Brighton Rock by Graham Greene

In 1947 Donat ODonnell wrote that far more than than the leave-wing mi illuminateance of such poets as Auden and Sp final stageer the thrillers of Mr. Greene reflect the state of the West European mind in the mid-thirties. (25). For ODonnell, Greene is the most truly char acquiteristic writer of the thirties ir England, and the leading unexampledist of that time and place (28). What Greene draws attention to in his novels from the stay is, as McEwen n stars, the condition of violence and savagery repressed beneath a jutming peace.Greenes work such as Brighton shake up apply the apparatus of the thriller to expose and investigate contemporary mixer problems these novels argon vehicles for cordial commentary partiallyicularly in the implicit equation they make mingled with the violence and cruelty of their protagonists, Raven and pinkie, and the background of poverty against which they argon presented. This write up analyses Brighton wave through a prism of memori al theory. In summation some socio-philosophical implications are discussed.Analysis In Brighton Rock pinkys gang murders Hale save exclusively after he has do the acquaintance of Ida Arnold, a gambling-loving pragmatist who repeatedly insists on her bashledge of the difference betwixt right and wrong. Responding to an irrational irresistible impulseshe c eachs herself a sticker where rights contacted (16)she investigates Hales oddment, seeking to bring little finger to evaluator and to save ruddiness the suffering that Pinkie will inflict upon her.Like Mather, Ida, disrespect fulfilling the role of the re anticipate worker, is mocked by the account her in baron to see beneath the prove of involvements severely limits her d proteststairsstanding of the cutting and of the world she inhabits. Brighton for her is a place of romp and excitement, and purport is always dear(p) (19, 72) I always say its fun to be alive (17). The dark side, twain of life and of the c ity with its beggars and its horror, is all alien to her (73)Death shocked her, life was so important. She wasnt unearthly. She didnt believe in heaven or hell, only in ghosts, ouija boards, tables which rapped . . . but to her death was the end of everything. . . . livelihood was sunlight on brass bedposts, Ruby port, the leap of the embrace when the unwrapsider you have backed passes the post and the colours go bobbing up. Life was poor Freds m fall outh pressed down on hers in the taxi, vibrating with the railway locomotive along the parade. . .. she took life with deadly seriousness she was prepared to cause every amount of unhappiness to any ace in ensnare to defend the only thing she believed in. (36) Both her naive optimism, which has something dangerous and remorseless (36) in it, and her spiritual blindness prevent her from understanding Pinkie and Rose and account for the ironic shade that dominates gayy of the descriptions of Ida Ida Arnold was on the right sid e. She was cheery, she was healthy, she could get a bit lit with the take up of them.She liked a good time, her big breasts bore their prurience frankly down the Old Steyne, but you had only to look at her to know that you could rely on her. She wouldnt tell tales to your wife, she wouldnt remind you next morning of what you wanted to forget, she was h unityst, she was kindly, she belonged to the great middle law-abiding class, her amusements were their amusements, her superstitions their superstitions (the planchette scratching the French lash out on the occasional table, and salt over the shoulder), she had no more recognise for any angiotensin-converting enzyme than they had. (80)This kind of mockery has led numerous critics to denigrate Ida for her lack of spiritual awareness (she boasts to Rose that Its the world we got to deal with 198) and to elevate Pinkie to tragic stature because he professes a belief in a godlike order (its the only thing that fits 52, he says) wher ein the crucial difference is non between right and wrong but between Good and Evil. In that Rose shares Pinkies knowledge, she and Pinkie are presented both in the text and in critical discussions as object lessonly superior to Ida and other(a) characters like her such as Dallow, Cubitt, Colleoni, and Phil Corkery.The point is make particularly get to in comments made by Rose to Pinkie and in exchanges between Ida and Rose I only came here for your sake. I wouldnt have troubled to see you first, only I dont want to let the Innocent sufferthe aphorism came clicking out like a ticket from a slot machine. Why, wont you lift a finger to stop him killing you? He wouldnt do me any harm. Youre young. You dont know things like I do. Theres things you dont know. she brooded darkly by the bed while the charcleaning lady argued on a God wept in a garden and cried out upon a cross Molly Carthew went to everlasting fire.I know one thing you dont. I know the difference between Right and Wrong. They didnt instill you that at school. Rose didnt answer the womanhood was quite right the 2 words meant nothing to her. Their taste was extinguished by stronger foodsGood and Evil. The woman could tell her nothing she didnt know closely theseshe knew by tests as clear as mathematics that Pinkie was shabbinesswhat did it matter in that case whether he was right or wrong? (198) As is illustrated here, the narrative oft contrasts two distinct views of the worldthe secular outlook of Ida and others and the religious recognition of Rose and Pinkie.From a social perspective there is no escaping the circumstance that Pinkies evil makes him a criminal. However, as with Raven, Pinkies guilt is mitigated by a background of poverty ( populace is made by the places in which he lives, the text tells us 37) and by the presence of Colleoni, a self- draw business man (64), who, though the leader of a vast criminal organization, is in like manner well(p) regarded by the Brighton p olice and by the Conservative party which seeks to persuade him into authorities (159).As for Ida, whatever her shortcomings, she succeeds in her task of ridding society of Pinkies menace, although the conditions that produced Pinkie, the source of the evil, remain. On one level, then, Ida is the instrument of law and order who brings about the socially desirable end, the social good, that Rose, representative of a religious or spiritual Good, ejectnot. Ida is, in this respect, a figure of the law defending a secular middle-class sight of society that relies on human justice which, as we have noted, Greene sees as both limited and limiting.On the other consider, criticism of Ida often seems to have at its root a prejudice against the spy business race because it is a hot variant of literature. Ida, herself, is strongly tied to popular last, and in many prize she represents a populist spirit. The text tells us that She was of the people, she cried in cinemas at David Coppe rfield, when she was wino all the old ballads her mother had known came easily to her lips, her homely nubble was touched by the word disaster (32). Similarly, her bed-sitting room contains the trappings of popular culture and an assortment of popular literaturepieces of china bought at the seaside, a exposure of Tom, an Edgar Wallace, a Netta Syrett from a second-hand stall, some sheets of music, The Good Companions, her mothers picture, more china, a some jointed animals made of wood and elastic, trinkets given her by this, that and the other, Sorrell and Son, the Board. (42) In one sense then, her success represents the triumph, albeit limited, of the popular. However, for critics like R. W. B. Lewis, Idas popular heart (34) and her role as the investigating researcher underpin the reprobateation of her character and the neglect of her suffice in the book.In Lewiss eyeball, the Ida Arnold plot threatens Brighton with the disaster of being two different books under the sim ilar cover (244) The entertainment is Idas it begins with the first sentence . . . The tragedy is Pinkies it begins more subtly in the atmosphere of place (243). As these remarks imply, not to condemn Ida is to elevate in their importance the books detective- storey aspects-something Lewis cannot and will not do. We can see in Brighton Rock how the detective composition complements and underscores the narrative of Pinkies religious struggle.To be fair, however, Lewis does recognize the interdependence of the two stories, despite his perception of generic disorderliness in the novel (239) the semblance between the detective bill and the tragedy expresses exactly what Brighton Hock is finally all about. It is a relation between modes of narrative give-and-take that reflects a relation between two kinds or levels of reality a relation between incompatible worlds between the moral world of right and wrong, to which Ida constantly and overconfidently appeals, and the theological wo rld of good and evil inhabited by Pinkie and Rose.(244) However, we might add to these remarks that the relation between the two modes of narrative dis degree can also be withdraw as an inscription of the relationship between popular discourse and serious discourse. In the pure classical detective story that Todorov describes, the story of the crime becomes present in the text only through the story of the investigation that is, the crime takes place outside the frame of the narrative and all its details are revealed only in the course of the investigation.The events leading to the crime make up a story that is seen only through its half-yearly intrusion by means of clues, or ciphers, into the story of the investigation which we read we find out about the one story in the state of the other. As Todorov figures it, this pattern reveals the two aspects that the Russian formalists identify as part of any storyfabula and sjuzhetwhere the fabula is revealed only through the sjuzhet wh ile yet providing the sjuzhet with the square of its own existence.However, as we have noted, to determine which of these two precedes the other is a task fraught with ambiguity, and this ambiguity is reflected in Brighton Rocks departures from the paradigm of the classical detective story. This ambiguity emerges in the novels manipulation of the mechanics of the classical detective storys mental synthesis Ida explicitly begins her pursuit at the place from which Hale disappeared (81) and then works to reconstruct the crime which, as even Pinkie realizes (86), is the standard inquiring process.In a general sense, Ida traces over the previously laid path of Pinkie and his gangan activity that is consistent with the structural dynamics of the classical detective story plotand so figures the follow outs of the sjuzhet (the discourse) upon the material of the fabula (the story). As well, her retracing figures the act of compose that produces narrative as a re create verbally of a prior narrative which is repressed in the after narrative although its existence is revealed in the later narrativethe narrative of the investigationthrough the presence of clues which are the apparent signs marking the return of the repressed.However, in Brighton Rock Idas pursuit of Pinkie intensifies the story of Pinkies efforts to avoid capture. As Ida proceeds in her construe or eventsexplicitly linked to her reading of an occult text (Fresuicilleye)she uncovers indications of Pinkies story marked in the narratives details, which in more orthodox detective fiction are declare as clues things such as Hales dislike of Bass beer and his confession that he was going to die (18) arouse Idas instincts so that she senses that there is something odd about Hales death (31).Late details that come out after his death, such as the accompaniment that he used a false name (31), had bruises on his arms (79), and left a restaurant without eating despite utter Ida he was hungry (33), con firm Idas suspicions that something is puzzling about the death while, at the same time, they reveal details of Pinkies story. As the novel progresses, it becomes clear that Idas investigation of Hales death forces Pinkies actions.Since the official investigators agree that Hale died of natural causes, they have unopen the case (78-80), which means that it is only Ida whom Pinkie has to fear. In an odd way, then, Idas search originates, explains, and validates all of Pinkies actions from his courtship of Rose to his murder of Spicer to his attempt to arrange Roses felo-de-se as Dallow accuses Ida late in the novel, this is your doing. You made him marry her, you made him . . . (236).To be sure, Pinkie fears that the police may ask questions about the man who left the card at Snows, but, as we realize, they do not and will not reopen their inquiry. In their place, though, is Ida. In this sense, the detective story plot determines the course of Pinkies story although, conversely, i t is Pinkies story that gives rise to the detective narrative. The two lines of action are entangled in each other with each standing as the origin of the other.Indeed, the question of origin is complicated further by the fact that the disturbance that excites the narrative of Brighton Rock into beingthe murder of Haleis considered an act of revenge the initial action occurs in response to an earlier actionthe murder of Kitethe story of which, though sporadically erupting into Pinkies story (63, 218-19), lies in another narrative, another text as the text explicitly remarks, The unit origin of the thing was lost (217).As a model of narrative mechanics, then, Brighton Rock, figures narratives ability to perpetuate itself by inscribing within itself two separate narrative anchors that bring back and then feed on each other. Since Pinkies storythe story of the crimesparks Idas story into life and since her investigation determines the content of Pinkies story, each story can be seen as the origin of the other as each lies tardily the other. Idas investigation uncovers the contents of Pinkies story, but his narrative also becomes the means by which Idas story is discovered.To illustrate with just one example of how this works one can look at part 4, section 1 (99-120), where Pinkie and Spicer are at the race track. Although the storyline in the foreground involves Pinkies treachery of Spicer to Colleonis men, one glimpses the other narrative line involving Ida. Spicer tells Pinkie about a woman who backed Black Boy for a pony (103). unmatched then finds out that Black Boy won the race, and again Spicer mentions the woman who now has won so much money (104) the narrative goes on to report that Pinkie heard a express emotion, a female laugh which is attributed to the same woman (104-105).She is, of course, Ida, who bets on Hales tip and so wins enough money to persist in the investigation. In this example one sees how the story of undercover work is revealed in the telling of Pinkies story. Another way for us to see the relationship between the two narratives of Ida and Pinkie, of investigation and crime, is to think of either narrative strand as the repressed content of the other each reveals its presence in intermittent clues that surface into the respective narrative.However, whichever way one chooses to view Brighton Rock again depends on ones point of view, but ultimately one is sounding at the same thing. Greene reflects the indeterminate nature of narrative origins in his handling of the classical detective storys structure. As Brighton Rock stands, the story of the detection is stop by the story of the criminal, which reveals details of the crime the two stories are presented in roughly alternating chapters occurring more or less along a shared timeline.The reader, then, gains knowledge of the circumstances of Hales death from two sources, the chapters dealings with Ida and the chapters dealing with Pinkie. The two stories o f the investigation and the crime become blurred in the novel as each begins to include the other. As if to underscore this blending of narrative, it is historied that the novels first scene places Pinkie, Ida and Hale in the same room murderer, detective, and victim have their stories begin at the same time in the same place. The novel figures, then, the indeterminate nature of narrative origin from its outset.Because Idas investigation of events, metaphorically count on in her reading of an occult text, both reveals and determines the text she reads, we also see in Brighton Rock how the perceiving subject effects what it perceives, and in damage of reading the implications of this action are complex. On one level, reading a text actualizes that text for the reader by inscribing it in the readers consciousness where it previously did not exist. At the same time, the reader sees in the text what he or she is, in a sense, programmed to see through his or her get laid of the alrea dy-read.This phenomenon lies behind the differing judgments on Brighton Rock probable or improbable plot, doer novel or moral allegory, detective story or religious drama, light fiction or serious literature, entertainment or tragedy, and so on. However it is seen, the novel is the product of an interpretive act. Brighton Rock shows us both how these differences are generated and how they coexist within the textual field of the novel. The question of how texts are read is one of the issues at the heart of Brighton Rock.Perhaps more than in other detective stories, Brighton Rock foregrounds the reading process as a concern from the first page when we find Hale as Kolley Kibber following a thoroughfare (itself prescribed by a text) through Brighton in search of someone with a copy of The Daily Messenger in hand who can repeat a prepared text You are Mr. Kolley Kibber. I claim the Daily Messenger prize (5). Language is, thus, explicitly figured as a code. The text stresses that the c laim must be made in the proper form of words (5), and hence the possibility of arriving at a correct, univocal reading of a text, of fully understanding the code, is implied.However, since the gainsay Hale receives ultimately results in his death, we see figured in Brighton Rock the inadequacy of such a simple method of reading. This possibility is confirm in the larger investigation of reading that is enacted in the novel. As the detective, Ida is the reader of the fictions that Pinkie creates to explain Hales, Spicers, and, though it does not occur, Roses deaths. In producing these fictions, Pinkie uses glaring signs, which are meant to mislead their reader. The cards he has Spicer lay along Hales route are meant to stand as the visible traces of Hales presence, as Hales signature.Similarly, in preparing the story of Roses suicide, Pinkie uses a note that Rose herself has written and insists that she add a piece to explain her death (231) for Rose, this involves signing away mo re than her life (227) because in committing suicide she commits a mortal sin which will, according to her belief, swear her. But in both instances, and particularly in the latter, the creation of a fiction is explicitly tied to the production of a written text, and in this way the act of detection that involves the reading of Pinkies texts mirrors the activity of Greenes reader and of reading in general.Conclusion If Brighton Rock demonstrates the limitations of reading, it also insists upon the necessity of reading. Just as Chesterton described every detail within the urban landscape as a sign to be read by the detective in his or her search for truth, so is every detail within a detective story of potential significance to the readers interpretation of the narrative. In Brighton Rock the sire of the world is figured in terms of reading the world of Brighton is explicitly a world of text.Roses fathers face is marked deeply with the hieroglyphics of pain and diligence and suspic ion (142) the edge of the sea is like a line of writing in whitewash big sprawling letters (152) and Ida, herself, is likened by the narrative to an enigmatic text that insists it be read she stood there like a wall at the end of an alley scrawled with the obscene chalk messages of an opposition (196). In this context, reading becomes an unavoidable activity linked to power those best able to read or even to offer convincing and dogmatic readings are those who exercise power in this world.Both Ida and the police are confident in their interpretations of clues and events. The police, assigned the task of interpreting evidence in order to determine whether or not a crime has been committed, produce their own reading of Hales death. Their report presents a univocal interpretation of the details of the death and so preserves their power because in their eyes and in the eyes of the society the case is solved.The closing of the case thus maintains an impression of efficiency, which, in t urn, justifies the authority conferred upon the police. As Edwin Muir wrote of Pinkie in a review of Brighton Rock, he is an evil product of an evil environment, a living criticism of society, and on that plane genuine (76). Muirs remarks could just as easily apply to Raven, who is verbalise to be made by hatred (66). Indeed, because one of his obsessive boasts is Im educate (15, 46), the social system that shapes Raven is severely criticized.In Brighton Rock there are hints of a repressed desire for goodness and peace in Pinkie that are seen in his emotional reactions to music, his recollection of his days in the perform choir and his desire to be a priest, his faint stirring of substance for Rose and pity for Prewitt, and his sense of an enormous emotion beating on him . . . the pressure of gigantic wings against the glass as he drives Rose to what he assumes will be her death (242)all of which indicate that Pinkies evil arises out of the corruption of his innocence.In his cas e, the crippling effects of his environment destroy a natural tendency to goodness. The three entertainments that follow Brighton Rock, while not abandoning the social critique of the books from the thirties, become more obvious than Greenes text was in the interrogations of the thriller form and of the structures of authoritywhether political, literary or textualthat exist within society. Bibliography Greene, Graham. Brighton Rock. 1938. Harmondsworth Penguin, 1988._____________. Our Man in Havana. 1958. Harmondsworth Penguin, 1977. Lewis, R. W. B. Graham Greene The Religious Affair. The Picaresque Saint Representative Figures in Contemporary Fiction. Philadelphia and New York Lipponcott, 1959. 220-74. McEwen, Neil. Graham Greene. Macmillan Modern Novelists. London Macmillan, 1988. ODonnell, Donat. Graham Greene. chimaera 5. 4 (Summer 1947) 18-30. Todorov, Tzvetan. The Poetics of Prose. 1971. Trans. Richard Howard. Ithaca Cornell UP, 1977.