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Excavating a Secret History: Mary Butts and the Return of the Nativist
ries of the period” (Blondel xv). 1 That her novels were formally challenging
for the reading public at large, printed in relatively modest
runs and lacked a high profile champion does not fully explain why
Butts’s stylistic contribution to British interwar fiction has been overlooked
by academic criticism. 2 As will become clear, there is imbuing
Butts’s novels a punitive political agenda whose “intolerance” towards
strangers would, according to her friend Bryher [Winifred
Ellermann] in 1937, make “easy fame impossible” (160). Alongside
this “intolerance,” however, and what deserves more measured scrutiny,
is a feeling for space and place in which “[s]trictly contemporary
experience is lit by an antique […] light; life an ‘infernal saga’ […]
coming up to date” (Bilsing, “Rosalba” 61). Butts strives to reclaim,
consolidate, and enshrine her birthplace as a locus of memory and
revelatory vigour, evoking a carefully historicised English past to
offset moribund metropolitan values.
Born in a house overlooking Poole Harbour in Dorset in 1890, Butts
eventually settled in England’s most westerly-inhabited village Sennen
Cove, Cornwall, where she lived from 1930 until her untimely
death in 1937 (Wright, Old Country 94-95). Like her more renowned
literary precursor Thomas Hardy, Butts considered herself an “imaginative
archaeologist” positioned at a cultural crossroads: keenly responsive
to the dislocating complexities of modernity, yet driven by a
historical responsibility to recall and reanimate ancient traditions.
Indeed, her detailed evocation of her unspoilt environment is symbolic
of an infinitely stratified sense of place. She occupied one of the
most precious tracts of archaeological terrain in Western Europe,
replete with the tangible remnants of Celtic, Roman, Saxon, and Norman
occupation. 3 Butts’s literary enterprise is devoted to making
Wessex “novel” again, but without replicating what she judged the
aestheticised southern landscape marketed through Hardy’s fiction,
aimed primarily at a suburbanised bourgeois “nature cult” (Butts,
Warning to Hikers 283).
As Patrick Wright notes, Butts’s imaginative enterprise overlaps
with the “return to a rural England” that imbues much British writing
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