The Trout

Earlier this week, the Daily Telegraph published a list of “the most beautiful pubs in England.” At the head of the list is The Trout in Oxford, as mentioned in Brideshead Revisited as well as the Inspector Morse TV series. This is the place where Sebastian suggests he and Charles leave Hardcastle’s motor-car on the way back from Charles’ first visit to Brideshead Castle. They will stop there for a drink after dinner in Godstow and walk back to their colleges (Penguin, p. 41). In another recent article on Waugh-related pubs, Duncan McLaren recommended The Crown that is located in the center of Oxford near Christ Church. This was the venue described in Waugh’s story “The Balance” where there began (according to McLaren) a pub-crawl

at the end of which Ernest Vaughan jumps into a car – a decrepit Ford – and drives down St Aldgates, mounts the kerb and crashes into a shop window.

 

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Funeral Directors Revisited

This week’s Spectator carries an article by Cressida Connolly (daughter of Waugh’s friend Cyril Connolly) urging that the negativity usually directed towards funeral directors be reassessed. They have a hard job to to that should be more appreciated. She traces the dismissive attitude toward the profession, at least in part, to the writings of Evelyn Waugh and Jessica Mitford who

thought it was funny and smart to jeer at undertakers. Their puny satires now seem snobbish and brittle. A self-avowed communist, Mitford was especially indignant that undertakers should profit from their labour, a bizarre notion that still lingers. No one thinks nurses or bin-men should work for nothing: why should funeral directors.

While it may be true that Mitford’s work (The American Way of Death) was a broadside attack on the bad practices she saw throughout the profession, Waugh’s targets were much smaller. He aimed in The Loved One at the over the top practices of the high-end and pretentious Forest Lawn as well the lower end but equally silly pet cemeteries which would seem to be a proper subject for satire, even today. And both were writing of practices in the U.S., not Britain where Connolly seeks redress. The article concludes with a reference to a current British novel where British funeral directors receive a more sympathetic treatment.

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The Loved One Among Top 10 Hollywood Novels

In the latest Publishers Weekly, The Loved One is named among the top 10 Hollywood novels. The list is made up by Michael Friedman whose own Hollywood novel, Martian Dawn (2006), has just been reprinted together with two previously unpublished novels, not apparently about Hollywood. Other novels on the list include such well known titles as The Last Tycoon and The Day of the Locust. There are also a few darker horses such as Children of Light by Robert Stone.

Friedman breaks down the Hollywood novel into six sub genres, including “Brits who have had enough of our philistine ways and ersatz culture and return home to civilization” into which he fits P.G. Wodehouse’s Laughing Gas (1936) as well as The Loved One.  Others in that group might have included Huxley’s After Many a Summer Dies the Swan and Martin Amis’s Money. Amis’s book even comes with its own allusion to The Loved One–a character named Juanita del Pablo, who is featured in Friedman’s discussion.

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Another Brideshead Birthday Greeting

Today’s Daily Telegraph carries another article by Eleanor Doughty marking the 70th anniversary of Brideshead Revisited‘s publication on May 28, 1945. The article begins by discussing models used by Waugh for characters in the novel, breaking no new ground in that area. There are also interviews with several journalists who were Oxford students in the 1980s when Brideshead TV mania would have been at its height. None found much left over in their day of the Brideshead aura described by Waugh. Harry Mount does, however, recall “one guy who did, as a joke actually, on the night before his exams, eat lots of charcoal biscuits like Charles Ryder does.”

The article concludes with a brief discussion about how important it was to Waugh and his generation that they be able to amuse their friends. Derek Granger, producer of the 1980s Granada TV series, recalled from his earlier days as a journalist in the 1950s an interview of Waugh, asking “if we were to expect any more comic novels, [to which] Waugh reportedly replied: ‘Do you think it highly unbecoming for an elderly man like myself to continue in the vein of his youth?’” In a later entry in his diary, a few years before his death, Waugh wrote “We cherish our friends not for their ability to amuse us but for ours to amuse them.” (Diaries, p. 790) As Doughty notes in her conclusion, the amusement from Waugh’s writings has continued.

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Lord Marchmain and the 7th Earl

The Guardian earlier this week ran a review of a book by Michael Bloch entitled Closet Queens. This is a history of homosexuals in English politics before 1967 when the criminality of homosexuality was ended. One of the lives considered is that of the 7th Earl Beauchamp whose portrait heads the review in the Guardian’s on-line edition. This is William Lygon, with some of whose children Waugh became friends. According to the review (by Chris Mullin):

Beauchamp, married with seven children, appears to have got away with leading a “hazardous, hedonistic life” for 40 years without encountering any serious trouble, all the while occupying some of the greatest positions in the land, including, ultimately, lord steward of the royal household. He came unstuck, however, in 1930, when his brother-in-law the Duke of Westminster launched a vendetta that led, at the insistence of King George V, to his having to disappear speedily into exile. In the best British tradition, the scandal was covered up, he was said to have gone abroad for health reasons, only resurfacing briefly towards the end of his life. Beauchamp was immortalised by Evelyn Waugh (a friend of the family) as Lord Marchmain in Brideshead Revisited.

The same assertion is made in the Literary Review and the Independent. This is correct up to a point but needs a bit of context. Lord Marchmain voluntarily chose exile over life with his domineering, Uber-Catholic wife, prefering to live with his mistress in Venice. Unlike Lygon, he did not risk arrest or criminal penalty if he returned to England, only the wrath of Lady Marchmain. Waugh’s friend, novelist Anthony Powell, thought the story would have been better (or at least more believable) if there had been some scandalous secret covered up by Lord Marchmain’s exile, such as seems to be hinted by Anthony Blanche. Waugh probably chose a less controversial explanation to spare the feelings of the Lygon family.

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Naming Characters: Waugh and Fleming

In an article in yesterday’s Daily Telegraph, Christopher Howse compares the practice of Ian Fleming and Evelyn Waugh to use the names of real persons as characters in their works: “There’s nowt so queer as names.” In Fleming’s James Bond novels, Howse cites Blofeld, named after a cricket commentator who was father of a school friend, and Goldfinger, after a communistic brutalist architect who destroyed two cottages in Hampstead to create a new one for himself. These are compared to Waugh’s having “happily named dubious characters in successive novels after his history tutor at Oxford, C.R.M.Cruttwell.” Cruttwell was dean of Hertford College at the time he taught Waugh, and later its principal. Waugh used the name in three novels mentioned by Howse (plus at least two other novels and two short stories not mentioned), only to stop using it after applying it to an  embezzling scoutmaster. This last would have been in Work Suspended published in 1942 after Cruttwell’s death the previous year.

One of the unmentioned short stories  is perhaps the most prominent example of a Cruttwell appearance. This was a story originally entitled “Mr. Cruttwell’s Little Outing,” first published in magazines in 1935 but retitled “Mr. Loveday’s Little Outing” when it appeared in book form a year later as part of a collection. The Cruttwell in this case was a madman who had a penchant for young ladies on bicycles, based loosely on Waugh’s father, not the Dean. The story was filmed in 2008 by the BBC with Andrew Sachs (best known as Manuel in Fawlty Towers) playing Cruttwell/Loveday. Indeed, it is perhaps due to his persecution by Waugh that Cruttwell merits a fairly extensive Wikipedia page. Finally, Cruttwell and the use of his name as a character were the subject of a research paper delivered by Prof. Donat Gallagher at the recent Waugh conference in Leicester: “Square Pegs in Waugh Circles: C.R.M.F.Crutwell and His Profile.” Professor Gallagher’s tongue was firmly in his cheek during much of the lecture.

 

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Brideshead 70th Anniversary Marked in Press

Several print publications and other news media carried brief stories yesterday marking the 70th anniversary of the U.K. publication of Brideshead Revisited  on May 28, 1945. Here’s a link to one in Chronicles: A Magazine of American Culture. The Times newspaper also ran a story on May 16 by columnist Eleanor Doughty entitled “Happy Birthday Brideshead: It’s a Shame You’re a Bit of a Bore.” A subscription is needed to access that. An earlier limited edition was printed and distributed by Waugh as presents for Christmas 1944. That may properly be considered the first edition, but Waugh made substantial changes in it before it was published commercially in May 1945. U.S. publication followed later, with the Little, Brown trade edition dated January 1946 (although a Book-of-the-Month-Club edition seems to have preceded that).

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Major Study of Waugh’s Post War Works to be Released This Week

Ashgate Publishing has announced the release later this week of a major study of Waugh’s later fiction. This is The Vocation of Evelyn Waugh: Faith and Art in the Post War Fiction. The book is by Marcel DeCoste, Associate Professor of English at Regina University in Saskatchewan, Canada, and an Associate Editor of Evelyn Waugh Studies. According to the publisher’s description:

Rather than representing an ill-advised departure from [Waugh’s] true calling as an iconoclastic satirist, DeCoste suggests, these [Post War] novels form a cohesive, artful whole precisely as they explore the extent to which the writer’s and the Catholic’s vocations can coincide. For all their generic and stylistic diversity, these novels pursue a new, sustained exploration of Waugh’s art and faith both. As DeCoste shows, Waugh offers in his later works an under-remarked meditation on the dangers of a too-avid devotion to art in the context of modern secularism, forging in the second half of his career a literary achievement that both narrates and enacts a contrary, and Catholic, literary vocation.

The book will be available from both Amazon and the publisher at a list price of £60.00/$104.95 . The publisher will offer a 20% discount (code C15JKW20) to Society members and others who were delegates to the recent conference at Leicester University and may be willing to extend that same discount to non-delegate members upon request.

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Waugh Letter a Hit at Hay Festival

At this year’s Hay Festival, there was the repeat of of an event from previous years where letters from noteworthy persons of the past are read aloud by their counterparts of the present. The event is called “Letters Live” and has moved on from Hay to additional performances in theatrical venues. Earlier today actor Jude Law read out a letter of Evelyn Waugh that was described by the Daily Telegraph’s reporter as the “biggest ostensible draw on this occasion.”

According to the Telegraph, the letter was from Waugh to his wife Laura during WWII and involved the story of an accidental explosion. The letter was no doubt the one dated 31 May 1942 written while he was on training with the Commandos in Scotland. In it, he describes the Army’s attempt to win favor with a local laird by removal of an unwanted tree through application of the Commandos’ expertise with high explosives. It does not go well for the Army. The letter is published in the 1980 collection (Letters, p. 160) and rereading it will explain why it went over so well at the Hay Festival.

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Peter Watson: Biography of Everard’s Angel

This week’s Spectator reviews a biography of Pater Watson, probably best known to Waugh fans as the financial backer of Cyril Connolly’s Horizon magazine during WWII and early postwar austerity. The magazine and Connolly are satirized as Survival and Everard Spruce in Waugh’s Unconditional Surrender. Watson’s biography is by Adrian Clark and Jeremy Domfield and is entitled Queer Saint: The Cultured life of Peter Watson, Who Shook Twentieth Century Art and Shocked High Society.

Watson possessed seemingly unlimited wealth from an inheritance based on margarine. He once bought a car for Robert Heber-Percy (Lord Berner’s companion) only to be forced to extend the same favor to another of his chums:

Cecil Beaton was so jealous that he demanded one too. And it was forthcoming: ‘Do please select any roadster which catches your fancy,’ replied the exceedingly wealthy Watson, who inspired lifelong unrequited love in poor Beaton.

Waugh was not a particular friend of Watson but would have known him through Connolly and other connections and did benefit from his largesse indirectly through publication in Horizon. That magazine, for example, carried Waugh’s The Loved One in an issue wholly dedicated to that novella. In a Mail on Sunday review (April 4, 2015) Craig Brown wrote that Watson’s name pops up in a letter Waugh wrote to his agent in February 1940:

 Is there any chance of selling the two chapters under the title “Work Suspended” to a high-brow paper? Connolly has started one backed by a pansy of means named Watson. (Letters, p. 137)

The material that became Chapter One of Work Suspended appeared as “His Father’s House” in Horizon, v.4, No. 23 (November 1941).

The Spectator review is by Sofka Zinovieff who recently wrote a memoir of Heber-Percy and Lord Berners. See earlier post.

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