So in his athletic career

Author: (British) D. Storey, translated by Lai Ganjian
Publisher:
Publish Date: 1999-07-01
Features: David Storey (1933—) was a British writer who emerged in the 1960s. His novel This Sporting Life (1960) was his breakthrough work. After its publication, the novel won the Macmillan Prize and was adapted into a film. David Storey is a relatively unfamiliar figure to Chinese readers. To better grasp his creative characteristics, it is necessary to first discuss the social atmosphere and literary conditions in post-war Britain. Although Britain was a victorious nation in the war, it suffered severe war trauma. During the war, major cities in Britain were heavily bombed by Nazi Germany, causing severe damage to infrastructure, and domestic resources and reserves were exhausted. The rationing system for food, fuel, housing, and other essential goods implemented during the war remained in place for a period after the war, and people's lives were extremely difficult. In people's impression, Britain was more like a defeated nation. During and after the war, British rulers took some measures to reconcile social conflicts. For example, the 1944 Butler Education Act, which brought more educational opportunities to the lower-income class, was passed. The new Labor Party government that came to power in 1945 implemented heavy taxation policies on the high-income group. Although these policies and measures temporarily eased domestic conflicts, they fostered a spirit of egalitarianism in society. Meanwhile, the bureaucratic institutions established during the war were preserved and untouched. These factors led to the relative decline of the British economy after the war. Moreover, Britain's former colonies gained independence one after another after the war, and the once "Empire on which the sun never sets" had collapsed. Britain's position and role on the international stage plummeted. This situation created a pessimistic atmosphere in the intellectual circles after the war. During World War II, the British people hoped for social reforms. However, the Labor Party that came to power in 1945 did not fulfill this wish but instead implemented the "welfare state" policy. When the Conservative Party regained power in 1951, it continued this policy. Although people's lives improved to some extent, the long-awaited political reforms ultimately failed to materialize. This led to dissatisfaction among the people, especially the lower classes (particularly the younger generation). This sentiment was first reflected in literary works. Some novels and plays exposed the class barriers in British society, fiercely criticized the ruling class and the church, expressed dissatisfaction with the monotonous life after the implementation of the welfare policy, and showed disgust for the hypocrisy and opportunism of the upper class. These writers mostly came from the middle and lower strata of society and revealed a strong class consciousness in their works. These writers did not form a group and were even unknown to each other, but their views and feelings were consistent. John Wyndham's novel The Downward Spiral (1954) and Kingsley Amis's novel Lucky Jim (1954) were the first to express "anger" and dissatisfaction. In 1956, the play Look Back in Anger by young playwright John Osborne was performed. Because the protagonist in the play made a comprehensive critique of society, the play became a representative work of this movement, and Osborne was called "Angry Young Man." This title was also used to refer to this emerging literary movement. Post-war British society could not tolerate the aestheticism of modernism but welcomed a straightforward realistic style and narrative approach to express life experiences and real feelings. Even the "Angry Young Men" had no intention of experimenting with form and lacked the desire to stand out or make a splash. They turned their attention to traditional writing techniques and social life scenes, seeking novelty in the ordinary. This somewhat dull situation in British literary circles began to change in the 1960s. David Storey entered the literary world after the "Angry Young Men" movement. He was born on July 13, 1933, in Wakefield, western Yorkshire, in a miner's family. After graduating from high school, Storey attended the Slade School of Art in London, paying his tuition fees with the income from playing professional rugby for the Leeds team. After graduating from university, he engaged in various occupations, including being a professional rugby player, a secondary school teacher, and a laborer who set up tents for exhibition venues. Storey was a talented and prolific writer. In terms of novels, after This Sporting Life, he published works such as Flight to Canton (1960), Radciffe (1963), Pasmore (1972), Savile (1976), and The Lamplighter (1982). His plays include: The Rebirth of Arnold Mead (1967), The Celebration (1969), The Contractor (1971), Cromwell (1973), Form (1973), The Life Grade, Night (1976), and Mother's Day (1976). As a writer from the lower strata of society, David Storey naturally resonated with the literary movement "Angry Young Men" in terms of thoughts and feelings, and his works also expressed dissatisfaction with society and had a distinct class consciousness. However, overall, Storey's creative work was primarily influenced by D.H. Lawrence. He linked the tensions caused by class differences to the disharmony between people's physical, emotional, and cultural needs, delving deep into the contradictions of people's inner worlds through the surface of life. His novels are largely set in Northern Britain, with vivid local color, detailed descriptions, and vivid character portrayals. His language is personalized, and some Western critics referred to him as a "regional realist." Storey's novels inherited traditional techniques while also having new characteristics: he excelled at portraying characters' intense emotions, subconscious, and. He was not only skilled in using realistic techniques to portray characters' personalities but also liked to use modern novel techniques such as stream of consciousness to express characters' minds and emotions, and even employed symbolism to convey certain philosophical truths about life. Therefore, Storey's creative work later became more than just realistic. As British critic Bernard Bergonzi said, "By the time Storey published his third novel, Radciffe, he had clearly become a writer with a unique style. He was more concerned with symbolism than with pure realism, although he continued to draw on material from Northern life. In this novel, the eccentric and imaginative Radcliffe and the rough working-class youth Torson, separated by social differences, evoke profound philosophical reflections on the tension between the spiritual and the physical." This Sporting Life is one of Storey's early novels rich in "regional realism." It uses realistic techniques to portray the life of a rugby player. Its theme can be said to be unique in Western novels. The protagonist, Arthur Machin, was originally a worker and a fan of rugby. With the help of an old man named Johnson, he passed the selection trials and was accepted by a rugby league club as a professional rugby player. The author uses a delicate brushstroke to realistically depict the entire process of rugby: the preparation and tension before the match, the heroic and bloody match itself, the relaxed and leisurely scenes in the bath after the match, and so on. However, the novel is different from news reports or reportage. It selects a special theme and a unique perspective, still aiming to portray real life. Therefore, the author never forgot to use rugby to portray people—the novel created the artistic images of Arthur Machin and many other vivid characters, and through the activities of the protagonist, Arthur Machin, it showcased the unique natural and cultural landscapes of the Northern industrial region of Britain. The author focuses on exploring the inner psychology and emotions of the protagonist, Arthur. When Arthur was still an amateur athlete, he longed to become a professional player. Rugby suited his personality—when he engaged in intense competition, he often felt his inner vitality unleashed, and he was proud of his strong and agile movements. Every time he experienced this, he felt the value of life and the beauty of strength. The strength and vigor of rugby also pushed his violent and rough personality to the extreme—he often brutally struck opposing players to vent his frustrations or anger. He showed no pity for others' pain, and when he himself was severely hit by opposing players or teammates, in pain, he did not complain either. The courage of a rugby player can only be compared to that of a Spanish bullfighter. Arthur loved rugby not only because of his personal heroic nature but also because he believed rugby could realize his life's value. Therefore, when he was accepted by the club, he was overjoyed. At first, he did not realize that when he signed a contract with the club, he had sold his skills as a player to the club owner. So, when he negotiated with them, George Widdecombe, representing the club, revealed the truth: Arthur could not ask for too much, as they had to protect the interests of the investors. After a period of time, Arthur finally understood: he was merely a tool for the club to profit, a monkey for people to enjoy! After realizing this, his heroic spirit was severely damaged, and his passion for rugby also plummeted. Arthur's complicated and unresolved romance with his landlady, Mrs. Humble, was an important episode in his athletic career. Arthur, who was over ten years older than her, thin, and unattractive, fell in love with the widow from pity to passion, to the point of being inseparable. Arthur's intense love for Mrs. Humble reflected his sexual psychology and also contained a hint of philanthropy. He wanted to win the eccentric woman's heart through material care and spiritual encouragement. But this was one-sided. Mrs. Humble gave herself to him out of gratitude and desperation. She did not experience the joy of sex but was instead weighed down by a sense of guilt and crime. Her sexual relationship with Arthur was purely a matter of fulfilling an obligation. She never showed him love. Mrs. Humble did not believe Arthur truly loved her, and she still harbored love for her late husband, who had suffered immense hardships and died in a workplace accident, deep in her heart. She was also a woman who remained chaste, modest, and content with poverty. She disliked Arthur's arrogant and disdainful nature. After Arthur took her, she felt her moral defenses had been breached. Although Arthur improved her material life, he destroyed her spiritual home. Therefore, when Arthur constantly claimed to make her happy, she felt even more pain and deeply felt that she and Arthur were far apart in spirit. It can be said that neither of them understood the other, and both felt deeply wronged. As a result, they often argued, and even Mrs. Humble was driven to hysterical outbursts or tearfully begged Arthur to move out and not interfere with her and her children's lives. Whenever this happened, Arthur felt both angry and painful. Arthur finally had no choice but to leave her. But he still cherished her. When he was told that Mrs. Humble had an incurable illness, he was so heartbroken that he guarded her with all his heart like a true husband until she passed away. Arthur loved Mrs. Humble with such sincerity, such devotion, and such passion! This moved people deeply and also made them reflect: nothing in the world is more precious than selfless, sincere love.