Joyce Cary

Joyce Cary (born Dec. 7, 1888, Londonderry, Ire.—died March 29, 1957, Oxford, Eng.) was an English novelist who developed a trilogy form in which each volume is narrated by one of three protagonists.

Cary was born into an old Anglo-Irish family, and at age 16 he studied painting in Edinburgh and then in Paris. From 1909 to 1912 he was at Trinity College, Oxford, where he read law. Having joined the colonial service in 1914, he served in the Nigeria Regiment during World War I. He was wounded while fighting in the Cameroons and returned to civil duty in Nigeria in 1917 as a district officer. West Africa became the locale of his early novels.

Resolved to become a writer, Cary settled in Oxford in 1920. Although that year he published 10 short stories in the Saturday Evening Post, an American magazine, he decided he knew too little about philosophy, ethics, and history to continue writing in good conscience. Study occupied the next several years, and it was only in 1932 that his first novel, Aissa Saved, appeared. The story of an African girl converted to Christianity but still retaining pagan elements in her faith, it was followed by three more African novels—An American Visitor (1933), The African Witch (1936), and Mister Johnson (1939)—and a novel about the decline of the British Empire, Castle Corner (1938). Childhood was the theme of his next two novels: his own in A House of Children (1941) and that of a cockney wartime evacuee in the country in Charley Is My Darling (1940).

Cary’s trilogy on art begins with the first-person narration of a woman, Sara Monday, in Herself Surprised (1941) and follows with that of two men in her life, the lawyer Tom Wilcher in To Be a Pilgrim (1942) and the artist Gulley Jimson in The Horse’s Mouth (1944), his best-known novel. Monday is portrayed as a warm-hearted, generous woman who is victimized both by the conservative upper-class Wilcher and by the talented but disreputable painter Jimson. The latter character is a social rebel and visionary artist whose humorous philosophy and picaresque adventures in The Horse’s Mouth helped make him one of the best-known characters in 20th-century fiction.

Similarly, Cary’s other trilogy is seen from the vantage of a politician’s wife in A Prisoner of Grace (1952), the politician himself in Except the Lord (1953), and the wife’s second husband in Not Honour More (1955). He planned a third trilogy on religion but was afflicted with muscular atrophy and knew he could not live to complete it. Hence he treated the theme in a single novel, The Captive and the Free (1959). His short stories were collected in Spring Song (1960).