The hubris of Sebastian Faulks: trying to imitate the inimitable PG Wodehouse

The fizzy, fascinating style of P G Wodehouse cannot be imitated - Sebastian Faulks is a fool to try, says Michael Moran.

 

P G Wodehouse, perhaps more than any other writer, created the myth of the English gentleman. His characters, well-educated goofs all, became ambassadors around the world for the tweedy, well-bred, public school educated sort of chap who used to run our empire.

In fact the real chaps who ran our empire were entirely tougher, more uncompromising than any Wodehouse creation but it suited us to be thought of as effete, tea-drinking fops.

Lord Emsworth, Mr Mulliner and Wodehouse’s best-known creation Bertie Wooster were in essence avatars for Wodehouse himself – an agreeable, eager-to please character entirely in thrall to the women in his life. He was overseen as a young man by a regiment of aunts who were later immortalised in his books and as an adult abdicated all responsibility to his beloved wife Ethel. And he was happy that way.

Somewhat ineffectual in real life he revealed his power in his prose. Wodehouse’s gift was not necessarily as a crafter of great plots – few would contest that his stories are somewhat repetitive in nature – but in his mastery of language. His words dance off the page and into the brain where they fizz around like the bubbles in fine champagne.

One need not have had the benefit of Plum’s classical education to enjoy the giddy cocktail of allusion and reference that pervades his work. Indeed, by stealth, he inculcated into readers without the remotest chance of enjoying his academic wealth enough knowledge of Cicero, Shakespeare and Spinoza to get them through the most demanding cocktail party.

But you couldn’t teach someone to be Wodehouse. He is more poet than humourist. Although one might draw parallels with Waugh or Thurber PG Wodehouse is closer, I’d suggest, to TS Eliot. Only funny. He’s a poet, not a plotter. And imitating him is frankly a fool’s errand.

And Sebastian Faulks is no fool. Many writers, myself included, were mildly surprised that Faulks opted to write a James Bond novel in 2008. But equally many writers, myself included, will write more or less anything to pay the mortgage so having raised a collective eyebrow we allowed it as an aberration and got on with our quotidian business of harassing editors and railing at accountants. 

Faulks displayed admirable technique in writing as Ian Fleming. He evinced a keen awareness of Fleming’s stylistic tropes and crafted a neat pastiche of which a creative writing student might justifiably be proud. From a fêted novelist it was an odd move, but impressively done.

The announcement that Faulks is now to pour his inarguable gift into a new Jeeves novel –  Jeeves And The Wedding Bells , to be published in November – is a fish of altogether different odour. I don’t describe Wodehouse as inimitable because I like his stuff. I describe Wodehouse as inimitable because he cannot be imitated. One might imagine Craig Brown or Hugo Rifkind making a decent fist of a Wodehouse knockoff for a page or so but a whole novel? This is hubris. We already have in the 11 Jeeves novels and 35 short stories an ample supply of Wodehouse's wit. We have no need of ersatz Plum.

The Wodehouse canon cannot, should not, must not be material for a literary version of Celebrity Stars In Their Eyes. Faulks is quoted as saying ‘Wodehouse is inimitable but I will do the very best I can’. I will never be the writer that Faulks is, but as an editor I can tell you that that sentence is precisely nine words too long. 

At the end of every episode of his long-running impressions show Mike Yarwood would say “…and this is me” and sing a few bars of a song in his own voice. Sebastian, as an admirer I would say – lay off the impressions. Let’s have a bit more “…and this is me.”

Michael Moran is the television columnist for the Lady magazine and the creator of the literary spoof “100 Books I'll Never Write"

 

Stephen Fry and Hugh Laurie as Jeeves and Wooster. Photograph: Carnival Films

Michael Moran is the television columnist for the Lady magazine and the creator of the literary spoof “100 Books I'll Never Write".

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Don’t worry, Old Etonian Damian Lewis calls claims of privilege in acting “nonsense!”

The actor says over-representation of the privately educated at the top of acting is nothing to worry about – and his many, many privately educated peers agree.

In the last few years, fears have grown over the lack of working class British actors. “People like me wouldn’t have been able to go to college today,” said Dame Julie Walters. “I could because I got a full grant. I don’t know how you get into it now.”

Last year, a report revealed that half of Britain’s most successful actors were privately educated. The Sutton Trust found that 42 per cent of Bafta winners over all time were educated independently. 67 per cent of British winners in the best leading actor, actress and director categories at the Oscars attended fee-paying schools – and just seven per cent of British Oscar winners were state educated.

“That’s a frightening world to live in,” said James McAvoy, “because as soon as you get one tiny pocket of society creating all the arts, or culture starts to become representative not of everybody but of one tiny part. That’s not fair to begin with, but it’s also damaging for society.”

But have no fear! Old Etonian Damian Lewis is here to reassure us. Comfortingly, the privately-educated successful actor sees no problem with the proliferation of privately-educated successful actors. Speaking to the Evening Standard in February, he said that one thing that really makes him angry is “the flaring up recently of this idea that it was unfair that people from private schools were getting acting jobs.” Such concerns are, simply, “a nonsense!”

He elaborated in April, during a Guardian web chat. "As an actor educated at Eton, I'm still always in a minority," he wrote. "What is true and always rewarding about the acting profession is that everyone has a similar story about them being in a minority."

Lewis’s fellow alumni actors include Hugh Laurie, Tom Hiddleston, Eddie Redmayne – a happy coincidence, then, and nothing to do with the fact that Etonians have drama facilities including a designer, carpenter, manager, and wardrobe mistress. It is equally serendipitous that Laurie, Hiddleston and Tom Hollander – all stars of last year’s The Night Manager – attended the same posh prep school, The Dragon School in Oxford, alongside Emma Watson, Jack Davenport, Hugh Dancy, Dom Joly and Jack Whitehall. “Old Dragons (ODs) are absolutely everywhere,” said one former pupil, “and there’s a great sense of ‘looking after our own’." Tom Hollander said the Dragon School, which has a focus on creativity, is the reason for his love of acting, but that’s neither here nor there.

Damian Lewis’s wife, fellow actor Helen McCrory, first studied at her local state school before switching to the independent boarding school Queenswood Girls’ School in Hertfordshire (“I’m just as happy to eat foie gras as a baked potato,” the Telegraph quote her as saying on the subject). But she says she didn’t develop an interest in acting until she moved schools, thanks to her drama teacher, former actor Thane Bettany (father of Paul). Of course, private school has had literally no impact on her career either.

In fact, it could have had an adverse affect – as Benedict Cumberbatch’s old drama teacher at Harrow, Martin Tyrell, has explained: “I feel that [Cumberbatch and co] are being limited [from playing certain parts] by critics and audiences as a result of what their parents did for them at the age of 13. And that seems to me very unfair.”

He added: “I don’t think anyone ever bought an education at Harrow in order for their son to become an actor. Going to a major independent school is of no importance or value or help at all.” That clears that up.

The words of Michael Gambon should also put fears to rest. “The more Old Etonians the better, I think!” he said. “The two or three who are playing at the moment are geniuses, aren’t they? The more geniuses you get, the better. It’s to do with being actors and wanting to do it; it’s nothing to do with where they come from.”

So we should rejoice, and not feel worried when we read a list of privately educated Bafta and Oscar winners as long as this: Chiwetel Ejiofor (Dulwich College), Emilia Clarke (St Edward’s), Carey Mulligan (Woldingham School), Kate Winslet (Redroofs Theatre School), Daniel Day-Lewis (Sevenoaks School, Bedales), Jeremy Irons (Sherborne School), Rosamund Pike (Badminton), Tom Hardy (Reed), Kate Beckinsale (Godolphin and Latymer), Matthew Goode (Exeter), Rebecca Hall (Roedean), Emily Blunt (Hurtwood House) and Dan Stevens (Tonbridge).

Life is a meritocracy, and these guys were simply always the best. I guess the working classes just aren’t as talented.

Anna Leszkiewicz is a pop culture writer at the New Statesman.

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