Edmund Wilson's Words of Ill-Omen: Massive

The American man of letters gives guidance to writers and journalists on both sides of the Atlantic.

Three: Massive.

This word has become one of the worst bores and nuisances of both British and American journalism, and what seems to have been its sudden and rapid emergence is a phenomenon which ought to be studied. It has no doubt been given special prestige by the declaration of Mr Dulles in his speech to the Council on Foreign Relations of 12 January 1954 that "Local Defence must be reinforced by the further deterrent of massive retaliatory power", but the word had already been gaining momentum.

It is now to be found everywhere, and one even has an uneasy feeling that it may announce the presence of radioactivity. In the course of a few weeks I have been able to pick up a whole pile of examples.

Let me establish the word first in its earlier sense by some quotations from David Copperfield:

...an office that ought to have been on the ground floor of the Tower of Babel, it was so massively constructed ... sundry immense manuscript Books of Evidence taken on affidavit, strongly bound and tied together in massive sets ... His hold watch-chain was so massive, that a fancy came across me, that he ought to have a sinewy golden arm, to draw it out with, like those which are put up over the gold-beaters' shops.

These apply to inert materials, but you have also a human massiveness not devoid of moral implication: "There was a fine massive gravity on his face, I did not venture to disturb". The definitions of the word in the OED mostly deal with this sort of mass, though there follow examples of massive applied to "immaterial things" (massive thought, massive swellings), and to volume of sound (massive bass, massive chorus). Ruskin, it seems, spoke of clouds as "massive or striated", but added, "I cannot find a better word than massive, though it is not a good one, for I mean it only to signify it is not a good one, for I mean it only to signify a fleecy arrangement in which no lines are visible". Note Ruskin's apology for extending the meaning.

Now, the single use of massive among the recent examples I have gathered which comes under the first of the old definitions occurs in an article by S J Perelman in the New Yorker of 7 June. He speaks of "a massive fireplace"; but this is probably to be explained by his penchant for writing parodies of various old-fashioned styles. Sir Harold Nicolson, in a review of Belloc's letters in the Observer of 18 May, just manages to remain within the old definition when he writes of Belloc's "querulousness - so distressing in a massive, mighty man"; and T S Eliot, in his introduction to a volume of selections from Joyce, Introducing James Joyce, is also just within the old defition when he refers to Finnegans Wake as "that massive work". Finnegans Wake is not massive by reason of bulk - a novel by Dickens is much longer - but its density does perhaps make it massive. The Times Literary Supplement of 23 May provides another example of massive applied to books: "All these biographies are monumental in a sense beyond the merely massive and the physically weighty"; and Pamela Hansford Johnson, in the book already mentioned, applied the word to style: "He informed her, in a style as steady and massive as Cicero's".

But isn't Nicolson stretching it a little when he speaks, in a review in the New York Times Book Review of 18 March, of "the fourth volume of Winston Churchill's massive History of the English-Speaking Peoples"; and, in the Sunday Times of 6 July, of de Tocqueville's "massive studies of the ancien régime in France or the development of young America"? Maybe not: it is a matter of relative scale. But what adjective have you left for Gibbon? In a second use of massive in the Churchill review, this writer does, however, depart from the older uses of the word: the American Civil War, he says, was "a cosmic clash between strong men and massive principles". (I do not care for 'cosmic' here either. I have always regarded this loose use of cosmic as a particularly undesirable Americanism.)

The tendency to make massive a substitute not merely for enormous, immense and huge but even for large and extensive as applying to all sorts of phenomena, social, financial, political and psychological, is illustrated by the following examples.

It is easy and proper for the American Ambassador to Canada ... and for Canadian economists to argue that massive American investment, at this stage, is essential to Canada's growth. (An article in Harper's Magazine on 'Why Canadians Are Turning Anti-American'.)

The Marxists claim, of course, that colonialism invariably represented a massive and cruel exploitation of the colonial peoples. . . It is small wonder that it has all added up to a massive anti-Western complex. (George Kennan: Russia, the Atom and the West.)

No one, certainly not Lord Altrincham, we feel, would decry the massive difficulties confronting the young woman who is called upon to combine the personal and institutional qualities demanded of the Monarch today. (Lord Altrincham and Others: Is The Monarchy Perfect?)

... for several minutes the three of us waited with bowed heads ... while he built up a massive edifice of bad language. (John Wain: The Con-tenders.) (The use of massive here is possible under the old definition but provides another example of the fashionable addiction to the word.)

He could then argue that the Russians with their massive conventional forces and their interior lines cannot be contained without nuclear weapons. (Walter Lippmann.)

... he felt that his work was misunderstood on a massive scale. (Adventures of a Pacifist in the New Yorker, 22 March). In around a thousand pages, Max Lerner ... has undertaken ... a massive attempt to describe the main characteristics and currents of American life and thought ... (Review in New Yorker, 22 March).

Instead of the weekly issue of Punch or the New Yorker, subscribers will receive a small phial (wrapped, of course, in massive quantities of advertising matter), with instructions on how and when to inject its contents, thereby giving rise to fits of healthy, invigorating laughter. (Malcolm Muggeridge in April Esquire.)

There was a massive creation, consumption, and disposal of goods. (Dan Jacobson in June Encounter.)

Here are a number of examples - all from recent issues of the New York Times - that have been obviously inspired by Dulles:

A massive wave of Soviet, Chinese Communist and East European criticism has been directed at Yugoslavia ... Under Virginia's so-called "mas-sive resistance" laws, no Negro has been integrated in a public school. ... While somewhat inconclusive, the first report of the United Nations observers in Lebanon failed to support the Lebanese Government's charges of massive intervention. ... The United States Embassy here an-nounced early today that "a massive airlift" of petroleum products for Jordan would be started within the next few hours. ... Dr Malik replied a few days later that "massive intervention" was continuing. ...

You find also now a frequent use of the adverb: in the Times Literary Supplement editorial already quoted above, for example, "the realism of massively accumulated detail", and in the novel by John Wain, "'I've had my breakfast,' I said, bringing his organizing power massively into play". In a notice of a volume of reporting pieces in the Times Literary Supplement, the anonymous reviewer writes, "individually, they are massively observant". In Inside Russia Today, John Gunther says of Marx that he "was massively influenced by several French thinkers". (The May issue of Vogue referred to this volume as "a massive book".) In the Letter from Paris in the New Yorker of 31 May, one finds, "This is a call for the saviour that has not been massively heard in the Paris streets".

Some of these phrases - John Gunther's, for example - seem to me inexact, even if the meaning of massive is extended. Russia might perhaps be said to have been massively influenced by Marx; can you say that Marx's thought was massively influenced by earlier thinkers? But even when the words are properly used in the more limited old-fashioned senses, they are certainly used far too often. Massive and massively occur only four times in the whole of David Copperfield, but in short articles like the Nicolson review and the TLS editorial, the writers have slipped into using them twice.

Now, why has the word become so popular? It may be that the Marxist masses, in the sense of the working classes, has - in the last case above, for example - a little something to do with it. But what are undoubtedly most important, from the strictly material point of view, are the immense modern buildings and power plants, our machines for transportation and industry and war; and from the point of view of range or effect, our modern commercial enterprises and military operations. And there are also, of course, the great power units. Mr Dulles's "further deterrent of massive retaliatory power" is also an inexact use of the word, but it is evident that Mr Dulles was thinking both of the power of the United States and of the effect of the modern bomb. We are awed and yet stimulated by our awareness of size, weight, explosive force and expanding governmental domination, and these feelings have their expression in our use of massive.

6 September 1958.

Next up: Superb and Fabulous. Previous: Religionist.

Massive books in massive Russia. Photo: Getty.

Edmund Wilson (1895-1972) was a noted American writer, critic and social commentator who contributed occasional reviews and essays to the New Statesman.

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In Guardians of the Galaxy Vol 2, every other line reeks of a self-help manual

This lame sequel suggests the makers have largely forgotten why the original was so refreshing.

The 2014 romp Guardians of the Galaxy boasted the budget of a blockbuster and the soul of a B-movie. What that meant in practice was that audiences had to endure the same biff-pow battle scenes and retina-blistering effects as any space adventure, but they were rewarded with eccentric characters and tomfoolery for its own sake.

Despite the Marvel Studios imprimatur, the film showed the forces of intergalactic evil being fought not by superheroes, but by a ragtag band of bickering goofballs: Peter Quill (Chris Pratt), aka Star-Lord, a self-regarding rogue in the Han Solo mould; the green-faced alien Gamora (Zoe Saldana); Drax (Dave Bautista), a literal-minded hulk; Rocket, a racoon-like warrior (voiced by Bradley Cooper); and Groot, a piece of bark that says “I am Groot” over and over in the dulcet tones of Vin Diesel. Movies this odd don’t usually become $770m smash hits but this one did – deservedly.

Those characters return in Guardians of the Galaxy Vol 2 (the “Vol 2” reflects Peter’s love of mix-tapes) but the new film suggests the makers have largely forgotten why the original was so refreshing. Gags are rehashed; several sequences (including an interminable slow-motion section involving a laser-powered arrow) are dragged way beyond their desirable lifespan. Late in the day, Rocket tells his shipmates that they have too many issues, which rather pinpoints the problem with the screenplay by the director, James Gunn. Gunn has saddled his characters with unreasonable baggage, all of it relating to family and belonging. No matter how far into space they travel, all roads lead back to the therapist’s couch.

Peter, raised by his late mother, is delighted when Ego (Kurt Russell) materialises claiming to be the father he never knew. The old man makes grand pronouncements, only to undercut them within seconds (“’Scuse me, gotta take a whizz”) but, on the plus side, he has his own planet and pulls the whole “One day, son, all this will be yours” shtick. Gamora also has family business to contend with. Her blue-skinned sister, Nebula (Karen Gillan), wants to kill her: Nebula has never quite got over Gamora being Daddy’s favourite. To be fair, though, he did force them to fight one another, replacing parts of Nebula’s body with metal whenever she lost, so it’s not like we’re talking about only one sister being allowed to watch Top of the Pops.

The more Peter gets to know Ego, the less admirable he seems as a father, and soon we are in the familiar territory of having parenting lessons administered by a Hollywood blockbuster. The reason for this became obvious decades ago: the film industry is populated by overworked executives who never get to see their children, or don’t want to, and so compensate by greenlighting movies about what it means to be a good parent. Every other line here reeks of the self-help manual. “Please give me the chance to be the father your mother wanted me to be,” Ego pleads. Even a minor character gets to pause the action to say: “I ain’t done nothing right my whole life.” It’s dispiriting to settle down for a Guardians of the Galaxy picture only to find you’re watching Field of Dreams with added asteroids.

Vol 2 gets by for an hour or so on some batty gags (Gamora misremembering the plot and star of Knight Rider is an especially juicy one) and on the energising power of Scott Chambliss’s glorious production design. The combination of the hi-tech and the trashy gives the film the appearance of a multimillion-dollar carnival taking place in a junkyard. Spectacular battles are shot through scuffed and scratched windscreens, and there are spacesuits cobbled together from tin pots and bubble-wrap. This is consistent with the kitschfests that inspired the Guardians aesthetic: 1980s science-fiction delights such as Flash Gordon, Spacehunter: Adventures in the Forbidden Zone and The Adventures of Buckaroo Banzai Across the 8th Dimension.

If only Vol 2 had mimicked their levity and brevity. Gunn ends his overlong movie with a bomb being attached to a giant brain, but this is wishful thinking on his part. He hasn’t blown our minds at all. It’s just a mild case of concussion. 

Ryan Gilbey is the New Statesman's film critic. He is also the author of It Don't Worry Me (Faber), about 1970s US cinema, and a study of Groundhog Day in the "Modern Classics" series (BFI Publishing). He was named reviewer of the year in the 2007 Press Gazette awards.

This article first appeared in the 27 April 2017 issue of the New Statesman, Cool Britannia 20 Years On

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