Clayhanger — Reading Notes

(8 User reviews)   1892
Bennett, Arnold, 1867-1931 Project Gutenberg 2007 Not confirmed
Fathers and sons -- Fiction; Domestic fiction; Staffordshire (England) -- Fiction; Pottery industry -- Fiction; Stoke-on-Trent (England) -- Fiction Readers of public-domain and historical texts
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Words 193,424
Reading time 841 min
Text sections 20

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Arnold Bennett's novel follows Edwin Clayhanger from his last day at school into the printing trade, set against the industrial landscape of the Five Towns. The excerpts reveal a precise social geography, a protagonist caught between hope and fear, and a narrative voice that embeds local history into personal experience.
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Clayhanger was now walking home. The fine and ancient Tory borough provided education for the whole of the Five Towns, but the relentless ignorance of its prejudices had blighted the district. A hundred years earlier the canal had only been obtained after a vicious Parliamentary fight between industry and the fine and ancient borough, which saw in canals a menace to its importance as a centre of traffic. Fifty years earlier the fine and ancient borough had succeeded in forcing the greatest railway line in England to run through unpopulated country five miles off instead of through the Five Towns, because it loathed the mere conception of a railway. And now, people are inquiring why the Five Towns, with a railway system special to itself, is characterised by a perhaps excessive provincialism. These interesting details have everything to do with the history of Edwin Clayhanger, as they have everything to do with the history of each of the two hundred thousand souls in the Five Towns. Oldcastle guessed not the vast influences of its sublime stupidity.

It was a breezy Friday in July 1872. The canal, which ran north and south, reflected a blue and white sky. Towards the bridge, from the north came a long narrow canal-boat roofed with tarpaulins; and towards the bridge, from the south came a similar craft, sluggishly creeping. The towing-path was a morass of sticky brown mud, for, in the way of rain, that year was breaking the records of a century and a half. Thirty yards in front of each boat an unhappy skeleton of a horse floundered its best in the quagmire. The honest endeavour of one of the animals received a frequent tonic from a bare-legged girl of seven who heartily curled a whip about its crooked large-jointed legs. The ragged and filthy child danced in the rich mud round the horse's flanks with the simple joy of one who had been rewarded for good behaviour by the unrestricted use of a whip for the first time.

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Edwin, with his elbows on the stone parapet of the bridge, stared uninterested at the spectacle of the child, the whip, and the skeleton. He was not insensible to the piquancy of the pageant of life, but his mind was preoccupied with grave and heavy matters. He had left school that day, and what his eyes saw as he leaned on the bridge was not a willing beast and a gladdened infant, but the puzzling world and the advance guard of its problems bearing down on him. Slim, gawky, untidy, fair, with his worn black-braided clothes, and slung over his shoulders in a bursting satchel the last load of his schoolbooks, and on his bright, rough hair a shapeless cap whose lining protruded behind, he had the extraordinary wistful look of innocence and simplicity which marks most boys of sixteen. It seemed rather a shame, it seemed even tragic, that this naive, simple creature, with his straightforward and friendly eyes so eager to believe appearances, this creature immaculate of worldly experience, must soon be transformed into a man, wary, incredulous, detracting. Older eyes might have wept at the simplicity of those eyes.

This picture of Edwin as a wistful innocent would have made Edwin laugh. He had been seven years at school, and considered himself a hardened sort of brute, free of illusions. And he sometimes thought that he could judge the world better than most neighbouring mortals.

"Hello! The Sunday!" he murmured, without turning his eyes.

Another boy, a little younger and shorter, and clothed in a superior untidiness, had somehow got on to the bridge, and was leaning with his back against the parapet which supported Edwin's elbows. His eyes were franker and simpler even than the eyes of Edwin, and his lips seemed to be permanently parted in a good-humoured smile. His name was Charlie Orgreave, but at school he was invariably called "the Sunday"--not "Sunday," but "the Sunday"--and nobody could authoritatively explain how he had come by the nickname. Its origin was lost in the prehistoric ages of his childhood. He and Edwin had been chums for several years. They had not sworn fearful oaths of loyalty; they did not constitute a secret society; they had not even pricked forearms and written certain words in blood; for these rites are only performed at Harrow, and possibly at the Oldcastle High School, which imitates Harrow. Their fellowship meant chiefly that they spent a great deal of time together, instinctively and unconsciously enjoying each other's mere presence, and that in public arguments they always reinforced each other, whatever the degree of intellectual dishonesty thereby necessitated.

"I'll bet you mine gets to the bridge first," said the Sunday. With an ingenious movement of the shoulders he arranged himself so that the parapet should bear the weight of his satchel.

Edwin Clayhanger slowly turned round, and perceived that the object which the Sunday had appropriated as "his" was the other canal-boat, advancing from the south.

"Horse or boat?" asked Edwin.

"Boat's nose, of course," said the Sunday.

"Well," said Edwin, having surveyed the unconscious competitors, and counting on the aid of the whipping child, "I don't mind laying you five."

"That be damned for a tale!" protested the Sunday. "We said we'd never bet less than ten--you know that."

"Yes, but--" Edwin hesitatingly drawled.

"All right. Ten," Edwin agreed. "But it's not fair. You've got a rare start on me."

"Rats!" said the Sunday, with finality. In the pronunciation of this word the difference between his accent and Edwin's came out clear. The Sunday's accent was less local; there was a hint of a short "e" sound in the "a," and a briskness about the consonants, that Edwin could never have compassed. The Sunday's accent was as carelessly superior as his clothes. Evidently the Sunday had some one at home who had not learnt the art of speech in the Five Towns.

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He began to outline a scheme, in which perpendicular expectoration figured, for accurately deciding the winner, and a complicated argument might have ensued about this, had it not soon become apparent that Edwin's boat was going to be handsomely beaten, despite the joyous efforts of the little child. The horse that would die but would not give up, was only saved from total subsidence at every step by his indomitable if aged spirit. Edwin handed over the ten marbles even before the other boat had arrived at the bridge.

"Here," he said. "And you may as well have these, too," adding five more to the ten, all he possessed. They were not the paltry marble of to-day, plaything of infants, but the majestic "rinker," black with white spots, the king of marbles in an era when whole populations practised the game. Edwin looked at them half regretfully as they lay in the Sunday's hands. They seemed prodigious wealth in those hands, and he felt somewhat as a condemned man might feel who bequeaths his jewels on the scaffold. Then there was a rattle, and a tumour grew out larger on the Sunday's thigh.

The winning boat, long preceded by its horse, crawled under the bridge and passed northwards to the sea, laden with crates of earthenware. And then the loser, with the little girl's father and mother and her brothers and sisters, and her kitchen, drawing-room, and bedroom, and her smoking chimney and her memories and all that was hers, in the stern of it, slid beneath the boys' down-turned faces while the whip cracked away beyond the bridge. They could see, between the whitened tarpaulins, that the deep belly of the craft was filled with clay.

"Where does that there clay come from?" asked Edwin. For not merely was he honestly struck by a sudden new curiosity, but it was meet for him to behave like a man now, and to ask manly questions.

"Runcorn," said the Sunday scornfully. "Can't you see it painted all over the boat?"

"Why do they bring clay all the way from Runcorn?"

"They don't bring it from Runcorn. They bring it from Cornwall. It comes round by sea--see?" He laughed.

"Who told you?" Edwin roughly demanded.

"Anybody knows that!" said the Sunday grandly, but always maintaining his gay smile.

"Seems devilish funny to me," Edwin murmured, after reflection, "that they should bring clay all that roundabout way just to make crocks of it here. Why should they choose just this place to make crocks in? I always understood--"

"Oh! Come on!" the Sunday cut him short. "It's blessed well one o'clock and after!"

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They climbed the long bank from the canal up to the Manor Farm, at which high point their roads diverged, one path leading direct to Bleakridge where Orgreave lived, and the other zigzagging down through neglected pasturage into Bursley proper. Usually they parted here without a word, taking pride in such Spartan taciturnity, and they would doubtless have done the same this morning also, though it were fifty-fold their last walk together as two schoolboys. But an incident intervened.

"Hold on!" cried the Sunday.

To the south of them, a mile and a half off, in the wreathing mist of the Cauldon Bar Ironworks, there was a yellow gleam that even the capricious sunlight could not kill, and then two rivers of fire sprang from the gleam and ran in a thousand delicate and lovely hues down the side of a mountain of refuse. They were emptying a few tons of molten slag at the Cauldon Bar Ironworks. The two rivers hung slowly dying in the mists of smoke. They reddened and faded, and you thought they had vanished, and you could see them yet, and then they escaped the baffled eye, unless a cloud aided them for a moment against the sun; and their ephemeral but enchanting beauty had expired for ever.

"Now!" said Edwin sharply.

"One minute ten seconds," said the Sunday, who had snatched out his watch, an inestimable contrivance with a centre-seconds hand. "By Jove! That was a good 'un."

A moment later two smaller boys, both laden with satchels, appeared over the brow from the canal.

"Let's wait a jiff," said the Sunday to Edwin, and as the smaller boys showed no hurry he bawled out to them across the intervening cinder-waste: "Run!" They ran. They were his younger brothers, Johnnie and Jimmie. "Take this and hook it!" he commanded, passing the strap of his satchel over his head as they came up. In fatalistic silence they obeyed the smiling tyrant.

"What are you going to do?" Edwin asked.

"I'm coming down your way a bit."

"But I thought you said you were peckish."

"I shall eat three slices of beef instead of my usual brace," said the Sunday carelessly.

Edwin was touched. And the Sunday was touched, because he knew he had touched Edwin. After all, this was a solemn occasion. But neither would overtly admit that its solemnity had affected him. Hence, first one and then the other began to skim stones with vicious force over the surface of the largest of the three ponds that gave interest to the Manor Farm. When they had thus proved to themselves that the day differed in no manner from any other breaking-up day, they went forward.

On their left were two pitheads whose double wheels revolved rapidly in smooth silence, and the puffing engine-house and all the trucks and gear of a large ironstone mine. On their right was the astonishing farm, with barns and ricks and cornfields complete, seemingly quite unaware of its forlorn oddness in that foul arena of manufacture. In front, on a little hill in the vast valley, was spread out the Indian-red architecture of Bursley--tall chimneys and rounded ovens, schools, the new scarlet market, the grey tower of the old church, the high spire of the evangelical church, the low spire of the church of genuflexions, and the crimson chapels, and rows of little red houses with amber chimney-pots, and the gold angel of the blackened Town Hall topping the whole. The sedate reddish browns and reds of the composition, all netted in flowing scarves of smoke, harmonised exquisitely with the chill blues of the chequered sky. Beauty was achieved, and none saw it.

The boys descended without a word through the brick-strewn pastures, where a horse or two cropped the short grass. At the railway bridge, which carried a branch mineral line over the path, they exchanged a brief volley of words with the working-lads who always played pitch-and-toss there in the dinner-hour; and the Sunday added to the collection of shawds and stones lodged on the under ledges of the low iron girders. A strange boy, he had sworn to put ten thousand stones on those ledges before he died, or perish in the attempt. Hence Edwin sometimes called him "Old Perish-in-the-attempt." A little farther on the open gates of a manufactory disclosed six men playing the noble game of rinkers on a smooth patch of ground near the weighing machine. These six men were Messieurs Ford, Carter, and Udall, the three partners owning the works, and three of their employees. They were celebrated marble-players, and the boys stayed to watch them as, bending with one knee almost touching the earth, they shot the rinkers from their stubby thumbs with a canon-like force and precision that no boy could ever hope to equal. "By gum!" mumbled Edwin involuntarily, when an impossible shot was accomplished; and the bearded shooter, pleased by this tribute from youth, twisted his white apron into a still narrower ring round his waist. Yet Edwin was not thinking about the game. He was thinking about a battle that lay before him, and how he would be weakened in the fight by the fact that in the last school examination, Charlie Orgreave, younger than himself by a year, had ousted him from the second place in the school. The report in his pocket said: "Position in class next term: third;" whereas he had been second since the beginning of the year. There would of course be no "next term" for him, but the report remained. A youth who has come to grips with that powerful enemy, his father, cannot afford to be handicapped by even such a trifle as a report entirely irrelevant to the struggle.

Suddenly Charlie Orgreave gave a curt nod, and departed, in nonchalant good-humour, doubtless considering that to accompany his chum any farther would be to be guilty of girlish sentimentality. And Edwin nodded with equal curtness and made off slowly into the maze of Bursley. The thought in his heart was: "I'm on my own, now. I've got to face it now, by myself." And he felt that not merely his father, but the leagued universe, was against him.

VOLUME ONE, CHAPTER TWO.

The various agencies which society has placed at the disposal of a parent had been at work on Edwin in one way or another for at least a decade, in order to equip him for just this very day when he should step into the world. The moment must therefore be regarded as dramatic, the first crucial moment of an experiment long and elaborately prepared. Knowledge was admittedly the armour and the weapon of one about to try conclusions with the world, and many people for many years had been engaged in providing Edwin with knowledge. He had received, in fact, "a good education"--or even, as some said, "a thoroughly sound education;" assuredly as complete an equipment of knowledge as could be obtained in the county, for the curriculum of the Oldcastle High School was less in accord with common sense than that of the Middle School.

He knew, however, nothing of natural history, and in particular of himself, of the mechanism of the body and mind, through which his soul had to express and fulfil itself. Not one word of information about either physiology or psychology had ever been breathed to him, nor had it ever occurred to any one around him that such information was needful. And as no one had tried to explain to him the mysteries which he carried about with him inside that fair skin of his, so no one had tried to explain to him the mysteries by which he was hemmed in, either mystically through religion, or rationally through philosophy. Never in chapel or at Sunday school had a difficulty been genuinely faced. And as for philosophy, he had not the slightest conception of what it meant. He imagined that a philosopher was one who made the best of a bad job, and he had never heard the word used in any other sense. He had great potential intellectual curiosity, but nobody had thought to stimulate it by even casually telling him that the finest minds of humanity had been trying to systematise the mysteries for quite twenty-five centuries. Of physical science he had been taught nothing, save a grotesque perversion to the effect that gravity was a force which drew things towards the centre of the earth. In the matter of chemistry it had been practically demonstrated to him scores of times, so that he should never forget this grand basic truth, that sodium and potassium may be relied upon to fizz flamingly about on a surface of water. Of geology he was perfectly ignorant, though he lived in a district whose whole livelihood depended on the scientific use of geological knowledge, and though the existence of Oldcastle itself was due to a freak of the earth's crust which geologists call a "fault."

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Geography had been one of his strong points. He was aware of the rivers of Asia in their order, and of the principal products of Uruguay; and he could name the capitals of nearly all the United States. But he had never been instructed for five minutes in the geography of his native county, of which he knew neither the boundaries nor the rivers nor the terrene characteristics. He could have drawn a map of the Orinoco, but he could not have found the Trent in a day's march; he did not even know where his drinking-water came from. That geographical considerations are the cause of all history had never been hinted to him, nor that history bears immediately upon modern life and bore on his own life. For him history hung unsupported and unsupporting in the air. In the course of his school career he had several times approached the nineteenth century, but it seemed to him that for administrative reasons he was always being dragged back again to the Middle Ages. Once his form had "got" as far as the infancy of his own father, and concerning this period he had learnt that "great dissatisfaction prevailed among the labouring classes, who were led to believe by mischievous demagogues," etcetera. But the next term he was recoiling round Henry the Eighth, who "was a skilful warrior and politician," but "unfortunate in his domestic relations;" and so to Elizabeth, than whom "few sovereigns have been so much belied, but her character comes out unscathed after the closest examination." History indeed resolved itself into a series of more or less sanguinary events arbitrarily grouped under the names of persons who had to be identified with the assistance of numbers. Neither of the development of national life, nor of the clash of nations, did he really know anything that was not inessential and anecdotic. He could not remember the clauses of Magna Charta, but he knew eternally that it was signed at a place amusingly called Runnymede. And the one fact engraved on his memory about the battle of Waterloo was that it was fought on a Sunday.

And as he had acquired absolutely nothing about political economy or about logic, and was therefore at the mercy of the first agreeable sophistry that might take his fancy by storm, his unfitness to commence the business of being a citizen almost reached perfection.

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For his personal enjoyment of the earth and air and sun and stars, and of society and solitude, no preparation had been made, or dreamt of. The sentiment of nature had never been encouraged in him, or even mentioned. He knew not how to look at a landscape nor at a sky. Of plants and trees he was as exquisitely ignorant as of astronomy. It had not occurred to him to wonder why the days are longer in summer, and he vaguely supposed that the cold of winter was due to an increased distance of the earth from the sun. Still, he had learnt that Saturn had a ring, and sometimes he unconsciously looked for it in the firmament, as for a tea-tray.

The novel opens with Edwin Clayhanger standing on a canal bridge, the boundary between Bursley's industrial east and the greener Hillport Fields to the west. Bennett immediately anchors the story in a specific geography: the Knype and Mersey canal, the pitheads and kilns, and the distant Tory borough of Oldcastle. The narrator pauses to explain how Oldcastle's historical resistance to canals and railways shaped the Five Towns' provincialism—a detail that, the narrator insists, 'has everything to do with the history of Edwin Clayhanger.' This blend of local history and personal fate is characteristic of the excerpts.

The scene is July 1872, and Edwin has just left school. He watches a canal-boat child whip a horse 'with the simple joy of one who had been rewarded for good behaviour by the unrestricted use of a whip for the first time.' But his mind is elsewhere, preoccupied with 'the puzzling world and the advance guarantee of misery.' The narrative voice shifts between detached observation and intimate access to Edwin's thoughts, establishing a tension between external detail and internal experience.

The Canal Bridge as Threshold

The opening image of the canal bridge is more than setting; it functions as a threshold between childhood and vocation, between the known town and the wider world. Bennett describes the bridge as 'steep-sloping, red-bricked,' and the canal reflects 'a blue and white sky.' Yet the towing-path is 'a morass of sticky brown mud,' and the horses are 'skeletons.' The juxtaposition of beauty and decay recurs throughout the excerpts.

Edwin's posture—'elbows on the stone parapet'—suggests a passive observer, but his mind is active. He is 'not insensible to the piquancy of the pageant of life,' yet his thoughts are 'grave and heavy.' The narrator explicitly states that what he sees is 'not a willing beast and a gladdened infant, but the puzzling world and the advance guarantee of misery.' This moment establishes a pattern: the external world is vivid, but Edwin's inner life filters it through anxiety and anticipation.

The bridge also marks a social boundary. To the east, industry; to the west, fields and the 'fine and ancient Tory borough' that has historically thwarted progress. Bennett's aside about Oldcastle's 'sublime stupidity' is a rare direct authorial comment, linking Edwin's personal story to larger forces of history and class.

The Printing Workshop: Class and Gesture

Later, Edwin brings Hilda Lessways to his father's printing shop after hours. The scene is a masterclass in social choreography. The workshop is 'rickety,' lit by a single gas jet, and the foreman Big James is rolling up his apron to leave. When he sees Edwin and a young lady, he 'let the apron fall over his knees again.' Bennett notes that the apron is 'almost clean' because it is only Tuesday, and even the office towel 'was not offensive.' These details convey the careful management of appearances in a working-class setting.

Big James's response is described as 'majestic gestures' that indicate 'his recognition of a sharp difference of class and his exact comprehension of his own rôle.' He addresses Edwin as 'Mr Edwin' and the visitor as 'miss,' and his deportment gives Edwin's words 'the importance of the words of a master.' The scene reveals how social hierarchy is performed through small actions—the letting down of an apron, the formality of address.

Hilda's question about the four-hundredth anniversary of printing catches both men off guard, exposing their ignorance. This moment hints at her broader knowledge and the gap between her world and theirs. Edwin watches her with a mixture of admiration and bafflement, concluding that her 'finest quality' is her mystery.

Edwin's Inner Turmoil and the Narrative Voice

Throughout the excerpts, Bennett maintains a close third-person perspective that shifts between Edwin's thoughts and a more detached, ironic narrator. Early on, the narrator describes Edwin as 'wrung between hope and fear, alike divine,' and notes that 'he would not have exchanged his sensations for the extremest felicity of any other person.' This paradoxical contentment in anxiety is a recurring note.

The narrative voice also intrudes with historical commentary, as when it explains Oldcastle's role in the region's development. These asides are presented as facts that 'have everything to do with the history of Edwin Clayhanger,' linking the personal to the structural. The tone is often dryly humorous: the child with the whip is 'rewarded for good behaviour by the unrestricted use of a whip for the first time.'

Edwin's self-criticism is sharp: he calls his failure to prepare for introducing Hilda to his father 'pusillanimous cowardice.' Yet the narrator does not mock him; instead, the scene is played straight, with the 'directing finger of God' sending a customer to allow Edwin to escape. This blend of psychological realism and authorial commentary gives the prose a distinctive texture.

Readers should attend to Bennett's handling of time and place. The novel is set in 1872, but the narrator occasionally looks forward or offers historical context, creating a layered sense of temporality. The excerpts show a writer deeply interested in the material details of work and class—the state of an apron, the quality of a towel—and in the inner life of a young man who is both part of his environment and set apart by his self-awareness. The relationship between the catalog subjects (fathers and sons, pottery industry, Staffordshire) and the actual text is close but not exhaustive; the excerpts emphasize Edwin's psychological state and the social rituals of the printing shop more than the pottery industry itself.

I’ve often thought Edwin Clayhanger’s quiet terror, that first grasp of ink and machinery, echoes in how a craftsman learns to make a sentence breathe. Both books sit side by side on my shelf now, companions in patience. A master of craft — Text and Context understands that same slow, unglamorous devotion, the way a life gets pressed into local, honest words.

Olivia Wright
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3 weeks ago

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Charlotte Adams
2 weeks ago

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    Ebony Anderson - 1 month ago
    Clayhanger is overly verbose and meandering. The author spends too much time on mundane details, which detracts from the plot. The protagonist is not relatable and his decisions are frustrating. The book feels dated and fails to engage the reader. There are far better classic novels that handle similar themes more effectively.

  • ...
    Teresa Rachel Simmons - 3 weeks ago
    Clayhanger is a masterpiece of provincial life, capturing the essence of early 20th-century England. The protagonist's struggle for identity amidst family and societal expectations is deeply moving. Arnold Bennett's rich descriptions and character development are superb. This novel is a must-read for literary enthusiasts who appreciate profound narratives.

  • ...
    Susan Clark - 2 weeks ago
    The book provides a detailed depiction of the era and interesting character arcs. However, the pacing can be slow for modern readers, and some passages feel overly descriptive. Still, Bennett's insight into human nature is commendable, making it a worthwhile read for those with patience.


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