NOTES ON A VOICE

Graham Greene
"Tiger, darling," Graham Greene's wife used to say whenever she found a florid metaphor - and out it would go. His rival and fellow Catholic, Anthony Burgess, said that Greene sought in his writing "a kind of verbal transparency which refuses to allow language to become a character in its own right". His voice is the driest of any great writer, drier than bone.
His sentences are lean, lucid, free of the "beastly" adverb, as well as of authorial comment and moral judgment. He is hard to quote, not being epigrammatic like his friend and fellow Catholic Evelyn Waugh; nor easy to parody, like their contemporary Ernest Hemingway. But it rarely takes more than three of those sentences to situate you in Greeneland, a place whose moral temperature would wring sweat out of a fridge. He doesn't have a style so much as a humidity.
Greene's prose has the clarity of a pane of glass, yet it creates an air of menace, almost an airlessness, which intensifies the drama. His simplicity makes him appear modern, and two of his novels, "The End of the Affair" and "The Quiet American", have been re-made for the screen since 2000. Now it's the turn of "Brighton Rock" (first filmed in 1947, with Richard Attenborough), with the tigerish Helen Mirren down to play one of Greene's signature waif-like women.

Golden rule

Get on with it. Character comes through dialogue and action. No tiresome philosophy (except about God, generally one of Greene's least successful characters). He believes in "the importance of a human activity truthfully reported".

Key decisions

Using Catholic themes for "Brighton

Rock" (1938) and his tenth (and best) novel, "The Power and the Glory" (1940). They brought a commercial breakthrough and landed him with the reputation of a Catholic novelist, which resulted in "The Heart of the Matter" (1948) - his most famous book, but one he grew to loathe. ("I hated the hero;' he told me in a BBC interview. When I asked which was his favourite of his own books, he answered without hesitation: "The Honorary Consul" - one of eight novels he set in and around South America.) In an age of diminishing faith, he uses Catholic parables in a way that lend them a power beyond their biblical origins - mining the gospels rather as John Le Carré, his most obvious successor, has mined the cold war .

Strong points

Page-turning. Greene doesn't despise the thriller or detective story. Billing his novels as “entertainments", he is not afraid of suspenseful chapter endings, which Virginia Woolf would never have understood. He allies dramatic and comic storytelling with the economy of the age of cinema, drawing on his experience as a film critic for the Spectator. Whereas the great novels of the 19th century went on and on, the power of Greene lies in his concision; he wrote novels of about 80,000 words, which you can read and digest in a sitting, getting back to the unitary power of drama. When he reached his daily target of 500 words, he would stop - even in mid-sentence. Oh, and he wrote the screenplay for one of the best English films, "The Third Man".

Favourite trick

Learned from Joseph Conrad, the trick of comparing something abstract to something concrete. If we remember any of his phrases it is likely to be one of these images: "silence like a thin rain", or a brothel madam's kindness mislaid like a pair of spectacles.

Role models

At 12, his favourite character was the detective Dixon Brett, his favourite authors John Buchan, Marjorie Bowen and H. Rider Haggard. But his potency is anticipated most clearly in the stories of Robert Louis Stevenson, his idol and distant cousin.

Typical sentence

"I believe in the evil of God:' - from

"The Honorary Consul" –

NICHOLAS SHAKESPEARE

The Intel Life Summer 2010

Miss Highsmith is a crime novelist whose books one can reread many times. There are very few of whom one can say that. She is a writer who has created a world of her own - a world claustrophobic and irrational which we enter each time with a sense of personal danger, with the head half turned over the shoulder, even with a certain reluctance, for these are cruel pleasures we are going to experience, until somewhere about the third chapter the frontier is closed behind us, we cannot retreat, we are doomed to live till the story's end with another of her long series of wanted men.
It makes the tension worse that we are never sure whether even the worst of them, like the talented Mr Ripley, won't get away with it or that the relatively innocent won't suffer like the blunderer Walter on the relatively guilty escape altogether like Sydney Bartleby in A. Suspension of Mercy. This is a world without moral endings. It has nothing in common with the heroic world of her peers, Hammett and Chandler, and her detectives (sometimes monsters of cruelty like the American Lieutenant Corby of The Blunderer or dull sympathetic rational characters like the British Inspector Brockway) have nothing in common with the romantic and disillusioned private eyes who will always, we know, triumph finally over evil and see that justice is done, even though they may have to send a mistress to the chair.
Nothing is certain when we have crossed this frontier. It is not the world as we once believed we knew it, but it is frighteningly more real to us than the house next door. Actions arc sudden and impromptu and the motives sometimes so inexplicable that we simply have to accept them on trust. I believe because it is impossible. Her characters are irrational, and they leap to life in their very lack of reason; suddenly we realize how unbelievably rational most fictional characters are as they lead their lives from A to Z, like commuters always taking the same train. The motives of these characters are never inexplicable because they are so drearily obvious. The characters are as Hat as a mathematical symbol. We accepted them as real once, but when we look back at them from Miss Highsmith's side of the frontier, we realize that our world was not really as rational as all that. Suddenly with a sense of fear we think, 'Perhaps I really belong here,' and going out into the familiar street we pass with a shiver of apprehension the offices of the American Express, the centre, for so many of Miss Highsmith's dubious men, of their rootless European experience, where letters are to be picked up (though the name on the envelope is probably false) and travellers' cheques are to be cashed (with a forged signature) .
Miss Highsmith's short stories do not let us down, though we may be able sometimes to brush them off more easily because of their brevity. We haven't lived with them long enough to be totally absorbed. Miss Highsmith is the poet of apprehension rather than fear. Fear after a time, as we all learned in the blitz, is narcotic, it can lull one by fatigue into sleep, but apprehension nags at the nerves gently and inescapably. We have to learn to live with it. Miss Highsmith's finest novel to my mind is The Tremor of Forgery, and if I were to be asked what it is about I would reply, 'Apprehension'.
In her short stories Miss Highsmith has naturally to adopt a different method. She is after the quick kill rather than the slow encirclement of the reader, and how admirably and with what field-craft she hunts us down. Some of these stories were written twenty years ago, before her first novel, Strangers on a Train, but we have no sense that she is learning her craft by false starts, by trial and error. 'The Heroine', published nearly a quarter of a century ago, is as much a study of apprehension as her last novel. We can feel how dangerous (and irrational) the young nurse is from her first interview. We want to cry to the parents, 'Get rid of her before it's too late'.
My own favourite in this collection is the story 'When the Fleet Was In at Mobile' with the moving horror of its close here is Miss Highsmith at her claustrophobic best. 'The Terrapin', a late Highsmith, is a cruel story of childhood which can bear comparison with Saki's masterpiece, 'Sredni Vashtar', and for pure physical horror, which is an emotion rarely evoked by Miss Highsmith, 'The Snail-Watcher' would be hard to beat.
Mr Knoppert has the same attitude to his snails as Miss Highsmith to human beings. He watches them with the same emotionless curiosity as Miss Highsmith watches the talented Mr Ripley:

Mr Knoppert had wandered into the kitchen one evening for a bite of something before dinner, and had happened to notice that a couple of snails in the china bowl on the draining board were behaving very oddly. Standing more or less on their tails, they were weaving before each other for all the world like a pair of snakes hypnotized by a flute player. A moment later, their faces came together in a kiss of voluptuous intensity. Mr Knoppert bent closer and studied them from all angles. Something else was happening: a protuberance like an ear was appearing on the right side of the head of both snails. His instinct told him that he was watching a sexual activity of some sort.

Graham Greene