I’m getting the sense that there’s an Early Bellow, a Somewhat Later Bellow, and an Older Bellow, each of which is more or less independent of the others (so far as the reader is concerned). Early Bellow may only consist of Dangling Man. I didn’t especially like Dangling Man, though I’ve seen it referred to in other novels of the time as pathbreaking, heralding a new beginning of some sort. To me it just seemed kind of bland: a guy’s trapped back at home while all his buddies are off at the war … and that’s about it. Maybe I should have written a review of it at the time; as it is, most of it has slipped out of my mind, other than the fact that nothing much grabbed me about it.
Somewhat Later Bellow is the era of Augie March and the work under examination here. Augie is a Quintessential American, off trying to discover himself and letting others tell him who he is, until he decides to control his own life and decide his own fate. It is a vast, sweeping book, or tries to be. I just found it tiresome.
Which brings us to Henderson the Rain King. I figured it was from the Augie March era even before I read the copyright date. It has an Augie-like character, though it’s quite a bit tauter than Augie. Our hero heads off into the wilds of Africa to find himself and fill in a gnawing void in his soul; it keeps crying out to him “I want, I want!” Much craziness happens to him in the wild, but that’s not really the point. Nothing very much ever happens to Bellow heroes; any action that does happen to them is purely accidental, and I’m sure Bellow apologizes profusely for it. The real action is in the characters’ own minds. They’re all trying to figure out who they are, what they want, what they think, or what the world around them is all about. They’re confused, stuck in the world as it’s given to them, and lost.
Gene Henderson comes from a wealthy family and may have emptied large portions of his inheritance on travel, girls, food … whatever. He’s lived in Paris and London, probably because his spirit continued to cry “I want, I want!” and he thought he could give it what it wanted in Europe. By the time we run into him, he’s in his sixties and desperate to know what he wants before he dies. He’s gone through a few wives, children who hardly play any role in the story (or, we imagine, in his life), and a few million dollars.
Henderson is a fascinating, repulsive character. He’s continually surging forth into a monologue about his internal travails; one African after another who can’t understand a word he’s saying just keeps telling him “Yes, suh.” He finally meets a tribal king who can corral all that internal violence into something productive; their friendship is the center of the whole story, and Bellow delivers it beautifully. It would be very easy to turn this into some schlock about Wise Africans or Man Finding Himself or whatnot, but that would be impossible in a Bellow novel: protagonists go wherever they may but can’t escape their own characters. They never really Find Themselves; quite often they’re Self-Consciously Trying To Find Themselves, and doing a more or less good job of it.
Older Bellow dispenses with most of the outer garb of Early Bellow: why bother sending your guy off into Africa or the deserts of the Western United States if all the action is inside his own head? Herzog and Mr. Sammler's Planet don’t (if memory serves) leave the immediate vicinity of the protagonists’ homes. They’re books about nebbishes, and at times they’re almost a parody of Allan Bloom (one of Bellow’s closest friends): Moses Herzog and Artur Sammler have lived lives of horror, and their posture toward the world is reflective cowering.
Oddly enough, I think Older Bellow is more readable; all the world traveling was kind of needless, as Bellow came to realize. You will take Herzog and Sammler from me when you pry them from my cold, dead hands.
I’ve put in a request at the library for Ravelstein (see The Bellow-Parcells letters from The Morning News), which is one of Bellow’s last novels if not his last. As everyone knows by now, it is a roman à clef about Allan Bloom, and apparently reveals that the old conservative curmudgeon was a gay man who died of AIDS. More to the point for our immediate purposes, I imagine that it’s more of the intellectual exploration which Older Bellow does so well. I hope that I can recover some of my love for the man’s works by seeing what he became, rather than where he started.