They were pleasant to many, readable by more, and quite unmarred by any spark of cleverness, flash of wit, or morbid taint of philosophy. Gently and unsurprisingly she wrote of life and love as she believed these two things to be, and found a home in the hearts of many fellow-believers. She bored no one who read her, because she could be relied on to give them what they hoped to find—and of how few of us, alas, can this be said!
The Potters are arch-materialists: Leila's refrain is "whatever life brings we can use", and this tendency has passed itself on to their children. The Potter twins, Jane and Johnny, are just as much materialists as their parents, but have ranged themselves, after an Oxford education, with the Anti-Potter-League, a loose association of young people who are committed to defeating the deadening influence of the Potter press. This association centres on Arthur Gideon, a charismatic idealist who is in love with Jane, although he rather despises her. Jane is a fairly monstrous character, frankly out for what she can get, and what plot there is in the novel focuses around her relationship with Arthur and the consequences of her impetuous marriage to a beautiful young man who her sister loves.
The narrative of the book switches between a rather arch third-person narrator and three of the central characters: Leila Yorke, Arthur Gideon and the more marginal Katherine Varick, a rigorously objective scientist and Anti-Potterite. These narratives are very well achieved: Arthur Gideon manages to keep up his earnest idealism without being dull, while Leila Yorke's section shows what an awful writer she is but still manages to be funny. Here is the opening of her section:
Love and truth are the only things that count. I have often thought that they are like two rafts on the stormy sea of life, which otherwise would swamp and drown us struggling human beings. If we follow these two stars patiently, they will guide us at last into port. Love—the love of our kind—the undying love of a mother for her children—the love, soMacaulay keeps this up beautifully throughout Leila's narration and it is all highly amusing, particularly Leila's descriptions of her Spiritualist enthusiasms. But while this is a sharp and funny book, it is also a sad and tragic one; it doesn't have quite the sudden gear change that marks The Towers of Trebizond, however, probably because its view of life in general and journalism in particular is so satirical. The novel also gives a fascinating portrait of London society just after the First World War; the consequences of the war sometimes emerge sharply, but can be quickly effaced. Arthur Gideon has lost a foot during the conflict, but this is dealt with in two paragraphs and barely mentioned again; Jane recognises how she has profited from the war, gaining advantage through the work she undertakes that will help her career afterwards. The book is also a fascinating insight into contemporary attitudes to cultural values and what would later be called the battle of the brows, being highly critical of populist, commercial literature and journalism, while recognising its ascendancy.
gloriously exhibited lately, of a soldier for his country—the eternal love between a man and a woman, which counts the world well lost—these are the clues through the wilderness. And Truth, the Truth which cries in the market-place with a loud voice and will not be hid, the Truth which sacrifices comfort, joy, even life itself, for the sake of a clear vision, the Truth which is far stranger than fiction—this is Love's very twin.
Potterism seems to be out of print, although there are some print-on-demand editions around; you can also get an electronic copy from Project Gutenberg.