I confess that personally the terms “provincial” and “suburban,” as epithets of reproach, have always puzzled me. I never met anyone more severe on what she termed the “suburban note” in literature than a thin lady who lived in a semi-detached villa in a by-street of Hammersmith. Is Art merely a question of geography, and if so what is the exact limit? Is it the four-mile cab radius from Charing Cross? Is the cheesemonger of Tottenham Court Road of necessity a man of taste, and the Oxford professor of necessity a Philistine? I want to understand this thing. I once hazarded the direct question to a critical friend:
“You say a book is suburban,” I put it to him, “and there is an end to the matter. But what do you mean by suburban?”
“Well,” he replied, “I mean it is the sort of book likely to appeal to the class that inhabits the suburbs.” He lived himself in Chancery Lane.
May a man of intelligence live, say, in Surbiton?
“But there is Jones, the editor of The Evening Gentleman,” I argued; “he lives at Surbiton. It is just twelve miles from Waterloo. He comes up every morning by the eight-fifteen and returns again by the five-ten. Would you say that a book is bound to be bad because it appeals to Jones? Then again, take Tomlinson: he lives, as you are well aware, at Forest Gate which is Epping way, and entertains you on Kakemonos whenever you call upon him. You know what I mean, of course. I think ‘Kakemono’ is right. They are long things; they look like coloured hieroglyphics printed on brown paper. He gets behind them and holds them up above his head on the end of a stick so that you can see the whole of them at once; and he tells you the name of the Japanese artist who painted them in the year 1500 B.C., and what it is all about. He shows them to you by the hour and forgets to give you dinner. There isn’t an easy chair in the house. To put it vulgarly, what is wrong with Tomlinson from a high art point of view?
“There’s a man I know who lives in Birmingham: you must have heard of him. He is the great collector of Eighteenth Century caricatures, the Rowlandson and Gilray school of things. I don’t call them artistic myself; they make me ill to look at them; but people who understand Art rave about them. Why can’t a man be artistic who has got a cottage in the country?”
“You don’t understand me,” retorted my critical friend, a little irritably, as I thought.
“I admit it,” I returned. “It is what I am trying to do.”
“Of course artistic people live in the suburbs,” he admitted. “But they are not of the suburbs.”
“Though they may dwell in Wimbledon or Hornsey,” I suggested, “they sing with the Scotch bard: ‘My heart is in the South-West postal district. My heart is not here.’”