society because for him there is no relation between subjective value and market value; he may be paid ten pounds for a poem which he believes is very good and took him months to write, and a hundred pounds for a piece of journalism