Hetton Abbey Cited in Gilbert Scott Article

Architectural historian and critic Gavin Stamp refers to Hetton Abbey in his recent Spectator review of a biography of George Gilbert Scott:

Briefing his illustrator for the jacket of A Handful of Dust (1934), Evelyn Waugh asked for a country house in ‘the worst possible 1860’. The result was a neoGothic extravaganza with a pinnacled entrance tower and spiky dormer windows — just the sort of thing that might have come from the drawing board of George Gilbert Scott, the most eminent architect of that time. Scott’s Kelham Hall in Nottinghamshire, its bright red brick distantly visible from the western side of the carriage as the train heads north from Newark, gives the picture perfectly.

The illustration was by J.D.M.Harvey and appeared on both the dust wrapper and frontispiece of Waugh’s Handful of Dust (1934) in the U.K. editions published by Chapman & Hall. It did not appear in the U.S. edition published that same year by Farrar and Rinehart. Waugh’s reference to the Victorian taste in which the drawing was executed is in a letter to Tom Driberg dated September 1934 (Letters, 88).

NOTE (25 September 2015): After the foregoing was written, an article by another architectural historian/ critic was posted that implicates Waugh’s own architectural tastes as well those of his contemporaries Graham Greene and George Orwell. This was “Dark city: the architectural imaginaries of Senate House” by Paul Dobraszczyk:

Both Graham Greene and, more famously, George Orwell, would seize on Senate House’s wartime function and extrapolate the building’s imaginative possibilities: whether as the dark heart of an international spying network in Greene’s novel The Ministry of Fear (1943), or the even darker heart of a future totalitarian dystopia in Orwell’s Nineteenth-Eighty-Four (1949). Likewise, in Evelyn Waugh’s wartime novel Put Out More Flags (1942), the building’s ‘gross mass of machinery’ protected ‘all the secrets of the services’.

The POMF quote is from the scene where Ambrose pays a visit to the Ministry Of Information, then occupying the Senate House (Ch. 1 Autumn, section 7, p. 73).

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Spectator Article Reprises the Perroquet

In this week’s Spectator, Bruce Anderson calls up scenes from Black Mischief to describe the ideal nightclub. This is the Perroquet in Debra Dowa:

I thought about Black Mischief while giving dinner to delightful young Alex in a more conventional club in London. Youth has many enviable aspects, including the pleasure of reading Evelyn Waugh for the first time. One of the few consolations of moving from brave new world to stoical older world is the realisation that Waugh re-reads: in my case, with Black Mischief, recently. Leaving Brideshead on one side, it is fun to argue about his comic novels: which deserves the blue riband? At present, I would vote for Black Mischief, but scenes from Decline and Fall, Scoop and Put Out More Flags effervesce and enchant. Thus effervescing and enchanted, I beamed at Alex, who told me that I must come to one of her clubs.

The visit to today’s nightclub (identified by the name Ton-Tons Macoute) does not go well by comparison with the Perroquet. The drinks are overpriced and over diluted and the clientele overpopulated with Russian oligarchs who are much less interesting than those who patronized the Perroquet:

Unlike Prince Fyodor, they could not be described as elegant. They are all accompanied by their equivalent of Madame Fifi. Although they neither realise it nor intend it, they are doing something which the world would have thought impossible: making a moral case for the Soviet Union.

After a night of club crawling, Anderson has a sobering (and self-deprecating) thought, also reminiscent  of Waugh’s novels:

At my club, inter alia, Alex and I had finished off a bottle of ’99 Yquem that another diner had abandoned: goodness knows why. She was thrilled; it was her first taste of Yquem. Although I enjoyed her enjoyment, I thought it needed at least another five years. I just hope that this is not crabbed age speaking.

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Waugh Cited in Latest Cameron Dispute

In today’s Guardian, there is a discussion of the allegations that David Cameron was a member of a secret Oxford club called the Piers Gaveston Society. It was founded in 1977 and named for Edward’s II’s lover. These stories have been accompanied by lurid descriptions of some of the group’s more louche activities. The PM’s office has not responded. In the course of the article. the Guardian distinguishes this club from another Oxford group. This is the Bullingdon Club to which Cameron has admitted membership.

For a definition of the Bullingdon, the paper calls on the writings of Evelyn Waugh who described it in his first novel Decline and Fall:

The Bullingdon is still banned from meeting within a 15-mile radius of Christ Church after members smashed 400 windows at the college in 1927. When Evelyn Waugh published his novel Decline and Fall the following year, he probably did not expect Oxford’s secret drinking club the Bullingdon, or Bollinger as it is satirised in the book, to still be filling headlines in decades to come…For Waugh, the club consisted of “epileptic royalty from their villas of exile; uncouth peers from crumbling country seats; smooth young men of uncertain tastes from embassies and legations; illiterate lairds from wet granite hovels in the Highlands; ambitious young barristers and Conservative candidates torn from the London season and the indelicate advances of debutantes; all that was most sonorous of name and title”.

NOTE (25 September 2015): After the foregoing was written, there have been numerous additional references to the Daily Mail’s original story about the Piers Gaveston Society and David Cameron. This comes from a book entitled Call Me Dave by Michael Ashcroft and Isabel Oakeshott. As excerpted in the Daily Mail, that book (quoting James Delingpole, a contemporary of Cameron at Oxford) identifies a particular importance attached by the Cameron generation at Oxford to the Brideshead Revisited story as it had recently been retold in the 1980s Granada TV version:

“There was a division at Oxford between those of us who wanted to live the Brideshead lifestyle — to ape it — and the people wearing donkey jackets who were in support of the miners…The atmosphere among those of us who wanted to live the Brideshead life was really quite pleasant. There were cocktail parties in the Master’s [head of college] Garden . . . and we could all play at being Sebastian Flyte.”

According to Ashcroft and Oakeshott, “Cameron went a great deal further.” And there follow the lurid details of the Piers Gaveston Society referred to in the Guardian.

 

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Two Recent Waugh Books in Literary Review

A review of two recent books about Evelyn Waugh has become available on the internet, at least in part. The books are In the Picture by Donat Gallagher and Carlos Vilar Flor, both professors of English Literature, and Evelyn! A Rhapsody of Obsessive Love by Duncan McLaren. The review is entitled “Waugh Games” and is written by Philip Eade, who is himself working on a book about Waugh to be published next year.

The first book under review is a detailed reconsideration of Waugh’s military career, with particular reference to debunking some of the myths that have grown up around previous biographical material. Eade concludes that while Gallagher’s arguments are not always easy to follow due to the detailed archival material being marshaled in support, the book nevertheless “constitutes a remarkable accumulation of research that will prompt a re-evaluation of several key aspects of Waugh’s wartime career.”

Eade describes McLaren’s book as “lighter relief for Waugh enthusiasts.” It presents its research in original formats such as discussions McLaren has in pubs with his perceptive partner Kate at the end of a day spent tracking down material. Eade found the book to be  “contrastingly madcap” in comparison with the more scholarly work of the two professors but also a “work of unexpected authority and revelation as well as great charm that will make seasoned Waugh scholars see things they will wish they had spotted themselves.” He concludes that “on the page as well as in the pub, McLaren is good company: funny, irreverent, and more than slightly crazy.”

The review is in the May 2015 issue of Literary Review but to read it in its entirety requires a subscription.

 

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Debut Novel Inspired By Brideshead

Kate Scelsa, whose first novel has just been published, explains in yesterday’s Guardian how her book was inspired by Waugh’s Brideshead Revisited. She was given the book by a college housemate but read it only several years later. As a Lesbian herself, she was at first charmed by Waugh’s positive treatment of Sebastian but then was disappointed when he was allowed seemingly to fade away from the story. As Scelsa grew older

…Brideshead and Sebastian came with me on this period of transition from childhood to actual, bonafide adult life, they came to symbolise something for me about an intensity of feeling and emotion that you encounter most strongly as an adolescent, but catch glimpses of later in life, maybe when you fall in or out of love, or experience victory or defeat, or simply live with a kind of unexplained longing for a while. And there’s something very beautiful and human about those moments of return.

In writing her own novel for young adults, Fans of the Impossible Life, Scelsa was influenced by “Sebastian and what he had meant to me in this place of beginning to understand what it means to lose things and to get lost and, if you’re very lucky, to find your way back.”

Scelsa also watched the 1980s Granada TV adaptation and was less impressed than she was with the written version:

The narrator Charles Ryder’s yearning is so extreme that… Jeremy Irons’ voiceover sounds like Eddie Izzard making fun of Merchant Ivory movies. “Those were the days… when we were young… when it seemed the summer would never end…”

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BBC Does Longleat

The BBC has produced a documentary series on Longleat House and its owners. This is All Change at Longleat and it focuses on the current Marquess of Bath and his son, Ceawlin (aka Viscount Weymouth). Lord Bath is not a newcomer to publicity having achieved notoriety in the sixties for his unusual artistic tastes and preference for “wifelets.” The first episode was broadcast earlier this week and shows how Lord Bath, still alive and well at 82, has allowed his son to take possession of part of the huge Elizabethan mansion before he fully accedes to the title and ownership.

This is of potential interest to Waugh enthusiasts because of Waugh’s associations with the present Marquess’s mother and father. This was Henry Bath and his wife Daphne (who later became better known after her divorce when she struck out on her own as a writer under the name Daphne Fielding). Waugh knew them both from his Oxford days, and later Daphne was active among the Bright Young People. Waugh was a guest in the 1940s at their house Sturford Mead (before Henry inherited the big house) on the huge Longleat estate. Waugh also visited Olivia Plunket-Greene and her mother Gwen who settled in a cottage on a forested part of the estate in the 1940s.  Waugh has written lively accounts of some of his visits in his Letters and Diaries. After Henry and Daphne split up, Waugh remained a friend and mentor of Daphne as she developed her writing skills. Indeed, he was indirectly responsible for her becoming a professional writer since her first assignment was to write a historic description of Longleat after Waugh had refused the project.

There have been several mentions of  Lord Bath’s parents in Episode 1 of the BBC documentary but no references yet to Waugh or his visits. The program can be streamed on BBC iPlayer by anyone having an internet connection or proxy connection in the UK. Episode 2 will air next Monday on BBC 1 at 21:00 and the final episode presumably the week following.

NOTE: After this was written, the Guardian published a more detailed review of the program that also manages to be both amusing and accurate. And it even mentions Waugh, although not in specific reference to Longleat.

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Joshua Cohen Awarded Copy of Scoop

In a recent review in the New York Times, novelist and critic Joshua Cohen went a bit over the top and has been called out for it in the Weekly Standard. Cohen is best known for his novels, including Witz (2010) and The Book of Numbers (2015) which have been compared to works by the late David Foster Wallace and Philip Roth.  In the  recent NYTimes article, he reviewed a book by Nobel Prize winning Peruvian novelist Mario Vargas Llosa. Cohen dismissed the book (Notes on the Death of Culture) as journalism but then piled on with comments about Vargas Llosa’s personal life. He concluded that discussion with the assertion that Vargas Llosa had himself revealed these details on his Twitter page and had sold exclusive publication rights for a large sum to a Spanish language popular magazine called Hola!

These latter comments turned out to be untrue and the NYTimes was forced to print a retraction.  The newspaper admitted that its reviewer relied on the Daily Mail as his source for these details. This is where the Weekly Standard’s “Scrapbook” column brings Waugh into the story:

The Scrapbook, aware of human frailty, will refrain from drawing any conclusions from this incident, except to make a few casual observations. First, as any reader of Evelyn Waugh’s novels must know, it is never a smart idea to take stories in the Daily Mail, or any Fleet Street tabloid, strictly at face value. (Our complimentary paperback edition of Scoop is on its way to Joshua Cohen.) And second, while the Times editors don’t mention it, the Book Review’s dereliction precisely represents what Vargas Llosa is complaining about. A sensational, and decidedly slanderous, assertion is made about a Nobel literature laureate—and no one at the New York Times can be stirred to verify it?…That’s journalistic, if not cultural, decline.

An internet search failed to turn up Joshua Cohen’s response or acknowledgement of his receipt of the book, although the NYTimes, for its part, admitted it should not have published unverified facts from the Daily Mail.

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V&A Reunites Brideshead

Last night at the Victoria & Albert Museum there was a panel discussion relating to the Granada TV 1980s  production of Brideshead Revisited.  The panel included actors Diana Quick (Julia Flyte) and Nicholas Grace (Anthony Blanche) as well as Derek Granger (script writer and producer) and was chaired by Giles Ramsay (critic). The announcement in the Guardian also mentioned Anthony Andrews (Sebastian Flyte) as a participant. A review of the event is eagerly awaited.

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Waugh and Psychedelia

This week’s Spectator reviews a book by Rob Chapman about the history of psychedelic drugs. The title is Psychedelia and Other Colours . The book includes a consideration of the contribution made by novelist Aldous Huxley to the popularization of drugs such as mescalin and LSD.

Waugh was an admirer of Huxley’s early works such as Antic Hay, but he felt that the later works written after Huxley settled in California were inferior. A possible exception may have been After Many a Summer Dies the Swan which Waugh read as an introduction to his research on Forest Lawn cemetery for The Loved One (Letters, 247). The Spectator review by Ian Thomson quotes Waugh’s views as summarized in a 1955 symposium on Huxley, written before the furor in the press over LSD:

Evelyn Waugh was not alone in thinking that Huxley had gone bonkers in his American exile. (‘Huxley has done more than change climate and diet.’)

Waugh’s article on Huxley, entitled “Youth at the Helm and Pleasure at the Prow” and mostly devoted to a reconsideration of Antic Hay, is reproduced in Essays, Articles and Reviews (470).

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Travel-Writing Geezers

Yesterday’s South China Morning Post reviews a collection of travel writing by those over 60: To Oldly Go. The reviewer separates the writers into those who find travel wonderful, those who take themselves too seriously and those “who have gradually become world-weary, curmudgeonly and dryly amusing.” And then there was Evelyn Waugh:

who set the 20th-century standard for acerbic travel humour at the beginning of his career with non-fiction books such as Labels (1930), Remote People (1931) and Ninety-two Days (1934), and remained mordant and exasperated until his last travel book, A Tourist in Africa (1960). He was 57 when that was published, sadly making him a little too young to be quoted in this book.

Waugh was already a fully-fledged geezer at the relatively early age of 57, so the editors would have been justified in making an exception to their qualifying age in his case. The book contains articles by superannuated travel writers such as Colin Thubron and Matthew Parris. The article concludes with another plug for the excluded Waugh:

Jaded armchair travellers who prefer a nice sit down and a cup of tea will find reassurance in the anthology of Waugh’s early travel writing, When the Going Was Good (1946), which was most recently published by Penguin in 2011.

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