The sense of having been away, somewhere quite else, was extraordinarily strong: my first experience of biographer’s “time-warp”. I hitch-hiked home to my vine-farmers, in the south-east beyond Nîmes, riding in the open back of a big lorry carrying red Calor-gas cans. Facing backwards, my pack swaying at my feet, the cans clanging like sea-buoys, the wind plucking at Le Brun, I watched the dark-brown line of the Cévennes drop below the north-west horizon like “a sea-coast in Bohemia”. My head was full of poems I would write.
5
Stevenson published his Travels with a Donkey some six months later, in the spring of 1879. He spent several weeks working on it during the autumn, in Cambridge, at Sidney Colvin’s rooms in Trinity; and then, over Christmas, at home in Edinburgh. All this time he had no news of Fanny in San Francisco. His aim was to expand his original journal from some twenty thousand words to a small volume of about double that length. To this purpose he filled in topographical details from guide-books and added the Camisard history from Napoléon Peyrat and other sources; he carefully rewrote his religious reflections (partly so as not to shock his father) and rehandled the encounters with the monks and the priest at La Trappe, and the old Plymouth Brother at Florac; finally, he deleted or generalised the amorous reflections that were originally written with Fanny in mind—so effectively that even a recent modern biographer has concluded that “there is only one passage in which we are made aware of the fact that he was missing Fanny intensely”.
The book was dedicated to Sidney Colvin, in one of those warm, enigmatic public letters of introduction that Stevenson could write so well, hinting at Romantic mysteries and philosophies but leaving everything half-explained, half in shadow:
The journey which this little book is to describe was very agreeable and fortunate for me. After an uncouth beginning, I had the best of luck in the end. But we are all travellers in what John Bunyan calls this wilderness of the world—all, too, travellers with a donkey: and the best that we can find in our travels is an honest friend … Every book is, in an intimate sense, a circular letter to the friends of him who writes it. They alone take his meaning; they find private messages, assurances of love, and expressions of gratitude, dropped at every corner. The public is but a generous patron who defrays the postage …
In private Stevenson was much more explicit, writing to cousin Bob in June 1879, in his downright and devil-take-it style. He makes no pretences as to who is at the centre of the work:
My book is through the press. It has good passages, I can say no more. A chapter called ‘The Monks’, and then ‘A Camp in the Dark’, a third, ‘A Night in the Pines’. Each of these has I think some stuff in the way of writing. But lots of it is there protestations to F., most of which I think you will understand. That is to me the main thread of interest. Whether the damned public—But that’s all one. I’ve got 30 quid for it, and should have had 50.
His preoccupation with money had a simple explanation. For he had at last secretly determined to rejoin Fanny in San Francisco, and once her divorce from Sam Osbourne was through to marry her. Two months later, on 7 August 1879, he bought a second-cabin steerage ticket to New York for eight guineas, and without telling his parents embarked on his second pilgrimage: the greatest adventure of his life.
For the “damned public” the book has remained essentially an exercise in style, “agreeably mannered”, and a model of polite essay-writing for generations of English and Scottish schoolchildren. My own little brown-backed copy, printed in 1936, still gives as likely essay-subjects, in an appendix after the text, such lines of enquiry as: “What are the respective advantages of a walking, cycling, motoring, and caravaning tour?” And, “What is Stevenson’s religious position, and can a charge of affectation be made against it?” However, I do like one suggestion: “Put yourself in Modestine’s place, and write a character study of your Master.” It might lead on to deeper matters.
For Stevenson himself there remains no doubt now in my own mind that the whole Cévennes experience was a kind of initiation ceremony: a grappling with physical hardships, loneliness, religious doubts, the influence of his parents, and the overwhelming question of whether he should take the enormous risk of travelling to America and throwing his life in with Fanny’s—“for richer, for poorer; in sickness and in health”. In the desperate summer months of 1879, immediately prior to his departure for New York, the memory of the trip was obviously much in his mind. He wrote to a friend: “I can do no work. It all lies aside. I want—I want—a holiday; I want to be happy; I want the moon or the sun or something. I want the object of my affections badly anyway; and a big forest; fine, breathing, sweating, sunny walks; and the trees all crying aloud in the summer wind and a camp under the stars.”
So the pilgrimage begun at Le Monastier ended six thousand miles away in a honeymoon on the wooded hills of the Pacific coast of California. But that is another story, as eventually told in The Silverado Squatters.
For me, the Cévennes was a different initiation. I embarked on it, and finished it, in all innocence from a literary point of view. It never crossed my mind that I might write about Stevenson; or that my diary should be anything more than a “route-journal”, a record of my road and camps. If I wrote anything at all, I thought, it would be poems about walking, swimming, climbing hills and sleeping under the stars. But what happened was something quite other, something almost entirely unexpected. Instead of writing poems I wrote prose meditations. These concerned not so much the outward physical experiences of my travels but inward mental ones that were often profoundly upsetting. The full record of my black depressions, intense almost disabling moments of despair, and childish weeping fits, still seems inexplicable and embarrassing. The corresponding moments of intoxication and mad delight are still vivid to me twenty years afterwards, so that my pulse-rate increases when I write about them, even now. But all these inward emotions were concentrated and focused on one totally unforeseen thing: the growth of a friendship with Stevenson, which is to say, the growth of an imaginary relationship with a non-existent person, or at least a dead one.
In this sense, what I experienced and recorded in the Cévennes in the summer of 1964 was a haunting. Nothing of course that would make a Gothic story, or interest the Society for Psychical Research; but an act of deliberate psychological trespass, an invasion or encroachment of the present upon the past, and in some sense the past upon the present. And in this experience of haunting I first encountered—without then realising it—what I now think of as the essential process of biography.
As far as I can tell, this process has two main elements, or closely entwined strands. The first is the gathering of factual materials, the assembling in chronological order of a man’s “journey” through the world—the actions, the words, the recorded thoughts, the places and faces through which he moved: the “life and letters”. The second is the creation of a fictional or imaginary relationship between the biographer and his subject; not merely a “point of view” or an “interpretation”, but a continuous living dialogue between the two as they move over the same historical ground, the same trail of events. There is between them a ceaseless discussion, a reviewing and questioning of motives and actions and consequences, a steady if subliminal exchange of attitudes, judgments and conclusions. It is fictional, imaginary, because of course the subject cannot really, literally, talk back; but the biographer must come to act and think of his subject as if he can.
The first stage of such a living, fictional relationship is in my experience a degree of more or less conscious identification with the subject. More or less, because the real elements of self-identification are often much more subtle and subliminal than one originally thinks. This, strictly speaking, is pre-biographic: it is a primitive form, a type of hero- or heroine-worship, which easily develops into a kind of love affair. Looking back at the Cévennes, I can now see that I went straight into that phase with Stevenson, passionately identifying with what I saw as his love of bohemian adventuring, getting out “on