"Only Connect..."

Howard’s End finally made some of the ideas of Modernism clear from last week. As the readings had discussed the political issues that Modernism addressed, Howard’s End brought these issues to the forefront with the intertwining lives of the Schlegels, the Wilcoxes and the Basts. Howard’s End is addressing the question, as Trilling points out, “Who shall inherit England?” and ultimately, the classes have mixed to the point that there is no way to assign England to one particular class. Eventually, there will be no distinct class separations, creating a social “melting pot” within the country.

Throughout the novel, there were some repeated themes, phrases, and images that would be helpful to index. Forster attempts to bring the different families together, taking some time to really succeed. First, there is Helen Schlegel and Paul Wilcox’s failed romance. Next, a friendship develops between Margaret Schlegel and Mrs. Wilcox. Finally, the bonds of friendship turned love between Margaret and Mr. Henry Wilcox seals the fate of combined England. Forster, however, does not leave out the lower class Basts from the mix. It turns out that Henry has had a sexual encounter with Jacky Bast and Helen Schlegel has one with Leonard Bast, resulting in a child. Forster has intricately weaved the lives of each of these families/classes in order to answer the ultimate question.

Another repetitive aspect of the novel are the telegrams. The Schlegels seem to think that the Wilcoxes are always communicating via telegram. The idea of the “seen” and the “unseen” also repeats itself through the story, as the Schlegels seem to be often preoccupied with the conflict between the material world and the spiritual world (as seen with the idea of Christmas).

Howard’s End is certainly a good example of modernism and modernity. The encroachment of modernity can be seen with the motor car, thrown into the story line occasionally. When the motor does come into play, it is usually taking whomever to something exciting. The relationships that are formed by the end of the novel are also a good example of modernism. The Schlegels and the Wilcoxes living together with the Schlegel-Bast child is reminiscent to the living situation of the Bloomsbury Group. Clearly, an unconventional way of living, without looking to the deeper subtext of England, they seem to representative of modernist values.

Forster’s address of gender in the novel is much more subtle than I would have expected. He does not praise feminism, rather he drops in situations where the Schlegel women subvert the cultural norms pressed upon them at the time. Margaret defies Charles by jumping out of the motor car, Helen chooses to engage in sexual activity with Leonard, and Mrs. Wilcox is the true owner of Howard’s End.

For me, the form of the novel seems to be built very much like a house. Initially, when you walk into the door, you are introduced to the characters, but only on a superficial level. The Schlegels are located on the top floor of the house, the Wilcoxes on the second floor and the Basts on the main floor. Eventually, you reach the basement on your tour and it is there that you really see each of the characters/families for who they are and how they are all fatefully interconnected.