Waugh Quoted in Times Article on Brexit

The Times for 11 October carries an article castigating those members of the Conservative Party who are now backing away from the anti-immigrant groundswell that carried the day for the Leave faction who led the campaign for Brexit. The unsigned article opens with a quote from Waugh’s first novel:

To adapt Evelyn Waugh’s famous line about schools from Decline and Fall, in post-Brexit Britain “We class foreigners, you see, into four grades: leading foreigner, first-rate foreigner, good foreigner and foreigner.” And “Frankly, foreigner is pretty bad”. That, at any rate, seemed to be the dominant message emanating from the Conservative Party conference in Birmingham last week. I thought of this when I heard Irish friends complaining that, for the first time, they wondered if they were really welcome in the United Kingdom. When you discover that not one or two or three but half a dozen or more such friends are prepared to think like this, maintaining the view that there’s nothing to see here becomes progressively more difficult.

The adapted quote appears in the first chapter of Waugh’s novel (Penguin Classic, 2011, p. 16) where the school recruiter Mr Levy explains to Paul Pennyfeather the unambitious status of the Llanabba School.

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US Edition of New Waugh Biography Issued

The website of booksellers Barnes & Noble is quick off the mark to issue a review of the US edition of the new biography of Evelyn Waugh by Philip Eade which is published this week. This is by Katherine Powers who writes a regular review column for the B&N site called “The Reading Life.” She is the daughter of American novelist J F Powers, whose early career was boosted by Waugh, starting a regular correspondence that lasted until Waugh’s death. She recently edited a collection of her father’s letters entitled Suitable Accommodations

After placing the new biography in the context of those that preceded it, Powers notes that 

Eade spends more time than previous biographers poring over questions of whom Waugh slept with, what he did in that regard with whom, when, and for how long. To this end, he includes a photograph of the nude person and nice bottom of Alastair Graham, Waugh’s “friend of [his] heart” and one of the models for Sebastian Flyte of Brideshead Revisited.

Powers is most impressed with Eade’s treatment of Waugh military career which offers a different approach from those of his earlier biographers. After summarizing his book, Powers concludes that Eade

is far less tactful than Waugh’s friend Christopher Sykes’s and necessarily less detailed than Martin Stannard‘s rather plodding 1,000-plus-page, two-volume behemoth. It is not written with the pitch-perfect tone, alertness to irony, and all-around panache of Selina Hastings’s 1994 Evelyn Waugh: A Biography, but that book, like Sykes’s, is out of print. So, this one will have to do. There’s nothing really wrong with it except that, with the exception of Eade’s straightening-out of the Crete affair, there is nothing new. The best parts are, as in every biography of Waugh, the quotations from the letters of the great man himself.

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Evelyn Waugh, Henry Green and Terry Southern

In the latest issue of the New Yorker, there is an interesting article (“The Novelist of Human Unknowability”) about Henry Green written by London-based literary critic Leo Robson. The article is built around the friendship between Green and US writer Terry Southern and both have connections with Waugh. Waugh and Green (whose real name was Henry Yorke) were friends from Oxford days. Waugh wrote a review of an early Green novel that is mentioned in Robson’s article:

In 1930, Evelyn Waugh had reviewed “Living,” Green’s novel about Birmingham factory life, under the headline “A Neglected Masterpiece.” It was the first of several dozen articles that bemoaned Green’s lack of acceptance and helped bind his name as closely to the epithet “neglected” as Pallas Athena is to “bright-eyed.” Waugh blamed philistine book reviewers, but he knew that Green’s image hadn’t helped. “From motives inscrutable to his friends, the author of Living chooses to publish his work under a pseudonym of peculiar drabness,” he wrote.

Waugh’s review is reprinted in Essays, Articles and Reviews, p. 80. Waugh never reviewed another of Green’s novels (although they remained friends), and in his letters, Waugh turns distinctly colder toward Green’s writing, in which he detected symptoms of madness.

Green’s connection with Terry Southern came about through the latter’s admiration for Green’s writing. Robson describes Southern’s  pursuit of Green as a fan and explains how they met and became friends and collaborators. Southern conducted an interview of Green that was published in the Paris Review. Southern’s connection with Waugh (not mentioned by Robson) was more distant. Waugh had noticed Green’s influence on Southern’s early fiction and commented on this in a 1958 letter to Anthony Powell (Letters, 507). Later, Southern was selected by Tony Richardson as a screenwriter for the film adaptation of Waugh’s novel The Loved One. Waugh was not happy with the results of that collaboration.

As Robson writes in the New Yorker, there have been several attempts to promote Green’s works, beginning with Waugh’s 1930 review. Efforts on his behalf were extended in the 1970s by admirers such as V S Pritchett and John Updike and again in the 1990s with publication of a biography and uncollected works, but he never seemed to take hold as part of the canon, described as a “writer’s writer’s writer.” Another attempt is underway to revive interest in his work. The New York Review of Books has begun to bring his books back into print with the recent republication of Caught, Loving and Back. Robson’s article certainly can’t hurt that effort.

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Anthony Burgess Society to Convene Centenary Conference

The Anthony Burgess Society has announced a conference next year to mark the centenary of the novelist and critic to whom their organization is dedicated. The conference will be held on 3-5 July 2017 in Manchester, which was Burgess’s home for many years, and the theme is Anthony Burgess: Life, Work and Reputation. The society has called for papers on this broad topic but has defined it somewhat in its announcement:

The conference aims to investigate Burgess’s relationships with other writers, film-makers, artists, musicians and cultural movements of his time. Among his network of friends and associates were (for example) Kingsley Amis, William Boyd, Christine Brooke-Rose, A.S. Byatt, Angela Carter, Shirley Conran, Umberto Eco, Graham Greene, Joseph Heller, B.S. Johnson, Erica Jong, Olivia Manning, George Orwell, Eric Partridge, Thomas Pynchon, Adrienne Rich, Paul Scott, Muriel Spark, Dylan Thomas, Gore Vidal and Evelyn Waugh. As a cultural critic, his reviews took in most of the prominent writers of his time. Burgess also collaborated with visual artists such as David Hockney, the Quay Brothers, Joe Tilson, Fulvio Testa, David Robinson, Edward Pagram and others. Papers which examine the influence of Burgess on international writers of subsequent generations are also encouraged.

Burgess is best known for his novel Clockwork Orange which was made into a now classic film by Stanley Kubrick. Because the society’s previous conference was focussed on that work, however, papers on it are not encouraged. Any other works by Burgess may be considered as eligible topics. Burgess wrote several essays about Waugh and reviews of his books (including A Little Learning, A Little Order and the Amory edition of his letters). His review of Waugh’s autobiography is reproduced in Evelyn Waugh: The Cultural Heritage

UPDATE (9 October 2016): David Lull has kindly provided a link to Anthony Burgess’s review of A Little Learning which originally appeared in Encounter Magazine.

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Colossus of Snobbery

Critic and novelist D J Taylor has written a book inspired by William Thackeray entitled The New Book of Snobs, to be published later this month. An excerpt appears in the Daily Mail. This deals mostly with Taylor’s account of his own family’s snobbery. But it opens with this reference to Evelyn Waugh:

As a teenager growing up in the unfashionable North London suburb of Golders Green, the celebrated writer Evelyn Waugh refused ever to post letters from the NW11 postcode in which his family lived. Instead he would walk a few hundred yards down the road to nearby Hampstead and put them in a postbox there. That way his friends might be deceived into thinking that he resided in the far more prestigious environs of London NW3. As this suggests, the author of Brideshead Revisited, the much-loved novel in which social climber Charles Ryder finds himself beguiled by the aristocratic Flyte family, was himself a colossal snob. And in this he was far from alone.

The Hampstead post code story has become a part of the Apocrypha Waviana, but just where it originates never seems to be cited. In some versions, Waugh trudges up the hill for a nearly a quarter mile to achieve delivery with the more fashionable postmark  from the box outside the Bull & Bush pub (Hastings, Evelyn Waugh, p. 104, and Google Maps), rather than a few hundred yards down the street, as Taylor describes it.  The NW11 post code for Golders Green and NW3 for Hampstead were adopted in 1919. Prior to that, the Waugh house at 145 North End Road was in the “Hampstead NW” or “London NW” post code, which seemed to have been used interchangeably.  Most of Waugh’s letters written from that address are headed “145 North End Road, NW11” (Letters, pp. 1-50). He does send a letter to his Lancing friend Tom Driberg that is headed “At 145 North End Road, Hampstead,” but it doesn’t bear the coveted NW3 post code. Moreover, it was written in September 1930 when Waugh was, as Driberg would have known, only in temporary residence with his parents after the break-up of his marriage, and Driberg would also have known the details of his home’s location, given their long-standing friendship since public school days.  Somewhere, there may be a letter from Waugh postmarked or addressed from London or Hampstead NW3, but, if so, it has not surfaced in his published correspondence. 

There are, however, other indicia of Waugh’s snobbery in the Driberg letter. He closes with the sentence: “I missed you at Renishaw by only a few days.” This is a reference to his visit to the Sitwell’s family estate, and Waugh seems to have wanted Driberg both to know that he had been invited and, possibly, that he knew the Sitwells well enough to have been told by them about Driberg’s own invitation (unless he already knew that from Driberg himself).  It would be difficult to make the case that Waugh was not a snob, perhaps even a colossal one. But the walk up the hill to the NW3 postbox may be a reverse snobbish myth.

 

 

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Oxford Hostelries Commemorate Waugh

According to a recent posting on travel blog  Trip Advisor, there is a hotel bedroom named for Evelyn Waugh at the Head of the River. This is a pub and  hotel located on St Aldate’s at Folly Bridge in Oxford. It’s not far from the place where the Hypocrites Club used to meet, so Waugh may well have been a customer. They serve Fuller’s beers, and it is a pleasant place to eat outdoors on a nice day. The last time your correspondent ate there in June, he didn’t notice any entries on the menu mentioning Waugh. What notable Oxonians the hotel’s other rooms may commemorate is not stated in their online booking information.

Another blogger staying near Oxford found an allusion to Waugh in his hotel located at Eynsham Hall:

“Et in Arcadia Ego” is written in neon above the fireplace in the main lobby. It comes from a painting by Nicolas Poussin and was used by Evelyn Waugh as the title of the first part of Brideshead Revisited. It literally means, “In Arcadia I Am,” with Arcadia being a pastoral paradise.

He might also have mentioned that the quote was usually accompanied by the depiction of a skull, meaning that even in paradise death was present. The practice was widespread and not limited to a single painting by Poussin. The skull was dropped from later paintings and the phrase was taken to mean the painter had himself been in the paradise he depicted. That may have been the case with the Poussin painting mentioned by the blogger. A skull in Charles Ryder’s room had the quote engraved on its forehead. According to Prof Paul A Doyle, by engraving the phrase on the skull itself, Waugh demonstrated that he was aware of this dual significance.  A Waugh Companion, p. 50.

Finally, a books blog carries an article about novelist Anthony Burgess’s 1983 book Ninety-Nine Novels. This was his personal list of what he considered the best novels in English between 1939 and 1983. The list includes both Brideshead Revisited and Sword of Honour. The blog post contains a full list of the selections listed alphabetically by author. In the book, they are listed chronologically and are accompanied by a one-page explanation by Burgess for each selection.

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Anthony Blanche and Patrick Leigh Fermor

The current Literary Review carries a review by Harry Mount of the collected letters of Patrick Leigh Fermor. These were just published in the UK under the title Dashing for the Post. Among Leigh Fermor’s correspondents were several of Waugh’s close friends, including Diana Cooper and Ann Fleming, both mentioned prominently in this and other reviews. Although the contents of the book are not available online, there may also be letters to Nancy Mitford and possibly even Waugh himself, as well as other mutual friends. Waugh knew Leigh Fermor through Diana Cooper and Nancy Mitford and mentions him in his own letters to both of them.

Mount concludes his review with this allusion to Waugh:

…the letters [are] aimed more precisely at amusing rather than dazzling their recipients, albeit with the odd bit of purple prose – ‘Their horses are caparisoned to the fetlocks.’ Leigh Fermor was charm personified. It isn’t evanescent British charm, as described by Anthony Blanche in Brideshead Revisited: ‘Charm is the great English blight. It does not exist outside these damp islands. It spots and kills anything it touches. It kills love; it kills art.’ Leigh Fermor’s charm was of a healthier, more worthwhile variety, because underneath lay intellect and, ultimately, love and art.

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Actress Cites Waugh in Career Move

TV and film actress Sarah Jessica Parker has announced a new career in publishing, apparently part-time. She made her name in the HBO series Sex and the City. According to the story in T: The New York Times Style Magazine:

…Parker would rather see her initials on the spine [of a book] than her name on the cover, and next year she will. Hogarth, the publishing house founded in 1917 by Virginia and Leonard Woolf, is mounting SJP for Hogarth, where, as editorial director, Parker will help to find, edit and publish three or four new novels a year…Parker said yes in a second [to the job offer]. “I have always loved to read for the same reason I love to act,” she says, “which is that other people’s stories are more interesting to me than my own.”

When asked about her literary tastes by the Times reporter, Parker gave an interesting answer:

From the Modernist period, her favorite novelist isn’t Virginia Woolf, who wanted to have no country, but rather Evelyn Waugh, whose characters are most in need of home. Home is what draws Parker, too, to the origins of Hogarth. “Because Virginia and Leonard Woolf were printing books out of their home, and because they were publishing work by their friends, they were telling exactly the stories they wanted to tell,” she says. “I love most the idea of community here, and that the history of the imprint is personal. There was nothing mercenary about it. The Woolfs were storytellers.”

 

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Orwell Society Visits Waugh Site

A member of the Orwell Society has posted a report of a visit made by a group of its members to North London sites associated with George Orwell. The visit started in Hampstead with a stop at the site of the bookstore (marked by an Orwell plaque) that provided a model for the one where the hero of Keep the Aspidistra Flying worked, then moved on to Parliament Hill where Orwell had lodgings. The bookstore site is within walking distance of Waugh’s boyhood home at 145 North End Road on the other side of Hampstead Village.

The tour moved on by undisclosed means of transport to another North London neighborhood with a more immediate Waugh association:

Next stop… was 27b Canonbury Square, Islington. This flat brought back some distant memories from Orwell’s adopted son Richard Blair who accompanied us on the tour. Though a very small boy, Richard remembers the flat as being very dark and dingy, although his Father was completely indifferent to the state of his surroundings, as long as he could write. Canonbury witnessed a turn in Orwell’s financial fortunes, which had been a constant worry, until after the publication of Animal Farm. On a darker note, it was during his time here that his wife Eileen died, although Orwell was travelling as a war correspondent on the continent at the time. Canonbury also saw the birth of his novel Nineteen Eighty-Four, although his most famous work was completed on the island of Jura in Scotland. Michael also took us around to 17 Canonbury Square, where Evelyn Waugh once lived and worked…The tour ended with lunch at the Canonbury Tavern, which recognizes its famous literary patrons Orwell and Waugh with some lovely framed book covers decorating the walls.

The Orwell building in Canonbury Square is also marked by a plaque; the Waugh building (often cited as 17a Canonbury Square) is not. That is probably as Waugh would want it, because it was while living here that his first marriage broke up. The two authors did not live there at the same time. Orwell was there in the mid 1940s and Waugh, at the end of the 1920s. They became friends after the war when Orwell returned from Jura and was recuperating from an illness in a sanitarium near where Waugh lived in Gloucestershire. Each reviewed the other’s books: Orwell, Scott-King’s Modern Europe in the New York Times (Evelyn Waugh: The Critical Heritage, p. 294) and Waugh, Collected Essays in the Tablet (Essays, Articles and Reviews, p. 304). Orwell was planning to write a longer essay on Waugh’s work at the time he died but got no further than some notes that were later published.

 

 

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Et in Cantabrigia Ego

A Cambridge University student-sponsored news blog (The Tab) has published interviews with several incoming students. One seems to have gotten her ancient universities a bit mixed:

Holly, History, Pembroke. “I applied to Cambridge under the illusion that I would have the chance to float around like Sebastian Flyte. However, it turns out that Brideshead Revisited is actually set in Oxford, and Sebastian ends up as an alcoholic in a Tunisian monastery. So thanks, Evelyn Waugh, for ruining my life. I have adjusted my mindset accordingly and now am, instead, very much looking forward to regular brunch and the prospect of wearing trainers clubbing. My poor toes rejoice.

Is it not done to “wear trainers clubbing” at the other Ancient University?

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