AtDDtA1: 3-9

[Paul Nightingale]

Chapter 1 divides in two parts loosely corresponding to the juxtaposition of
blurb (an overview that emphasises the authoritative narrator) to Young
Willis extract (a small-scale setting that emphasises interactions between
characters). As a result of the focus, conflict of whatever kind is more
evident in the latter.

Any text might shift from 'long-shot' to close-up' of course; nothing
exceptional about that. But the way in which AtD juxtaposes one to the
other--starting with pre-publication texts--does seem an interesting line of
inquiry. Not least, the nature of perspective is a feature of modernist
writing: the early reference to James might draw that to our attention if
nothing else.

The opening pages of the novel deal with interactions between Chums, and
juxtapose order to transgression. The dialogue that begins the novel is
indicative. On the one hand we have instructions (voiced of course by those
in authority). On the other, a thrill of anticipation that is, by
definition, self-centred and therefore non-responsive. Instruction posits a
power relation between those who give orders and those who must obey.
However, the response to instruction is hedonistic. The text then introduces
the various Chums by sketching in conflict/tension between Lindsay and Darby
(3-4), and Miles and Chick (4-5).

Lindsay's point is that "informality of speech" might "lead to profanity, or
worse" (4, whatever "or worse" might be--action, as opposed to speech,
perhaps). If standards are not maintained, chaos will follow. From
Randolph's point of view, Lindsay's "humourless severity" is necessary,
"considering the ease with which this high-spirited crew were apt to find
pretexts for skylarking".

A transition of sorts takes place, I think, on 5-6 with the scene between
Darby and Pugnax. Darby translates Pugnax's bark/growl/whatever, and Lindsay
intervenes to offer an overview of The Princess Casamassima. This first
reference to anarchism is in keeping with others subsequent: Lindsay seeks
to establish a voice of (hostile, as opposed to knowing) authority. James'
novel itself also deals with the perceptions of, and interactions between,
characters at a distance from anarchism (rather than purporting to offer an
insider's view). The reader embarks on a journey but never arrives.

There is a change of tone in the final few pages (6-9) of the chapter. The
writing offers a partial back-story. Here, interactions between Chums take
place in a flashback scene narrated from the point of view of Lindsay, if
not by him directly: interesting that Lindsay is positioned as a narrator of
sorts, given that he evidently despises fiction as a betrayal of reality (6,
commenting on James; then 9, when 'welcoming' Chick aboard). Furthermore,
the omniscient narrator who claims to author Chums' adventures and invades
the text on 3, has disappeared.