Biography of Orwell’s 1984

Today’s New York Times reviews what it describes as a biography of George Orwell’s novel 1984. This year marks the 70th anniversary of the novel’s publication on  8 June 1949 in London and a week later in New York. The book’s “biography” is entitled The Ministry of Truth and is written by Dorian Lynskey.

According to the NYT review written by Lev Mendes, Lynskey:

…believes that 1984–one of the 20th century’s most examined artifacts–is actually ‘more known about than truly known’ and sets about to reground it in Orwell’s personal and literary development.

The book briefly mentions Waugh’s contacts with Orwell in his final years. In fact, although not mentioned, Waugh had reviewed Orwell’s Critical Essays in a 1946 issue of The Tablet before they had met. That is collected in EAR. Orwell reviewed Waugh’s Scott-King’s Modern Europe in a 1949 issue of the New York Times (collected in Martin Stannard’s Critical Heritage volume) and was at work on a longer essay about Waugh when he died in 1950. Waugh did not review 1984 but wrote his opinion of it at some length in a letter to Orwell dated 17 July 1949 (Letters, p. 302). He visited Orwell on more than one occasion at the Gloucestershire sanitarium where Orwell was recuperating from TB, which wasn’t far from where Waugh lived near Dursley.

Finally, the book again mentions Waugh in connection with the stream of dystopian novels that appeared after 1984 in the period between the Korean and Vietnam Wars. These included Waugh’s 1953 novella Love Among the Ruins which was in some sense his  response to his own criticism of 1984 in his 1949 letter to Orwell. That novella is included in Waugh’s Complete Collected Stories. Others mentioned in the NY Times review include Ray Bradbury’s Fahrenheit 451, Kurt Vonnegut’s Player Piano, LP Hartley’s Facial Justice and Ayn Rand’s Anthem.

 

 

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Study of A Handful of Dust Published

An academic study of Waugh’s novel A Handful of Dust has been published in the Ganziatep University Journal of Social Studies (01/2019, v18, n1). The university is a public institution located in Southeastern Turkey. The article is entitled “The Doomed Struggle of Tony Last with Society and the Individual in Evelyn Waugh’s A Handful of Dust.” It is written by Cemre Mimoza Bartu who teaches in the English Language Faculty of Haceteppe University in Ankara. Here’s the abstract of the article:

A Handful of Dust (1934), the fourth novel of Evelyn Waugh, deals with the struggles of the protagonist Tony Last in various stages of the twentieth century society. Waugh in this novel illustrates a dark picture of the twentieth century English society and its individuals with the aim of laying bare the “human selfishness and self-delusion” (Ward, 2008, p.679). In general sense, the author directs his criticism towards the various aspects of English social life indicating the pervading decadence in the soul of the individual and modern zeitgeist. Focusing on Tony Last’ marriage, social relationships and expedition to Brazil, Waugh delineates the portrait of an innocent man who values the past and its traditions. Yet, in order to survive in the society Tony embarks on a quest for self-identity but fails in each attempt. Coinciding with the time of the author’s own personal tragedies, the novel also revolves around some certain autobiographical parallelism that Waugh suffered from. As a means of critique of the society and its members, he juxtaposes himself with his character Tony Last to demonstrate their struggle. So as to illustrate Tony’s futile attempts in his struggle, Waugh writes two different endings for the novel, both of which end in utter failures. Therefore, by virtue of individual failures and socio-cultural corruption, the novel is concerned with the struggle of Tony Last who is surrounded by those individual, cultural and social adversities. In this study, the modernist theme of the quest of the individual will be analysed through Tony Last’s quest in social and personal spheres by also demonstrating Waugh’s critique of the modern times.

The full text of the article is available on the internet without a subscription at this link.

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80th Anniversary of Robbery Under Law

This year marks the 80th anniversary of EvelynWaugh’s book, Robbery Under Law: The Mexican Object Lesson. This was published in the UK in June 1939 and an American edition followed in September under the title Mexico: An Object Lesson.  The book was subsidized by a grant of ÂŁ1500 plus expenses (worth over £95,000 in buying power today) from the Pearson family whose oil production properties had recently been expropriated by the Mexican government. Because the government had also taken actions to close down the Roman Catholic Church and persecuted priests and parishioners, Waugh saw an opportunity to include that story as well.

Waugh took his wife with him on the trip in July-October 1938. When he returned, he worked diligently on the book so that he could begin writing on the idea of a novel he had conceived. The book first appeared in serial form in The Tablet beginning on 29 April 1939. According to Selina Hastings’ biography (376), the book consisted of three parts:

…a journalistic account of his experiences as a tourist; a cumbersomely documented essay describing the outrageous treatment of Pearson’s company by the Mexican government; and lastly, an impassioned history of the state’s persecution of the Church.

Hastings (379) goes on to describe the UK critical reception of the book (which had the working title Pickpocket Government) as one of “little more than polite interest”. The Guardian called it “admirably written” and an “ably” described view of Mexico while Harold Nicholson dismissed it in the Daily Telegraph as “dull” and “jejune”. Hastings writes that it received a “warmer response” in the USA where the New York Times described it as “outspoken” and “soberly conceived and wittily executed”. These reviews are all included in the Evelyn Waugh Critical Heritage volume edited by Martin Stannard. Hastings also notes that Waugh himself thought so little of it that he included no excerpt from it in his 1946 travel writing collection When the Going was Good, the only one of his pre-war travel books that was left out.

The book is largely ignored today except for occasional references in conservative political and Roman Catholic media. These sometimes mention the political credo Waugh included in the book, which Hastings also quotes (378-79), as well as his descriptions of religious persecution and martyrdom. It was never reprinted in Waugh’s lifetime (except for a 1940 Catholic Book Club edition in the UK). A Spanish translation was issued in Mexico in 1996 (Robo al amparo de la ley) and a US reprint was published in 1999 by Akadine Press, Pleasantview, NY.  It was also included in the 2003 Everyman Library collection edited by Nicholas Shakespeare, Waugh Abroad, and a Penguin hardback edition was published in the UK in 2011.

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Bastille Day Roundup

–Veteran British actor Freddie Jones died earlier this week at the age of 91. Both the Times and the Daily Telegraph mention his portrayal of Corporal-Major Ludovic in the BBC’s 1967 three-part adaptation of Sword of Honor as his first major role. He appeared widely in other TV, film and stage roles. One of the most memorable was as the drunken reporter “Orlando” in Federico Fellini’s And the Ship Sails On (1983). He also had a long-standing role in the ITV’s Emmerdale series. He was the father of actor Toby Jones who has also had a successful career, notable most recently for his appearance in the BBC’s series The Detectorists.

The BBC’s 1967  Sword of Honour TV adaptation remains unavailable for home viewing. It can be viewed at the BFI locations at Southbank London and Mediatheques in Manchester, Birmingham and Bradford but it is otherwise not available for purchase, rental or streaming. This is apparently due to distribution rights issues. It was adapted by Giles Cooper in three 90-minute episodes. Waugh cooperated in the preparation of the script but did not live to see the final production, which was first aired in January 1967. Other notable performances were Edward Woodward as Guy Crouchback, in his first major role, as well as Vivian Pickles as Virginia Troy and Ronald Fraser as Apthorpe.

–An article in Counter-Currents.com considers that the future of the Christian Church lies in the third world countries of the Southern Hemisphere. This is by Robert Hampton and considers, inter alia, the case presented in a book by Philip Jenkins entitled The Next Christendom:

Jenkins convincingly lays out the case that the Church’s future lies with the Global South: “There can be no doubt that the emerging Christian world will be anchored in the Southern continents.” Demographic trends show that non-white Christians will vastly outnumber white followers of Christ by mid-century. Meanwhile, Christianity is minimized in the secular West and faith is now relegated to “a personal matter.” Western society does not care about what religion you practice, insisting that church and state must remain separate. In contrast, the faith wields tremendous influence over the Global South and even inspires violent conflicts.

In marshaling his arguments, Jenkins makes a  reference to a short story by Evelyn Waugh. According to the article:

Throughout the book, Jenkins positively compares the global South to the secular North. The historian hopes that the South will evangelize the North and revive conservative Christianity. He retells a portion of Evelyn Waugh’s short story “Out of Depth,” which depicts a future England where bewildered whites listen to their black priest recite the liturgy in Latin. Many Westerners experience this already – just without the Latin. A black priest is more likely to employ bongo drums.

Waugh’s story first appeared in Harper’s Bazaar (London) in December 1933 and was included in the 1936 collection Mr Loveday’s Little Outing. It also appears in Complete Short Stories.

–On his weblog OrdoDei.net, Robert Hickson has posted several recent entries containing extensive extracts from Waugh’s 1950 novel Helena. The most interesting is probably  the one dated 5 May 2019 and entitled “A Form of Style Not to be Despised: Evelyn Waugh’s Lactantius in Helena”. Here’s a paragraph from the opening:

In the sixth chapter of his historical novel, Helena (1950), Evelyn Waugh introduces us memorably to the historical character, Lactantius (c. 250-c. 325), the early Christian Latin writer and occasional tutor who was also later to be an advisor to Emperor Constantine. However, at one point in his earlier life–while he was still in exile in Trier on the Moselle River—Lactantius conveys to the Empress Dowager Helena herself—who is not yet a Christian– his considered views on the mystery of martyrdom and on the lesser mysteries of forms of alluring language. He thus briefly considers the role of a writer as well as the enduring power (and regrettably abiding influence) of some eloquent, but specious, forms of prose style. He especially shows his own attentiveness to those writers who give the right form to the wrong thing, as well as those who give the wrong form to the right thing. (Emphasis in original)

There are then several pages of extracts from the novel, followed by a “Coda” that opens with this:

In Waugh’s historical novel, Helena and Lactantius are both depicted as critical of, and especially resistant to, the permanent temptation of Sophistry to the human mind. And this sustained resistance to various forms of specious Sophistry, as it turns out, further prepares Helena herself to become a faithful and resourceful Christian—and one who will then adventurously come to discover the Holy Cross in distant Jerusalem…

–Waugh biographer Paula Byrne has revealed that she is currently working on a biography of novelist and Waugh contemporary Barbara Pym. In an interview in the current issue of Green Leaves, the newsletter of the Barbara Pym Society, Byrne explains her interest in this subject:

I came to Barbara Pym relatively late. I discovered her novels in an independent bookshop in Oxford and was drawn to the lovely bright covers of the Virago paperback reprints. The bookshop owner, a man called Dennis, was a great Pym fan and encouraged me to buy the books. I thought they were wonderful, and then discovered that many of my friends were huge admirers. I’ve always loved the poetry of Philip Larkin, so I was intrigued by his endorsement of her novels. Like Pym, I am a girl from the north-west, who came south and never returned. I know Liverpool and Shropshire very well, where Barbara spent her early years.

When asked what she might bring in the way of a new approach to Pym’s life, Byrne offered this:

…I think readers will be interested in the social history of the era:what was it like for women at Oxford in the 1930s, and then the War and postwar experiences. The main purpose of the biography is to bring Pym to a wider readership. Readers are fascinated by the lives of women writers; and she is up there with the top writers, but not enough people are familiar with her writing, and they are missing out.

If Waugh had any knowledge of or interest in Pym’s work, most of which was published in his lifetime, Byrne will surely find evidence of it. David Cecil, a friend of Waugh from Oxford, was the other writer, besides Larkin, who endorsed her work in a TLS collection of nominations for “Most Neglected Writer” in the late 1970s. Pym was a great fan of Anthony Powell’s Dance to the Music of Time, which Waugh also enjoyed, but Powell did not read her work, which he also came to admire, until her rediscovery following the TLS article. See link. Byrne says her biography should be published in early 2022. She has also written an historical novel, Mirror, Mirror, about the life of Marlene Dietrich, which will be published in January 2020 and is working on a book about Thomas Hardy’s women.

–Finally, the Washington Examiner reviews a travel book entitled Unlikely Pilgrim by Al Regnery that opens with this:

Ninety years ago, Evelyn Waugh wrote a travel book called Remote People. You couldn’t do that today. Those remote people are now your Facebook friends. But Al Regnery has found a way to write a travel book about remote places that will never be mentioned in the New York Times travel section. That’s because he visited ancient Christian sites in Europe and the Middle East and wrote about them in a wonderful new book, Unlikely Pilgrim (Beaufort Books, 2019).

The review by F H Buckley goes on to describe some of the sites visited in the book, including religious establishments in pre-war Syria and off-the beaten track churches and monasteries in Eastern Europe. According to Buckley, “Regnery’s travels in Slavic countries invite a comparison to Patrick Leigh-Fermor’s account of his walk from Holland to Constantinople, far-away countries of which we know little.”  Coptic Churches in Ethiopia, such as Waugh described in his book, do not appear to fall within his orbit however.

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Iris Murdoch Centenary Marked This Week

This week is the 100th anniversary of novelist-philosopher Iris Murdoch’s birth in 1919. It will be marked by a Centenary Conference at St Anne’s College, Oxford this weekend (13-15 July). A later conference is scheduled on 10-11 October at the University of Picardy in France sponsored by the SEAC (Societe d’Etudes Anglaises Contemporaines).

This week’s TLS has also devoted a good deal of space to the centenary observance. There is a memoir by her biographer Peter Conradi, a review of two recent books about her works and a review of Conradi’s recent memoirs, the last third of which are devoted to his association with Murdoch. In addition, there are several brief remembrances and appreciations of Murdoch by other writers, including A N Wilson, William Boyd and Mary Beard.

Waugh did not review any of Murdoch’s books, although he does seem to have read some of her works–at least The Bell (1957), which many consider one of her best. This is mentioned in Martin Stannard’s Evelyn Waugh: The Later Years (p. 446, n.13) in a discussion of Waugh’s assessment of the then younger generation of aspiring English novelists. Tom Driberg had written to Waugh in 1961

…citing Murdoch as a writer who alternately irritated and fascinated him by her self-conscious use of symbols. ‘Symbols,’ Waugh replied…’I should have qualified my remarks by saying “good novelists”. Murdoch is a fraud. E.g. her bell could not have been rung as she describes it’.

Waugh’s message was included in his written dedication of Driberg’s copy of Unconditional Surrender. Whether Murdoch herself wrote any assessment of Waugh’s works isn’t mentioned.

A recent MA thesis compares the works of the two writers. This is by H C Otis and is entitled “The Love that Points: The teleologies of Evelyn Waugh and Iris Murdoch.” It was submitted last year at the University of Regina, Saskatchewan. Here is the Abstract:

Both Evelyn Waugh and Iris Murdoch use their novels to work out the ways in which metaphysical ends undergird and direct the world of lived experience. In other words, both authors are consistently teleological, though they disagree wildly on what (or who) the ultimate teleological good actually is. I have chosen to examine Waugh’s and Murdoch’s teleologies in light of the nature of love, which functions for both authors as a virtue and as a teleological engine. In my first chapter I treat the relationship between love and sex in Murdoch’s The Black Prince and Waugh’s Brideshead Revisited, considering Murdoch and Waugh as exemplars of Platonic and Dantean eroticism, respectively. In my second chapter I treat the relationship between love and art in Waugh’s The Ordeal of Gilbert Pinfold and Murdoch’s A Fairly Honourable Defeat, where Murdoch reflects a Platonic conception of creation and Waugh an Augustinian one. In my final chapter I treat the relationship between love and service in Murdoch’s Bruno’s Dream and Waugh’s Sword of Honour, arguing that Murdoch exemplifies Simone Weil’s understanding of the human self and will, whereas Waugh exemplifies Augustine’s understanding of the same. For Murdoch, I argue, sex and art are teleologically split: that is, they are each by nature at least partially inimical to virtue, and thus must remain imperfect if they are to direct the soul toward the Good. Likewise, the efficacy of service depends on a recognition of the imperfection of the self and its subsequent destruction. For Waugh, on the other hand, sex and art are each by nature good; though that goodness becomes demonic when wrenched from its proper context, it nonetheless continues to point toward God, a lesser and distorted reflection of a greater light. Similarly, service requires not the destruction of the self but rather an affirmation of the self and its particular vocation toward God and others. In all this, Murdoch’s Good gives her a teleology that is markedly impersonal and distrustful of the self, whereas Waugh’s God gives him a teleology that is markedly personal and affirmative of the self.

The full text of the thesis is available at this link.

 

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4th of July Weekend Roundup

–America: The Jesuit Review has reposted on its website a 2013 essay about Waugh written by Jon M Sweeney. The essay was a response to the re-issuance of all of his fiction in the USA by Little, Brown and all of his books in hardback by Penguin Classics in the UK. It is entitled “Waugh’s Head Revisited” and opens with this:

…Seventy-five years ago Waugh was one of the world’s most popular writers of fiction. A convert to Catholicism like his friend Graham Greene, Waugh had less aversion to the label “Catholic writer.” For Waugh, joining the church was the result of an investigation into truth; it also came immediately after his first marriage ended. For Greene, it was always more of a matter of coming to terms with evil and sin, his own and others, and originated in his desire to marry a Catholic woman as a young man. Waugh couldn’t sound less like Greene, for instance, when he writes to a friend in Sept. 1964: “Do you believe in the Incarnation & Redemption in the full historical sense in which you believe in the battle of El Alamein? That’s important. Faith is not a mood.”

Waugh’s longtime publishers on both sides of the Atlantic—including Little, Brown and Company here in the United States in December 2012—have spent the last two years rereleasing much of his oeuvre in hopes that interest in his writing will revive. Will it? I wonder. Does anyone read Evelyn Waugh anymore?

Sweeney goes on with a fairly broad review of Waugh’s writing, mainly fiction but touching upon the non-fiction as well. He also compares and discusses the differences between the recent USA and UK reprints. The essay closes with this:

Evelyn Waugh deserves to be remembered. By most accounts, he is one of the best, if not the best writer of English prose of the 20th century. He does aristocracy, privilege, sadness, beauty, romance and wonder better than just about anyone. And he’s better on love and sex than most. […] Unless you have an interest in the life of Waugh and his role in the Catholic renaissance of 20th century letters, stick to the novels. His other books are mostly irrelevant today. […] The legacy of Waugh in England seems to be broader than it is here, where his prose and storytelling are all we remember. There Waugh remains (with Chesterton and Greene) an intellectual voice of a historic, religious minority, where he will be known more than ever as a distinctively Catholic writer, fiction or nonfiction.

–What should have been a major literary event was the opening of the film Vita and Virginia. This is about the affair bewteen Vita Sackville-West and Virginia Woolf. Marcus Berkmann reviews it for The Oldie and doesn’t find much to like. Here’s an excerpt from his review entitled (“Portrait of a Howler”):

Vita, who may not have quite enough to occupy her time, is fascinated by the Bloomsbury Group and goes to a party of theirs, which for budgetary reasons looks like a bring-a-bottle party from the 1970s with slightly posher accents. For some reason, director Chanya Button has chosen to portray the Bloomsbury Group as larky sixth-formers with a wacky sense of humour; or maybe she couldn’t afford real actors.

Enter Virginia, played by the Australian actress Elizabeth Debicki, who is far too beautiful for the frankly odd-looking Virginia, and possibly far too beautiful for real life as well. Debicki has an impossibly posh voice and talks in long sentences you never quite understand. Vita falls for her. They spend long scenes staring at each other, breathing heavily and flaring their nostrils to show uncontrollable lust. ‘You know very well that I like you – a fabulous lot,’ says Vita. ‘Do I?’ says Virginia, raising a well-bred eyebrow. ‘I like things wild and vast and complicated,’ says Vita. ‘So I hear,’ says Virginia, raising the other eyebrow this time. It’s around now that the thought dawns on you that she is a stupid person’s idea of clever person, a thought that’s impossible to shift for the rest of the film.

The Evening Standard’s reviewer (Charlotte O’Sullivan) was not much kinder:

[Gemma] Arterton is completely miscast. She plays Sackville-West as a pert, predatory trophy wife, the sort who causes mayhem in Evelyn Waugh novels. They should have given the part to Phoebe Waller-Bridge (whose sister Isobel provides the exuberantly jarring, rave-culture score).

–Another recent film finds disfavor with the critic for the Los Angeles Times. This is the  TV adaptation of Catch-22 now playing on Hulu in the US and Channel 4 in the UK. The review written by Michael Hiltzik notes that bad novels (e.g., The Godfather) often make better films than great ones (e.g., War and Peace):

There are some obvious reasons why great books are often unfilmable. Great literary works have an inner life that can’t easily be presented through image and dialogue. No film can reproduce the moral dialogue that Leo Tolstoy has with his characters and the reader that makes “War and Peace” a unique reading experience. The key to Faulkner’s greatest novels is a prose style that invests his narratives with the power of Biblical parable, but has no cinematic analogue.

There also are less obvious reasons. One is that adaptations of great works often come to the task with an excess of reverence. The filmmakers are reluctant to communicate the exuberance of some first-rate literary work for fear of seeming disrespectful; the result is an agonizingly slow translation of a work that should move like a pistol shot. Even the generally fine 1981 miniseries of Evelyn Waugh’s “Brideshead Revisited” with Jeremy Irons and Anthony Andrews drained away much of Waugh’s tragic sarcasm. That left mostly the tragedy, which wasn’t as much fun.

Waugh was asked to provide a favorable blurb for Catch-22 when it was first published but declined:

…It suffers not only from indelicacy but prolixity. It should be cut by about half. In particular the activities of “Milo” should be eliminated or greatly reduced. You are mistaken in calling it a novel. It is a collection of sketches–often repetitious–totally without structure. Much of the dialogue is funny.

You may quote me as saying: “This exposure of corruption, cowardice and incivility of American officers will outrage all friends of your country (such as myself) and greatly comfort your enemies.”  (Letters, 572)

–Finally, an academic paper mentioned in a previous post has been published in a book containing papers collected from the conference on international law where it was presented. This is NorteamĂ©rica y España: una historia de encuentros y desencuentros [North America and Spain: A History of Convergences and Divergences]. The article by Dr Fernando Gomez Herrero from the University of Birmingham is entitled “Francisco de Vitoria in Daniel Patrick Moynihan’s On the Law of Nations“. It includes references to Waugh’s novella Scott-King’s Modern Europe:

The former American Senator for New York, Daniel Patrick Moynihan (1927-2003) invokes the figure of the Spanish Dominican Francisco de Vitoria (1492-1546), in his fight within and against the imperial politics during the Reagan presidency. And he does it indirectly via the novella Scott-King’s Modern Europe (1947) by Evelyn Waugh (1903-1966). The connection is direct between this work of fiction with Moynihan’s social-science work titled On the Law of Nations (1990).

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Spring Issue of Evelyn Waugh Studies Published

The latest issue of Evelyn Waugh Studies (No. 50.1, Spring 2019) has been distributed. The contents are noted below. A copy may be accessed here.

ARTICLES

 “Huxley’s Ape”: Waugh in Scandinavia (August-September 1947), by Jeffrey Manley

Between his first two trips to the USA in the spring of 1947 and the fall of 1948, Evelyn Waugh made a two-week tour of Scandinavia. The trip was proposed and sponsored by the Daily Telegraph, which later published two articles about it written by Waugh. Unlike his earlier postwar journeys to Spain and the USA, this one produced neither a novel nor a travel book. Nor do his biographers spend much time considering either the motivations for the trip or the newspaper articles it produced. 

The trip is of interest to Waugh enthusiasts, however, because it took place at the peak of his popularity as a novelist, between the publication of his two best-selling works. Brideshead had been published in 1945, and he had just completed The Loved One, which would be published in 1948. During the tour he was extensively interviewed by reporters about these two books, as well as those he’d written previously and works he’d planned for the future. Because he had recently returned from his trip to Hollywood he discussed his impressions of the United States, the film industry, and burial practices at Forest Lawn. His comments⁠—generally informative and candid⁠⁠—were widely reported in the newspapers of all three Scandinavian countries and are translated here for the first time. The reporters manifested a keen interest in his answers about the USA. 

REVIEWS 

Reconstruction and Ricochet

Lara Feigel, The Bitter Taste of Victory: Life, Love and Art in the Ruins of the Reich,

Reviewed by Marshall McGraw 

Inez, Evelyn, and the Blitz 

Inez Holden, Blitz Writing: Night Shift and It Was Different at the Time, edited by Kristen Bluemel

Reviewed by Jeffrey Manley

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Wavian Wine Writing

The Catholic Herald has a review of Auberon Waugh’s 1986 book Waugh on Wine which has been reprinted by Quartet Books. The review is by David Platzer who writes:

Waugh reveals in his introduction that it was Tina Brown, his former protĂ©gĂ© who was then spicing up the staid Tatler before her departure to New York, who encouraged him to write about wine. As the Tatler’s wine correspondent, he disguised himself as Crispin de la Crispian, a Pimpernel-like pen name he dropped in future wine columns in Harper’s & Queen and the Spectator.

Waugh was the most consistently entertaining writer of his generation. He could make his articles enjoyable even to those less than fascinated by the subject. […] Reading Waugh gives one that agreeable feeling, not only that one wine is better than another but that one knows why.[…]

Waugh was wrongly accused of being a snob by those who failed to grasp his teases. His priority in praising a wine invariably depended on its cost, just as he would tick off a book if it was too expensive. […] He ended this delightful collection with an essay on “Evelyn Waugh’s Wine” in which he describes his too often misunderstood father as “a gentle, humorous man – sometimes sad, sometimes gloomy – and nowhere near as bad-tempered as he appeared to the Press.” His explanation for his father’s abandonment of claret, which Evelyn had once loved, is a must for devotees of “Waviana”.

The new edition contains an introduction by Naim Attallah who also edited the recently published collection of Auberons’s essays, A Scribbler in Soho. See previous posts. It is not available yet in the USA but can be purchased from Amazon.co.uk.

Forbes magazine, meanwhile, has advocated an approach to wine writing which sounds very much like the Herald’s description of Auberon Waugh’s. This is in an article written by John Mariani who wants to abolish what he calls “winespeak” and uses a passage from Evelyn Waugh’s Brideshead Revisited to illustrate what he is talking about:

[…]Nowhere is Winespeak better parodied than in Evelyn Waugh’s 1944 novel Brideshead Revisited,  when two drunken rouĂ©s describe various bottlings as “a little, shy wine like a gazelle. . . . Like a leprechaun. . . . Dappled, in a tapestry meadow” and “like the last unicorn.”

Obviously such satires of such piffle haven’t stopped the wine media from trudging on in the pages of Wine Advocate, Wine Spectator, Decanter and other publications with hundreds of descriptions that range from technical gibberish like, “Brett in the nose, incomplete malolactic fermentation, a slight taste of graphite, a scent of botrytis, and enough vanillin to suggest overuse of new French barriques,” to reveries like “cinnamon, Meyer lemon, papaya, Monte Cristo No. 2 with Dominican wrapping, cat’s pee, and a hint of Sicilian blood orange.” Perhaps the silliest descriptor I’ve ever heard was in the 2013 documentary Somm, in which one wine steward preparing to take the Master Sommelier Exam, exclaims with mind-boggling certainty, “I’m getting notes of. . . freshly cut garden hose.” […]

UPDATE (5 July 2019): A link was provided to an earlier post and other non-substantive edits were made.

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End-of-the-Month Roundup

–Today’s New York Times has an article about people who choose to have portraits of their houses painted rather than photographed:

While landscape portraiture became a common endeavor for artists centuries ago, homes were rarely the principal subjects of the paintings. The Vanderbilt family commissioned artist John Singer Sargent to paint several family portraits in the late 19th and early 20th centuries, for example, but none of Biltmore Estate, their famed 8,000-acre property in Asheville, N.C. One house portrait painter of note, albeit fictional, was Charles Ryder, the narrator of Evelyn Waugh’s novel “Brideshead Revisited.” He was not taken very seriously as an artist, but his vocation was a convenient vehicle for exploring Brideshead Castle and the world it represented.

Charles got his start in house portraiture not at Brideshead Castle but at Marchmain House in London, which he memorialized on canvas inside and out before the family sold it off to be torn down and redeveloped into flats.

–Yesterday’s Times newspaper carried an interview of veteran BBC TV presenter Michael Parkinson. It opens with this:

My favourite author or book
Anything by Graham Greene or Evelyn Waugh. They’re my two favourite authors of all time. Evelyn Waugh’s Scoop, because I’m a journalist and laughed all the way through it, and Graham Greene’s The End of the Affair. You can pick any book you want, but those two are the best of the bunch from my point of view.

His favorite TV series, however, is Z-Cars. The most over-rated book in his opinion is Salman Rushdie’s The Satanic Verses.

–The religious website Aleteia.org makes a recommendation for 7 books to be read by Roman Catholic women this summer. They make picks in several categories:

If you like historical fiction 


Grab Helena by Evelyn Waugh. It’s a short book about an intriguing time in history 
 and a saint. Not only is Helen a saint, but she was a married woman, and mother to an emperor in Rome. A powerful and enjoyable story about a strong woman living in very interesting times.

–The New Criterion has a review by Simon Heffer of two recently republished books that have a possible connection to Waugh’s Sword of Honour. These are by John Verney who is described in the review:

…Verney was born in 1913 and, like many young men of his generation, was sufficiently concerned by the threat of Nazi Germany to the peace of Europe and the security of Great Britain that, in 1937, he joined the Territorial Army, or yeomanry, whose members trained as soldiers during summer holidays and on weekends. Verney found the men with whom he was thrown into association rather unfathomable: “My brother officers. Are they human?,” he asks. Until the war he worked in the cinema, as an assistant director in Britain’s then-booming film industry. But the war changed everything for him. Before too long he began to fathom his brother officers, and one of the miracles of war was that its necessities bonded them together against a common enemy.

Verney chronicled his war—after a fashion—in two books: Going to the Wars, published in 1955, and its sequel, A Dinner of Herbs, which appeared in 1966. They enjoyed a significant vogue when they first arrived, with reviewers seeing Verney as the voice of his generation; they have, however, rather like their author, been largely forgotten. Therefore it is clever of Paul Dry to rediscover them and put them again before the public in paperback…

After a description of the two books, Heffer closes his review with this:

The first volume of this duo appeared in the same year as the second book in Evelyn Waugh’s Sword of Honour trilogy; one wonders whether Verney had read Waugh’s Men at Arms, the first novel in the trilogy, published in 1952, because the tone of voice is uncannily similar. That could be not least because Waugh, though a decade older than Verney, came from a similar background and endured a similarly frustrating war spent partly on special operations. Or, perhaps more importantly, it could be because they were both similarly schooled that the English way to deal with a sticky situation is to laugh about it, and to find the ludicrous rather than the heroic or the noble. Waugh dealt in fiction; Verney, despite the name changes, dealt in fact. All his tone does is convey the genuine nobility that he and his fellow warriors against Nazism possessed, and which a whole new generation reading these books may find almost impossible to grasp.

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BBC to Repeat Commando Documentary

BBC Four TV will tonight rebroadcast the 2012 documentary about the Commando training base at Achnacarry, Scotland. This is entitled “Castle Commando” and will be broadcast at 2200p BST. Waugh’s 1943 assignment to that training base contributed to his decision to leave the Army (or at least the Commandos). Stannard II, pp. 85-86. Here’s the BBC.s description of the program:

In January 1942, the historic Achnacarry Estate was transformed into a wartime paramilitary academy. In four years of operation, 25,000 men came to the Scottish Highlands to endure the world’s toughest infantry training course.

Narrated by Rory Bremner, Castle Commando looks back on the larger-than-life characters that helped shape Winston Churchill’s legendary raiding troops. Veterans remember how the ferocious Highland landscape was the perfect environment for the most exacting, most gruelling military training of World War II.

For a more detailed review, see previous post. The program will be available for streaming on BBC iPlayer after broadcast. A UK internet connection will be required to stream from this source.

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