Flaubert’s Parrot by Julian Barnes

How do we write biography? Well, depending on whether the subject has shuffled off this mortal coil or not, we could talk to them or else their relatives, friends, and enemies. Most likely we will spend a lot of time in archives, scattered around the country or world, reading journals and diaries, letters, and memoirs. To recreate the past we may need to read some history books, or better yet newspapers. If we are writing about a creative person we ought to read their books or watch their films, over and over. And yet if we do only this, we may still end up with something rather soulless.

Richard Holmes employed the “footsteps method”. He would literally retrace the steps of his quarries throughout their lives, allowing himself to imagine his way into their lives in a way that merely memorising poetry could not do. I myself have been to a Dostoevsky house museum in Moscow and Saint Petersburg, two Tolstoy ones in the former city, and there is a Dickens museum not far from me where I am now staying in London. Sometimes seeing these old places can really bring the writers back to life, but more often it seems to be the objects inside them that do that. The Akhmatova museum in Petersburg stands out as doing a great job of reminding me how awful that period of the Soviet Union was for many of its people.

Julian Barnes’ novel and non-fiction work, Flaubert’s Parrot, is an attempt at writing a biography of Flaubert. I say attempt only because its failure is deliberate, and the fault of the narrator, Geoffrey Braithwaite, rather than his creator. We learn a great deal about Flaubert, but far more about the nature of biography. Each chapter seems to employ a different approach to dealing with Flaubert as if Braithwaite is trying to work out which approach will stick. Here are a few examples of what I mean:

We have a chronology chapter, which contains three different chronologies of Flaubert’s life with a little bit of editorial commentary. In the first, Flaubert emerges as a successful, cheery, and social being; in the second his life is one of misery, disappointment, and financial problems; the third is made of extracts from his letters. Each chronology, in fact, quotes from Flaubert, but each ends up leading to an entirely different impression of the man. The authority that we expect to come from the primary source – his letters – only serves to make us look silly for trusting any of the chronologies at all. One message we might take away is just how easy biography, even a simple chronology, can be used to manipulate or mislead.

Another chapter imagines Louise Colet, Flaubert’s legendary mistress (who saved an awful lot of his most fascinating letters for us lucky readers in posterity), and the story she would tell of him. This is imaginative biography, giving us another perspective. One chapter looks at Flaubert through the various animals he used to compare himself to (bears, dogs, sheep, camels etc); another looks at him through the books he hadn’t written, the decisions he hadn’t made in life – a sort of “what if” biography; still another explores his attitude to that most awful of modern inventions, the choo-choo train. What is so brilliant about Flaubert’s Parrot is that each of these angles manages, even while occasionally (deliberately) sharing choice extracts from the letters and novels, to tell us something new about Flaubert, and cast him in a completely different light. Nothing alone, certainly not traditional biography, can fully capture the soul.

A murky patch in Flaubert’s biography concerns an English governess, so Barnes creates some letters that have fallen into the hands of a rival academic (Braithwaite is actually a doctor) which would blow open the academic consensus and bring our narrator fame and glory. The academic relates the story of how he came upon these letters, tells what they contained, but finally informs Braithwaite that he burned them out of respect for Flaubert’s wishes on the matter. Our narrator is outraged – his chances at fame and glory have gone down drastically.

But here there is also something else at play. Biography is often about solving mysteries, eliminating those last few blank spots in the chronology with a fantastic discovery. One of the most memorable pieces of Holmes’ Footsteps concerns his travels around Italy, attempting to work out the truth of Percy Shelley’s relationship with Claire Clairmont, a woman who accompanied him and his wife during their own time there. Biography is about taking control over the past and bringing it into order, and Braithwaite has just had the past rebuff him. There were several times as I was reading Flaubert’s Parrot where I thought of W.G. Sebald’s novels – Austerlitz or The Emigrants. In both we have a narrator attempting to recover the past, by all possible means, only to be disappointed. It is not so easy to recapture the world.

Just as literature is not the real world, so too is a biography of a literary figure not the same as that of a friend. Initially, our impression of Braithwaite places him as one of those stock characters we see in 20th-century fiction – the cynical old man spitting on the world and obsessed with his work. For example, Braithwaite gets more upset by moments in Flaubert’s life than he does revisiting memories of his participation in the Second World War. During the chapter involving the letters, he seems positively monomaniacal. But as the book progresses, we get hints of a troubled relationship with his wife, and finally her suicide. For example, we linger longer on the topic of adultery than perhaps even a book on Flaubert warrants.

All this puts the experiments at writing Flaubert’s life in a new light. We might say that Braithwaite is trying to work out what kind of biography might allow him to make sense of his own life, his own loss. Is it a little dictionary of important people, or is it a fictionalised telling of his wife’s side of things? His cynicism finally seems more tragic than tedious, because we see immediately what it takes him a whole book to realise – that life and literature, research, and intimate biography, are separated by a chasm:

“Ellen. My wife: someone I feel I understand less well than a foreign writer dead for a hundred years. Is this an aberration, or is it normal? Books say: She did this because. Life says: She did this. Books are where things are explained to you; life is where things aren’t. I’m not surprised some people prefer books. Books make sense of life. The only problem is that the lives they make sense of are other people’s lives, never your own.”

Fiction is a way of building a world where things make sense. And biography is just fiction that sticks close to its source material. But life does not make sense. Letters are burned, lives are ended, in ways that are incomprehensible, and no moral waits for us at the end of the tunnel. Flaubert’s Parrot tells us about Flaubert, and it tells us about Braithwaite’s wife. But it is only Flaubert who seems comprehensible by the book’s end, only Flaubert whose actions can be explained by whichever explanation offered by the book seems to make the most sense to us.

We come away from the novel with a sense of a world that is limited. After the humour (which Flaubert’s Parrot is full of) and the literary games, there comes unease. Biography is so much less comprehensive than we had previously imagined, so much less respective of the truth – because we see that the truth is impossible to determine. Literature appears a refuge, as always, but a cowardly one. And so, we return to the real world, uncertain, because that’s the only thing for it.

I really enjoyed the novel, in case that does not come through. It’s really good fun, and its experimentation serves an obvious purpose. At the same time, it is informative on Flaubert in a way that feels far more useful than a full biography. For example, there’s a chapter on common complaints about Flaubert (his politics, his pessimism, his women) and their rebuttals. This kind of approach is far more exciting and dynamic than just a footnote in a stodgy tome. The novel achieves what the best experimental fiction of our age does – it reveals that there are more ways to read and write than we had hitherto realised and that what is familiar may not even be the best. In this Flaubert’s Parrot is not just inspiring, it’s vital too.

Richard Holmes – The Age of Wonder

Richard Holmes’ The Age of Wonder takes us into the period between about 1760 and 1830, a time of rapid change in the sciences – and indeed everywhere else. In literary and philosophical matters, we saw the rise of Romanticism, a counterforce to the stodgy orderliness of the Enlightenment with its emphasis on reason and humanity’s perfectibility. Romanticism, against that backdrop, emphasized a rather more complex view of human nature and the world, one full of the interplay between light and dark, reason and unreason, and chaos and order, where nothing was ever quite completed and put away neatly. It also, in poetry, in particular, brought attention to the importance of personal, subjective experience in a way that had never really been the case before. It is hard for us now to appreciate just how revolutionary Coleridge and Wordsworth’s Lyrical Ballads were when it was first published in 1798.

In others of his books that I have read on this blog, Holmes has dealt with the heroes and heroines of British Romanticism – the likes of Keats, Shelley, and Byron. In the Age of Wonder, he puts forward a Romantic science, to go alongside literary Romanticism. Both science and art, he argues, are linked by a feeling of wonder. Romantic science and its popularizes took Romantic ideas of genius and work, that “ideal of intense, even reckless, personal commitment to discovery”, and used it to shape the myths it told about its famous figures – astronomers, explorers of continents and the contents of test tubes.

One of Holmes’ many achievements in the book is to draw together science and arts once more, to demonstrate to a new set of readers that the two cultures set out in C. P. Snow’s famous lecture of the same name need not be divided but ought instead to be harmonious. Coleridge and Humphry Davy inhaled laughing gas together, after all. But beyond simply making use of the material facts, it is Holmes’ particular artistic talent which serves this end. Holmes makes science exciting – to a non-scientist such as myself – by infusing it with flesh and blood. The Age of Wonder is the fruit of countless years of research. It takes figures from the past and brings them into immediacy so that their discoveries seem to matter, not just for us, whose world is based upon the past, but for their contemporaries. We see just how revolutionary, for example, Davy’s safety lamp for mining was, because Holmes recreates the world of the miner – ugly, dirty, brutish, and short.

We meet a cast of characters ranging from Joseph Banks, who in his youth was an explorer and botanist and who later came to lead the Royal Society (Britain’s great academy for the sciences) for over forty years, to William Herschel and his sister Caroline, Germans from Hanover who after emigrating to England came to revolutionize our understanding of the stars. Although the focus is on British science, Holmes gives us a sense of how European science was at the time, highlighting the connections between figures like Lichtenberg and Humboldt in the German lands, Linnaeus further North, and various French scientists, with their British counterparts.

At the same time, Holmes shows an increasing politicisation of science that is now somewhat familiar. Much of the book takes place during the Napoleonic Wars, and although these wars were punctuated by years of peace, relations between France and Britain were not always cordial. British scientists were often awarded prizes in France which they were kindly advised not to collect. The technology of hot air balloons, which to us now seems so innocent, once was a source of great anxiety, as it was feared that the French could use it to send an entire army across the Channel to catch the British by surprise. 

Perhaps this is most obvious in the case of Mungo Park. He was an explorer from Scotland who took two journeys in West Africa around the turn of the century. The first time he travelled almost on his own, a kind of proto-backpacker, relying on the kindness of the locals he met to see him safely home. The result of this was kidnap and torture, and his papers only survived because they were stored safely in his hat. Still, rather surprisingly, Park made it out of Africa and told his tale. He returned to country life in Scotland but grew restless. He declared he “would rather brave Africa and all its horrors” than stay in these “lonely heaths and gloomy hills”. He organized another expedition, but this time his financial backing came from the Colonial Office. Instead of a one-man jaunt, he led nearly a hundred soldiers. As happened all too often, a few cheery letters arrived from the coast and then rumour ended up being all was left of Park. Captain Cook, whose arrival at Tahiti begins The Age of Wonder, also died after peaceful methods of engaging with natives were replaced by a more aggressive, violent, and indeed imperial approach.

Holmes’ telling of Park’s story is gripping. It wouldn’t look out of place next to Lytton Strachey’s tale of General Gordon in Eminent Victorians. Of course, that is why Holmes’ book is so effective. This is less a work of history than a group biography, “a relay race of scientific stories,” that “link together to explore a larger historical narrative”. Through these stories – of balloonists and astronomers, physicians, and inventors – we have a sense of history passing.

Though there are dates, this is not history as a cascade of facts. We see time passing through the ageing and decline of a cast of characters. Joseph Banks goes from a spry young man to a gout-ridden old one, Davy suffers a stroke and a rapid decline. Almost without noticing it, we realise that one cast of characters has, by the book’s end, been shifted out for another. William and Caroline Herschel have been replaced by their son John, Charles Babbage has come onto the scene, and Michael Faraday has begun to eclipse his mentor Davy. With them, Holmes stops.

Though we wish he could continue forever, his endpoint is not an arbitrary one. Science and artistic Romanticism could coexist for a good reason. Wonder was the natural feeling of these scientists because they could more or less maintain Christian belief as they worked. Their discoveries seemed to reveal God’s greatness – the watchmaker analogy suggested by William Paley in his 1802 book Natural Theology or Evidences of the Existence and Attributes of the Deity – more than they did His absence. There was not as yet a pronounced sense that science was undermining God.

But by the end of The Age of Wonder, this is much less true. Materialism, founded on a sense of deep time and deep space, begins chipping away at the old certainties. And when the book finally ends with Charles Darwin setting off in 1831 towards the discoveries that would make his name, we have a sense almost of apprehension. Gone are the days when a man like Davy could write bad poetry and play with gases, or Novalis could journey into the depths of the earth to look at rocks before writing poetry that actually works. The armies have been drawn up – the artists, retaining their romantic ethos; and the scientists, retaining their commitment to truth. To this day, there are too few connections between them.

Holmes’ work is itself a source of wonder. And for that, it already serves to begin building bridges between science and the arts. To restore the sense of wonder at science is essential to rekindling our present interest in it. The facts are never as important as we may claim they are, at least when we ourselves are not donning lab coats. An artistic approach, that teaches us to see in a new way by recreating the past and the excitement of its questions and problems, is what is truly necessary to make us more rounded readers and beings in the world. And that is exactly what The Age of Wonder provides.


More Holmes can be found here and here.

John Stuart Mill: Thinker and Human

I have taught English for several years now to a boy with cerebral palsy. He is about eighteen and he does not get out much. His English is excellent, and he is intelligent, but after several years I am tired out and really do not know what else to teach him. Still, one of the good things that has come from this pairing has been that I have been given an excuse to read authors that I would not otherwise have done. Carlyle is one such author. Another is John Stuart Mill, the noted 19th century British philosopher. We read Utilitarianism and On Liberty some time ago and now we are reading Mill’s Autobiography. In Aileen Kelly’s Herzen Mill was mentioned as one of Herzen’s favourite discoveries, and he was also praised highly by Bertrand Russell (Mill’s godson for a brief year!) – another thinker I was reading recently.

Nevertheless, I had little desire to read Mill, on account of the fact that liberalism is relatively boring. People should be free to do what they want so long as they don’t hurt others – very well. Society can be a pain – indeed it can. Increasing the general happiness is important – really, I had no idea. But Mill is a more complicated thinker than these pithy statements make him out to be, and in particular I found his Autobiography very interesting. For those readers who haven’t seen the point of Mill, I propose to provide a few things I enjoyed in these three works.

On Liberty

The purpose of Mill’s essay is to work out the limits to the power that can legitimately be exercised over the individual by society and government. The tyranny of the “will of the people” is something that Mill faced in his personal life, carrying on an intense friendship with a married woman which created great difficulties for him. The majority or the group that can get others to accept it as the majority will doubtless lead to oppressing the minority, so checks and balances must be created. But where, and of what sort?

The argument, as summarised by Mill, is as follows: “the sole end for which mankind are warranted, individually or collectively, in interfering with the liberty of action of any of their number, is self-protection. That the only purpose for which power can be rightfully exercised over any member of a civilized community, against his will, is to prevent harm to others. His own good, either physical or moral, is not a sufficient warrant. He cannot rightfully be compelled to do or forbear because it will be better for him to do so, because it will make him happier, because, in the opinions of others, to do so would be wise, or even right. … In the part which merely concerns himself, his independence is, of right, absolute. Over himself, over his own body and mind, the individual is sovereign.”

How, on the basis of this argument, can we have a good society? Firstly, by a free press. Secondly, by having as many opinions as possible. This latter suggestion I particularly liked. Mill argues that if the dissenter from popular opinion is wrong, they learn the truth by speaking out. Meanwhile, those who are correct come to appreciate the truth more. And often both sides may share some truth. “All silencing of discussion is an assumption of infallibility,” so either way we must always listen to others. Unfortunately, Mill’s views presuppose that arguments are made in good faith, and that people are willing to change their views if proven wrong. I believe the experience of a global pandemic seems to suggest that some people are unwilling to accept alternative viewpoints, whatever the strength of their foundations. (This is a dig at those against vaccinations, not those sceptical of them.)

If we live in fear, we will not speak out. This ultimately destroys independent thought, and the general development of a given community. At the same time, we must all work to “understand the grounds of one’s own opinions”. A free debate cannot proceed unless both sides know their foundations. A view without known foundations cannot be harmed through argument, but it can be terribly harmful.

Happiness is having the freedom to act according to one’s inner light. It consists in being spontaneous – the very thing society tends not to tolerate. Society, often internalised, leads to a “despotism of custom”. Contrary to the suggestion of coldness and rigidity, Mill’s idea of flourishing here is very freeform – “Human nature is not a machine to be built after a model, and set to do exactly the work prescribed for it, but a tree, which requires to grow and develop itself on all sides, according to the tendency of the inward forces which make it a living thing.”

Liberty ends when harm begins. If we harm others the law must be ready. But if we harm only ourselves, we have only ourselves to blame. The punishment for this is simply a bad reputation, and your friends turning away from you. Once we are adults, we are responsible for our decisions. Nobody can force us to change, or to act in a different way. A big government is unnecessary for Mill because it tends to make of us small people. In the field of human affairs, the government should less prohibit, than act as a guide. A sugar tax, rather than a sugar ban – for example – would be what Mill would propose.

Mill’s essay is marked by a certain gloom. He sees the development of society as leading to a general personal decline into slavish similarity. Communication, commerce, and technological advances have all brought people more in touch with one another, but at the same time they all have reduced the differentiation of the individual. Public opinion, growing ever stronger and more similar, becomes less willing to tolerate dissenting views. Finally, “mankind speedily become unable to conceive diversity, when they have been for some time unaccustomed to see it”. Liberty is lost when homogeneity means nobody has any use for it.

Mill’s piece remains useful today firstly as a reminder of the value of listening to others and understanding the basis of our own opinions, and secondly by arguing for the minimal intrusion of others onto the freedom of the individual. “That the individual is not accountable to society for his actions, in so far as these concern the interests of no person but himself”, is a challenging statement that we may not agree with. But it is useful to hear, to turn over in our minds. If for no other reasons that it makes us think upon our own answer to the question of the relationship between society and the individual.

Utilitarianism

Utilitarianism is about right and wrong. The philosophical idea was first put down by Jeremy Bentham, a friend of Mill’s father, in the form of “the greatest-happiness principle”. An action is good if it increases the general happiness, and bad if it doesn’t. This raised some issues, such as whether happy idiots are better-off than less happy intelligent people. It was also a rather cold doctrine, seemingly devaluing the arts in favour of more coarse pleasures such as eating and carousing. These are issues that Mill seeks to address in his essay.

Mill begins by noting that “actions are right in proportion as they tend to promote happiness, wrong as they tend to produce the reverse of happiness. By happiness is intended pleasure, and the absence of pain; by unhappiness, pain, and the privation of pleasure”. Happiness is desirable as an end, but that does not mean that simple pleasures are the most valuable. He suggests that we are capable of comparing pleasures, and in this way determining which of a given two is better. Having listened to some Mozart and eaten a burger I can decide for myself which I prefer. Now, many people may choose the burger (including, possibly, me). But Mill does not despair at this possibility, instead he draws a distinction between happiness and contentedness.

Contented people are generally stupider, meaning they require less pleasures and less complex pleasures. Intelligent people are more demanding of their pleasures, and also have a desire for more complex ones. Since we know the difference, we can say that “it is better to be a human being dissatisfied than a pig satisfied; better to be Socrates dissatisfied than a fool satisfied”. But the fool or the pig cannot agree – and nor could we expect them to.

Just as in On Liberty, here too Mill is concerned with the kind of world that allows for human flourishing. In this essay Mill argues that we need sufficient time to develop our tastes for pleasure, otherwise we will lose them. In a mediocre, unfree society, there will be mediocre and boring pleasures and a lower sort of happiness predominating. The present age, for Mill, with its poor education and dreadful social arrangements, does not let us be as happy as we could be, or develop as much as we could.

Education is particularly important for Mill. In On Liberty, he identified it as the period of a person’s life where we can form people’s tastes before they become entirely responsible for themselves. In Utilitarianism, Mill sees education as playing a key role in helping us to harmonise our idea of our own happiness with the general happiness. Through education we can shape our consciences to be more utilitarian, so that we come to see the interests of others as being more equal to our own interests.

Utilitarianism is really annoying because it’s hard to argue against it for a layman like myself. In its modern form, such as propounded by Peter Singer, it’s thoroughly miserable-making. Can I justify having any money at all when I could give it to the poor and make their lives considerably happier? Singer’s Effective Altruism really appears, when thought through, to be the least we can do, and yet it is more than most of us do. Mill and Singer are not the same person, and Mill’s piece is simpler and less demanding.

At the same time, Utilitarianism does still suffer a little from a belief in human rationality. I remember thinking of Dostoevsky while I read it – a man whose writings time and again demonstrate that people can choose suffering over happiness. Mill might argue that Dostoevsky’s characters are made happy by being miserable, and I’m sure many depressed people would concur with the statement that in despair there can often be something sweet.

Thinking about it now, however, I’m not sure a Dostoevskian objection really holds up – what Dostoevsky is fundamentally after is affirming a sense of human dignity, in other words saying that I’m not a pig but a human being. Taking away our dignity by taking away our responsibility for our actions, as do the great systems (including utilitarianism) that his characters rail against, ultimately deprives us of the foundation of our happiness – our freedom. In other words, we can be against utilitarianism while still fitting very snugly into a utilitarian conception of human ends and means. The fact that such a thought would probably bring The Underground Man to suicide does not devalue it – it just suggests we shouldn’t tell him!

Autobiography – The Childhood

Mill’s Autobiography is another interesting text that throws light upon the concerns of the other two essays, both by answering some of our criticisms about them, and by explaining the character of the man who wrote them. John Stuart Mill was an extraordinary character. At the age of 3 he was learning Greek, at the age of 8 he had taught himself Latin. He was writing and being published in the leading newspapers of the day while still a teenager. And the fact that we are reading him today indicates that all this education led to the creation of a formidable thinker, as well as just a precocious child.

Mill’s purpose in the Autobiography is to leave “some record of an education which was unusual and remarkable.” Under his father’s watchful eye, Mill learned everything under the sun. Pushed relentlessly, he learned that “a pupil from whom nothing is ever demanded which he cannot do, never does all he can.” Yet at the same time, the text is riddled with tensions. Mill was allowed no holidays; he had no friends. He felt bitter about being unlike other children, had trouble dressing himself and tying knots. Worse than that, “Mine was not an education of love but of fear.” These thoughts are hidden from sight, exorcised from the text by Mill’s wife and then later by his stepdaughter. His father alternates between awe-inspiring intellectual power and terrible coldness. The result of such an influence was that for a long time Mill lacked confidence and the ability to think for himself.

Mill’s mother does not receive a mention. I had thought perhaps she had died in childbirth, but apparently Mill was the eldest of nine children (they too are barely mentioned). Mill apparently found no warmth in his mother capable of making up for his father’s coolness. And so, stunted by this childhood, Mill developed, learning a great deal, but feeling very little – he considers himself at this time a mere “reasoning machine” – until he reached the age of twenty and had a great and terrible crisis.  

Autobiography – The Crisis

From his birth Mill had been raised to be a reformer of the world, and he had believed wholeheartedly in that goal. “My conception of my own happiness was entirely identified with this object”. Yet one day Mill asks himself whether he’d be happy if he achieved this goal, and he realised that he would not. Finding the end unrewarding, Mill can no longer see any value in the means and pursuing it. Though he continued to write, the light had gone out inside him. He felt desperately lonely, and could confide in no-one, least of all his father. He realised that his analytical abilities had done him just as much harm as good, because they had ruined his ability to feel. They were “a perpetual worm at the root both of the passions and of the virtues”.

Mill escaped from his despair, which was psychological as much as intellectual, through the help of art – he read Wordsworth for the first time. This led him to appreciate that “the internal culture” of an individual is more important than he’d realised. Happiness can lie not just in improving the world, but in art too. Indeed, Mill came to realise that happiness couldn’t be what we strive after – in something vaguely reminiscent of Wittgenstein, he noticed that whenever we asked ourselves if we were happy, we ceased being so. In other words, the resolution to our problems is a dissolution of them. In pursuing another worthwhile goal, Mill thought, “you will inhale happiness with the air you breathe, without dwelling on it or thinking about it, without either forestalling it in imagination, or putting it to flight by fatal questioning”. Suddenly utilitarianism does not seem so restrictive after all.

Autobiography – Harriet

Mrs Harriet Taylor, who later became Mill’s wife, was a married woman when they met in his early twenties. But in spite of this the two struck up an extremely intense and rewarding, and apparently platonic, friendship that lasted until her death in 1858. This friendship was “the honour and chief blessing of my existence” and Mill’s praise for his wife is extraordinary for the intensity of the feeling that it conveys. For Mill, Harriet was essential in making him the mature writer we associate with him. Where he had come to his conclusions about life through cold analysis and study, Harriet had come to the same conclusions through her feelings and empathy. Together, they created works like On Liberty and Utilitarianism, combining both approaches to the problems at hand.

Father’s Death, Political Career

Mill’s Autobiography is primarily a record of the first twenty-five or so years of his life, when all the major developments in his thought are taking place. The rest of his life is simply a long chapter at the end. Of this, aside from the records of what he wrote, the most interesting thing is Mill’s description of his brief stint as an MP.

Mill was put forward by some friends to be MP for Westminster. He refused to do any campaigning except at the end, and he also wrote a public letter in which he declared he would not fight for local interests. Nevertheless, he was elected. In Parliament he had a more direct effect on the affairs of state which he had attempted to alter from afar through newspapers and journals, but his radicalism – however normal it seems to us today – did him no favours. He fought for the Irish, for the colonies – in short, he was true to his views. All of these, sadly, were minority views. After the conservatives found themselves under threat, they themselves campaigned more seriously in the next election and Mill was thrown out. He had been an MP for all of three years.

Concluding Remarks

Mill’s Autobiography was written, at least in part, with the goal also of thanking those in whose debt he was for his development. It is at times tedious to read all these names, most of whom are well-forgotten these days. The prose is also rather stodgy. And yet, in spite of all that, I’m rather glad I read it. Mill’s book is not one of those tell-all gossipy biographies, but instead it serves a far more important purpose. It justifies his other works by answering for the man behind them. It shows that his ideas came not just from the cool reasoning of a man behind his desk, but also from the warm-heartedness and appreciation for internal development that it took a crisis and deep friendship to create. It also provides a clear example of how utilitarian ideas can be compatible with a well-lived, ultimately passionate, life. Meanwhile, Mill’s political work shows how committed he was to the ideas of On Liberty.

In sum, Mill’s Autobiography enriches his other works by showing that he had worked and lived enough to write them from a wealth of experience alongside the rational calculation we might expect. I am very glad I read all three.