By Sandie ByrneOxford
In a story called “The East Wing,” a lazy young male creature named Lucien Wattleskeat expresses something of the same thought—not exempting the bubble metaphor—but with more focus on the paradoxical importance of his own ephemerality:
I don’t think I can risk my life to save someone I’ve never met or even heard about. You see, my life is not only wonderful and beautiful to myself, but if my life goes, nothing else really matters—to me … Eva might be snatched from the flames and live to be the grandmother of brilliant and charming men and women, but as far as I should be concerned she and they would no more exist than a vanished puff of cigarette smoke or a dissolved soda-water bubble.
I think this clears up any dispute about the source of the pseudonym (which often appeared on book jackets alongside his true name), and I pause to note that Lucien Wattleskeat is a poor register of Saki’s generally brilliant and somewhat Wildean ability to devise memorable names. Like Wilde (and like Anthony Powell later on), he made good use of the atlas of Britain and Ireland to come up with surnames and titles that were at once believable and eccentric. Many of these were from his beloved West Country (Yeovil, Honiton, Cullompton), but he ranged far and wide in choosing names like Courtenay Youghal for a smoothly accomplished politician and, in a moment of sheer brilliance, Tobermory for one of his most outstanding characters, the house cat who learns to speak English (and also to eavesdrop). Of his selecting Clovis as the model par excellence of his breed of bored and elegant young men, I have heard it suggested that it was because he was so appallingly Frank.
Creatures that essentially can never be tamed—felines and wolves preeminently—were Saki’s emotional favorites. In his best-known novella, The Unbearable Bassington, which contains in the figure of Comus Bassington one of the two most obviously homoerotic of his protagonists (the other being the boy-werewolf Gabriel-Ernest in the story of the same name), the hero is a man named Tom Keriway, whose daredevil nature is summed up in the echoing phrase “a man that wolves have sniffed at.” But Keriway has become sickly and nearly destitute, and morosely recalls an observation about a crippled wild crane that became domesticated in a German park: “It was lame, that was why it was tame.”
When he was in his early 40s, Saki began to throw off some of the languor and ennui with which he had invested so many of his scenes and characters, and became extremely exercised about the empire that he had quite often lampooned. Perhaps as a result of his experiences in Russia and the Balkans as a correspondent for a High Tory newspaper, he emitted grave warnings about an imminent German invasion and even wrote an alarmist novel—When William Came—about how British life might feel under the Prussian heel of Kaiser Wilhelm. Its pages treat almost exclusively the outrage and dispossession that might be experienced by the humiliated gentry. (I can think of only one Saki tale that takes the side of egalitarianism or that views society from the perspective of the gutter rather than the balcony or the verandah, and that is the lovely and vindictive Morlvera, in which a couple of proletarian children witness a delicious piece of malice and spite being inflicted on a grown-up by a hideous youngster of the upper crust.)
But in 1914, Saki surprised all his elite admirers. His reasons for insisting on signing up for the trenches, when he was easily old enough to evade that fate, were almost comically reactionary. Enraged by the antimilitarist left that thought socialism preferable to world war, he argued in effect that even world war was preferable to socialism. Yet he declined any offer of an officer’s commission, insisted on serving in the ranks, appeared to forget all his previous affectations about hollandaise dressing and the loving preparations of wine and cheese, and was so reduced by front-line conditions of wounds and illness that he grew a moustache to conceal the loss of most of his top teeth. He carried on writing, though chiefly about the interesting survival of wildlife in the no-man’s-land of the Western Front, and he repeatedly sought positions on the front line. In November 1916, near the village of Beaumont-Hamel on the river Somme, he found what it is quite thinkable that he had been looking for all along. On the verge of a crater, during an interval of combat, he was heard to shout “Put that bloody cigarette out!” before succumbing to the bullet of a German sniper who had been trained to look for such tell-tale signals. In that “vanished puff of cigarette smoke” or, if you prefer, his image of a dissolved bubble of effervescence, there died someone who had finally come to decide that other people were worth fighting for after all.