Compton Mackenzie Reconsidered

In the wake of the recent New Statesman essay seeking to revive an interest in JB Priestley, the latest New Criterion has published one seeking to create a renewed interest in another neglected novelist of the same period. This is Compton Mackenzie and the essay is by David Platzer. He opens with an introduction to Mackenzie’s work which will be unfamiliar to many of today’s readers:

Now remembered by many only as the humorist who wrote farces like Whisky Galore (1947), set on a mythical Scottish island, he began his life in London’s West Kensington. In the first phase of Mackenzie’s fame, Henry James praised him as a great hope of the English novel. His second novel, Carnival (1912), the tale of the doomed dancer Jenny Pearl and the dilettante Maurice Avery, made Mackenzie a cult novelist among the sophisticated young. Lady Diana Manners (later Cooper, the inspiration for Evelyn Waugh’s Mrs. Stitch) took Jenny Pearl’s phrase “there’s nothing wrong with this little girl” as her own, and she and her friends in the set they called the “Corrupt Coterie” loved repeating the cockney Jenny’s “don’t be soppy” and “I must have been potty.”

His most respected novel was probably his next, Sinister Street (1914). This became The Catcher in the Rye of Waugh’s generation. Waugh described Sinister Street as his favorite book in his student years and says we was “steeped” in it at Oxford. Others of his generation, partcularly George Orwell and Cyril Connolly, similarly venerated that book. In his sequels to Sinister Street, however, there was, according to Platzer,

[…] a shift from Mackenzie’s earlier “Edwardian” approach, luscious as a ripe peach, to the sparer, purely comic style that marked his post-war novels. Mackenzie attributed the trimmed-down style to the telegrams he wrote as an intelligence officer, where no unnecessary words were allowed. It was as if Waugh had started his career with Brideshead and followed it with Decline and Fall. […] Reviewers prefer authors they can pigeonhole; Mackenzie eluded them. Almost fifty years after his death, Mackenzie still deserves plaudits in his many seasons and facets. Meanwhile, his books continue to find readers, many of them delighted to encounter an author whose writing can chase clouds away.

In reviewing one of his later and now forgotten novels (Thin Ice) in 1956, Waugh took the occasion to consider his earlier career (EAR, p. 511):

For forty-five years, the full reading life of most of us, there has been an unbroken series of novels by Sir Compton Mackenzie. He has written much else, but it is primarily as a novelist of great versatility, ranging from high romance, through satire to farce, that we honour him. […] Everything he writes sets us an example of elegance and sound workmanship […]

Waugh goes on to praise the new novel (about a homosexual politician) which has disappeared without a critical trace and is unmentioned in the New Criterion article. But I think he would support Platzer’s plea for a revival.

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Roundup

–Two posts independently made the same point earlier this week relating to Jewish-American writer Chaim Potok. Potok wrote mostly of the Orthodox Hassidic Jewish community. The first notice appeared on Garrison Keillor’s Writer’s Almanac:

When he was about 14 years old, Chaim Potok happened to pick up a copy of Brideshead Revisited by Evelyn Waugh, and it changed his life. He said, “I lived more deeply inside the world in that book than I lived inside my own world.” Potok went on to write about boys who were in conflict between religious community and mainstream, secular society in books such as The Chosen (1967) and The Promise (1969).

The second was on a French-language website devoted to Jewish news TribuneJuive.info:

As a boy, Chaim showed gifts for drawing and painting and dreamed of becoming an artist. This did not meet with favor at home. In the orthodox tradition, the arts are regarded with disdain as “narishkeit-yiddish” for “silly things” – as is any hobby that interferes with the study of Torah and Talmud. In addition, the visual arts constitute a violation of the Second Commandment taboo against the production of graven images.

He turned instead to literature. As a teenager, Chaim, like [one of his characters] Danny Saunders, devoured secular books in secret at the public library. The first title he took off the shelf, almost at random, was Evelyn Waugh’s “Brideshead Revisited,” followed shortly by James Joyce’s “Portrait of the Artist as a Young Man.” These two novels of Catholic writers Potok remembered later, would chart the course of his future.

Both notices were posted on the occasion of Potok’s birthday (17 February 1929) but are otherwise unrelated. In a way, the Hassidic community in America may bear a certain resemblance to the interwar Roman Catholic community in Britain. Both were relatively closed to outsiders and would have contained boys who were rebelling between their religion and secular society. The translation of the French article is by Google with a few edits.

–The BBC History Magazine’s website HistoryExtra.com has an article about Henry VI’s de facto sainthood. Although he was a failure as king–losing territory in France and causing the War of the Roses in England–he nevertheless became venerated as a saint after his death:

His cult became so popular that the abbots of Westminster and Chertsey both tried to secure possession of his body. Henry VII planned the great chapel that he built at Westminster as a shrine for his saintly kinsman, who would be reburied there when canonised. However, diplomatic problems with Rome blocked the canonisation. Until the day he died, Henry VIII venerated his great-uncle. In 1528, he asked that he should be canonised. Even after breaking with the papacy and ending pilgrimages to Windsor, he left instructions in his will for the tomb in St George’s Chapel to be made more imposing and for the banner of ‘King Henry the Saint’ to be carried at his funeral.

Recusant Catholics continued to venerate him, Alexander Pope referring to the ‘Martyr-King’ in his poem Windsor Forest. During the 1920s there were attempts to secure his canonisation and he became one of the author Evelyn Waugh’s favourite saints. The 1970s witnessed another, unsuccessful, campaign to have him canonised.

I’m not aware what authority there may be for Henry VI having been one of Waugh’s favorite saints. He is identified as the “St Henry” to whom Waugh refers in a somewhat cryptic letter to Christopher Sykes dated 10 April 1953: “I am sure that St Henry in heaven constantly prays for the rescue of the unhappy little victims of his perverted foundation, and that he is to be thanked for this triumph of his grace”(Letters, p. 399). The “perverted foundation” would probably be Eton College where one of Sykes’ sons may have resumed a recently interrupted education.

The Times prints a story by veteran journalist Max Hastings reporting from a winter holiday in Malaysia. He has been asked by several of his friends if, given the present state of affairs in Britain, he ever intends to return. He concludes that at his age he has little alternative but thinks that younger Britons should be considering their options:

The words “emigrate” and “work abroad” […] have overwhelmingly positive connotations. “Exile” sounds uglier. It suggests a flight from bad things, rather than an embrace of better ones. Calais, Boulogne and Le Touquet in the 19th century hosted sad colonies of ruined Englishmen and their families, for a time including that of the young Anthony Trollope. Evelyn Waugh was merely the most contemptuous critic of WH Auden and Christopher Isherwood for bolting to America in 1939, to escape the unpleasantness of Hitler. […]  If I were young, however, I would gaze long and hard across the sea, not with thoughts of mere flight from things that seem wrong with our own country but because youth should display boldness, embrace novelty, seize opportunity.

If the British people insist upon pursuing a retreat towards a lost past, a quest for the rainbow’s end, I can imagine my grandchildren instead reaching out towards a sustainable future elsewhere. […] I hope that, a decade or two hence, our dear old country will still offer promise to a new generation. If not, then go west, young man — or east, or south. Do not risk stagnation in yesterday’s world.

Waugh’s condemnation of Auden, et al. for scarpering from Britain to America in the face of an expected German invasion was written in Put Out More Flags (1942) where he depicted them as Parsnip and Pimpernell. Waugh’s French publisher has just announced a new edition of that book: Hissez le grand pavois. Waugh was writing in that novel about what came to be called the “phoney war”. Maybe these early days of 2019 will come to be called the “phoney Brexit”, or not, as the case may be.

–A recent article in the Irish Times explains why country houses play a lesser role in Irish novels than they do in those with English settings:

The Big House has always been a popular theme in fiction. Evelyn Waugh’s Brideshead Revisited, EM Forster’s Howards End and Daphne Du Maurier’s Rebecca may not be at the top of everybody’s reading lists but the place these books hold in popular culture is undeniable. The place of the Big House in Ireland’s cultural psyche, and in our fiction, is a thornier issue. This is perhaps due to their use as a representation of more than simply the seats of the ruling classes but also as mirror-images of the fall from power of Anglo-Irish society.

Built by the ruling Protestant ascendancy classes who came to power after the Cromwellian invasion of Ireland, many of these houses were built in the first half of the 18th century. […] A combination of events brought an end to the indulgent lifestyles of the Anglo-Irish that played out in the houses. Successive land acts enabled Irish Catholics to purchase land. Many landlords had driven themselves into significant debt, having spent vast amounts of money upgrading and maintaining their houses. Without the income from vast swathes of land, and the labour of their former Catholic tenants to support their extravagance, the landed classes and their houses began to fall into decline. Added into the mix were the large number of houses that were burned or bombed during the Irish revolutionary period. By the mid-1920s many of the houses that had survived the War of Independence and the Civil War were sold or simply abandoned. Given their turbulent history and their place as symbols of our colonial past, it’s no surprise that Big Houses have not been celebrated in Irish fiction as they have in English.

Exceptions are novels by Maria Edgeworth and Elizabeth Bowen, and more recently the author of the article Antoinette Tyrrell has written one entitled Home to Cavendish.

 

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Winner Announced of 2018 John H. Wilson Jr. Evelyn Waugh Undergraduate Essay Contest

The Evelyn Waugh Society is pleased to announce the winner of the fourteenth (2018) annual John H. Wilson Jr. Evelyn Waugh Undergraduate Essay Contest. Congratulations to Jacqueline Condon, whose essay “The Mystery of Grace: Brideshead Revisited as a Chestertonian Detective Story” was judged to be the best of those submitted. Ms. Condon is a senior at the University of Dallas majoring in English.

Ms. Condon’s winning submission will be printed in the next issue of Evelyn Waugh Studies, and also posted here.

The journal is already accepting entries for the 2019 Undergraduate Essay Contest.

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TLS: “When the Script Hits the Fan”

In this week’s “Freelance” column of the TLS, novelist/critic DJ Taylor takes up the issue of fan letters to writers. He starts by characterizing those he himself has received, extending from the extravagant praiser to the anti-fan via the mildly admonitory and quietly knowing. Sometimes the extravagant variety results in a romantic relationship, but not in Taylor’s case. He spends a good deal of time mining the fan mail of George Orwell (who avoided personal contacts) and William Makepeace Thackeray, both of whom have been the subjects of biographies by Taylor, as well as others such as Kingsley Amis and Philip Larkin.

He concludes the article with this analysis of the attitudes toward their fans of Anthony Powell and Evelyn Waugh (each a fan of, and writer of fan letters to, the other):

Every so often comes evidence of an author who has thought seriously enough about the compact between writer and fan to approach the business structurally, make category distinctions and ponder the right (or wrong) kind of response. The three volumes of Journals compiled in old age by Anthony Powell contain occasional references to the “sorting” of fan mail, in which Powell notes the locations from which it is sent, casts an austere eye over the contents (top marks awarded to people who write in with genealogical questions) and chides the “dotty” but persistent admirer who follows up his letters with small-hours phone calls and is finally told by Powell’s wife, Lady Violet, that he ought to see a psychiatrist.

But Powell, it turns out, is a mere amateur compared to his friend Evelyn Waugh, who devotes an entire letter to Nancy Mitford from July 1952 to the question of fan mail and how to cope with it. Many of Waugh’s categories, though pejoratively framed, will be instantly recognizable to the modern writer: “Humble expressions of admiration . . . . Impudent criticism . . . . Bores who wish to tell me about themselves”. As for dealing with them, Waugh’s counsel is invariably hard-line: “Manuscript sent for advice. Return without comment”. In the case of “very impudent” letters from married women, “I write to the husband warning him that his wife is attempting to enter into correspondence with strange men”. At the other end of the scale, admiring nuns could be sure of a picture postcard of the author.

Meanwhile, Waugh informed Nancy Mitford, wealthy Americans deserved a polite letter back. “They are capable of buying 100 copies for Christmas presents.”

Taylor’s latest novel is about the popular music business, where fans also play an important role. This is Rock and Roll is Life, and fans are present on the margins of the book, particularly in the road trip chapters, although not much letter writing is involved.

While Taylor’s column doesn’t mention it, fans often outlive their idols in both literature and music. Their posthumous adulatory activities find an outlet, extending well beyond mere letter writing, in well-organized fan clubs and literary societies. Indeed, in some cases–e.g., Jane Austen–a literary society can take on many of the trappings of pop music fan clubs.

 

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Some Waugh-Themed Entertainments

–Merton College, Oxford and the Lennox Berkeley Society have announced an afternoon program of lecture and music: “To celebrate Lennox Berkeley’s four years as an undergraduate at Merton (1922–6), and to mark the thirtieth anniversary of his death.” This will take place on Saturday, 2 March beginning at 130pm at Merton College. Among the items on the schedule is a talk by Selina Hastings:

Biographer of Nancy Mitford, Evelyn Waugh and W Somerset Maugham, Hastings will talk about Lennox Berkeley and his Oxford contemporaries during the Brideshead years.

The talk will be followed by tea service and an organ recital of Berkeley’s music as well as Choral Evensong in the Merton College Chapel. The topic of greatest interest to our readers would be a discussion of what music Berkeley played or perhaps even composed for one of his earliest public performances in Oxford. This was the music he provided to accompany the premiere of the Evelyn Waugh-Terence Greenidge film The Scarlet Woman. This took place at the Oxford University Dramatic Society which sponsored the performance in December 1925. Berkeley was a contemporary of Waugh and Greenidge at Oxford, graduating in 1926 with a Fourth Class degree in Modern Languages.

Admission is free. Details are available here.

–And here’s a performance that slipped beneath the EWS News radar. On 6 October 2017 a play entitled Brideshead Obliterated was performed at an Off-Off-Broadway venue called Dixon Place. This is located on New York’s Lower East Side and is described as “An artistic incubator since 1986, a Bessie and Obie Award-winning non-profit institution committed to supporting the creative process by presenting original works of theater, dance, music, puppetry, circus arts, literature & visual art at all stages of development.”

The production was described  on the venue’s website:

A young artist becomes romantically entangled with a family of disgraced English aristocrats, and his life is never the same. Part literary deconstruction, part orgiastic karaoke party, this reimagining of the 1945 novel Brideshead Revisited interrogates assimilation, desire, and the longing to go home.

The script was by Elise LeBreton (“on the literary staff of Roundabout Theatre Company, a former Kennedy Center Dramaturgy Fellow, and a member of The Williams Project. Elise holds a BS in Theatre from University of Evansville and an MFA in Acting from Brown/Trinity Rep.”) The production was directed by Dan Rogers (” a 2015 Drama League Directing Fellow and holder of an MFA in Directing from Brown/Trinity.”)

Here’s a link to a short trailer posted on Vimeo.com. A search on the internet uncovered no reviews of this one-night performance. Anyone reading this who may have attended or participated in the performance is invited to comment as provided below.

 

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Crut(t)well Redux

Duncan McLaren continues his project of including on his website essays about Waugh’s close associates. In this latest entry he traces Waugh’s relationship with his history tutor and Dean of his college C R M F Cruttwell. The first half of the essay (from Oxford to 1934) is fairly familiar although this may be the first time Waugh’s satirical references to Cruttwell  in his novels and stories have been systematically gathered.

In 1935, Waugh changed the spelling and raised the volume. McLaren thinks this may have been in response Cruttwell’s apparent rise in the world, succeeding to the Prinicipalship of Hertford College and publishing a major history of WW1. McLaren gives pride of place to Waugh’s short story, published in 1935 as “Mr Crutwell’s Little Outing”. The reproduction of the drawings illustrating the UK publication of the story in Nash’s magazine are alone worth the price of admission to McLaren’s essay. One often forgets the contribution made to storytelling by these illustrations in the golden age of magazines, and they are seldom reproduced or mentioned in collected editions. As McLaren notes, the title of this story morphed into “Mr Loveday’s Little Outing” in future publications.

Finally, McLaren proceeds to his real contribution to Waugh studies in the final pages of this essay as Cruttwell continues to churn out WW1 scholarship and then suffers a decline in health which culminates in his retirement from the college and death in a Bath nursing home in 1941. He also mentions a brief study of Wellington I have not seen mentioned before. McLaren makes Cruttwell’s death seem a bit less sad than it probably was by adding his own contribution to the sickbed visitors as he did in the case of his recent George Orwell essay. I recommend the whole essay as another fine contribution to Waugh scholarship but however much of it you decide to read, do not skip over the second half (beginning with Part Six) most of which is new material.

In the Oxford section of the essay, McLaren poses the question: “I wonder when it was that Cruttwell took away Waugh’s History scholarship. Could it have been at the end of the second year?” The question may be rhetorical but it is answered in Barbara Cooke’s recent book Evelyn Waugh’s Oxford. She quotes the letter from Cruttwell to Waugh after his final exam resulted in a Third Class grade, announcing that his Scholarship would lapse next term. This was probably more a matter of normal practice rather than discretion. Indeed, Dr Cooke notes that Waugh, in the circumstances, actually owed Cruttwell a debt of gratitude: “For reasons best known to himself, Cruttwell refrained from sending Waugh down before he reached those disappointing final Schools. Perhaps he hoped that, against all evidence to the contrary, Waugh would realize his potential. If so, he was right; but he would live to regret it.” (Id., p. 102).

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Prize-Winning Essay About “Robbery Under Law”

A review has appeared in the Mexican newspaper Milenio about an essay relating to Waugh’s 1939 book Robbery Under Law. The essay is written in Spanish by Armando GonzĂĄlez Torres and is entitled “ÂĄPaĂ­s de ladrones! Evelyn Waugh y MĂ©xico” (“Country of thieves: Evelyn Waugh and Mexico”). In 2015, it was awarded the Malcolm Lowry Fine Arts Prize for a Literary Essay by the Editorial Fund of the State of Morelos. The review by Silvia Herrera does not cite the essay’s publication or sales data, and it is not determinable whether it appeared as a separate book or as part of another book, journal or magazine.

The quality of the Google translation is rather poor. Here’s an excerpt from Herrera’s assessment of the essay:

GonzĂĄlez Torres shows that the English novelist, despite the assignment that he had to denounce “the government of LĂĄzaro CĂĄrdenas communist tinge” offers in certain points a positive view of Mexico. […] The conclusion [Waugh] reaches to defend the English oil companies is categorical: “A small State, with a scarcely balanced budget, can not take on the challenge of exploring their own deposits without any income. ”

In the chapter “The ideological storms of the time”, the main contribution of GonzĂĄlez Torres is developed. There, the traits that defined the individual Waugh, especially his Catholicism, acquire epic levels, that is, more in relation to the collectivity [adquieren niveles Ă©picos, es decir, mĂĄs en relaciĂłn con la colectividad]. In those apocalyptic times, in which capitalism seemed to offer no possibility of remission, Catholicism was presented as an alternative to communism and fascism. In his approach to English Catholicism, GonzĂĄlez Torres demonstrates, against prejudice, that he possesses a critical element [que en Ă©l habita un elemento crĂ­tico.]

Perhaps one of our readers with a knowledge of Spanish might want to look at the Milenio review and offer a better translation or summary of its conclusions about the essay.

 

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Autograph Post Card Sold on E-bay

A 1954 handwritten but unsigned post card from Evelyn Waugh to Gerald Matthews (described as a sports journalist) was recently sold on E-bay. The post card is postmarked 2 July 1954 and reads:

“Chokey was a minor character who had no further function to perform.

Sebastian Flyte was an important character and in the novelist’s opinion was treated at suitable length.

Anthony Blanche fulfilled his prophetic functions successfully twice.

The novelist did not lose interest in any of the characters.”

The transcription is by the seller. It is not clear whether Waugh is responding to an enquiry from Mr Matthews or to something Mr Matthews may have written in a publication. It would appear to be the former since the post card is addressed to Mr Matthews at what looks like a residence, rather than to the editor of a publication.  There is, however, no correspondence from a person of that name in the BL’s Evelyn Waugh correspondence archive.

A copy of the original was posted on the internet by the seller. The item sold on 14 February. The price was £295.

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Presidents Day Roundup

–An article in the current issue of Prospect Magazine wonders when contemporary writers will learn how to successfully incorporate text messages into fiction narratives. By way of background, the article by Jemma Slingo explains how Evelyn Waugh pioneered the technique of incorporating telephonic conversations:

Twentieth-century authors were fascinated by the way technology affected how we interact. Just think of Evelyn Waugh’s 1934 novel A Handful of Dust in which the telephone looms large, both as a plot devise and as a means of revolutionising literary discourse. In our century, however, digital exchanges are typically consigned to teen-fiction and chick lit. If “serious” writers do include them, they can feel like dutifully inserted add-ons.

This is not the case in all new writing. Sally Rooney embeds online chat in her prose to great effect, as does Ben Lerner in his debut novel Leaving the Atocha Station. Elif Batuman’s The Idiot, set in the mid-90s, spotlights the weirdness of email, and Olivia Laing’s Crudo satirises our newfound obsession with screens. Even these novels, however, reveal—deliberately or otherwise—how difficult it is to integrate text talk in a piece of fiction.

She might have mentioned Vile Bodies where it has been suggested that Waugh may have been the first to use telephone conversations extensively for his narrative.  This is ironic because Waugh himself, at least in later life, abhorred communicating by telephone.

–The Daily Telegraph also cited A Handful of Dust in a St Valentine’s Day column collecting literary examples of love affairs that ended badly. This is intended to keep matters in perspective on a day when couples tend to expect happy endings:

Tony Last, the hapless protagonist of Evelyn Waugh’s A Handful of Dust, gallantly agrees to protect his unfaithful wife Brenda’s reputation by taking a prostitute called Milly to Brighton for the weekend. This outing, to be witnessed by two hard-bitten detectives, is designed to facilitate his divorce from Brenda. Sadly Milly turns up with her young daughter Winnie in tow, setting “a nasty, respectable note.” The fact that the child shares her mother’s bedroom and Tony prefers to drink with the policemen rather than commit the requisite adultery with Milly ultimately stymies the proposed divorce, and sets up the tragi-comic Dickensian farce of the novel’s ending.

Other examples include scenes from E M Forster’s A Room with a View and Ian McEwen’s On Chesil Beach.

–Journalist Paul French blogging on China Rhyming explains why Waugh’s 1930s travels never got to China, a much-desired exotic destination at that time:

[…] Evelyn Waugh, like so many people at the time, had a fascination with China. I have written about one aspect of this in my recent piece for the South China Morning Post Magazine on Mrs. “Tinko” Pawley. […] See previous post

But why did Waugh never go? Well, he nearly did
in 1930. A busy year for Waugh – his second novel Vile Bodies was published and was a well reviewed bestseller; he separated from his wife (also called Evelyn) and converted to Catholicism. He spent the summer in Ireland at Tullynally Castle (the home of the Pakenham family in County Westmeath) […]. Here Waugh spent his days consulting atlases and the library researching a trip to China and Japan.

However Alastair Graham had been working for the Foreign Office in Cairo where he had met some Abyssinian (Ethiopian) princes. The tales of them, their attire and country fascinated Waugh. When he heard that a new emperor was to be crowned in Addis Ababa that November (Ras Tafari, thence Emperor Haile Sellasie) he immediately dropped all thought of China, got an accreditation from the Times and headed for Africa. His dispatches from Abyssinia are collected in […] Remote People


And so China never got the Waugh treatment


–An article posted on the weblog Anecdotal Evidence by Patrick Kurp describes the friendship between Evelyn Waugh and Max Beerbohm and their assessments of each other’s work  It opens with this:

Of all the masters of English prose, we have the most to learn from Max Beerbohm and Evelyn Waugh. From Beerbohm we can learn how to nuance irony, not lay it on thick with a putty knife. He can teach us how to be amusing without telling jokes or taking the lazy way and merely being outrageous. Waugh, whose best books are peppered with jokes and outrage, once described Beerbohm’s company as “blissikins.” Waugh was a dedicated craftsman of language, a gift rare even among poets. In his maturity he was no aesthete, but the beauty and hard exactitude of his words never cancelled each other out.

The article goes on to consider and quote from Waugh’s writings about Beerbohm on the occasion of and after his death.

–An article in a recent issue of the Catholic Herald opens with this:

I think it’s an aphorism which originated with Evelyn Waugh, that if you were to leave your umbrella at the back of an Anglican church it would still be there when you returned, but if you left it in a Catholic church it would be gone.

I have never come across this attribution nor could I locate in a search. I’m not sure I get the point either. Anyone knowing the details is invited to comment below.

Brideshead is cited in connection with an article on British cuisine in the Monterey County Weekly. This relates to finding other uses for malt vinegar, bottles of which stand on thousands of US tables awaiting the the next round of fish & chips but little (if anything) else. One alternative useage is in making pickled walnuts, a dish few of the MCW’s readers will have heard of, prompting this explanation:

Pickled walnuts. And if you’ve never heard of them, you just didn’t read closely during those English literature classes.

How’s this, from Evelyn Waugh’s Brideshead Revisited: “We presently stopped at an inn, which was half farm also, and ate eggs and bacon, pickled walnuts and cheese, and drank our beer in a sunless parlor.”

Or this, from one of Charles Dickens’ books that’s not A Christmas Carol or Oliver Twist: “After they had bled him, the first faint glimmerings of returning animation, were his jumping up in bed, bursting out into a loud laugh, kissing the young woman who held the basin, and demanding a mutton chop and a pickled walnut.”

–The Complete Works of Evelyn Waugh at the University of Leceister has posted the report of a volunteer who has been working on the project. This is Isabella Hanger, an undergraduate at the University of Melbourne who chose Evelyn Waugh as the subject of her Honours Thesis. Here’s an excerpt:

I engaged true literary fan-girl mode as I worked with Waugh’s letters to Nancy Mitford. Even in photocopied form, it was fascinating to see Waugh’s handwriting (and then to feel the accomplishment of decoding it!). I made sure that the letters were correctly filed and clearly labelled, both in hard and soft copy, engaging in some detective work to place undated papers. I also set to work on editing against the photocopied letters some very entertaining electronic transcriptions, giggling away as much at the mis-copies as at Waugh’s dry wit. His correspondence is fascinating both as a historical document and a ‘behind the scenes’ look at the author through his social interactions. […]

I ended my mini research expedition to England with my first visit to the British Library at St. Pancras. […] I strode over to the Western Manuscripts room where I collected my pre-ordered volumes of Waugh’s letters. I spent a good few hours poring over the handwriting I had become so familiar with over the past week. Being acutely aware that Waugh had once sat in front of the paper that was now couched in its little bean bag before me, his voice seemed to emit all the more of his characteristic cutting irony, oft-expressed disdain and his wonderfully blunt criticism. It proved a very fitting way to tie up my excursion.

–Finally, The Oldie has published another extract from Auberon Waugh’s “Rage” column. This was written in 1992 during hostilites in the former Yugoslavia:

The current war in the Balkans, about which so many people seem to have such strong feelings, was bound to raise yet again the old question of the sex of Marshal J B Tito, the communist partisan leader who became dictator of Yugoslavia for 35 years after the war. My father, who saw the Marshal in bathing dress on the island of Vis in 1944, always swore it was a woman.

The joke was wearing rather thin by that time (indeed, it was never particularly plump when Evelyn Waugh rather beat it to death).

UPDATE: Reference to Daily Telegraph article added.

 

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Lecture on Tom Burns at LSE

LSE has announced a lecture next Thursday (21 February) on the subject of Tom Burns’ WWII espionage career in Spain. His connection with Evelyn Waugh is mentioned in the announcement:

In 1940, Tom Burns, a young British Catholic publisher and friend of Graham Greene and Evelyn Waugh, was recruited by the British wartime propaganda Ministry of Information and posted to the British Embassy in Madrid. Under the cover of his official post as press attachĂ©, he used his considerable ingenuity and network of Spanish contacts to help organise and deliver the propaganda and intelligence war against the Nazis. The aim was to keep the Franco regime from siding militarily with Hitler and protect Allied interests in Gibraltar, the Western Mediterranean, and North Africa. In doing so he found himself at the heart of a web of intrigue, grappling not only against the Nazis but also drawn into internecine conflicts with which the secret services were riven. It is a dramatic story which evokes the shadow world of clandestine meetings and agent running, bribery, and betrayal. Among the extraordinary dramatis personae are Soviet spy Kim Philby, then head of MI6’s Iberian section, the pro-German Duke and Duchess of Windsor, the British actor Lesley Howard, and  Burns’ nemesis, the German press attaché Hans Lazar.

Burns was employed by Sheed & Ward, London, when they arranged to publish Edmund Campion, but he transferred to Longmans, Green (apparently when Sheed & Ward moved to New York where they published the USA edition). Longmans, Green issued the first UK edition under their imprint. Burns also  arranged publication by Longmans, Green of Waugh in Abyssinia. It was Burns who suggested that title which Waugh didn’t particularly like. He also arranged for Waugh to write a history of the Jesuits but that never came about. The lecture will be given by Burns’ son James at Cowdray House, LSE at 6pm. Details available here.

 

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