A Writer’s first hero.
I’d been ambivalent about the drab Penguin Modern Classics edition, but the sight of Judy Davis as Adela Quested, scrambling down the dry slopes of the Marabar Caves, bloodied by thorns, pith helmet rolling in her wake, dislodging rocks (and an ensuing British panic) gripped me into attention.
We had our toes dipped into the ideas of Bloomsbury and the racial overtones and class structure of Empire.
“Forster had a greater vision of love between two men than his contemporaries. One or two of them may well have been jealous.”
The icing on the cake was the word which I spied in the blurb of the edition of Maurice that my enthusiasm for Forster had garnered me at Christmas. The word, of course, was inescapable when describing that work.
I wonder now if it was the first time I ever saw the word in print? Only whispered around the schoolyard, it had, by that time, been uttered louder at the peak of the AIDS crisis in the mid 1980s.
But here, on the reverse of Forster’s posthumously published story of Maurice Hall and his gay sexual awakening, it brought a wave of validation.
I recall waiting for my family to register the word. Had my mother seen it when she purchased the book? Had my brother sneered about it when she gave it to him to wrap up for me?
When nobody mentioned “homosexual”, I took that as tacit approval.
I subsequently devoured all Forster’s novels. My favourite moment was starting Where Angels Fear to Tread when alighting my train to university, only to be flawed by a classic Forsterian-surprise-death before reaching the next station, just six minutes down the track. What great ignition for a story!
On summer holiday, during my first year in the United Kingdom, I came across a collection of Forster’s short stories at a hostel in Cornwall.
The inclement weather saw me feast on them, immediately hit by one in particular – Other Kingdom. The Irish Home Rule theme of this story went right over my head, but the gusto of the young Irish protagonist (Evelyn Beaumont), brought my consciousness to a standstill, while I tried to capture her, as did all the other characters in this shining example of Forster’s storytelling skill.
I agreed with Iris Murdoch, in that “I loved Miss Beaumont, because she bamboozled a pack of bores.”
Being a film school student, I had big plans. The biggest became my obsession to bring Other Kingdom to the screen.
I adapted it into an approved screenplay at the behest of the owners of Forster’s work (King’s College Cambridge) and tried for some years to tout it around the funding bodies, to no avail.
The central mystery of what happens to Evelyn Beaumont when she escapes from an ill-fated marriage into a dour English family could not be explained even by Forster himself, let alone by a potential screenwriter in a pitching session.
It wasn’t for another decade that I really understood my attraction to the story, when I realised a deep-seated wish for a solution just like Evelyn’s. I admired her escape in the light of my own need to find a way out of the life I was leading.
In the wake of my coming out, Forster continued to deliver. My second reading of Maurice brought the searing grief and triumph of his gay protagonists back to haunt my recovery from the death of my partner five years later, because Maurice Hall and Alec Scudder loved, no less ordinarily than any other couple.
Forster’s long-unpublished epilogue to Maurice was the heartbreaker. Anyone seeking to understand this novel should read Forster’s exploration of what happened to his characters, for it is no elemental conundrum like that of Miss Beaumont in Other Kingdom.
Forster’s trusted friends who read the drafts prior to 1933 suggested the epilogue be cut from the final manuscript, but I get the distinct impression they were baffled by Forster’s unsullied vision of Maurice and Alec happily ensconced as woodsmen, living rough, fused by the heart, and happy, despite their accidental discovery by Maurice’s unsettled sister Kitty.
Forster had a greater vision of love between two men than his contemporaries. One or two of them may well have been jealous.
Forster left as much written material about his childhood, his career, and his relationships as any biographer would ever need. Trouble is, few have used this resource – the ‘sexuality issue’ undoubtedly the main obstacle.
The finest work on Forster is Wendy Moffat’s A Great Unrecorded History. This study has done more to debunk the myth of Forster as simply a class-conscious comic novelist who stopped writing in 1924, than anything which came before.
Forster earns hero status from this writer for protecting his great love, policeman Bob Buckingham, from the criminal courts while he, Bob and Bob’s wife May lived-out a three-way relationship from 1930 until Forster’s death in 1970.
He earns it for politely, and with humour, pointing out the hypocrisy of those in positions of power and privilege in his literature.
He earns it for writing himself onto Hitler’s ‘hit list’ of authors with his WWII broadcasts exploring the axe of Nazism as it threatened to fall onto the neck of civilisation.
He earns it for not killing himself, despite as much cause for depression, isolation and marginalisation as Virginia Woolf cited.
He earns it for creating the archetype of the lusty English Gamekeeper. Long before D.H. Lawrence’s Oliver Mellors’ trysts with Lady Chatterley, Forster’s Alec Scudder hunted his way into Maurice Hall’s bed, and his heart.
And he earns it for diarising himself as he was, warts and all, and sometimes that meant writing about actual bodily warts.
For gay men, Forster’s humanist document on the entire life of a homosexual man will endure as a record of emerging and practical homosexuality which may well come to eclipse his novels.
E.M. Forster might not have physically embodied a Love God, but with his pen, in the shadow of the Oscar Wilde trials, he carved a place in history as a Titan who turned from the affairs of men and women, to those between men and men. His publishers must have hated him for it.
© Michael Burge, all rights reserved.