G. K. Chesterton

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Gilbert Keith Chesterton (29 May, 1874 – 14 June, 1936) was a prolific English writer of the early 20th century. He was both a popular and an influential writer during this period, inspiring many historic figures with his works. He was notably concerned in what he wrote with religious matters, and was received into the Roman Catholic Church in 1922.

Chesterton has been called the "prince of paradox". He wrote in an off-hand, whimsical prose studded with startling formulations. For example: "Thieves respect property. They merely wish the property to become their property that they may more perfectly respect it."

1 Life
2 Writing
3 Chesterton, his views and contemporaries
4 The Chesterbelloc and accusations of anti-Semitism
5 Influence
6 See also
7 Literature and biographies on Chesterton
8 References
9 External links

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Life

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Born in Campden Hill, Kensington, London, Chesterton was educated at St Paul's School, and later went to the Slade School of Art in order to become an illustrator. In 1900, Chesterton was asked to write a few magazine articles on art criticism, which sparked his interest in writing. He went on to become one of the most prolific writers of all time.

Chesterton was a large man, standing 6 feet 4 inches (1.93 m) and weighing around 21 stone (134 kg or 294 lb). His girth gave rise to a famous anecdote. During World War I a lady in London asked why he wasn't 'out at the Front'; he replied 'if you go round to the side, you will see that I am'. He usually wore a cape and a crumpled hat, with a swordstick in hand, and had a cigar hanging out of his mouth. Chesterton rarely remembered where he was supposed to be going and would even miss the train that was supposed to take him there.

It was not uncommon for him to send a telegram to his wife, Frances Blogg, whom he married in 1901, from some distant (and incorrect) location writing such things as, "Am at Market Harborough. Where ought I to be?" to which she would reply, "Home."

Once The Times invited several eminent authors to write essays on the theme, "What's Wrong with the World?". Chesterton's contribution took the form of a letter:

Dear Sirs,

I am.

Sincerely yours,

G. K. Chesterton

Typically, Chesterton here combined wit with a serious point (human sinfulness) and self-deprecation.

Chesterton loved to debate, often engaging in friendly public debates with such men as George Bernard Shaw, H. G. Wells, Bertrand Russell, and Clarence Darrow. According to his autobiography, he and George Bernard Shaw played cowboys in a silent movie that was never released.

The homily at Chesterton's Requiem Mass in Westminster Cathedral, London, was delivered by Ronald Knox. Chesterton is buried in Beaconsfield, Buckinghamshire, in the Catholic Cemetery.

On 1 October, 1936, Chesterton's estate was probated at 28,389 pounds sterling.

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Writing

Chesterton wrote around 80 books, several hundred poems, some 200 short stories, 4000 essays and a stage play. He was a literary and social critic, historian, playwright, novelist, Catholic Christian theologian and apologist, debater, and mystery writer. He was a columnist for the Daily News, Illustrated London News, and his own paper, G. K.'s Weekly; he also wrote articles for the Encyclopedia Britannica. His best-known character is the priest-detective Father Brown, who appeared only in short stories, while The Man Who Was Thursday is arguably his best-known novel. He was a convinced Christian long before he was received into the Catholic church, and Christian themes and symbolism appear in much of his writing. In the United States, his writings on distributism were popularized through The American Review, published by Seward Collins in New York.

Much of his poetry is little known, though well reflecting his beliefs and opinions. The best written is probably Lepanto, with The Rolling English Road the most familiar, and The Secret People perhaps the most quoted ("we are the people of England; and we have not spoken yet").

Of his non-fiction, Charles Dickens (1903) has received some of the broadest-based praise. According to Ian Ker (The Catholic Revival in English Literature, 1845-1961, 2003), "In Chesterton's eyes Dickens belongs to Merry, not Puritan, England" (see Merry England); Ker treats in Chapter 4 of that book Chesterton's thought as largely growing out of his true appreciation of Dickens, a somewhat shop-soiled property in the view of other literary opinions of the time.

Much of Chesterton's work remains in print, including collections of the Father Brown detective stories. Ignatius Press is presently in the process of publishing a Complete Works.

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Chesterton, his views and contemporaries

Chesterton's writings consistently displayed wit and a sense of humour. He deployed paradox, while making serious comments on the world, government, politics, economics, philosophy, theology and many other topics. The roots of his approach have been taken to be in two earlier strands in English literature, Dickens being one. In the use of paradox, against complacent acceptance of things as they are, he is often categorised with Oscar Wilde, and George Bernard Shaw, whom he knew well, as Victorian satirists and social commentators in a tradition coming also from Samuel Butler.

Chesterton's style and thinking were all his own, however, and his conclusions were often diametrically opposed to those of his predecessors and contemporaries. In his book Heretics, Chesterton has this to say of Oscar Wilde:

The same lesson [of the pessimistic pleasure-seeker] was taught by the very powerful and very desolate philosophy of Oscar Wilde. It is the carpe diem religion; but the carpe diem religion is not the religion of happy people, but of very unhappy people. Great joy does not gather the rosebuds while it may; its eyes are fixed on the immortal rose which Dante saw.

Chesterton and George Bernard Shaw were famous friends and enjoyed their arguments and discussions. Although hardly ever agreeing, they both maintained good-will towards and respect for each other. However, in his writing, Chesterton expressed himself very plainly on where they differed and why. In Heretics he writes of Shaw that:

His weakness of introspection and selfishness in all their glory cannot prevent him fighting; but they will always prevent him winning.

And:

In similar style, I hold that I am dogmatic and right, while Mr. Shaw is dogmatic and wrong. ... It may be true that the thing in Mr. Shaw most interesting to me, is the fact that Mr. Shaw is wrong. But it is equally true that the thing in Mr. Shaw most interesting to himself, is the fact that Mr. Shaw is right. Mr. Shaw may have none with him but himself; but it is not for himself he cares. It is for the vast and universal church, of which he is the only member.

Shaw represented the new school of thought, humanism, which was rising at the time. Chesterton's views on the other hand, became increasingly more polarised towards the church. In Orthodoxy he writes:

The worship of will is the negation of will. ... If Mr. Bernard Shaw comes up to me and says, "Will something," that is tantamount to saying, "I do not mind what you will," and that is tantamount to saying, "I have no will in the matter." You cannot admire will in general, because the essence of will is that it is particular.

This style of argumentation is what Chesterton refers to as using 'Uncommon Sense', ie, that the thinkers and popular philosophers of the day, although very clever, were saying things that appeared, to him, to be non-sensical. This is illustrated again in Orthodoxy:

Thus when Mr. H. G. Wells says (as he did somewhere), "All chairs are quite different," he utters not merely a misstatement, but a contradiction in terms. If all chairs were quite different, you could not call them "all chairs."

Or, again from Orthodoxy:

The wild worship of lawlessness and the materialist worship of law end in the same void. Nietzsche scales staggering mountains, but he turns up ultimately in Tibet. He sits down beside Tolstoy in the land of nothing and Nirvana. They are both helpless—one because he must not grasp anything, and the other because he must not let go of anything. The Tolstoyan’s will is frozen by a Buddhist instinct that all special actions are evil. But the Nietzscheite’s will is quite equally frozen by his view that all special actions are good; for if all special actions are good, none of them are special. They stand at the crossroads, and one hates all the roads and the other likes all the roads. The result is—well, some things are not hard to calculate. They stand at the cross-roads.

Incisive comments and observations occurred almost impulsively in Chesterton's writing. In the middle of his epic poem The Ballad of the White Horse he famously states:

For the great Gaels of Ireland

Are the men that God made mad,

For all their wars are merry,

And all their songs are sad.

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The Chesterbelloc and accusations of anti-Semitism

See G. K.'s Weekly for a fuller treatment

Chesterton is often associated with his close friend, the poet and essayist Hilaire Belloc. Shaw coined the name Chesterbelloc for their partnership, and this stuck. Though they were very different men, they shared many beliefs; both eventually became Catholic, and voiced criticisms towards capitalism and socialism (see distributism).

Hugh Kenner in A Sinking Island (p.111) asserts that 'He and Belloc had powerful minds, which their contrived personalities hid from the periodical public and also inhibited from real use'. G. K.'s Weekly, which occupied much of Chesterton's energy in the last 15 years of his life, was the successor to Belloc's New Witness, taken over from Cecil Chesterton, Gilbert's brother who died in World War I.

Both Chesterton and Belloc have been accused of anti-Semitism, both during their lifetimes and subsequently. In The New Jerusalem Chesterton made it clear that he believed that there was a "Jewish Problem" in Europe, in the sense that he did not believe that Jews would fit well into his picture of an ideal Europe. He suggested the formation of a Jewish homeland as a solution, and was later invited to Palestine by Jewish Zionists who saw him as an ally in their goal to achieve just that. In 1934, after the Nazis took power in Germany he wrote that:

In our early days Hilaire Belloc and myself were accused of being uncompromising Anti-Semites. Today, although I still think there is a Jewish problem, I am appalled by the Hitlerite atrocities. They have absolutely no reason or logic behind them. It is quite obviously the expedient of a man who has been driven to seeking a scapegoat, and has found with relief the most famous scapegoat in European history, the Jewish people.

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Influence

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Chesterton's The Everlasting Man contributed to C. S. Lewis' conversion to Christianity.
Chesterton's biography of Charles Dickens was largely responsible for creating a popular revival for Dickens' work as well as a serious reconsideration of Dickens by scholars. Considered by T.S. Eliot, Peter Ackroyd, and others, to be the best book on Dickens ever written.
Chesterton's Orthodoxy has become a religious classic.
Chesterton's novel The Napoleon of Notting Hill was a favorite of Michael Collins who would later go on to lead the movement for Irish independence. Joseph Pearce's biography asserts that the novel "influenced his political outlook in its formative stages."
Chesterton's work has inspired lyricists like Daniel Amos's Terry Scott Taylor from the 1970s to the 2000s. Daniel Amos mentioned Chesterton by name in the title track from 2001's Mr. Buechner's Dream.
His physical appearance and apparently some of his mannerisms were a direct inspiration for the character of Dr. Gideon Fell, a well-known fictional detective created in the early 1930s by the Anglo-American mystery writer John Dickson Carr.
The author Neil Gaiman has stated that The Napoleon of Notting Hill was an important influence on his own book Neverwhere. Gaiman also based the character Gilbert, from the comic book The Sandman, on Chesterton. Gaiman's novel Good Omens, co-authored with Terry Pratchett is dedicated "to the memory of G.K. Chesterton: A man who knew what was going on."
Ingmar Bergman considered Chesterton's little known play Magic to be one of his favourites and even staged a production in Swedish. Later he reworked Magic into his movie The Magician in 1958. Also known as Ansiktet the movie and the play are both roughly similar although the two should not be compared. Both are essentially the work of two authors with widely different world views.
Some conservatives today have been influenced by his support for distributism. A. K. Chesterton, the right-wing journalist and the first chairman of the National Front, was a cousin.
The Third Way (UK) campaigns for the widespread ownership of property, Distributism, which he espoused.
The Innocence of Father Brown is cited by Guillermo Martinez as one of the inspirations for his thriller The Oxford Murders. Martinez explicitly quotes from Chesterton's story in Chapter 25 of The Oxford Murders.