Politics. Any contemporary event, cult or activity which has comic possibilities (for example, 'free love', feminism, A.R.P., nudism) rapidly finds its way into the picture postcards, but their general atmosphere is extremely old-fashioned. The implied political outlook is a radicalism appropriate to about the year 1900. At normal times they are not only not patriotic, but go in for a mild guying of patriotism, with jokes about 'God save the King', the Union Jack, etc. The European situation only began to reflect itself in them at some time in 1939, and first did so through the comic aspects of A.R.P. Even at this date few postcards mention the war except in A.R.P. jokes (fat woman stuck in the mouth of Anderson shelter; wardens neglecting their duty while young woman undresses at window she had forgotten to black out, etc. etc.). A few express anti-Hitler sentiments of a not very vindictive kind. One, not McGill's, shows Hitler, with the usual hypertrophied backside, bending down to pick a flower. Caption: 'What would you do, chums?' This is about as high a flight of patriotism as any postcard is likely to attain. Unlike the twopenny weekly papers, comic postcards are not the product of any great monopoly company, and evidently they are not regarded as having any importance in forming public opinion. There is no sign in them of any attempt to induce an outlook acceptable to the ruling class.
Here one comes back to the outstanding, all-important feature of comic postcards - their obscenity. It is by this that everyone remembers them, and it is also central to their purpose, though not in a way that is immediately obvious.
A recurrent, almost dominant motif in comic postcards is the woman with the stuck-out behind. In perhaps half of them, or more than half, even when the point of the joke has nothing to do with sex, the same female figure appears, a plump 'voluptuous' figure with the dress clinging to it as tightly as another skin and with breasts or buttocks grossly over-emphasized, according to which way it is turned. There can be no doubt that these pictures lift the lid off a very widespread repression, natural enough in a country whose women when young tend to be slim to the point of skimpiness. But at the same time the McGill postcard - and this applies to all other postcards in this genre - is not intended as pornography but, a subtler thing, as a skit on pornography. The Hottentot figures of the women are caricatures of the Englishman's secret ideal, not portraits of it. When one examines McGill's postcards more closely, one notices that his brand of humour only has meaning in relation to a fairly strict moral code. Whereas in papers like Esquire, for instance, or La Vie Parisienne, the imaginary background of the jokes is always promiscuity, the utter breakdown of all standards, the background of the McGill postcard is marriage. The four leading jokes are nakedness, illegitimate babies, old maids and newly married couples, none of which would seem funny in a really dissolute or even 'sophisticated' society. The postcards dealing with honeymoon couples always have the enthusiastic indecency of those village weddings where it is still considered screamingly funny to sew bells to the bridal bed. In one, for example, a young bridegroom is shown getting out of bed the morning after his wedding night. 'The first morning in our own little home, darling!' he is saying; 'I'll go and get the milk and paper and bring you a cup of tea.' Inset is a picture of the front doorstep; on it are four newspapers and four bottles of milk. This is obscene, if you like, but it is not immoral. Its implication - and this is just the implication that Esquire or the New Yorker would avoid at all costs - is that marriage is something profoundly exciting and important, the biggest event in the average human being's life. So also with jokes about nagging wives and tyrannous mothers-in-law. They do at least imply a stable society in which marriage is indissoluble and family loyalty taken for granted. And bound up with this is something I noted earlier, the fact that there are no pictures, or hardly any, of good-looking people beyond their first youth. There is the 'spooning' couple and the middle-aged, cat-and-dog couple, but nothing in between. The liaison, the illicit but more or less decorous love-affair which used to be the stock joke of French comic papers, is not a postcard subject. And this reflects, on a comic level, the working-class outlook which takes it as a matter of course that youth and adventure - almost, indeed, individual life - end with marriage. One of the few authentic class-differences, as opposed to class-distinctions, still existing in England is that the working classes age very much earlier. They do not live less long, provided that they survive their childhood, nor do they lose their physical activity earlier, but they do lose very early their youthful appearance. This fact is observable everywhere, but can be most easily verified by watching one of the higher age groups registering for military service; the middle-and upper-class members look, on average, ten years younger than the others. It is usual to attribute this to the harder lives that the working classes have to live, but it is doubtful whether any such difference now exists as would account for it. More probably the truth is that the working classes reach middle age earlier because they accept it earlier. For to look young after, say, thirty is largely a matter of wanting to do so. This generalization is less true of the better-paid workers, especially those who live in council houses and labour-saving flats, but it is true enough even of them to point to a difference of outlook. And in this, as usual, they are more traditional, more in accord with the Christian past than the well-to-do women who try to stay young at forty by means of physical jerks, cosmetics and avoidance of childbearing. The impulse to cling to youth at all costs, to attempt to preserve your sexual attraction, to see even in middle age a future for yourself and not merely for your children, is a thing of recent growth and has only precariously established itself. It will probably disappear again when our standard of living drops and our birth-rate rises. 'Youth's a stuff will not endure' expresses the normal, traditional attitude. It is this ancient wisdom that McGill and his colleagues are reflecting, no doubt unconsciously, when they allow for no transition stage between the honeymoon couple and those glamourless figures, Mum and Dad.
I have said that at least half McGill's postcards are sex jokes, and a proportion, perhaps ten per cent, are far more obscene than anything else that is now printed in England. Newsagents are occasionally prosecuted for selling them, and there would be many more prosecutions if the broadest jokes were not invariably protected by double meanings. A single example will be enough to show how this is done. In one postcard, captioned 'They didn't believe her', a young woman is demonstrating, with her hands held apart, something about two feet long to a couple of open-mouthed acquaintances. Behind her on the wall is a stuffed fish in a glass case, and beside that is a photograph of a nearly naked athlete. Obviously it is not the fish that she is referring to, but this could never be proved. Now, it is doubtful whether there is any paper in England that would print a joke of this kind, and certainly there is no paper that does so habitually. There is an immense amount of pornography of a mild sort, countless illustrated papers cashing in on women's legs, but there is no popular literature specializing in the 'vulgar', farcical aspect of sex. On the other hand, jokes exactly like McGill's are the ordinary small change of the revue and music-hall stage, and are also to be heard on the radio, at moments when the censor happens to be nodding. In England the gap between what can be said and what can be printed is rather exceptionally wide. Remarks and gestures which hardly anyone objects to on the stage would raise a public outcry if any attempt were made to reproduce them on paper. (Compare Max Miller's* stage patter with his weekly column in the Sunday Dispatch.) The comic postcards are the only existing exception to this rule, the only medium in which really 'low' humour is considered to be printable. Only in postcards and on the variety stage can the stuck-out behind, dog and lamp-post, baby's nappy type of joke be freely exploited. Remembering that, one sees what function these postcards, in their humble way, are performing.
What they are doing is to give expression to the Sancho Panza view of life, the attitude to life that Miss Rebecca West once summed up as 'extracting as much fun as possible from smacking behinds in basement kitchens'. The Don Quixote-Sancho Panza combin
ation, which of course is simply the ancient dualism of body and soul in fiction form, recurs more frequently in the literature of the last four hundred years than can be explained by mere imitation. It comes up again and again, in endless variations, Bouvard and Pecuchet, Jeeves and Wooster, Bloom and Dedalus, Holmes and Watson (the Holmes-Watson variant is an exceptionally subtle one, because the usual physical characteristics of two partners have been transposed). Evidently it corresponds to something enduring in our civilization, not in the sense that either character is to be found in a 'pure' state in real life, but in the sense that the two principles, noble folly and base wisdom, exist side by side in nearly every human being. If you look into your own mind, which are you, Don Quixote or Sancho Panza? Almost certainly you are both. There is one part of you that wishes to be a hero or a saint, but another part of you is a little fat man who sees very clearly the advantages of staying alive with a whole skin. He is your unofficial self, the voice of the belly protesting against the soul. His tastes lie towards safety, soft beds, no work, pots of beer and women with 'voluptuous' figures. He it is who punctures your fine attitudes and urges you to look after Number One, to be unfaithful to your wife, to bilk your debts, and so on and so forth. Whether you allow yourself to be influenced by him is a different question. But it is simply a lie to say that he is not part of you, just as it is a lie to say that Don Quixote is not part of you either, though most of what is said and written consists of one lie or the other, usually the first.
But though in varying forms he is one of the stock figures of literature, in real life, especially in the way society is ordered, his point of view never gets a fair hearing. There is a constant world-wide conspiracy to pretend that he is not there, or at least that he doesn't matter. Codes of law and morals, or religious systems, never have much room in them for a humorous view of life. Whatever is funny is subversive, every joke is ultimately a custard pie, and the reason why so large a proportion of jokes centre round obscenity is simply that all societies, as the price of survival, have to insist on a fairly high standard of sexual morality. A dirty joke is not, of course, a serious attack upon morality, but it is a sort of mental rebellion, a momentary wish that things were otherwise. So also with all other jokes, which always centre round cowardice, laziness, dishonesty or some other quality which society cannot afford to encourage. Society has always to demand a little more from human beings than it will get in practice. It has to demand faultless discipline and self-sacrifice, it must expect its subjects to work hard, pay their taxes, and be faithful to their wives, it must assume that men think it glorious to die on the battlefield and women want to wear themselves out with childbearing. The whole of what one may call official literature is founded on such assumptions. I never read the proclamations of generals before battle, the speeches of fuehrers and prime ministers, the solidarity songs of public schools and left-wing political parties, national anthems, Temperance tracts, papal encyclicals and sermons against gambling and contraception, without seeming to hear in the background a chorus of raspberries from all the millions of common men to whom these high sentiments make no appeal. Nevertheless the high sentiments always win in the end, leaders who offer blood, toil, tears and sweat always get more out of their followers than those who offer safety and a good time. When it comes to the pinch, human beings are heroic. Women face childbed and the scrubbing brush, revolutionaries keep their mouths shut in the torture chamber, battleships go down with their guns still firing when their decks are awash. It is only that the other element in man, the lazy, cowardly, debt-bilking adulterer who is inside all of us, can never be suppressed altogether and needs a hearing occasionally.
The comic postcards are one expression of his point of view, a humble one, less important than the music halls, but still worthy of attention. In a society which is still basically Christian, they naturally concentrate on sex jokes; in a totalitarian society, if they had any freedom of expression at all, they would probably concentrate on laziness or cowardice, but at any rate on the unheroic in one form or another. It will not do to condemn them on the ground that they are vulgar and ugly. That is exactly what they are meant to be. Their whole meaning and virtue is in their unredeemed lowness, not only in the sense of obscenity, but lowness of outlook in every direction whatever. The slightest hint of 'higher' influences would ruin them utterly. They stand for the worm's-eye view of life, for the music-hall world where marriage is a dirty joke or a comic disaster, where the rent is always behind and the clothes are always up the spout, where the lawyer is always a crook and the Scotsman always a miser, where the newlyweds make fools of themselves on the hideous beds of seaside lodging houses and the drunken, red-nosed husbands roll home at four in the morning to meet the linen-nightgowned wives who wait for them behind the front door, poker in hand. Their existence, the fact that people want them, is symptomatically important. Like the music halls, they are a sort of saturnalia, a harmless rebellion against virtue. They express only one tendency in the human mind, but a tendency which is always there and will find its own outlet, like water. On the whole, human beings want to be good, but not too good, and not quite all the time. For:
there is a just man that perisheth in his righteousness, and there is a wicked man that prolongeth his life in his wickedness. Be not righteous over much; neither make thyself over wise, why shouldest thou destroy thyself? Be not over much wicked, neither be thou foolish: why shouldest thou die before thy time?
In the past the mood of the comic postcard could enter into the central stream of literature, and jokes barely different from McGill's could casually be uttered between the murders in Shakespeare's tragedies. That is no longer possible, and a whole category of humour, integral to our literature till 1800 or thereabouts, has dwindled down to these ill-drawn postcards, leading a barely legal existence in cheap stationers' windows. The corner of the human heart that they speak for might easily manifest itself in worse forms, and I for one should be sorry to see them vanish.
Hop-Picking Diary
25.8.31: On the night of the 25th I started off from Chelsea with about 14/- in hand, and went to Lew Levy's kip in Westminster Bridge Road. It is much the same as it was three years ago, except that nearly all the beds are now a shilling instead of ninepence. This is owing to interference by the L.C.C. who have enacted (in the interests of hygiene, as usual) that beds in lodging houses must be further apart. There is a whole string of laws of this type relating to lodging houses,* but there is not and never will be a law to say that the beds must be reasonably comfortable. The net result of this law is that one's bed is now three feet from the next instead of two feet, and threepence dearer.
26.8.31: The next day I went to Trafalgar Square and camped by the north wall, which is one of the recognized rendezvous of down and out people in London. At this time of year the square has a floating population of 100 or 200 people (about ten per cent of them women), some of whom actually look on it as their home. They get their food by regular begging rounds (Covent Garden at 4 a.m. for damaged fruit, various convents during the morning, restaurants and dustbins late at night etc.) and they manage to 'tap' likely looking passers by for enough to keep them in tea. Tea is going on the square at all hours, one person supplying a 'drum', another sugar and so on. The milk is condensed milk at 21/2d a tin. You jab two holes in the tin with a knife, apply your mouth to one of them and blow, whereupon a sticky greyish stream dribbles from the other. The holes are then plugged with chewed paper, and the tin is kept for days, becoming coated with dust and filth. Hot water is cadged at coffee shops, or at night boiled over watchmen's fires, but this has to be done on the sly, as the police won't allow it. Some of the people I met on the square had been there without a break for six weeks, and did not seem much the worse, except that they are all fantastically dirty. As always among the destitute, a large proportion of them are Irishmen. From time to time these men go home on visits, and it appears that they never think of paying their passage, but always stow away on small ca
rgo boats, the crews conniving.
I had meant to sleep in St Martin's Church, but from what the others said it appeared that when you go in you are asked searching questions by some woman known as the Madonna, so I decided to stay the night in the square. It was not so bad as I expected, but between the cold and the police it was impossible to get a wink of sleep, and no one except a few hardened old tramps even tried to do so. There are seats enough for about fifty people, and the rest have to sit on the ground, which of course is forbidden by law. Every few minutes there would be a shout of 'Look out, boys, here comes the flattie!' and a policeman would come round and shake those who were asleep, and make the people on the ground get up. We used to kip down again the instant he had passed, and this went on like a kind of game from eight at night till three or four in the morning. After midnight it was so cold that I had to go for long walks to keep warm. The streets are somehow rather horrible at that hour; all silent and deserted, and yet lighted almost as bright as day with those garish lamps, which give everything a deathly air, as though London were the corpse of a town. About three o'clock another man and I went down to the patch of grass behind the Guards' parade ground, and saw prostitutes and men lying in couples there in the bitter cold mist and dew. There are always a number of prostitutes in the square; they are the unsuccessful ones, who can't earn enough for their night's kip. Overnight one of these women had been lying on the ground crying bitterly, because a man had gone off without paying her fee, which was sixpence. Towards morning they do not even get sixpence, but only a cup of tea or a cigarette. About four somebody got hold of a number of newspaper posters, and we sat down six or eight on a bench and packed ourselves in enormous paper parcels, which kept us fairly warm till Stewart's cafe in St Martin's Lane opened. At Stewart's you can sit from five till nine for a cup of tea (or sometimes three or four people even share a cup between them) and you are allowed to sleep with your head on the table till seven; after that the proprietor wakes you. One meets a very mixed crowd there - tramps, Covent Garden porters, early business people, prostitutes - and there are constant quarrels and fights. On this occasion an old, very ugly woman, wife of a porter, was violently abusing two prostitutes, because they could afford a better breakfast than she could. As each dish was brought to them she would point at it and shout accusingly, 'There goes the price of another fuck! We don't get kippers for breakfast, do we, girls? 'Ow do you think she paid for them doughnuts? That's that there negro that 'as 'er for a tanner' etc. etc., but the prostitutes did not mind much.