By Oddvar Holmesland
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Extra resources for A Critical Introduction to Henry Green’s Novels: The Living Vision
Yes,' she says, 'and so long as 'is lathe goes round he'll be there, earning 'is money like 'is dad .... 222). The thought of her son becoming a factory worker like all the others is burdensome to Mrs Eames: 'She sighed. She fed hirn. ' And Mr Eames, listening to his wife's monologue, then remarks that 'it always did rain in this town though garden would benefit' . e. garden) not envisaged as drab and monotonous. Despite the blackness ofthe surroundings, they are able to perceive and cultivate organic values.
Disparate, fragmented and rapidly shifting scenes reveal different aspects of the predominant monotony, blackness and petty foundry rivalries. The communal aspiration among the workers towards illumination and freedom is suggested by the invasion of sunbeams and birds through the stained factory windows. eWe pay them [the workers] while they bet on these sparrows', Mr Bridges, the works manager, complains to the new director, Dick Dupret, 'and you can't stop it. You can't keep the sparrows out.
Despite his desire to 'touch' the idealized castings, he is, ironically, out of touch with their reality. His alienation is revealed by the fact that the order he experiences can only be found in a detached state of contemplation. Green emphasizes this point by focusing on Dick and his ideas rather than on a scene which generates a sense of identification. ). Standing in the dirty factory in his fine clothes, Dick Dupret senses the incongruity of his own position. Green lets the works manager add the final ironie comment as he leads young Dupret out of the iron foundry: 'It's all beautiful work we do Mr Dupret, beautiful work.
A Critical Introduction to Henry Green’s Novels: The Living Vision by Oddvar Holmesland