The major resource for knowledge of Butts’s life is the recent biography by Nathalie Blondel, Mary Butts: Scenes from the Life (Kingston, NY: McPherson & Company, 1998); Blondel was able to draw on, and quote extensively from, the journal kept by Butts for the last twenty years of her life (the Introduction in the present edition is indebted to her work). Important extracts from the journal, together with some Butts letters, can be found in Christopher Wagstaff (ed.), A Sacred Quest: The Life and Writings of Mary Butts (Kingston, NY: McPherson & Company, 1995). The Crystal Cabinet was republished in 1998 (Manchester: Carcanet, and Boston: Beacon Press). In the last decade or so McPherson & Company has reissued the other novels, a volume of stories and Butts’s pamphlets. A volume of stories was also published in Britain in 1991 by Carcanet under the title With and Without Buttons and Other Stories. Of the small amount of critical writing on Butts’s work, mention should be made of Robin Blaser, “Here Lies the Woodpecker Who was Zeus”, in the volume edited by Wagstaff mentioned above, and Patrick Wright’s “Coming Back to the Shores of Albion: The Secret England of Mary Butts”, in his book On Living in an Old Country: The National Past in Contemporary Britain (London: Verso, 1985).

<p>Armed with Madness</p>

Armed with madness, I go on a long voyage.

<p><emphasis>Chapter</emphasis> I</p>

In the house, in which they could not afford to live, it was unpleasantly quiet. Marvellously noisy, but the noises let through silence. The noises were jays, bustling and screeching in the wood, a hay-cutter, clattering and sending up waves of scent, substantial as sea-waves, filling the long rooms as the tide fills a blow-hole, but without roar or release. The third noise was the light wind, rising off the diamond-blue sea. The sea lay three parts round the house, invisible because of the wood. The wood rose from its cliff-point in a single tree, and spread out inland, in a fan to enclose the house. Outside the verandah, a small lawn had been hollowed, from which the wood could be seen as it swept up, hurrying with squirrels, into a group of immense ilex, beech and oak. The lawn was stuck with yuccas and tree-fuchsias, dripping season in, season out, with bells the colour of blood.

Once the house was passed, the wood gave it up, enclosed it decently, fenced a paddock, and the slip of dark life melted into the endless turf-miles which ran up a great down into the sky.

The silence let through by the jays, the hay-cutter, and the breeze, was a complicated production of stone rooms, the natural silence of empty grass, and the equivocal, personal silence of the wood. Not many nerves could stand it. People who had come for a week had been known to leave next day. The people who had the house were interested in the wood and its silence. When it got worse, after dark or at mid-day, they said it was tuning-up. When a gale came up-Channel shrieking like a mad harp, they said they were watching a visible fight with the silence in the wood.

A large gramophone stood with its mouth open on the verandah flags. They had been playing to the wood after lunch, to appease it and to keep their dancing in hand. The house was empty. Their servants had gone over to a distant farm. The wood had it all its own way. They were out.

There were two paths through the wood to the sea. A bee-line through the high trees, of fine grass, pebble scattered, springing and wet. Then, across the wet ditch that was sometimes a stream, a path through the copse in figures of eight, whose turns startled people. As the wood narrowed, this way ended in a gate on to the grass, the nearest way to an attractive rabbit-warren. These were the only two paths in that country, except a green road which led from the house over the down to the white road and from thence on to the beginnings of the world, ten miles away.

There was only one house except a shepherd’s cottage, and a little fancy lodge, the wood had swallowed, which they let to a fisherman in exchange for fish. The fisherman was a gentleman, and a fine carver in wood. The shepherd was a troglodyte. He came home drunk in the moonlight spinning round and yelling obscene words to the tune of old hymns. They were equally friends with both. They belonged to the house and the wood and the turf and the sea; had no money and the instincts of hospitality; wanted everything and nothing, and were at that moment lying out naked on a rock-spit which terminated their piece of land.

The cliffs there were low and soft, rounded with a black snout, but based on a wedge of orange stone, smooth and running out square under the sea.

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