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An angry young man
by Jonathan Bowden
Bill Hopkins was born of theatrical parents in Cardiff in 1928. His father was the artiste and music
hall star Ted Hopkins, while his mother attained recognition as a well-known society and artistic
beauty. Her name was Violet Brodrick.
Hopkins was one of the ‘Angry Young Men’ group of writers who emerged in the 1950s. He
was the most prominent of the ‘Outsiders’ trio amongst the ‘Angry Young Men’ - a groupuscule which
consisted of himself, Colin Wilson and Stuart Holroyd. His most outstanding contribution was a succes
de scandale with the novel, The Divine and the Decay, published by MacGibbon & Kee in 1957 - and
his artistic credo, Ways Without a Precedent, contained in Declarations, the manifesto of the ‘Angry
Young Men’. Doris Lessing, in the second volume of her literary autobiography, Walking in the Shade,
says that Bill Hopkins revealed a great talent at this time. She also goes on to mistakenly declare that he
died tragically young! His greatest achievement remains The Divine and the Decay.
The Leap! (a.k.a. The Divine and the Decay) is largely forgotten today - yet when it appeared in
the late 1950s it produced an absolute furore in the press; a cause celebre which was almost
unprecedented at the time. As an anonymous author, who wrote a foreword to the book’s de luxe
second edition, put it: - “an abscess seemed to have been punctured in the general culture”. He goes on
to say that anyone who wishes to analyse the nature of contemporary literary censorship - no longer
about explicit mentions of sex (of erotica per se) but now primarily to do with ‘incorrect’ political
thoughts - should spend a couple of hours in the Colindale Newspaper Library in North London (the
country’s largest repository of ephemeral non-fiction) surveying the literary press’s response to this
novel. The book is essentially a consideration of philosophical ideas. It deals with an ideological
viewpoint, an aesthetic response to political reality, laid out in the form of a traditional narrative - i.e., a
book with a beginning, middle and end. In a sense it is similar to a range of politicised fictions that
occurred in the early 1950s across the Channel, such as Sartre’s Roads to Freedom trilogy and Camus’s
existentialist tour de force, The Outsider. But the irony about this novel is that although it takes a
relatively ‘traditional’ form it is, in actuality, a complete moral reversal of the left-existential works
In his anatomisation of the culture of the 1950s, The Angry Decade, Kenneth Allsop describes
this work as both unregenerate and morally ‘evil’. He basically declares that it is a loathsome product
which should have been banned - although, like all true liberals of his ilk, Allsop could not bring
himself openly to advocate the censorship that he seeks for this book (somewhat inevitably). The work
in question deals with the psychological origins of a dynamic leader (a veteran ‘Outsider’). It depicts
the spiritual trajectory of a ‘British Caesar’ on his way to complete power - or what is conceived as
such. If you like, it is a version of Hermann Hesse’s The Glass Bead Game played with human
eyeballs! It denotes the ‘amoral’ power-curve of Peter Plowart - at least after he has succeeded in
‘murdering’ the chairman of the New Britain League: (the latter his vehicle to obtain supreme power):
and furthermore, once he has successfully taken refuge on an almost deserted island called Vachau,
which is depicted as a small outcrop off the Channel Islands. In actual fact this island does not exist; it
is purely imaginary. It is merely used for the purposes of narrative-drive, even though it may be based
on the Anglo-French outpost of the Barclay brothers, Brechou, a tiny isle off Sark. On his arrival in
Vachau Plowart comes across various human types (or archetypes) against which he tests his will and
his future view of the world. These correspondents - i.e., characters in a dramatic dialogue, all
contained in the form of a novel - represent a Christian and ‘female’ perspective (Clermont); a
weakened, male, humanist viewpoint (ultimately speaking) (Lumas); and the drunken sensualist, the
man addicted to fleshey pleasures (Lachanell).
Plowart is a man obsessed by the nature of his own destiny, irrespective of all other things such
as human warmth and comfort (for example). He is a perfect paradigm of the dictatorial urge (the ‘Will
to Power’). Moreover he resembles a novelist’s version of the young Saddam Hussein (as it were) set in
England around the middle of the century. (We should remember that Saddam Hussein had set upon his
course at an early age. Indeed he first came to prominence, as a mere stripling of seventeen, when he
tried to machine-gun the Premier of Iraq). Plowart is made of a similar human material. For he is a man
who believes – in a purely Nietzschean sense – that the ‘Will to Power’ is the basis of all existence
(whether civil or otherwise) and that human beings only learn anything through their ability to
transgress thresholds of pain. In many respects Plowart appears in this theoretical novel to be a
mediaeval figure, almost a mystic, a man who wishes to go beyond what presently exists: but always
with a totally different morality to that of liberal-humanism (quiescent or otherwise). This is why
Allsop - together with other journalists of similar views - reacted so violently against this novel: in that
it completely contradicted their own beliefs, based as they were on soi-disant Enlightenment values.
For, in all honesty, Plowart does not believe in the right to life, in humanist ethics, in opposition to
slavery, in the belief that the weak are morally best, that women are superior to men, that sentimentality
is a form of grace, that corporal punishment is wrong, that human beings are racially equal, that people
do not wish to be dominated, that destruction is ‘evil’ (as a principle of life) and that human freedom is
anything other than a conceit to be used by those of a higher power. In other words, Plowart is an
‘inhumanist’, an antihumanist - although not in a crude political sense. (Even this is not entirely true for
Hopkins does not dwell on political matters straightforwardly - or in any other way - with the exception
of a few vague phrases about the populist New Britain League). When we describe Hopkins’s character
in this manner we mean - at least ethically speaking - that he is a mythical being who is closer to the
spirit of Aleister Crowley than the contemporary Archbishop of Canterbury: at least as was depicted in
Crowley’s novels such as The Moonchild and The Diary of a Drug Fiend. For Plowart is - in a purely
normative manner - a ‘left-hand occultist’ or social magician: an ‘amoralist’ and an anti-Christian; a
new Assyrian; a man who believes in a religion older than Christianity, when the latter is
controversially dismissed as a humanist creed, the weak-kneed religion of those unfit for life. In spirit,
however, this is closer to the Plato of The Laws - rather than the lucidity of The Republic. In any event,
it is a ‘sadic’ faith (a doctrine beyond liberal-humanist and Christian morality) which sees war as the
crucible of human meaning: and conflict/death as a state of ‘liberation’ in relation to preconceived
notions of being. For Plowart preaches a ‘pessimistic’ ideology of force and challenge. He believes in
the manipulation of mass emotion (i.e. the use of contemporary fear and sentiment) primarily through
the persuasive utilisation of superior cultural energy. Basically, then, he stands for the values that
animated European revolutionary regimes from the 1920s to the 1940s - i.e. the ‘dictatorships’ that
were defeated by Britain and her Allies in the last war. Hence the fact that there was such a furious
reaction to this novel - i.e. to a metapolitical enquiry; a philosophical speculation - undertaken in 1957,
which was after all only a few years after the war itself had ended. But these events have now passed
In this respect Colin Wilson misunderstands the book in his otherwise interesting introduction to
the novel’s second edition in the 1980s - particularly when he speaks of it as a mystical travelogue. For,
in actuality, this novel is an exercise in psycho-history before it has been written. It is a fusion of
Dennis Wheatley’s The Devil Rides Out (its Sabbatesque revelations) with an imaginary autobiography
- an auto-hagiography, even - of the young Enoch Powell.
In this sense Bill Hopkins’s The Divine and the Decay - his greatest literary achievement -
stands revealed as a Bildungsroman of the anti-Left; a premonitory explosion; a lightening-flash which
reveals a terra incognita; an intrusion into the Zeitgeist; a ‘storm of steel’ against liberal evasion.
There follows an interview with the author of this incendiary novel.
JB: Were you an angry young man?
BH: Very much. I think everybody was very angry and frustrated during the 1950s and from the
end of the war onwards actually. The whole country was in a state of stagnation, everything
was pointless and meaningless. It was as though someone had stuck a vast syringe into the arm
of the nation and all the energy had been withdrawn from it. We were all in limbo. The whole
country had come to a standstill in a way that’s very difficult for people who weren’t born then
to recall. The war seemed pointless to all of us. There was no feeling that ‘we’d triumphed
over evil’ at all. The evil was that England was bankrupt, lost, directionless, purposeless. The
wrong people occupied all the positions of influence. And the wrong people were
masquerading as left-wingers, which I found just as objectionable.
JB: Can you talk more specifically about what you and your fellow ‘Angry Young Men’ were
trying to achieve?
BH: Well, The Divine and the Decay mustn’t be seen as an ordinary novel. It was written as an
inflammatory document to inspire and act as a catalyst, and for a while I thought it was going
to. I certainly didn’t write it as a normal novel. I meant it almost as a manifesto.
JB: So you weren’t simply trying to change the view of literature but society in a political sense as
BH: I was trying to change the reason for literature, the role and the gravitas of literature, into
something nobler than it was at that time. You must remember that literature in the 1950s was
dominated by very dormant figures who belonged really to the 1930s: Spender, Auden,
Isherwood, Eliot. All relatively effete, degenerate and hopeless voices. But also literature like
that was totally disconnected from all the engines of society politically. It was very dilettante.
Society was static, so the novel was intended to fuse literature to society and to change both
literature and society into something much more dynamic than it was. I wanted Britain to
become great again.
BH: I thought - and still do - that the British are the greatest people in history exceeding even the Greeks and that Britain is the cradle of most of the miracles that make the world today. And
can become so again. It’s a very, very strange, unique and peerless people and I’m very proud
to be a member of it.
JB: Which writers did you admire?
BH: Above all others, Dostoievsky. Shaw very much. Wilde, in another sense entirely. H.G. Wells
as a determinist and a scientist. Conrad, of course. Kipling very, very much; I identified with
his empire-building, his imperialism and his respect for other races. Those are the great lights
of my time.
JB: Reading the writers of the 1950s, there seems to be a great feeling of doom, a great urgency to
change direction, discover a new politics, even a new religion. Was this a symptom of the
times - a response, perhaps to the nuclear threat - or do you feel this remains the position
BH: I think it was very much a symptom of that time. I think the nuclear threat was ever-present,
on everyone’s mind. Is it very different from to-day? The difference today from then was that
today the endwarfment of the individual is more complete, the sense of impotence and
insignificance is more total. At that time there was a great deal of feeling that the individual
could become significant again if he could acquire heroic independence. That was the big
difference. To-day people are much more vanquished. They’re borne along on the flood much
more today than they were then. It seems a paradox but there was more hope then than there is
JB: It does seem a paradox.
BH: Well, computerisation and robotisation and everything else has taken man, through
technology, to a further crossroads, I think, and it’s accelerating. And society is becoming
much more global. Don’t forget that in the 1950s nationalism was a view that we had from our
birth. Hence the wars. To-day I think you’d find it very difficult to start a war without a very
elaborate rationale that would be acceptable to a majority.
JB: Do you think we’re moving away from nationalistic viewpoints?
BH: I think we are becoming more rootless and we don’t know our place in the world any more and
that’s contributing to a feeling of impotence and insignificance. People haven’t the limited
view that was part of the blindness of the 1950s. But it also gave them a passion about their
own place of birth and upbringing and culture which is disappearing. They’re two different
worlds, so different that it seems scarcely conceivable that they’re only separated by fifty
JB: You wrote in 1957 that a “writer’s duty is to urge forward society towards fuller responsibility,
and that a writer must take upon himself the duties of the visionary, the evangelist, the social
leader and the teacher in the absence of other candidates.” You wrote that a writer’s task is to
discover the escape route to progress. Yet after The Divine and the Decay you ceased to write,
or at least to publish.
BH: I don’t think the public realise the extent of censorship in a so-called democracy - which of
course is mythical. There’s never been a democracy in the world and it’s still the only word we
use. But a propos my own situation, when The Divine and the Decay came out, it was seen
widely by the left-wing as one of the most dangerous things. Here was a right-wing thinker -
right-wing in the sense of not being left-wing - who is speaking to millions and that’s very
dangerous. Don’t forget we had platforms in every major newspaper, on a daily basis. They
were all reporting us, The Times, The Daily Telegraph, The Daily Express, The Daily Mail,
you name it. So we were very dangerous in the sense that hitherto in society you kept radicals,
left or right, on Speakers’ Corner and suddenly a group of wild young people were attempting
to destabilise society; and in that sense it was very dangerous because it had never happened in
literature before. There was no precedent for it.
What went on behind the scenes was this. I was recruited to MacGibbon & Kee by Tom
Maschler, who after he got me on contract departed for Jonathan Cape. I was left on at
MacGibbon & Kee, which was owned by Howard Samuel, one of the Samuel brothers who
owned great tracts of the West End. Howard Samuel, my publisher, was the left wing one, and
he supported The New Statesman, The Nation and, even more militantly, the magazine
Tribune. These journals were all set to work attacking me ferociously as one of the authors of
their owner and with his consent. MacGibbon & Kee found me an enormous threat and hated
the book but under contract they had to publish it. But they limited the publication. They
didn’t sell the translation rights to any other country in the world, they limited the circulation
and they pulped. I know that because I had many hundreds of letters coming to me from
people going into bookshops and finding that they couldn’t get a copy of The Divine and the
Decay, nor was it being supplied. I couldn’t prove it, but I knew it had been pulped which of
course makes it so rare today. It should have been printed in a minimum of at least 20,000
copies, but it wasn’t. The truth emerged when I went into the publishers and asked why they
weren’t printing more and I was told that they thoroughly disapproved of the book politically.
They wouldn’t release me from contract so I could go to another publisher and they would
make great difficulties about publishing any more of my work. So in one fell stroke, I was
made a prisoner. Held on contract, I couldn’t offer my work to anyone else, otherwise I’d be
pursued and they wouldn’t release me. They would neither publish another book nor release
me. They kept me hostage; and that was the left wing who were going on so much about the
dangers of fascism. They exercised the most vicious, nastiest form of censorship that I have
ever come across.
JB: Presumably they don’t still hold you hostage?
BH: No. I’m free. I’ve got my book back.
JB: Why have you published nothing since, in the last 37 years?
BH: Because it’s time to go that one or two steps further. Plays, much more than novels, because
my sort of novel simply doesn’t go today.
JB: Are you writing plays?
BH: Yes. I’m working on a quartet of plays for theatre which is nearly complete. I can’t say any
more about that at the moment. But, yes.
JB: In your essay in Declarations in 1957, where you were talking about the writer’s viewpoint,
you wrote: “I predict that within the next two or three decades we will see the end of pure
rationalism as the foundation of our thinking.” Do you see any signs that this is happening?
BH: Very much so. This huge upsurge of interest in mysticism, in the psychic, in the occult are all
symptoms of the fact that rationality as we know it - and I illustrated it with 1+2=3, which is a
syllogism, a fallacy, it’s 1+1+1=3 - that rationality encloses a domain that’s a very small
fragment of what’s emerging as a continent of new data, of unrealised worlds. DNA for
instance is already taking us into fields beyond rationality and we’re trying to find the
fingerprints of so many things which we’ve loosely in the past called genetic. We’ve got to
create hypotheses where there is no rationality to govern those hypotheses and we’ve got to,
from those leaps through hypotheses, establish bridgeheads into terra incognita and link back
to the rational. Otherwise we can’t go as fast as we could if we were to leap beyond rationality.
When we say irrationalism, that rings of certain echoes which are emotional and spiritual and
so forth, which are quite dubious. But rationality at the moment isn’t enough and we’ve got to
use everything we can to break through to further realms of thinking. That’s what I really
meant there. I can encapsulate it in the sense that what we know isn’t enough. We’ve got to
know more, therefore we’ve got to take enormous risks in terms of intellectual courage by
throwing our minds into domains which could well be called insane. And art brut as its called,
Outsider Art, is a perfect example.
JB: In The Divine and the Decay, the protagonist, Plowart, describes himself as the “greatest man
of our time”, which I take in the sense of a Nietszchean superman or superhero, to whom
normal rules don’t apply. But, following the analogy, if the ends justify the means - and
Plowart commits murder in pursuit of his goal - how can we be sure that our actions will have
the result that we intend? Doesn’t history rather show the opposite - that we know nothing of
the future, that, as Shaw had it, “the road to hell is paved with good intentions”?
BH: We can’t look back to history as a reference to show that something is necessarily so. You can
do that in law through precedents but that’s as artificial an invention as mathematics. If the
right people commit acts or take a course of action, it surely will be determined by them
having a diagrammatic understanding of what the outcome of that or those actions will be.
They’re not actions which are haphazard or should be - or would be, I think. So, the ends
justify the means. Well, I don’t quite know why that’s ever been in doubt. We don’t quibble if
that method is used by someone like Pasteur, experimenting on himself, or the Curies, but we
do in terms of the Lenins, the Stalins, and the Hitlers. So I would say that under laboratory
conditions we endorse that principle. Outside the laboratory we say the wide world is a very
different place and humanism dictates that we draw back from any other cruelty than cruelty to
oneself. But all the world operates on natural cruelty so that’s a wonderful example of
hypocrisy. As soon as anything matters, it becomes a combat - love, business, snobbery;
everything is a form of mental cruelty. So I would say that if one governs and understands all
this and comes out with the final law that we should all live and let live, that’s insufficient.
There will always be people hurt.
JB: Would you describe yourself as a humanist?
BH: I believe in humanity. But I believe that human beings have to be warriors.
BH: We have to soldier on. We have to understand that life is not fair. It’s not equitable. It’s not
something that everyone can be happy with and what we’ve got to do is think in terms of the
advancement of the species, that above all else.
JB: In The Divine and the Decay, Plowart escapes from England to a small, socially incestuous
island where magical or seemingly magical events occur. This echoes or anticipates some of
the themes of John Fowles’s novel, The Magus. Was there something about Britain in the
1950s that made islands and events that, let us say, defied the prevailing orthodoxies of
scientific materialism seem especially attractive to writers?
BH: I can’t answer for Fowles. But for my own part it gave me a hermetically enclosed,
magnifying, echoing chamber, which was a metaphor for the world, really. All the putrid
decaying people on it were reflections of that. How degenerate they were, how trivial they
were, how unabsorbed they were over the prospects of humanity as a species. All these things
were, to me, perfect examples of what I could portray as the world. I mean, here was a man
who didn’t belong, who was the ‘Outsider’, who was en passant.
JB: Was there also, at the back of your mind, the idea that this might be a metaphor for the world
after a nuclear holocaust?
BH: No. Because I’ve always had a great belief that the nuclear war wouldn’t happen. I don’t know
of any species that has a literal death wish. Even the lemmings don’t.
JB: Do you, or did you, see yourself as an outsider?
BH: Yes, in many ways I did. And yet I was more of an insider than any of the ‘Angry Young
JB: When you speak of the ‘Angry Young Men’ which other writers come to mind?
BH: John Osborne, Lindsay Anderson. His film If has been very undervalued. Kingsley Amis, in
the sense that he was very subversive and mocking. You couldn’t call him an angry young
man but you couldn’t certainly call him a peaceful young man either. John Wain was doing the
same thing, and John Braine - how to raise yourself up the ladder, the social ladder, which was
unfair. They all felt that they’d been deprived of social advantages and they had decided that
they wanted a society where everyone had equal advantages, which of course, came from left-
wing thinking and I suppose radical liberal thinking too. And even I believe that everyone
should have equal education, equal chances. So does Colin Wilson. But of course, we believe
you invent yourself and the others did see themselves as maimed or damaged by the system.
Who else? You want more names? Most of them are gone. Alexander Trocchi killed himself
with a syringe. There were quite a few that fell by the wayside.
JB: So it would not be unreasonable to see the ‘Angry Young Men’ as almost a form of social
protest, a protest by the non-privileged?
BH: Well, it was a protest by most of them, but Colin and I were really affirming rallying calls and
a positive advance for society, we weren’t too interested in the bad things that you protest
against. We were simply calling on people who had extra energy and vitality to break through
to a further point. But not, you know, kicking other people as it were. If you’re a fast runner
you really don’t have to worry too much about the people you say are hogging the racetrack.
You just run faster and surpass them.
JB: Were there any concrete ways in which the ‘Angry Young Men’ were a group? Did you meet?
BH: Yes. We all knew each other and I think we were trying most of all to re-energise society. We
were all protesting against dead thinking, for the need to become much more vital. That’s what
the ‘Angry Young Men’ were really for. They were trying to break the stagnation of that
decade and, in doing so, I think that they completely changed communication. I don’t think the
pop movement or the pop world could have happened without us; or most of the other big
social explosions. We were the thin end of the wedge.
JB: Do you see yourselves, with hindsight anyway, as precursors of the 1960s?
BH: Very much so. Very much so.
JB: John Lennon’s ‘working class hero’?
BH: Yes. In the way that we changed novels, plays, cinema, singing, acting. Yes. Undoubtedly.
Historically we did. We were the catalyst and we paid a dear price for it.
JB: Can you amplify that?
BH: Well, you only have to look at the history of John Osborne and Colin Wilson and Lindsay
Anderson to see the damage that was done. All his life, after the ‘Angry Young Men’, Lindsay
Anderson was trying to get finance for further films and never really managed it. John
Osborne was attacked more and more venomously with each play, so he never emerged as a
playwright that people looked at as a playwright. He was always someone you hated and was a
demon figure, wasn’t he? And Colin Wilson too. That changed his career.
JB: Do you feel that others reaped the rewards?
BH: Oh yes. They always do. And I think that’s good.
JB: The next literary generation, the Martin Amis, Julian Barnes, Salman Rushdie generation,
weren’t trying to change society. They were writing in a way that one probably couldn’t have
written in the 1950s without being regarded as a radical writer, but they certainly were not
BH: Yes absolutely. They were accepted. Society had changed and they were accepted and I think
in that sense the ‘Angry Young Men’ were very necessary as catalysts, don’t you? I think we
served our purpose.
JB: You had an effect, certainly.
BH: In ant colonies they have soldier ants and they rush forward to any danger and they’re killed in
their thousands but they’ve stopped the threat and they’ve changed the direction of the ant
colony. So we were used, I suppose, as warrior ants by the Zeitgeist. And certainly I think that
if everyone had known what was going to happen, and we didn’t, I think most of them
wouldn’t have gone in to battle. I think it certainly accounts for the fact that today half the
‘Angry Young Men’ are dead. It put a tremendous stress on them all.
JB: Yes, it’s difficult to escape from such a very firm bracketing together. Perhaps no one really
escaped from it. Perhaps Kingsley Amis?
BH: Yes, he kept his distance. But then he did pay a terrible price with alcoholism; and he did
move much further to the Right and moved into the Garrick and made that into his enclosed
world. There were effects. John Braine became from a left winger a Tory, didn’t he? And a
Catholic and an alcoholic - and that killed him. All showed signs of stress. Except me. But I
walked away owing to the fact that my way was totally blocked
JB: What did you do?
BH: I built an empire in antiques and antiquities. I built an empire and made a fortune.
JB: Do you regret the fact that your way was blocked?
BH: No. I don’t think that you can regret anything in life. I think you have to accept what is. Don’t
forget, my father was my precursor. He was famous and he was rendered destitute and he
ended up dead with everything in ruins. So I knew that there were consequences. From the
very beginning I knew. In fact I warned Colin Wilson that he was about to be assassinated
before Religion and the Rebel and Ritual in the Dark came out. It was all so predictable and
my feeling was if no-one will examine my case, what had happened to me in terms of my
publishers and what I was faced with and no one defended me - even people like Iris Murdoch
- to hell with literature. I’m now going to look after Bill Hopkins and make him self-sufficient.
I’m never going to be dependent on people again; publishers, a public that doesn’t notice
what’s going on and accepts what’s being given to them. I felt very scornful about the whole
JB: You mention Iris Murdoch. One very obvious element among the ‘Angry Young Men’ was
that they were men. That was a line back to Nietszche with his Superman. There was also a
line back to the idea of the outsider, started by Camus and developed by your friend Colin
Wilson. It was a very male dominated literary and intellectual scene. Probably the greatest
single intellectual change in the last 40 years has been the advent of feminism, the advance of
feminine values and their effect on literature and the world of the intellect. Do you have any
comment on that?
BH: Well, of course, that had already started very much in the 1950s and earlier, with Virginia
Woolf, A Room of One’s Own, Simone de Beauvoir in Paris, The Second Sex.
JB: She was linked to Sartre.
BH: Yes, but she was a very independent woman. I mean, Sartre was attacking me as a fascist and
Simone de Beauvoir’s lover, Nelson Algren, was a great champion of my book. So her lover,
Nelson Algren, was championing me and her regular man, Sartre, was attacking me as a fascist
and her position was independent. She was an alternative voice. Simone de Beauvoir certainly
wasn’t in thraldom to Sartre intellectually at all. In fact I think that she felt sorry for him in
many ways. She pitied him in many respects and that came out very much in that goodbye, that
last account of Sartre’s dying.
JB: Nevertheless, at the end of The Divine and the Decay Plowart and Claremont are thrust into
the sea and it’s the male who survives, seemingly miraculously yet not miraculously, through
an effort of will.
BH: And imagination. And vision.
JB: And the female who perishes. The female who sacrifices herself.
BH: Yes. Well, of course, Claremont was occupying a very, very wrong position. She was
defending what is instead of powers that could be.
JB: You wrote in Declarations of your disdain for “improbable love yarns closing upon chaste
kisses” and the single sex scene in The Divine and the Decay presents sex as a perfunctory,
loveless, almost utilitarian expression of carnal desire. Do you see sex as purely part of the
instinct for survival?
BH: Yes. The drive to copulation is so basic to us all, it dominates everything. We mask it by
words like love but the fact of the matter is that true love emasculates the drive to copulation.
There is a perception of women as whores or goddesses. The goddess principle which has
been propagated in all the advertisements in films and television emasculates men. They can’t
believe that they can rip the knickers off Audrey Hepburn and mate. They have to adore; by
adoring they invoke the contempt of the woman who certainly doesn’t want to be adored. All
she sets out to do is to attract those who will penetrate her and impregnate. So women, by
overdoing the show business attractiveness with cosmetics and lingerie and what not, often
complain that they attract men that they don’t want. They want barbarians. Part of the
motivation of the ‘Angry Young Men’ was their sex famine, their anger.
BH: The fact that they were sexually deprived. They all had the idea of blue stockings, of
wonderful cool Lady Bretts – you know, of Hemingway’s The Sun Also Rises - Lady Bretts,
who were cool sophisticated aristocrats. They would never drop their silken panties for them
and that enraged them. I didn’t subscribe to that of course, because one knows it’s all show
business. I never had any social anger nor sexual anger. I think, in that sense, when you said
‘Were you an outsider?’ I said ‘yes’, but also no; yes in the sense that society to me was full of
such victims, needless victims, men and women, but no in the sense that I knew that there was
no personal animus towards me and everyone was a ‘victim’ in their different ways. I mean
old David Milford Haven, whom I knew well was a typical example, and David Astor,
Jonathan Guinness - they were all ‘victims’. Everyone’s a victim in England. In America
they’re not. In England if you’re not born with a title and with wealth, then you have an
inferiority complex from the beginning. As soon as you’ve got a duke you’re inferior by
definition. He’s a victim, despite being a duke, to the monarchy. The pyramid.
JB: Is this something you’d like to see changed?
BH: The monarchy is a victim of its succession. The whole thing always struck me as a kind of
diddle and a doddle so I could never be passionate about any of that.
JB: Would you like to see the class system abolished?
BH: Very much, but I’m afraid it’s raised in people’s own minds. I’ll give you an example. John
Braine, who wrote Room at the Top, was an absolute militant against the class system It was
something that enraged him enormously and he wrote splenetic articles in The New Statesman
about it. But when I took him to meet David Milford Haven, he found out of course about his
title and that he was the Queen’s best man. All of a sudden a terrible quivering and a shaking
of his teacup on the saucer revealed exactly the class system of this country.
JB: You’ve emphasised your Britishness, your belief in the superiority of the British race and
stated that you’re very much a British writer. I would suggest however that you were the least
British, the least parochial and most cosmopolitan of the ‘Angry Young Men’; the one most in
tune with international ideas.
BH: It’s only possible to become international when you have such firm ground under you. I don’t
mean physical ground. I mean history. When I use the word compost that’s about it. It’s all the
mess, the blood, the gore and the entrails of centuries.
JB: There is a lot of ambivalence in your attitude towards England and Britain.
BH: I’m showing the flag. The Britain I’m talking about is here as it is for all true British men and
JB: Inside your head?
BH: Yes. And it shouts at the real Britain, ‘Grow up, be this and how dare you be tardy’. So it’s
always been my attitude that I’ve told the English what they should do in poetry, in journalism,
in novels and now in plays and that’s what I’ll die doing. I’m both parochial and international,
but I can only be international when I’m sure of my identity. And I’m not interested in Bill
Hopkins. I’m interested in another representative for the British people. That’s all. I’m part of
the compost. D’you see what I mean? Nietszche: “Not me, not me, the wind that blows
through me”. That’s entirely my attitude in life. And I can’t see any other way of living. We’ve
been put on the earth as kind of Manchurian candidates and if society is hostile then we’ve got
to be more deterministic and do battle. It’s forced on us. We certainly don’t crumple like
victims. So that’s my arrival as one of the ‘Angry Young Men’ and I would have been saying
this to you exactly in my twenties. Never changed. All I’ve done has been to improve my
thinking and facilitate my survival materially and live. You know, there won’t be many of us
left soon, Jonathan. There won’t be many of us left.
JB: You were instrumental, I understand, in the launch of Penthouse.
BH: Yes, well that was very important. As the editor of the first number, I recruited Bertrand
Russell, Julian Huxley and many others who were considered to be heavyweights by the
establishment to subscribe to a magazine that was showing pubic hair for the first time. And
although I didn’t believe in sex as titillation, I did know that it was necessary as another
JB: I think Penthouse can be seen as a battering ram, but also as something sleazy and unpleasant.
BH: It wasn’t sleazy. We used the most beautiful girls.
JB: Even hypocritical.
BH: It was an attack on hypocrisy! Penthouse penetrated to the foundations. Don’t forget the
lavatory, the bedroom and the drawing room, traditionally in England, had been completely
different worlds. Penthouse united them for the first time.
JB: We still see this hypocrisy about sex that Penthouse supposedly ended. It seems to be livelier
than ever today, with politicians.
BH: Yes, but they’re all ending up at the Old Bailey. I mean, cheque book journalism has exposed
the poor sods as they’ve never been exposed before.
JB: But the hypocrisy still has to be deep rooted to allow it to happen.
BH: Well, more and more it’s becoming the joke of the world isn’t it, really? Hilarious. But
England has always been like that and Penthouse opened a lot of oubliettes that need to be
opened up. I used to go to the Duchess of Westminster’s parties and people used to come up to
me and say, ‘hey, you know, awful people, the press, always writing these lies’, and distancing
themselves. What they didn’t realise is that I’d been on the news-desk taking their tips. If I’d
really been an angry young man, I’d have written chapter and verse. I could have demolished
most of them. They were all drawing money for feeding stories in about their friends. The
magistrates were sending the prostitutes and the pimps and the perverts to prison and they
were part of the active circle. There are a number of Englands, a number of Englands.
JB: What interests me and I think what interests you, is the hypocrisy.
BH: I’d go further, to pity.
JB: For whom?
BH: The hypocrites. ‘In sunshine and shadow.’
JB: You don’t seem angry at all.
BH: I never was. I’m passionate, but not angry. I’m passionate about the need for change. I’m
passionate about the need for understanding. I’m passionate about the need for vision.
JB: Is there not a conflict between the views you’ve expressed and your own feelings?
BH: I look at it detachedly, as I do with everything. It seems to me that you can’t theorise about
violence without being perfectly in tune with using violence yourself. And one of my ideals
has always been based on the cultured thug: the Byronic.
JB: The Krays ?
BH: Yes. Well, you know the Krays were very, very respectful to me and anyone else in the Arts.
So was Rachman, who was my landlord. I owed him rent for months and he didn’t care. All he
wanted was to sit in on conversations of mine. I think you have to accept the fact that unless
you can fight you mustn’t just take an ivory tower position. And that’s one of the things about
Plowart which I was very keen on representing. I mean Isherwood and Auden and Spender and
Eliot were all whimpering and whingeing about being so highly sensitive and I view that with
JB: Yes. There is a very obvious contrast between the ‘Angry Young Men’ and the previous
BH: Yes. Mind you, I did sympathise with them. But I knew that when the war came, it had to be
logical that Auden and Isherwood fled to New York. It was absolutely logical. And that
Spender was a pacifist and was in the fire brigade. They all identified with death and
themselves dying, you know, it was the menace to narcissism.
JB: There’s the example of Firbank.
BH: Yes. And all the fin de siècle boys. I mean, what finished poor Oscar Wilde was that he didn’t
even imagine a world like that in jail. The poor butterfly just found it so horrible that he never
wrote another word after. And I certainly didn’t want that to happen to intellectuals and
writers. I thought that we had to go through the abattoirs. It was a necessary process. So
Plowart, The Divine and the Decay was really that sort of manifesto.
JB: Yet there’s this terrific irony that if Plowart really is going to survive, he’s going to survive
because the hunchback has managed to save him. The man that he was trying to save from the
ridicule of the other people on the island.
BH: Plowart believed. His contempt for other people was based on the fact that he thought that they
could all change. They could all invent themselves anew. That was part of his cruelty, to
expect them to be able to change. That they couldn’t, like Claremont, was beyond his
comprehension. Because he’d changed himself. Why couldn’t they? And that was the reason
that he’d taken the side of this awful man who was to later drop him the life-belt at the
beginning of the novel.
JB: Do you think that he recognised the debt ?
BH: No. I think it was an affinity, as I remember, an affinity unrealised. I think one of the
inspirations for me on that was Goethe’s Elective Affinities. You know this business when you
go into a crowded room and there’s only one or two people you can even glance at and you
know they’re relevant to you. All the rest are irrelevant and you’ve never been able to explain
in a satisfactory sense why this is so; what this mental compass means. But you know it
infallibly and you talk to these one or two and you leave, there’s nothing else there. I think it
was the same with that fellow, dropping his lifebelt. He couldn’t be Plowart but he would be if
JB: He was an ‘Outsider’?
BH: There are an enormous number of encodements in that novel. To me it’s still not a novel, it’s a
Bildungsroman, a novel of ideas and it works on so many different levels.
JB: What do you think of the state of the novel today? Are there any contemporary writers you
BH: No, because cowardice is endemic with people. And it takes a great deal to be able to create
without and in spite of an audience. Unless you can do that the audience will never respect
you. You have to have the authority to be able to take them through the labyrinth to magic.
And today all literature is bound up with domesticity, what’s credible, what people can
identify with from their own experiences, which are very limited. So the novel is largely
extinct. It’s lost its magic. It’s become, in embroidery terms, petit point. And if that’s so then
we’re looking at the demise of literature in the form of the novel. Unless it’s got magic, unless
you can open the cover and be swept up into something that’s totally unpredictable, that leads
you to an unknown point, there’s no point in reading.
JB: Have you read John Fowles’s miscegenatory novel The Magus?
BH: Yes. I was very struck by its ambitions and by its successes; but more, ultimately, by its
failure. I regard it as a failure. But it was a very splendid failure. I think he re-worked it too
much so he lost the spontaneity and the drive. He didn’t have the courage to do it in a whoosh,
as I did, which he should have done. But then, we were doing it from different positions.
JB: He wrote The Collector in a ‘whoosh’.
BH: And that was a much more accomplished novel, although it didn’t have the breadth and the
span of The Magus. I’m certainly not ashamed to be a fellow writer of his. Certainly not. I
wouldn’t say that of Rushdie or Martin Amis, or Kingsley Amis or John Wain. Even John
Osborne, for whom I feel enormous contempt, though I salute his courage.
JB: Why contempt?
BH: He was so full of bile and venom and blindness and smallness, pettiness, minginess, stinginess
- all behind it all. A weird, weird mix to make a Fury. I don’t think I ever spoke to him before I
fell into a position of patronising him, talking down, because he wouldn’t allow one to be an
equal. I suppose you know that in one of his books he refers to me as an altar boy, do you?
BH: Yes. No, I think Fowles stands out. To him I would apply the word ‘noble’. He’s a noble man.
And when he dies I shall certainly doff my cap.
JB: The greatest literary accomplishment in England since the war?
BH: No. I think The Divine and the Decay will be rated by posterity much higher and rightly. For a
number of reasons. The attack was loftier. It did break the boundaries with much more of a
crack than did The Magus. He was an obliquist in that novel, if I can refer to his strategy and
practice and I was really an over-the-top attacker from the front. That’s what makes me
unique, I think. Frankly it’s a Bildungsroman which the Chinese, the Russians, the Germans,
all the intellectual nations recognise. I don’t think they’ll recognise The Magus. But an
enormous achievement within the confines of our society’s hypocrisy.
JB: It’s very big in America.
BH: Yes, Anglo-Saxon. But he would never be big in Russia, or China, or with the Germans
because they’re much more cerebral, really. So I think he would be more successful - he’d be
respected much more in England than I would be. I think - it’s always final judgements, you
never know - but the fact that mine is expanding out to the world right now, forty years later,
despite all the handicaps it was given - being pulped and being restricted and being ridiculed
and demonised and everything else. I think that’s very interesting, in the sense that most
novels are almost certainly dead, however much their ideas are lauded within a smaller and
smaller time span.
JB: I thought the only bad passage in The Divine and the Decay was the dream sequence on the
boat, in the opening chapter. It made little sense.
BH: Well, I had to occupy that and in theatre in Elizabethan times they used the soliloquy. You
know, speeches like “to be or not to be” are nothing more than how to cover a time lapse.
Now, I couldn’t use a soliloquy so I had to use the device of a dream and use the irrationality
of the dream; but what I had to do was to keep the readers with me through this interval as I
was going forward. It was all calculated and that was one of the cards I had to spin and that
was a losing card, I knew that. So, you’re absolutely right. If the circumstances had been
different, if I had been writing in another century I would have done another thing and that’s
all I can comment about that. We’re all bound in some ways to the conventions of our time
and those are the death knells because if you’re dated that’s where you date. As Les Girls was
dated by the girls wearing cloche hats in the 1920s, so you’re dated by such devices.
JB: It’s a novel that’s certainly dated less than most. I mean as long as French windows exist you won’t be seriously dated.
BH: I’m not sure, I’m not sure. You see, it’s a funny position I’m in. I met a chap the other day, Alan Deitweiler; he was the boyfriend, ‘gay’, of Alan Reynolds. Have you ever heard of him?
He conducted great intellectual cells of writers in the 1950s and he picked them up
everywhere. He gathered a big salon of all the promising young men. He invited me to his
Christmas party and I was the only one really who rejected him. I went to one of his parties
and I thought it was quack humanism. I showed my contempt and never showed up again;
while Colin Wilson and Stuart Holroyd both kept going every Sunday to his place. And Alan
Deitweiler, when I met him recently for the first time under other circumstances, said, “Oh
yes, you’re the only one Alan Reynolds said would ever last to posterity of all the ‘Angry
Young Men’.” And I was very astonished considering that I would have thought he would
have hated me in return and rubbished me. And Alan Deitweiler wouldn’t lie so that
astonished me too. So I think he was an arch-humanist, Alan Reynolds, very famous in
intellectual circles of the 1950s. You probably don’t know him because I don’t think he
published. He was just a personality. He’s dead now, but everyone knew of him in the 1950s.
JB: The book has a timeless quality.
BH: I think you’ll outlive me Jonathan, so you’ll see for yourself whether it will last. I don’t know.
JB: No-one ever knows.
BH: No, you never know, you never know. That’s the whole thing about literature, you cast a
message in a bottle on the water. I’m not sure that I really care about posterity. One half of me
because I think it’s whether we can reinvent ourselves as a people and re-inherit our
momentum. The other half of me, cast in nostalgia, in the past, I happily join The Divine and
the Decay to all that. I’m quite proud to belong to that and the ‘Angry Young Men’. It’s
history isn’t it?
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