The City of Invention Symbol Analysis

Here in this City of Invention, the readers come and go, by general invitation, sauntering down its leafy avenue, scurrying through its horrider slums, waving to each other across the centuries, up and down the arches of the years. When I say ‘the arches of the years’ it may well sound strange to you. But I know what I’m doing: it is you who are at fault.

Some build because they need to, have to, live to, or believe they are appointed to, others to prove a point or to change the world. But to build at all requires courage, persistence, faith and a surplus of imagination. A writer’s all, Alice, is not taken up by the real world. There is something left over: enough for them to build these alternative, finite realities.

Fiction, on the whole, and if it is any good, tends to be a subversive element in society. Elizabeth Bennet, that wayward, capricious girl, listening to the beat of feeling, rather than the pulsing urge for survival, paying attention to the subtle demands of human dignity rather than the cruder ones of established convention, must have quite upset a number of her readers, changed their minds, and with their minds, their lives, the society they lived in: prodding it quicker and faster along the slow, difficult road that has led us out of barbarity into civilization.

I am trying to explain that writing must be in some way a shared experience between reader and writer: the House of Imagination built with doors for guests to enter in, and pegs for their coats, and windows for them to look out of: it is no use being a recluse. You will die of hypothermia and malnutrition if you live alone in your house, however beautifully constructed it is. It must be a welcoming place, or exciting, if dangerous, or educative, if unpleasant, or intensely pleasurable.

As if it were decreed that your mother Enid should put bread rolls to rise every night for your father Edward’s breakfast, in order that a certain paragraph in a certain novel should be written. As if the City of Invention, little by little, using a chapter here, a paragraph there, is waking from its slumber and will eventually be more real than life itself, and we its servants, its outrunners.

All over the country irons were held in suspension, and car exhaust bandages held motionless and lady gardeners stayed their gardening gloves, and cars slowed, as Emma spoke, as that other world intruded into this. It does more and more, you know. We join each other in shared fantasies, it is our way of crossing barriers, when our rulers won’t let us. ET and his like is our real communication. Hand in hand the human race abandons the shoddy, imperfect structures of reality, and surges over to the City of Invention.

Journalists, in particular, who work so cleverly from the real world, understand description, but not invention. It is not surprising. They lose their jobs if they do invent—novelists get sued if they don’t invent. So I, Grace, D’Albier, must go round the world, stared at as a victim of paternal and maternal incest: and though my parents still speak to me, they do so in a rather stiff way. They can comprehend that I made it up, but their friends can’t.

Sometimes, I think, the exhilaration of all this being so great—of ideas, notions, fantasies, speculations, claims false and valid, advice good or bad, the pattern made by altering truth as day melts into day, is great enough to make us immortal. These things have been, and so in a sense always will be: they are not finite in time. Only our bodies are that. Let them blow us all up if they want, reduce the planet to ashes (as they say)—the leap between nothing and something, once made, is always made.