The Bookshop

by


The Bookshop is a story published in Huxley's collection titled Limbo, published in 1920.


An illustration for the story The Bookshop by the author Aldous Huxley
Alexandre Duret-Lutz, Shakespeare and Company Bookshop, Paris, 2006
An illustration for the story The Bookshop by the author Aldous Huxley
Alexandre Duret-Lutz, Shakespeare and Company Bookshop, Paris, 2006
An illustration for the story The Bookshop by the author Aldous Huxley

IT seemed indeed an unlikely place to find a bookshop. All the other commercial enterprises of the street aimed at purveying the barest necessities to the busy squalor of the quarter. In this, the main arterial street, there was a specious glitter and life produced by the swift passage of the traffic. It was almost airy, almost gay. But all around great tracts of slum pullulated dankly. The inhabitants did their shopping in the grand street; they passed, holding gobbets of meat that showed glutinous even through the wrappings of paper; they cheapened linoleum at upholstery doors; women, black-bonneted and black-shawled, went shuffling to their marketing with dilapidated bags of straw plait. How should these, I wondered, buy books? And yet there it was, a tiny shop; and the windows were fitted with shelves, and there were the brown backs of books. To the right a large emporium overflowed into the street with its fabulously cheap furniture; to the left the curtained, discreet windows of an eating-house announced in chipped white letters the merits of sixpenny dinners. Between, so narrow as scarcely to prevent the junction of food and furniture, was the little shop. A door and four feet of dark window, that was the full extent of frontage. One saw here that literature was a luxury; it took its proportionable room here in this place of necessity. Still, the comfort was that it survived, definitely survived.

The owner of the shop was standing in the doorway, a little man, grizzle-bearded and with eyes very active round the corners of the spectacles that bridged his long, sharp nose.

“Trade is good?” I inquired.

“Better in my grandfather’s day,” he told me, shaking his head sadly.

“We grow progressively more Philistine,” I suggested.

“It is our cheap press. The ephemeral overwhelms the permanent, the classical.”

“This journalism,” I agreed, “or call it rather this piddling quotidianism, is the curse of our age.”

“Fit only for——” He gesticulated clutchingly with his hands as though seeking the word.

“For the fire.”

The old man was triumphantly emphatic with his, “No: for the sewer.”

I laughed sympathetically at his passion. “We are delightfully at one in our views,” I told him. “May I look about me a little among your treasures?”

Within the shop was a brown twilight, redolent with old leather and the smell of that fine subtle dust that clings to the pages of forgotten books, as though preservative of their secrets—like the dry sand of Asian deserts beneath which, still incredibly intact, lie the treasures and the rubbish of a thousand years ago. I opened the first volume that came to my hand. It was a book of fashion-plates, tinted elaborately by hand in magenta and purple, maroon and solferino and puce and those melting shades of green that a yet earlier generation had called “the sorrows of Werther.” Beauties in crinolines swam with the amplitude of pavilioned ships across the pages. Their feet were represented as thin and flat and black, like tea-leaves shyly protruding from under their petticoats. Their faces were egg-shaped, sleeked round with hair of glossy black, and expressive of an immaculate purity. I thought of our modern fashion figures, with their heels and their arch of instep, their flattened faces and smile of pouting invitation. It was difficult not to be a deteriorationist. I am easily moved by symbols; there is something of a Quarles in my nature. Lacking the philosophic mind, I prefer to see my abstractions concretely imaged. And it occurred to me then that if I wanted an emblem to picture the sacredness of marriage and the influence of the home I could not do better than choose two little black feet like tea-leaves peeping out decorously from under the hem of wide, disguising petticoats. While heels and thoroughbred insteps should figure—oh well, the reverse.

The current of my thoughts was turned aside by the old man’s voice. “I expect you are musical,” he said.

Oh yes, I was a little; and he held out to me a bulky folio.

“Did you ever hear this?” he asked.

Robert the Devil: no, I never had. I did not doubt that it was a gap in my musical education.

The old man took the book and drew up a chair from the dim penetralia of the shop. It was then that I noticed a surprising fact: what I had, at a careless glance, taken to be a common counter I perceived now to be a piano of a square, unfamiliar shape. The old man sat down before it. “You must forgive any defects in its tone,” he said, turning to me. “An early Broadwood, Georgian, you know, and has seen a deal of service in a hundred years.”

He opened the lid, and the yellow keys grinned at me in the darkness like the teeth of an ancient horse.

The old man rustled pages till he found a desired place. “The ballet music,” he said: “it’s fine. Listen to this.”

His bony, rather tremulous hands began suddenly to move with an astonishing nimbleness, and there rose up, faint and tinkling against the roar of the traffic, a gay pirouetting music. The instrument rattled considerably and the volume of sound was thin as the trickle of a drought-shrunken stream: but, still, it kept tune and the melody was there, filmy, aerial.

“And now for the drinking-song,” cried the old man, warming excitedly to his work. He played a series of chords that mounted modulating upwards towards a breaking-point; so supremely operatic as positively to be a parody of that moment of tautening suspense, when the singers are bracing themselves for a burst of passion. And then it came, the drinking chorus. One pictured to oneself cloaked men, wildly jovial over the emptiness of cardboard flagons.

“Versiam’ a tazza piena

Il generoso umor . . .”

The old man’s voice was cracked and shrill, but his enthusiasm made up for any defects in execution. I had never seen anyone so wholeheartedly a reveller.

He turned over a few more pages. “Ah, the ‘Valse Infernale,’” he said. “That’s good.” There was a little melancholy prelude and then the tune, not so infernal perhaps as one might have been led to expect, but still pleasant enough. I looked over his shoulder at the words and sang to his accompaniment.

“Demoni fatali

Fantasmi d’orror,

Dei regni infernali

Plaudite al signor.”

A great steam-driven brewer’s lorry roared past with its annihilating thunder and utterly blotted out the last line. The old man’s hands still moved over the yellow keys, my mouth opened and shut; but there was no sound of words or music. It was as though the fatal demons, the phantasms of horror, had made a sudden irruption into this peaceful, abstracted place.

I looked out through the narrow door. The traffic ceaselessly passed; men and women hurried along with set faces. Phantasms of horror, all of them: infernal realms wherein they dwelt. Outside, men lived under the tyranny of things. Their every action was determined by the orders of mere matter, by money, and the tools of their trade and the unthinking laws of habit and convention. But here I seemed to be safe from things, living at a remove from actuality; here where a bearded old man, improbable survival from some other time, indomitably played the music of romance, despite the fact that the phantasms of horror might occasionally drown the sound of it with their clamour.

“So: will you take it?” The voice of the old man broke across my thoughts. “I will let you have it for five shillings.” He was holding out the thick, dilapidated volume towards me. His face wore a look of strained anxiety. I could see how eager he was to get my five shillings, how necessary, poor man! for him. He has been, I thought with an unreasonable bitterness—he has been simply performing for my benefit, like a trained dog. His aloofness, his culture—all a business trick. I felt aggrieved. He was just one of the common phantasms of horror masquerading as the angel of this somewhat comic paradise of contemplation. I gave him a couple of half-crowns and he began wrapping the book in paper.

“I tell you,” he said, “I’m sorry to part with it. I get attached to my books, you know; but they always have to go.”

He sighed with such an obvious genuineness of feeling that I repented of the judgment I had passed upon him. He was a reluctant inhabitant of the infernal realms, even as was I myself.

Outside they were beginning to cry the evening papers: a ship sunk, trenches captured, somebody’s new stirring speech. We looked at one another—the old bookseller and I—in silence. We understood one another without speech. Here were we in particular, and here was the whole of humanity in general, all faced by the hideous triumph of things. In this continued massacre of men, in this old man’s enforced sacrifice, matter equally triumphed. And walking homeward through Regent’s Park, I too found matter triumphing over me. My book was unconscionably heavy, and I wondered what in the world I should do with a piano score of Robert the Devil when I had got it home. It would only be another thing to weigh me down and hinder me; and at the moment it was very, oh, abominably, heavy. I leaned over the railings that ring round the ornamental water, and as unostentatiously as I could, I let the book fall into the bushes.

I often think it would be best not to attempt the solution of the problem of life. Living is hard enough without complicating the process by thinking about it. The wisest thing, perhaps, is to take for granted the “wearisome condition of humanity, born under one law, to another bound,” and to leave the matter at that, without an attempt to reconcile the incompatibles. Oh, the absurd difficulty of it all! And I have, moreover, wasted five shillings, which is serious, you know, in these thin times.


6.3

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