Wavian Echoes from WWII

Milena Borden sends this posting:

Last week, the UN war times tribunal in The Hague sentenced General Ratko Mladić, of the Jugoslav People’s Army (JNA) and the military commander of the Bosnian Serb forces in the 1990s, to life imprisonment. He was found guilty of genocide, with the Srebrenica massacre he was responsible for in 1995 being the worst in Europe since the end of the Second World War. The JNA originated from the partisan movement (1941-1945) led by the communist Tito.

Evelyn Waugh took part in the British Special Executive Operations (SEO) mission to Yugoslavia in 1944-45 and wrote the following about Tito’s army:

‘The Yugoslav Army of National Liberation, popularly called ‘Partisans’, is an organised, revolutionary army whose main characteristics are extreme youth, ignorance, hardiness, pride in the immediate future, intolerance of dissent, xenophobia, comradeship, sobriety, chastity.’ (Foreign Office Report,‘Church and State in Liberated Croatia, Part 2. The Party’, 1945).

The report was published in The Salisbury Review, September 1992, p. 10, as “Catholic Croatia under Tito’s Heel.”

The history of the subsequent fifty years saw the recreation of the federation under communist leadership with nationalist, social, economic problems and constitutional crisis creating conditions for Yugoslavia to fall apart with ethnic cleansing and mass terror accompanying the wars in the 1990s. Back in 1945 Waugh questioned the British support for the emerging symbiosis between army and party of which Mladić’s career has been an example.

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Sotheby’s to Sell Small Waugh Collection

Sotheby’s London has scheduled a the sale of small collection of signed copies and first editions of books by Evelyn Waugh on 11-12 December. These are apparently from a larger otherwise unidentified Hampstead Collection of two collectors living in that district. There are seven books (lots 219-225), three of which were gifts to the Lygon sisters, Mary (“Blondy” or “Maimie”) and Dorothy (“Poll”,”Pollen” or “Coote”) . The most interesting of these is a limited first edition of Black Mischief (lot 220) inscribed “For Sweet Blondy/with best love from”, then initialed below inside a swastika “B-O” on top corners and “Z-A” on the bottom corners. “Bo” was short for “Boaz” and, according to a comment from a reader (see below), the letters inside the swastika would spell “BOAZ” if read clockwise. See link. Waugh had written much of Black Mischief while staying at the Lygons’ home at Madresfield Court, but the use of the swastika in the signature is odd since it was the Mitford sisters (or some of them) who were Nazi sympathizers, not the Lygons. Any readers are welcome to comment below on these points.

UPDATE: Includes edits based on an interpretation from a reader. See comment below.

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Cecil Beaton Film and Graham Greene Radio Drama

The director of a new documentary film about Cecil Beaton discusses his life in an article in The Times: “The dark side of Cecil Beaton.” This is Lisa Immordino Vreeland and her film is entitled Love, Cecil. Here’s an excerpt from the article by Nancy Durant:

School was moderately unpleasant — and the source of his lifelong enmity with Evelyn Waugh, a fellow pupil at Heath Mount Preparatory School in Hertfordshire, who recalled with some relish the torment he and his friends meted out to Beaton — but university supplied him with the first opportunity to indulge his talent for reinvention.

The film will be released next week in selected cinemas and a DVD will be issued on 11 December. Vreeland has also written a book by the same title that was published last month.

In another paper, D J Taylor discusses a BBC Radio 4 adaptation of Graham Greene’s novel A Burnt-Out Case. Taylor’s review (“Lost in Africa”) is published in The Tablet and opens with this reference to Evelyn Waugh:

According to fellow Catholic Evelyn Waugh, A Burnt-Out Case (1960) was the novel in which Graham Greene recanted his faith. If the jury is still out on that charge, then to listen to the first instalment of Nick Warburton’s excellent two-part dramatisation (19 November) was to be struck by the absolutely elemental nature of the landscapes on display. Physical and spiritual terrain alike had been remorselessly pruned back – so remorselessly that, as very often happens in Greene-land, you sometimes suspected that there was hardly any space left in which the characters could manoeuvre.

In his review Taylor goes on to describe the story and the challenges of the radio adaptation. The first episode is available to monitor on BBC iPlayer,  and Episode 2 will be broadcast on Sunday 25 November at 1500 pm, to be posted on iPlayer thereafter. Waugh did not review Greene’s novel but did discuss it with Greene in their correspondence. Relevant excerpts from both sides of that correspondence appear in Norman Sherry, The Life of Graham Greene: Volume III 1995-1991 (New York, 2004, pp. 267-69). Waugh also mentions the novel in a 1962 Sunday Times article entitled “Sloth” (EAR, pp. 573-74).

 

 

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New Book on Waugh’s Oxford Announced

The Bodleian Library of Oxford University has announced the publication next year of a new book to be entitled Evelyn Waugh’s Oxford. This is written by Barbara Cooke, lecturer at Loughborough University and editor at Complete Works of Evelyn Waugh. It will feature illustrations by Amy Dodd. According to a description on the internet:

This book explores in rich visual detail the abiding importance of Oxford as both location and experience in his literary and visual works. Drawing on specially commissioned illustrations and previously unpublished photographic material, it provides a critically robust assessment of Waugh’s engagement with Oxford over the course of his literary career. Following a brief overview of Waugh’s life and work, subsequent chapters look at the prose and graphic art Waugh produced as an undergraduate together with Oxford’s portrayal in Brideshead Revisited and A Little Learning as well as broader conceptual concerns of religion, sexuality and idealised time. A specially commissioned, hand-drawn trail around Evelyn Waugh’s Oxford guides the reader around the city Waugh knew and loved through locations such as the Botanic Garden, the Oxford Union and The Chequers

The 176-page book is available for pre-order from Amazon.co.uk and can be ordered for delivery to the USA. It will be published on 16 March 2018 and will retail for £20.00. Dr Cooke curated the Bodleian’s exhibit of Evelyn Waugh materials earlier this year entitled “City of Acquatint” and co-edited vol. 19 of the Complete Works containing Waugh’s autobiography A Little Learning. That book concluded with Waugh’s description of his Oxford undergraduate years.

In addition, Waugh’s German-language publisher Diogenes Verlag has announced the issuance of a translation of Remote People. This will be published next Spring as Expeditionen eines englischen Gentleman. This may be the first publication of the full text of this book in German. Portions were previously published in Als das Reisen schön war in 1949 (When the Going Was Good in English). Here’s a translation by Google Translate of the announcement:

Very spontaneously, Evelyn Waugh decided to head to Addis Ababa to attend and report on the coronation of Haile Selassie. The world press puffed up this event and described the ceremony in the brightest colors. But as expected, Evelyn Waugh saw things differently and reported us very serene and with extremely dry humor about how he sees the matter.

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Alexander Waugh Replies: Whose Howlers?

In a previous post, we noted Lewis Jones’ selection in The Spectator of Alexander Waugh’s recent book on the identity of Shakespearian authorship as a book of the year. Jones had some reservations about the book, to which Mr Waugh has now replied in this week’s issue:

Pointing out howlers

Sir: As many Spectator readers will be aware, Stratfordian scholars are short on facts, which is why a whole industry is now built around the task of correcting their howlers. In a short paragraph adverting to his literary tastes, Lewis Jones complains of a ‘book’ by a ‘scholar’ (why the inverted commas?) which he calls ‘sensibly priced at £0.00’ and which he believes ‘argues that Shakespeare’s works must have been written by a proper toff’ (Books, 18 November). Into this muddle he facetiously drags my grandfather, Evelyn Waugh, claiming that he ‘scraped a third at Hertford’.

Where shall I start? Evelyn Waugh did not ‘scrape a third at Hertford’, he never graduated from Oxford or anywhere else. The title to which Jones refers (Shakespeare in Court) costs £1.74, which is the average price of a Kindle-Single, and it does not argue that a ‘proper toff’ or any other candidate wrote Shakespeare’s works, but simply lays out the facts that demonstrate why orthodox assumptions about Shakespeare are incorrect. Jones has neither bought nor read this book — that much is obvious — so did we really need his error-strewn opinions on it?
Alexander Waugh
Milverton, Somerset

In other news relating to previous posts, more reviews have been posted (all favorable) of the ongoing stage production of Waugh’s Brideshead Revisited (adapted by Roger Parsley) in Adelaide, Australia. These appeared in BroadwayWorld.com (Barry Lenny),  StageWhispers.com (Anthony Vawser) and AustralianStage.com (Valerie Lillington). The production by Adelaide’s Independent Theatre Company at the Goodwood Theatre continues through Saturday (25 November).

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Report of Bodleian Waugh Exhibit

A Spanish-language blogger posting on En Compostela (literally “In Compostela”, probably referring to Santiago de Compostela in northwestern Spain) has written an illustrated report of a visit to the Evelyn Waugh exhibition (“City of Acquatint”) at the Bodleian Library in Oxford:

On the occasion of the publication of the first volumes of the Complete Works [of Evelyn Waugh] there was a small exhibition in the Weston Library. The printed material was mostly negative, but at least there were original things of Waugh, especially of the artistic facet of his career… Being a painter (failed) is a theme that runs through his work: This in particular [is illustrated in] two prints of 1923… Richard Pares  [and] Harold Acton who is declaiming The Waste Land with a loudspeaker,  just like Anthony Blanche  in  Brideshead Revisited…There is also a police citation for drunk driving in a car with Matthew Ponsonby. The tabloids were primed, calling Waugh, without saying his name, the “incapably drunk passenger.” That too ended up in Bridshead Revisited. If Waugh were just the sum of what is displayed (apart from the drawings) as positive, he would be a pretty disgusting person: posh, drunk, frivolous. What makes him great is what they tried to ignore, precisely, that greatness that they do not recognize, alas, even in Oxford itself.

The posting contains several photos of the items mounted in the exhibit which was scheduled to run through 22 October. The translation is by Google Translate with some effort at editing what appears to be vernacular Spanish. Any efforts to improve it by commenting below would be appreciated. The weblog also contains reports and photos of a visit to Christ Church, both the college and the cathedral, posted below those of the Waugh exhibit.

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Pre-Raphaelite Exhibit at the Royal Academy

Milena Borden has kindly sent us the following report about an exhibit in London likely to be of interest to our readers:

The Royal Academy of Arts in London is holding an exhibition ‘Works of Feeling: Pre-Raphaelite Book Illustration’ in its Library Print Room (free). The 42 black and white wood engraved illustrations include four by Gabriel Dante Rossetti (1828-1882). His life and art was the subject of Waugh’s first book, Rossetti: His Life and Works (1928). I had this connection on my mind when I went to the RA. The works are displayed with taste on the walls of the small entry to the library on the second floor and also in four glassed cases. After exploring the exquisite engravings of Millais, Burne-Jones, Rossetti, Solomon, Hunt, Sandys, Whistler and Poynter, I decided to inquire about Waugh and Rossetti and asked if there was a copy of his book in the library. But there was no card with his name in the hand- written Rossetti catalogue of that period.

Waugh wrote extensively about Rossetti’s illustrations in part III of the biography: “The Aesthetes.” Interestingly enough, a story he wrote then about how difficult it was for the Daziel Brothers workshop to manage Rossetti’s illustrations in Poems of Alfred Tennyson, (1857) is covered in the Introduction to the current exhibition by Amanda-Jane Doran, a contemporary art writer. It did feel that the new edition of Waugh’s biography of Rossetti in The Complete Works of Evelyn Waugh, Volume 16 (September 2017) would fill a gap in the RA collection.

The exhibition at the RA continues until 22 December.

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Black Mischief in New Right Journal

Waugh’s somewhat neglected novel Black Mischief is reviewed in an artlcle posted in the Books Against Time column of the North American New Right journal, published by Counter-Currents Publishing. The review is No. 4 in a series entitled “Masterpieces of Aryan Literature”.  The general tenets of the “New Right” seem to be that history is cyclical and we are presently living in a down cycle; in these circumstances, the past is better than the present. The review is written by a blogger posting as Quintilian and provides an accurate plot summary of the novel together with this brief and pointed analysis:

…Waugh was brutally honest about the inferiority of the Negro race and its incompatibility with Western civilization. In the world according to Waugh, wogs began in Calais, and the United States wasn’t far behind. Anglo-Saxon superiority was a given and prejudice (in the sense described by Robert Nisbet) kept the savages and the lower classes at bay. All this was done, though, with great wit and manners. Nowhere is Waugh’s satirical genius seen in better form than in his 1932 novel Black Mischief…I can report that the ending is unexpected, and if you’ve ever read Shakespeare’s Titus Andronicus you might get a hint of what to expect…

Robert Nisbet was a conservative American sociologist who was educated and taught at the University of California, Berkeley and retired as Albert Schweitzer Professor at Columbia.

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Waugh’s Helena at the Museum of the Bible

A new institution has opened in Washington, DC. This is the Museum of the Bible. It is spread over eight floors of a purpose built structure and is reviewed in the the conservative journal Washington Free Beacon by Micah Meadowcraft. In discussing the museum’s foundation, Meadowcraft makes reference to Evelyn Waugh:

In his short novel Helena, Evelyn Waugh recounts the mother of Constantine’s decision to become the patroness of Jerusalem’s pilgrim sites. Helena concluded, quite logically, that if Christianity makes historical claims there should be historical evidence, and with it, objects and associated locations convenient for and demanding the building of churches. And if she has the money to pay for building them then they ought be built. Though aiming to be nonsectarian (BCE and CE, not BC and anno Domini), the Museum of the Bible is an endeavor in a similar vein by Hobby Lobby president and museum chairman Steve Green and friends. The Bible is the most important—the banal might say best-selling—book of all time; there is evidence and detritus of how it came to be and where it has been, of what it has done and where it is going; there is money, clearly Solomonic amounts of money, to be spent. Spend it they have, to the tune of more than $500 million, and built it, and it is extraordinary.

A New Zealand news website has posted a review of Waugh’s novel The Loved One. This is by Rachel Pope on Stuff.co.nz which is owned by Australian newspaper chain Fairfax Media and publishes three major papers in New Zealand. She recommends the book and opens with this:

This novel is classic Waugh, in that it is sharp, cutting, incisive, sarcastic and spares no one. He is described as one of the best satirists of his day and was widely known for his sardonic wit. Some of the one-liners in this book are truly shocking and I would read it for this alone. For example, conversing with an American, it is noted that one is not required to actually listen to what is being said. Another: an American asked what Hogmanay was and the answer was “Glaswegians being sick in the street.”

Meanwhile, in Australia, the stage production of Brideshead Revisited by Adelaide’s Independent Theatre Company opened this weekend with a favorable review on the website GlamAdelaide.com. The review concludes:

Independent Theatre create something very special here. Their Brideshead Revisited stays faithful to the themes of the original novel, while artfully employing the dry humour of the British upper classes – delivering an enjoyable and unforgettable performance.

Finally, on the occasion of the commemoration of this year’s  World Toilet Day (19 November), the Irish Times includes this reference to Evelyn Waugh:

Then there are those who were dying to go – famous people who departed while on the toilet…Evelyn Waugh collapsed on the commode in 1966 after coming home from a Latin mass and died. Although there were drowning rumours (perpetuated by Graham Greene), his official cause of death was heart failure.

Others in this category were Elvis Pressley, Judy Garland and King George II. The story is by Deirdre Falvey and is entitled “Urine for a treat.”

UPDATE (20 November 2017): An article in today’s Guardian takes up the subject in the above-cited Irish Times article. This is by Michele Hanson in her health column and relates to the need to be willing to talk about constipation:

“Do not strain at stools,” [the] heart-failure-clinic nurse warned …, or you might peg out, like George II, Elvis and (probably) Evelyn Waugh, from fatal heart arrhythmia. We can mention breastfeeding and period stains out loud without shame. Now let’s, please, add constipation. Because the older you get, the more likely you are to have it. So chill out and loosen up. At least at the top end.

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Bridey and the Chapel

A posting on the Roman Catholic religious weblog Aleteia takes as its theme the passage containing the discussion between Charles Ryder and Lord Brideshead (“Bridey”) in Brideshead Revisited about the artistic value of the decorations in the family’s chapel. This is entitled “Truth, Relativism and Brideshead Revisited” and is written by Tod Worner, who frequently comments on Waugh’s works.  See previous posts. These decorations had earlier been described by Sebastian as “a monument of art nouveau” and that is followed by Charles’ own detailed description of the wall paintings, carvings and metal work as examples of the “arts and crafts movement of the last decade of the nineteenth century” (Brideshead Revisited, London, 1945, pp. 35-36). In a later scene, after Charles’ talent as an artist has been revealed to the family, Bridey starts the following conversation, quoted in the Aleteia post (bracketed language is from the posting):

Instantly enchanted by the sublime artistry and soaring architecture of Brideshead, Charles found himself engaged in a discussion on the nature of the estate’s chapel with Sebastian’s elder brother, Bridey. Bridey inquired:

“You are an artist, Ryder, what do you think of it aesthetically?”
“I think it’s beautiful,” said [Sebastian’s youngest sister] Cordelia with tears in her eyes.
“Is it Good Art?”
“Well, I don’t quite know what you mean,” [Charles] said warily. “I think it’s a remarkable example of its period. Probably in eighty years it will be greatly admired.”
“But surely it can’t be good twenty years ago and good in eighty years, and not good now?” [asked Bridey]
“Well, it may be good now.” [Charles answered.] “All I mean is that I don’t happen to like it much.”
“But is there a difference between liking a thing and thinking it good?”

Worner then continues with a discussion of the religious significance of Bridey’s question. This is thoughtful and well argued from a religious point of view but takes the discussion in the novel somewhat out of its context, since Bridey was not asking about what Charles thought of the religious significance of the decorations but rather his expert advice as to their artistic merit. Indeed, the quote stops just short of Sebastian’s response to Bridey’s question: “Bridey, don’t be so Jesuitical” (p. 83). Ironically, one might use the same term to describe the discussion that follows the quote in the weblog.

Another religious blogger (this one Protestant: One-Eternal-Day.com) has posted the conclusion to Waugh’s story Scott-King’s Modern Europe, including a copy of the US edition’s dustwrapper, with the explanation that it is reposted “because it is ‘very wicked indeed’ to deprive the young of historical perspective.”

Finally, a recent issue of the Catholic Herald contains an article entitled “Meeting the Evelyn Waugh of Wall Street”. This is written by William Cash and is based on an interview of novelist Tom Wolfe that Cash had conducted in the 1990s. The article is behind a paywall, but the epithet in the title apparently applies to Wolfe.

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