While working through Dawson Jackson’s papers last year I came upon a draft of, and correspondence relating to, a book which he published under an assumed name in 1949. As assumed names feature quite prominently in my research on Jackson’s close friend A.S.J. Tessimond, I made a note to look this book out. I managed to buy a copy (they are rare, though not unobtainable), but it is only now that I have got round to reading it.
The book – From This Foundation under his pseudonym ‘Thomas Brackley’ (London: Harvill, 1949) – is a long narrative description of an medium-sized English town. It has echoes of Orwell’s The Road to Wigan Pier in its attempts to document the lives and living conditions of everyday people, but resonates also with Coming Up For Air, or William Golding’s The Pyramid, in the rapid sense of change affecting the lives of the town’s inhabitants. It is, as the author describes it in the opening chapter, ‘not a novel and has no plot or main character’ but, much like George Crabbe’s The Borough, each chapter relates the lives of a different group of inhabitants – and this within the broader framework of the seasonal shifts throughout a year.
As with most of Jackson’s writing, there is tremendous warmth here; it is a kind of sociology born out of love. Here, towards the end of the book, in a chapter that ostensibly is written to consider how the elderly are taken care of, is a wonderful (though not uncritical) portrait of a woman reaching the end of her life:
A moss of small objects grows over everything. Wraps, sewing baskets, small piles of books and letters, glasses of water, medicine tins. If anyone sets them in order they will grow back as they were again. It is the same inside the drawers. Mrs Forrester is a maker of mouse’s nests. No particular type of thing is kept in any particular drawer. Everything is kept in every drawer: clothes, valuable silver sugar castors, pills, shoes and hair-pins, and dozens of packs of patience cards. She never has a pack of cards, and when she needs one she goes out and buys; putting it away in a drawer. As this may be any drawer it is usually not found again. It is the same with stockings. Her daughter, when appealed to, brings coupons to buy her mother some, and finds twenty pairs, mostly in a bottom drawer never opened, and all quite whole, since the lady never much moves her feet. The forgetting is partly but not wholly due to age. In the old days sixty jugs were once found in the house, and none of them might be used for milk. She hoards instinctively to withstand the siege of life—and the relation between her and it is one of siege, for she never gives anything back. Occasionally her memory is retentive. She will remember and describe exactly where so-and-so’s photograph is, at the back of the third drawer down on the right in the old oak bureau, where she put it in her house before last. Drawers for her are permanent shelves in the universe, never moved or sorted, like the larder passages in a rodent’s burrow underground. They are part of her own inner life, which is her reality, and all she believes in, for she is just tolerant towards, amused, frightened and indignant at the rest.
This attention to detail is striking and typical of the book, but it is also the utter seriousness with which Jackson locates this woman’s obscure act, and deems it as worthy of consideration as any other. Hoarding as a way of understanding the self – of understanding the universe – is no less important than the sincerest philosophy.