THE CONTEMPORARY NOVEL
Circumstances have made me think a good deal at different times about the business of writing novels, and what it means, and is, and may be; and I was a professional critic of novels long before I wrote them. I have been writing novels, or writing about novels, for the last twenty years. It seems only yesterday that I wrote a review—the first long and appreciative review he had—of Mr. Joseph Conrad's "Almayer's Folly" in the Saturday Review. When a man has focussed so much of his life upon the novel, it is not reasonable to expect him to take too modest or apologetic a view of it. I consider the novel an important and necessary thing indeed in that complicated system of uneasy adjustments and readjustments which is modern civilisation. I make very high and wide claims for it. In many directions I do not think we can get along without it.
Now this I know is not the usually received opinion. There is, I am aware, the theory that the novel is wholly and solely a means of relaxation. In spite of manifest facts, that was the dominant view of the great period that we now in our retrospective way speak of as the Victorian, and it still survives to this day. It is the man's theory of the novel rather than the woman's. One may call it the Weary Giant theory. The reader is represented as a man, burdened, toiling, worn. He has been in his office from ten to four, with perhaps only two hours' interval at
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