Sinister Street · Chapter
Epilogical Letter to John Nicolas Mavrogordato explained
In this epilogical letter, Compton Mackenzie addresses his friend John Nicolas Mavrogordato, defending the form and content of his novel 'Sinister Street' against criticisms of autobiography, length, and archaic language.
What happens
In this epilogical letter, Compton Mackenzie addresses his friend John Nicolas Mavrogordato, defending the form and content of his novel 'Sinister Street' against criticisms of autobiography, length, and archaic language. He explains that his intention was not to write a full life but the prologue of a life, and that Michael Fane is an objective reality, not a self-portrait. He also apologizes for delays due to illness and thanks his anonymous critics.
Themes in this chapter
Art and Self-Expression
Mackenzie defends his use of archaic words like 'reasty' and 'inquiline' as precise artistic choices, and argues that the novel's form is a deliberate work of art, not mere autobiography.
The Passage of Time and Memory
Mackenzie clarifies that the novel is not a comprehensive memory but a selective 'prologue of a life,' and that Michael's story ends as he is 'growing up on the last page,' emphasizing the passage from youth to adulthood.
Characters to notice
- Michael Fane
The protagonist whose youth is the subject of the novel; Mackenzie discusses his future possibilities (e.g., becoming a Benedictine monk or society preacher) and emphasizes that Michael is an objective reality, not a self-portrait.
Key passages
“My intention, however, was not to write a life, but the prologue of a life. He is growing up on the last page, and for me his interest begins to fade.”
Mackenzie explains that the novel is not a full biography but only the beginning of Michael's story, ending as he reaches young adulthood.
This clarifies the scope of the narrative and the author's focus on formative years.
“I do not identify myself with his opinions: at the same time I may believe in all of them. He is to me an objective reality: he is not myself in a looking-glass.”
Mackenzie insists that Michael Fane is a fictional character independent of himself, even if they share some beliefs.
This addresses criticisms that the novel is thinly disguised autobiography.
“We have in the English language the richest and noblest in the world, and perhaps after this war we shall hear less of the advocates of pure Saxon...”
Mackenzie defends his use of uncommon words by praising the richness of English and criticizing those who favor only Saxon-derived vocabulary.
This reflects his artistic philosophy and response to linguistic purists.