I saw it all suddenly while I was reading . . . Forster's the only one who understands what the modern novel ought to be . . . Our frightful mistake was that we believed in tragedy: the point is, tragedy's quite impossible nowadays . . . We ought to aim at being essentially comic writers . . . The whole of Forster's technique is based on the tea-table: instead of trying to screw all his scenes up to the highest possible pitch, he tones them down until they sound like mothers'-meeting gossip . . . In fact, there's actually less emphasis laid on the big scenes than on the unimportant ones: that's what's so utterly terrific. It's the completely new kind of accentuation-like a person talking a different language . . . .
( Christopher Isherwood )
[ Lions and Shadows: An ]
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