Bloggers Debate WWII Novels

Several bloggers are currently debating which are the novels of WWII most worth reading. One began the debate by bemoaning his attempt to read Waugh’s Sword of Honour novels at the same time he was also in the process of reading Anthony Powell’s longer series A Dance to the Music of Time. Within the Dance novels there is also a trilogy of books devoted to WWII. The debate continued on another site, and the most helpful comment was that posted by David Lull, who frequently comments on this site. This was a quote from critic Paul Johnson’s 2012 article entitled “Novelists at Arms” in Standpoint Magazine about the subject of WWII novels. See earlier post. It is worth requoting in full from the posting on Booksinq:

It is a mistake, in my view, to hold a popularity contest between A Dance to the Music of Time and Sword of Honour. They are wonderfully complementary. We are lucky to have both. Waugh did not cover so long a spectrum. But we should see Brideshead Revisited as his verdict on the pre-war period, which in Uncle Tony [Powell’s] account requires six novels. And Put Out More Flagsis a knockabout farce, a comic curtain-raiser to the actual war beginning with Men at Arms,continuing with Officers and Gentlemen, and ending with Unconditional Surrender. All these titles are savagely ironic, the last signalling Waugh’s despairing acceptance that there is nothing he, and any other honourable souls left, can do about the appalling state of the world which has emerged from what began as a just war.

What his tale lacks, and Uncle Tony’s possesses in full measure, is a follow-up on the peacetime chaos. Waugh could have written a superb novel about the idiocies of the Sixties, surely the most foolish decade in English history, which makes the Thirties, that “low, dishonest decade” as Auden called it, seem noble by comparison. But he did not live long enough. All he could manage was his superb personal bout of madness The Ordeal of Gilbert Pinfold, which serves as an appendix to his wartime trilogy (as Brideshead serves as an introduction), contrasting his own inner devils with the monstrous spirits who had taken over the world.

However, by limiting his trilogy to the actual war, he contrives to achieve an intensity of vision, and feeling, quite lacking in Uncle Tony’s ambling tale.”

Sword of Honour is the ideal war novel. But the [Olivia] Manning trilogies, and A Dance to the Music of Time, are both, each in its own special way, masterpieces of literature. We are fortunate to have three such different fictional but eye-witness accounts of that fearsome war, which arched over my own childhood and youth in a dark rainbow of fascination. There will be no more. Any future treatments will be historical novels.

 

 

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Waugh Presentation Copies for Sale by Peter Harrington

Several of the presentation copies Evelyn Waugh sent to Anthony Powell are now on sale by Peter Harrington Books. These were auctioned last year at Bonham’s. See earlier post. The most interesting are the two copies of Scott-King’s Modern Europe which Waugh first illustrated with a drawing and then sent another copy with an apology for having spoiled the first. Those are on offer for £12500. Here’s the description from the catalogue: 

Both presentation copies, inscribed by the author to Anthony Powell. The first, in blue biro, in a scrawling hand: “For Tony, the host of Bats with deep respect from Evelyn” and with a half-page caricature drawing by the author, of a woman with curly hair and a veil and a man (self portrait?) in evening dress. The second copy is inscribed, conservatively and somewhat sheepishly: “Dear Tony, I am conscious of having abused your hospitality by defacing a copy of this story. I accordingly inscribe this with simple esteem & gratitude. Evelyn Easter Tuesday 1955.” Each copy with Powell’s bookplate to the front pastedown. An exceptional association linking two of the great novelists of the twentieth century.

Photos of of the presentation pages of both copies are included in the catalogue. Any of our readers having any thoughts as to what Waugh may be referring to in his mention of “the host of Bats” is invited to comment below.

Five other presentation copies to Powell are also on offer, extending from Remote People to The Ordeal of Gilbert Pinfold (which Powell deemed to be Waugh’s best novel). Prices range from £4500-7500. These books were among those in an earlier announcement that included other Powell presentation copies from this auction by Jonkers Rare Books in Henley-on-Thames. See earlier post.

Another unrelated but interesting item is a copy of a book by Geraldine Waite entitlted Colleagues and published in 1923 by Chapman and Hall. It has what looks like a near perfect dust jacket designed by Waugh. That one costs £1250.

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Brideshead Reviewed in Brighton

The Brideshead Revisited stage production opened earlier this week in Brighton and has been reviewed in today’s Brighton Argus. The review is by Neil Vowles who finds that the play falls short of expectations:

Without Oxford, Venice or Brideshead’s grand architecture, and with Sebastian more infantile than precocious, it’s hard to understand what seduces Charles so immersively…What is added by a very noticeable microphone is unclear in most scenes but the bold use of different single block colour backdrops is striking…In the second half the production grows stronger with a clever use of ropes and wheely chairs to recreate a ship in a storm as Julia and Charles are reunited while the staging of Charles’s new art exhibition is beautifully done. In the end the play is a pleasing reminder of the brilliance of Evelyn Waugh and Jeremy Irons and a pleasant introduction to those yet to savour either.

The Argus earlier printed an article in which its reporter Adrian Imms interviewed the play’s director Damian Cruden who explained why it took so long for a stage adaptation to appear:

Cruden puts the lack of stage time to date down to other directors being mindful of taking the wrong approach: “Perhaps it has been a case of worrying that, with such a loved novel, people will be disappointed by the approach taken. So these well-loved pieces require careful handling.”… He says, “Adaptation requires things to go – one can never get everything in. The job is to compress the content into particular moments that carry the bigger meaning. Finding the balance between showing and telling is key. To show what happens is far stronger than just telling the story.”

…He says, “I think this version sees the novel through the prism of our world now. It focuses much more on the discussion around faith and less about homosexuality. Our production is an abstraction, as are all stage plays, so we are much more engaged with the notion of suggestion and imagination in the form of the piece.”

The play continues in Brighton until Saturday after which it moves to Oxford where it opens next week on Tuesday, 14 June at the Oxford Playhouse.

NOTE (9 June 2016): Another review of the Brighton performance appeared in the online theatrical news site theatresoutheast.com. This is by Sammi O’Neill who concluded:

Trying to capture this monumental book in a mere two hours is bound to be a challenge and unfortunately the pacing of the play is disjointed, many of the early scenes are fast paced and don’t allow enough character development. Yet in the second act the production slows right down and conversations are detailed and much more enjoyable. If you can put aside your grand preconceptions, you won’t be disappointed with this slick adaptation of Brideshead Revisited.

 

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Waugh Biographer to Appear at Bath Event

The Theatre Royal, Bath, will host a lunchtime lecture on 3 November at which Philip Eade will talk about his new biography of Evelyn Waugh which will be published next month in the U.K.. The details are provided here. This same venue recently presented a one-week run of the English Touring Theatre’s production of Brideshead Revisited. Eade will also appear at a literary festival in Buxton on 13 July. See earlier post.

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Production to Start on BBC Decline and Fall Series

Production will start in Wales next month on the BBC’s three-part TV adaptation of Waugh’s first novel Decline and Fall. Comedian Jack Whitehall has already been signed to play Paul Pennyfeather and negotiations are nearly concluded with actress Eva Longoria to play Margot Beste-Chetwynde, according to Deadline.com, an online entertainment newspaper. Whitehall is best known for his starring role as a naive schoolteacher in BBC-3’s long running comedy series Bad Education. U.S. actress Longoria has appeared in NBC’s  recently cancelled Telenovela series after making a name in the earlier series Desperate Housewives. The BBC series is being adapted by James Wood, directed by Guillem Morales and is produced by Cave Bear and Tiger Aspect. See earlier post.

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Brideshead Reviewed in Worcestershire (More)

The Redditch Advertiser and other local papers has published a review of the Malvern performance of the Brideshead Revisited stage production. This is by Alan Wallcroft who emphasizes that the performance in Malvern is a “nostalgic homecoming” for this story:

which owes a large slice of its inspiration to Madresfield Court, situated just a couple of miles out of Malvern. Although Castle Howard is very much in the nation’s psyche as Brideshead thanks to the original television series, Waugh’s ‘revisited’ owes considerable gratitude to Madresfield. He did stay there and his 1930s-based story was influenced by and is inexorably linked to the home and the family occupying it at that time. He also visited Castle Howard in the late 1930s.

Wallcroft singles out the performances of Shuna Snow and Brian Ferguson as well as that of Kiran Sonia Sawar as Cordelia, who is seldom mentioned in previous reviews. He also praises the settings and direction, although he finds the script “works to a degree, … it fell a shade short of hitting the hotspots Waugh’s novel provides.” His review concludes:

This is an evocative tale that is more about a place than people. A steady plod at first, there is a considerable lift to the proceedings post-interval. It does have a charm of its own which helps to make it an engaging production overall.

Blogger Tim Crow also posted a review of the Malvern performance on the site “Behind the Arras.” He decries the company as 

a strong team who work together very smoothly and maintain essential pace to ensure that a fairly lengthy play does not drag. This is an excellent show that undertakes a considerable challenge and succeeds in no small measure because of the powerful visual impact of the design. The lighting is subtle and compliments the largely bare stage and sliding screens to provide variety and a strong visual impact…The first half was a trifle ‘bitty’ in seeking to introduce a wide range of elements; the second half was particularly poignant. This is a sophisticated and powerful show that deserves to have good houses despite its somewhat selective appeal.

That two reviewers should find the second half better than the first suggests some adjustments in the performance as the tour advances. Many of the early reviews found the second half the weaker of the two parts.

Tammy Gooding of the BBC Hereford and Worcester also interviewed the cast and crew on the Wednesday edition of its news program. The play’s last performance in Malvern is today before it moves on to Brighton next week.

 

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The Daily Beast on The Daily Beast

In an article in the online newspaper The Daily Beast, Robert Bateman describes the origin of the paper’s name. He recounts how the 1935 Abyssinian War was influenced by the First Abyssinian War of 1895-96, which Italy lost disastrously. Benito Mussolini was 13 at the time of that defeat and was determined to put things right with another invasion:

Enter Evelyn Waugh… What matters here are the events of 1935, when Italy, massed on both the northern and eastern borders of Abyssinia, looked like it was ready to invade. That was when Waugh was sent to the region by the British newspaper The Daily Mail. What came out of that, his second trip to the region, was pure comic genius, as well as a depressing and still relevant commentary on the nature of journalism, and perhaps a bit about British society… the novel Scoop…In that novel Waugh lampoons his own experiences, melds them to those of some other correspondents, and skewers the very notion of war journalism, the concept of keeping people informed (vice manipulating them), and how wars are made. Scoop has all of that, and more. Get the book.
Oh, and the newspaper for which Waugh’s hapless neophyte reporter works for an egotistical and increasingly unbalanced owner and editor? That would be the fictional British daily newspaper known as, Daily Beast. Get it now?

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Vile Bodies and Aladdin Sane (More)

Waugh biographer and blogger Duncan McLaren has posted a thought-provoking article on the influence of Waugh’s novel Vile Bodies on David Bowie’s composition of Aladdin Sane. See earlier posts. McLaren reimagines Bowie’s work against the backdrop of the parties he attended on his 1972 U.S. tour and compares that experience to the parties of 1929 London that populate the pages of Waugh’s novel. McLaren concludes: 

So David Bowie loved Vile Bodies because it reminded him of all the crazy parties he was going to in 1972, and interpreted it’s ending to be a warning that society could be about to go down the pan again. And I love Vile Bodies because, yes, Evelyn Waugh wrote vividly about the crazy parties of 1929, but also because he managed to turn personal disaster into a stunning metaphor.

As usual, McLaren supplies evocative photographs for his article, including in this case a series in which a 1920s photo of Evelyn Waugh morphs into the David Bowie cover photo for the Aladdin Sane album. McLaren has written at greater length on the influences of Waugh’s life experiences on his composition of Vile Bodies in his book Evelyn! Rhapsody for an Obsessive Love.

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Waugh Letters to Anthony Powell to be Auctioned

Bonham’s auction house has announced the sale of the letters written by Evelyn Waugh to his friend and fellow novelist Anthony Powell. The letters cover the period 1927-1964 and include letters from Waugh’s first wife to Powell who remained on friendly terms with both her and Waugh after their divorce. In all, there are 42 items consisting of 21 letters and 21 post cards and letter cards from Waugh (lot 203) and 51 from his first wife (lot 204).

The letters are noteworthy in that they include items relating to Waugh’s earliest works,  Rossetti and Decline and Fall. Powell was working for the publisher Duckworths at the time and introduced Waugh to the firm. They published Rossetti and subsequent travel books but passed on Decline and Fall. Three letters are reproduced in the linked announcement, including one relating to publication of Rossetti. Waugh’s collected Letters included 11 now being sold. The auction will take place on 15 June 2016.

UPDATE (7 November 2018): Clarification of total number of letters received from Evelyn Waugh and his first wife.

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Brideshead Reviewed in Worcestershire

The touring  stage production of Brideshead Revisited opened earlier this week in Malvern at the Festival Theatre in the Malvern Theatres group for a one week run. It was reviewed yesterday by John Philpott in the Worcester News and other local papers. Malvern is the closest town to Madresfield Court where Waugh received his inspiration for the Flyte family and their stately home at Brideshead Castle, a point which Philpott notes in his review:

THESE are not people who are easy to like, pampered and cosseted individuals cosily insulated from the gathering storm of the late 1930s. Nevertheless, Evelyn Waugh’s spiritual odyssey through upper class life retains its allure down the decades as some of the characters find redemption while others do not.

He singles out for praise the performances of Brian Ferguson as Charles Ryder and actress Shuna Snow in three male parts–Bridey, Rex Mottram and Kurt the German, in a “glorious voice that is a sort of cross between Prince Charles and Mr Cholmondeley-Warner.” His overall assessment is positive:

…how do you adapt for the stage a story in which the architectural excess almost eclipses the human profligacy? The answer is that you don’t even try. And this is why director Damian Cruden and Sara Perks’ minimalist ‘sliding doors’ design succeeds so effectively. Add to this composer Christopher Madin’s brooding, ethereal score and the dream-soaked ambiance is complete.

Another review by Robert Gore-Langton appeared in The Lady magazine. He had previously written a more condensed review for the Daily Mail. See earlier post. His assessment is less positive than Philpott’s, and to him, Shuna Snow’s attempt to play three male parts “seems absurd.” As he noted in his previous review, any effort to put this story on the stage is a challenge, especially given the previous Granada TV adaptation (in which Gore-Langton played a walk-on, non-speaking part) that “with its gorgeous locations, lingers in the memory so much that it has rather obscured all other attempts to bring it to life.” 

The performance in Malvern will continue through Saturday after which the play moves on to Brighton where it opens next Tuesday at the Theatre Royal for a one-week run.

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