Autumn by V.S. Naipaul

An extract from The Enigma of Arrival

Two lovely pieces have been written about Autumn poetry recently, one by

Victoria

who wrote very nicely about Housman, and one by

Jem

about Keats’s Ode. Autumn is a rich time of year for writers, novelists as well as poets. Here’s an extract from The Enigma of Arrival by V.S. Naipaul. The whole novel is so beautifully written that I am tempted to quote several pages at once. This will have to do.

Autumn had once an enchantment of its own, with the trees and bushes “burning down” in their different ways, with different tints, with the wild mushrooms imitating the color and the shape of the dead leaves they grew among; with last year’s dead aspen leaves like lace or tropical fan coral, the soft matter rotted away between the ribs or veins or supporting structure of each leaf, which yet preserved its curl and resilience. I had slowly learned the names of shrubs and trees. That knowledge, helping me visually to disentangle one plant from another in a mass of vegetation, quickly becoming more than a knowledge of names, had added to my appreciation. It was like learning a language, after living among its sounds. Now, with the growth of weeds and the advance of marsh plants, and the disappearance of the rose bed, to be in the garden was like being in the midst of undifferentiated bush. The sections of the fallen aspen trunks that had been too big to saw up or remove had disappeared below bush.

The colors of the autumn in the garden were now brown and black. I had learned to see the brown of dead leaves and stalks as a color in its own right; I had collected grasses and reeds and taken pleasure in the slow change of their color from green to biscuit brown. I had even taken pleasure in the browned tints of flowers that had dried in vases without losing their petals; I had been unwilling to throw away such flowers. On autumn or winter mornings I had gone out to see brown leaves and stalks outlined with white frost. Now the hand of man had been withdrawn from the garden; everything had grown unchecked during the summer; and I felt only the cold and saw the tall grass and the wet and saw black and brown. On these short walks in the ruined manor garden, going a little farther each time, past the aspens, then past the great evergreen tree, then approaching the big white-framed greenhouse, after all this time as solid and whole-looking as it had ever been, on these walks brown became again for me what it had been in Trinidad: not a true color, the color of dead vegetation, not a thing one found beauty in, trash.

Obviously, when we think about autumn in novels, there is Dickens and his “implacable November weather” at the start of Bleak House. Little Dorrit is also autumnal.

On a healthy autumn day, the Marshalsea prisoner, weak but otherwise restored, sat listening to a voice that read to him. On a healthy autumn day; when the golden fields had been reaped and ploughed again, when the summer fruits had ripened and waned, when the green perspectives of hops had been laid low by the busy pickers, when the apples clustering in the orchards were russet, and the berries of the mountain ash were crimson among the yellowing foliage. Already in the woods, glimpses of the hardy winter that was coming were to be caught through unaccustomed openings among the boughs where the prospect shone defined and clear, free from the bloom of the drowsy summer weather, which had rested on it as the bloom lies on the plum. So, from the seashore the ocean was no longer to be seen lying asleep in the heat, but its thousand sparkling eyes were open, and its whole breadth was in joyful animation, from the cool sand on the beach to the little sails on the horizon, drifting away like autumn-tinted leaves that had drifted from the trees.

When Charles goes back to university for his second year, in Chapter 5 of Brideshead, there is a description of Autumn that captures the chill damp spirit of Oxford.

“It is typical of Oxford,” I said, “to start the new year in autumn.”

Everywhere, on cobble and gravel and lawn, the leaves were falling and in the college gardens the smoke of the bonfires joined the wet river mist, drifting across the grey walls; the flags were oily underfoot and as, one by one, the lamps were lit in the windows round the quad, the golden lights were diffuse and remote, like those of a foreign village seen from the slopes outside; new figures in new gowns wandered through the twilight under the arches and the familiar bells now spoke of a year’s memories.

The autumnal mood possessed us both as though the riotous exuberance of June had died with the gillyflowers, whose scent at my windows now yielded to the damp leaves, smouldering in a corner of the quad.

The spirit of autumn pervades Jane Eyre, too.

I covered my head and arms with the skirt of my frock, and went out to walk in a part of the plantation which was quite sequestrated; but I found no pleasure in the silent trees, the falling fir-cones, the congealed relics of autumn, russet leaves, swept by past winds in heaps, and now stiffened together. I leaned against a gate, and looked into an empty field where no sheep were feeding, where the short grass was nipped and blanched. It was a very grey day; a most opaque sky, “onding on snaw,” canopied all; thence flakes fell at intervals, which settled on the hard path and on the hoary lea without melting. I stood, a wretched child enough, whispering to myself over and over again, “What shall I do?—what shall I do?”