Midwinter Roundup

Posted on February 8, 2019 by Jeffrey Manley

–One of our readers Bruce Gaston contributed this item:

Early every morning on BBC Radio 4 there is a short item called “Tweet  of the Day”, which is actually about birdsong. Today’s bird was the  Great Crested Grebe. The continuity annoucer introduced the programme
and commented “the Great Crested Grebe does not hunt rabbits. Nor does it live in holes in the ground, as far as anyone knows…” No reference was made to Waugh or to Scoop as explanation. Does Radio 4 just assume its readers will spot the allusion?

(Although the programme itself is available online, the links seem to be done only for the live broadcast.)

Perhaps the BBC can make amends the next time they offer a broadcast on the subject of water voles.

–The Pasadena Star-Telegram has a story referring to the recent collection of diary entries about Los Angeles. This is entitled Dear Los Angeles and contains some comments of Evelyn Waugh about the city in his diaries. See earlier post. The Star-Telegram thinks a similar effort could be produced for nearby Pasadena, noting as an example Albert Einstein’s  former residence as a potential reference. Einstein described his enjoyable stay in Pasadena at the CalTech Athenaeum but left when Princeton made him a better offer. Waugh would also make an appearance in such a collection, according to the Star-Telegram. When celebrities arriving at the Coast travelled by train:

…many Hollywood-ish people […]  got off at the Santa Fe station at Raymond and Del Mar, now serving Gold Liners as La Grande Orange, instead of Union Station, to avoid the paparazzi. Evelyn Waugh wrote that day: “Arrived at Pasadena at 9 a.m. and were met by a car from MGM. We drove for a long time down autobahns and boulevards full of vacant lots and filling stations and nondescript buildings and palm trees with a warm hazy light. It was more like Egypt — the suburbs of Cairo or Alexandria — than anything in Europe.” L.A. gets a lot of that from the English novelists. Here’s Aldous Huxley to his brother, Dec. 12, 1939: “You will probably be about six hours each day in a car.”

–An online newsletter for artists called Visual Arts Source makes an interesting comparison between two novels which it says should appeal to today’s young artists:

…Two 20th-century novels are perfect for anyone under 30 living in big cities — or who remember being under 30 and moving to a Big City.

“Vile Bodies” (1930) by Evelyn Waugh is all about twenty-somethings living in post-World War I London. Their siblings or fathers were killed in the war and, leaving them plenty of money, they rove from one party to another ending up entertained, but unhappier than ever. This is one of the greatest comic novels ever written in English.

“The Golden Spur” (1962) by Dawn Powell, a forgotten author championed by Gore Vidal, takes place in Greenwich Village for the most part, with forays uptown and a fateful weekend in Connecticut. It, like “Vile Bodies,” is about a twentysomething, this one from rural Ohio (like author Powell), who is searching for the father he never knew but who learns about his late mother’s many “famous” suitors left behind after her youthful heyday in the Village. Once in New York, he not only finds his father, but his fortune and love as well.

The article goes on to summarize both novels and explains how the authors included characters based on artists of interwar London and postwar New York.

–The religious weblog Church Life Journal offers another comparison that includes a Waugh novel;

“All my days I have longed equally to travel the right road and to take my own errant path,” confesses Kristin Lavransdatter, a wealthy Norwegian noblewoman and titular character of Nobel Prize-winner Sigrid Undset’s three-part novel. Set in the fourteenth century, the saga follows the life of Kristin, one of the most complex female characters of 20th century literature, from womb to tomb. She wrestles with the weight of sin, her refusal to reconcile her will with God’s, and the suffering that accompanies her wayward decisions.

In Brideshead Revisited, British novelist Evelyn Waugh brings another multi-layered female character to life: Lady Julia Flyte, a wealthy heiress living decadently in 20th century England. Each woman is raised in a devout Catholic home and yet is caught between her own passions and her love for God. Separated not only by geography and several centuries, Kristin and Julia’s lives are very different. Kristin is a mother of many and she lives to become a grandmother. Julia is childless. But Kristin Lavransdatter and Brideshead Revisited share the same themes …

Waugh met Sigrid Undset in Oslo during his 1947 trip to Norway. In his diaries he mentions the meeting, which was arranged by his Norwegian publisher, but Undset made no positive impression.  Perhaps Waugh hadn’t read her novels.

–Another reader, Dave Lull, sends this excerpt from a book review by James K A Smith in the Los Angeles Review of Books. The book is by Timothy Larsen and is about John Stuart Mill:

TO BOTH HIS progressivist heirs and his conservative critics, John Stuart Mill is a secular saint, a priest of the triumphant modern moral order. Whether he is being celebrated or vilified, the 19th-century philosopher is portrayed as a paragon of rational enlightenment who, paradoxically, inspires ardent devotion to the sacred autonomy of the individual.[. . .]

Mill’s story, in that case, foreshadows the plot of Evelyn Waugh’s Brideshead Revisited: Harriet [Taylor] is the forerunner of a devotion in Mill that his own contemporaries described as “mystic.” Charles Ryder’s musing in Brideshead seems relevant: “[P]erhaps all our loves are merely hints and symbols; a hill of many invisible crests; doors that open as in a dream to reveal only a further stretch of carpet and another door.” Perhaps love is the beginning of knowledge.

 

–Finally, in another reference to Scoop, a Chinese news report from Hong Kong mentions a scandal in which a TV network got caught manufacturing news. They used actors to portray illegal immigrants purportedly living in Hong Kong public housing. ‘The reporter Zeng Guoping in the Hong Kong Chinese language free circulation  newspaper AM730 comments:

…Just happened to read the English novelist Evelyn Waugh’s “Scoop”, the background is in the 1930s, reporters from all over the world went to an African country to report the civil war, each of them made a small thing into a stunt. The protagonist who participated in a misunderstanding did not receive the “journalist training”. He did not deliver the goods to the boss, who asked him to “create” some of the news. The media made a big fraud. It was nothing new, but the media today. Diversified only. […]

“Exclusive News” has a message “News is what a chap who doesn’t care much about anything wants to read”; it is too hot. The news still has to be seen. In the face of the risk of making a big mistake, the correct attitude is not to just watch the news, let alone look at the reports of a certain media in a certain place. More reading, more observation, more thinking, independent of individual media, the proportion of information noise will rise, in addition to reducing their chances of doing something wrong (including investment), it can also alleviate the populist tendencies in society, the government’s stupid policies will be less One.

The quoted language defining “news” is also from Scoop (if memory serves). The translation is by Google. For original Chinese text see this link.

UPDATE: The entry from the LARB was added after the initial posting. Thanks to both Bruce Gaston and Dave Lull for their contributions.

UPDATE 2 (9 February 2019): References to AM730 are corrected to reflect that it is a newspaper, not a radio station.

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Waugh’s “Hungry Novels” in TLS

Posted on February 7, 2019 by Jeffrey Manley

Literary journalist and critic Laura Freeman writes in this week’s TLS of a subgenre she defines as the “hungry novels” which flourished in the 1940s-50s. Her essay opens with an extended reference to the scene in Brideshead Revisited where Waugh described the lavish pre-war feast in a Paris restaurant engineered by Charles Ryder to be bankrolled by Rex Mottram. Indeed, it was so over the top with luxurious items not available in 1944 when the book was written that Waugh felt obliged to apologize for the excess in a revised edition written in the late 1950s.

She identifies the genre in the following paragraph as encompassing a:

…guilty kind of gluttony. The spam-and-soya-bean period of English literature is full of Hungry Novels. Sometimes the tone is wistful, sometimes resentful. The characters in a Hungry Novel will suffer the indignities of bully beef, spaghetti bits and powdered egg, while dreaming of richer meat. Under the barrage of bombs, the wail of air raid sirens, the crackle of the wireless, an unmistakable base note: the complaining rumble of the author’s stomach. In the fiction of Evelyn Waugh, Anthony Powell, Graham Greene, Wyndham Lewis, Rosamond Lehmann, Barbara Pym, Muriel Spark and others, written during the war and in the years of rationing that followed, there is a marked stomach sensibility, an obsessive detail of food.

Waugh’s Hungry Novels outnumber the others on the list, beginning with Put Out More Flags, written when rationing had just begun, through Brideshead, to all three novels of the war trilogy, written in the relative prosperity of the 1950s:

Waugh’s Sword of Honour trilogy follows both Guy Crouchback’s faltering progress through the war and the deteriorating food situation on the home front. When Guy joins the Royal Corps of Halberdiers in Men at Arms (1952), he arrives at one training camp to a mess dinner of “margarine, sliced bread, huge bluish potatoes and a kind of drab galantine which Guy seemed to remember, but without relish, from his school-days during the First World War”. In Officers and Gentlemen (1955), an army adjutant tells Guy: “Austerity is the order now”. A doctor is called in to teach recruits how to survive on seaweed and limpets: “Every bit as agreeable as oysters and much safer”. It is the era of no butter, last legs of chicken and food parcels from America. Guy’s father is sent a packet of Yumcrunch (cereal), a tin of Brisko (cooking fat) and a jar of cocktail onions. A popular joke on the wireless in 1947 had a comedian declare that he has just proposed to a girl: “She’s not at all pretty but she has some friends in the States who send her parcels”. In Unconditional Surrender (1961), Waugh introduces Ruben’s, a wish-fulfilment restaurant that serves Colchester oysters, Scotch salmon, lobsters, prawns, gulls’ eggs, caviar and cheeses from France, “collected by intrepid parachutists and conveyed home by submarine”.

The closest rival to Waugh’s output of the genre seem to be Barbara Pym with three or four examples, and the essay closes with some references to Anthony Powell’s war trilogy. Access to the essay is free and is available here.

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Waugh and the Black Madonna

Posted on February 6, 2019 by Jeffrey Manley

The website of Campion Hall, Oxford has posted an article by art historian Jane Stevenson about an Ethiopian icon of the Madonna hanging in its collections. She also explains the difference between Ethiopian Christian depictions of the subject and those in the Eastern and Western (Greco-Roman) traditions. The icon at Campion Hall was a gift of Evelyn Waugh, as she also explains:

Evelyn Waugh first visited Addis Ababa to report Emperor Haile Selassie’s coronation in 1930. Five years later, he returned to the country when he was appointed the Daily Mail’s Addis Ababa correspondent in 1935 to cover the Italo-Ethiopian war of 1935-6, a conflict which attracted worldwide attention since many feared that it would be the  prelude to another world war. […] It was during this conflict that he sent the image back to Fr. D’Arcy at Campion Hall, which was then still at Middleton Hall in St Giles’.[…] It is unsurprising, given [Waugh’s friendship with Fr D’Arcy], that Waugh should have thought to pick up a piece of Ethiopian Christian art as a gift to Campion Hall while he was stuck in Addis Ababa with nothing to do.

It seems most probable, given its excellent condition, that the image dates from the first half of the twentieth century, though if so, it seems a little archaic; from the mid-eighteenth century onwards, Ethiopian religious painters typically began to model faces and limbs with shading to create an illusion of volume, which is completely absent in this image, though on the other hand, the large eyes suggest a relatively late date. The ground of the image is probably vellum, and the medium powdered natural pigments bound with animal-skin glue, which creates a tough yet flexible surface. Traditional painters used indigo for blue, and a mixture of indigo and orpiment for the green which is a striking feature of this image. Red was made from cinnabar, yellow from orpiment, and while browns were either earth colours, or a mixture of cinnabar, gypsum and charcoal.

The article includes a photo image of the icon donated by Waugh as well as another Ethiopian icon of the Holy Trinity from an earlier period in the Campion Hall collection, along with comparable icons of the same subjects from other collections. Stevenson is the author of several books on art history, most recently Baroque Between the Wars. See previous post.

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New German Edition of Remote People Reviewed

Posted on February 5, 2019 by Jeffrey Manley

A review of the 2018 German edition of Waugh’s Remote People is published in this month’s online issue of literaturkritik.de. The German title is Expeditionen eines englischen Gentleman, literally “Expeditions of an English Gentleman”. This review  is by Sylvia Heudecker who begins with with a summary of the book and then offers a few comments on the translation by Matthias Fienbork. She goes on to provide an explanation of how this second German edition by Diogenes Verlag in Zurich came to have a different title from the English and original German edition:

Even before getting into the text, the decision for the German translation [to be retitled] is itself of some interest. The current edition of Diogenes takes as its title the subtitle of the [earlier German edition also in Fienbork’s translation].  The limited first edition of Eichborn-Verlag was published in German in 2007 under the title  Strange Peoples, Strange Mores – expeditions of a British gentleman [Befremdliche Völker, seltsame Sitten – Expeditionen eines britischen Gentleman] and thus focused mainly on the indigenous people of Abyssinia and the vast, often unexplored continent traveled by Waugh. What is described is far away: thousands of kilometers, deep inside the black continent. And although the achievements of civilization – such as the railway, European architecture or the Coronation Carriage of Wilhelm II – have already made it there, obviously the spirit and essence of European civilization are missing and make the observations seem like a perverted variant of the absurd wonderland of Lewis Carroll. The cautious approach to the choice of the [new] title is understandable: The renunciation of the title Strange people, strange customs avoids those responsible being criticized from the outset of political incorrectness. But on the other hand, the title of the new release, Expeditions of an English gentleman, misleads the reader, because it suppresses an essential aspect [of the book]. Waugh’s observations reveal more than just the traditional chauvinist attitude of an imperial Briton who encounters backward tribes in remote regions of Africa. Far beyond the borders of his motherland, Waugh looks very closely at those people (“people”) of the West who have settled “far” in their home country (“remote”) in Africa. [Jenseits der Grenzen seines Mutterlandes sieht Waugh mit scharfem Blick sehr genau auch auf jene Menschen („people“) des Westens, die sich „fern“ ihrer Heimat („remote“) in Afrika niedergelassen haben.] Among them are [individuals living] ludicrous, dumb, quirky, self-righteous, egocentric and even failed existences.Thus, the distance not only proves to be a miraculous place of adventure, but also an observation point for how dubious the success of such cultural exporters must remain because they themselves are doubtful.

Translation by Google with a few edits. The explanation may well make more sense in the German original, but the translation gives some idea of the motivations for the title change.

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Folio Society Profiles Waugh Illustrators

Posted on February 3, 2019 by Jeffrey Manley

On its website, the Folio Society has profiled the illustrators of four Waugh novels. These are newly issued or reissued in special Folio Society editions and are all currently available for sale through links in the article:

Vile Bodies is illustrated by Kate Baylay, “working with a combination of pencil, watercolour and digital media. The alluring illustrations and fashionable style call on Aubrey Beardsley to perfectly depict the decadence behind the Bright Young Things’ frivolous nature.”

The Loved One is the reissue of an earlier Folio Society edition. Illustrations consist of eight paintings commissioned from well-known British artist Beryl Cook (1926-2008). “Her interpretation of the novel is inspired – whether depicting the ‘gorgeous little casket’ of a deceased pet parrot or Mrs Joyboy’s ‘positively insulting clothes.’” This is the most striking of the illustrations, one of which is included for each book in the Folio Society’s article. It depicts Mrs Joyboy in the foreground sitting next to her parrot, with her son and apparently Aimee Thanatogenos in the background. The portrait of Mrs Joyboy is wholly consistent with Waugh’s description, but Aimee is more Beryl Cook than Waugh.

Black Mischief is illustrated with line drawings by Quentin Blake. “With a keen eye for the absurd, Blake’s restless pen wittily captures the denizens and the details of Azania.”

Brideshead Revisited is the most recently published of this selection. It was illustrated by wood engraver Harry Brockway. “Here, he has created two-colour stylised scenes that take us straight back to Brideshead and its characters’ devil-may-care lives.”

Two of the editions have introductions commissioned by the Folio Society: Vile Bodies by David Lodge, President of the Evelyn Waugh Society, and Brideshead Revisited by novelist and critic A N Wilson. The Loved One has an introduction adapted from Christopher Sykes’s biography of Evelyn Waugh.

 

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Groundhog Day Roundup

Posted on February 2, 2019 by Jeffrey Manley

–Columnist John Derbyshire has posted a story in his “Derb’s January Diary” column on the anti-immigrant website Vdare that may start another debate like U/Non-U pronunciation or George and Ira Gershwin’s line “You say tomato, and I say tomahto”. Derbyshire, who grew up and was educated in England, pronounces Celtic with a hard “C” as is common, although not universal, in England. In trying to determine when this  practice started, he goes back to his Latin class and that of Evelyn Waugh earlier in the century:

…at least where Britain is concerned. I’ve been hearing “Celt” with a hard “C” for as long as I can remember—about sixty years. I started school Latin in 1956. We were taught to use the “German” pronunciation (that’s what I heard it called, I think because it had been worked out by 19th-century German scholars) when reading Latin texts aloud in class: hard “c,” “v” as “w,” and so on. I don’t know when that style of teaching Latin was taken up in England. Evelyn Waugh wrote in A Little Learning that he and his schoolfellows were making fun of it circa (or kirka) 1916, so that was probably soon after the changeover from soft-“c” “medieval” pronunciation in Latin teaching.[…]

Derbyshire goes on to consider sources other than Latin teachers and concludes with this:

The actual Celts are still numerous in the British Isles, and they seem to be the strongest partisans of the hard “C” in “Celt.” Perhaps it’s been that working its influence on the rest of the Brits.

The following tale is told of both Richard Harris, who was Irish, and also of Richard Burton, who was Welsh. Harris version: He had little time for fools. One apocryphal story has an American wittering on to Harris about his own third-generation Irish heritage or some such, but using a soft “c,” pronouncing celt “selt”: “I’m a celt just like you,” says the American. “No sir, you are a sunt,” replies Harris.
[Burton version differs only slightly, with same punchline.]

I note in passing that there is no soft “c” in either written Irish or written Welsh. Perhaps that has something to do with it.

The soft “C” in the name of the Glasgow soccer team remains to be explained. My guess would be that it’s part of the 1,500-year campaign by the Scots to try to make the rest of us forget they are really just Irish colonists with a better class of whiskey (or “whisky” if you’re Scottish).

There may be other explanations for all this confusion. If there are, though, I have to ask, as Kee-keh-ro might have: Ubi sunt?

–Singer/songwriter and, more recently, author, Tracey Thorn has written a column on the subject  “My Culture Fix”  in today’s issue of The Times. The column opens with this:

My favourite book
Decline and Fall by Evelyn Waugh. It’s a book I return to, a kind of comfort read, although there’s nothing especially comforting about it. Dreadful things happen to people and are narrated in a detached, almost throwaway manner. It’s brisk and pacy, filled with memorable characters and the writing is pared to the bone. Not one word more than is needed. And it’s hilariously funny.

Thorn got her start as the female half of the singing duo “Everything But the Girl”. More recently, she has performed solo and branched into writing. Her first book was a memoir Bedsit Disco Queen (2013) to which she has recently added a sequel (or perhaps it’s a prequel) called Another Planet: A Teenager in Suburbia. She grew up in Hatfield, just beyond the reach of the London Underground.

–Jonathan Meades, writer and TV presenter (and one might add, satirist) on the subjects of culture, architecture and food has written a feature-length article in Standpoint magazine.on the subject of “Taste” (not the food variety). This ranges from good taste to bad, to none at all. He takes as his opening example the career and reputation of Cecil Beaton. As usual when there is a discussion of Beaton in all his manifestations, Waugh comes into the story. And so it is the case here:

…Waspish observations on Taste — mostly other people’s, mostly found wanting — fill [Beaton’s]  diaries.  The “crass Bad Taste” of Elizabeth Taylor (“vulgar”) and Richard Burton (“butch and coarse”) was an aesthetic offence. But then so was what John Betjeman called “ghastly Good Taste”. Yet neither was as distressing as — oh, be prepared to blench — No Taste. No Taste was far beyond offensive. No Taste was a sort of disability that afflicts the majority, the multitudinous flocks of the misled and easily led. And to avoid it, Beaton’s life, self-creation and very core were larded with devices designed to make him stand out from the vulgo, to shout that he had Taste. Wittingly or not, he followed Nietzsche: “Blessed are those who have Taste — even if it is Bad Taste.”

Polonius’s sartorial advice to Laertes, “not expressed in fancy; rich not gaudy”, could not have fallen on deafer ears. Evelyn Waugh routinely anointed him with the faintest praise. Noel Coward reproached him for his “conspicuously exaggerated” clothes and his countless affectations. His friend and neighbour Lady Juliet Duff was precise. He was “like a very successful Parisian madame who had decided to give it all up, moved to the English countryside, and took all her bordello belongings with her”.

Meades moves from Beaton’s taste to how his own hometown of Salisbury (where Beaton also lived in the nearby countryside) might remake itself after the public relations disaster of the Putin poisonings. He then segues into what is perhaps his favorite subject of architectural tastes and styles. He slips between deadpan irony and serious criticism, and it can become difficult to follow him, particularly on the subject of architecture where he seems to possess more knowledge on the subject than the average reader of Standpoint magazine. But even the layman can enjoy this discussion, if only for its humorous presentation.

 

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Details Released of Waugh Event at Chipping Campden Festival

Posted on February 2, 2019 by Jeffrey Manley

The Chipping Campden Literary Festival to be held in May has released more details of its event entitled “Scoop: We Need to Talk About Evelyn”. This is scheduled for Friday, 10 May at 830pm in the Chipping Campden School Hall. The festival’s release is copied below:

“Scoop is often cited as the best comic novel about journalism, and its author Evelyn Waugh, one-time correspondent on the Daily Mail, might just as appropriately have called it “Fake News”. It remains as relevant and funny today as when first published in 1938. Sam Walters and Auriol Smith read from this classic novel, and Martin Stannard and Duncan McLaren (with historic photographs and press cuttings) present their own take on it, and discuss the two very different directions Waugh studies are going in the twenty-first century.

Duncan McLaren is the self-styled Doctor Who of the Waugh universe: his ongoing engagement with Evelyn takes him all over the place including Crete to revisit the culmination of Officers and Gentlemen. As well as being author of Evelyn!:Rhapsody for an Obsessive Love Duncan has written Looking For Enid: the Mysterious and Inventive Life of Enid Blyton.

Martin Stannard, FRS of Literature and the English Association, and Professor of Modern English Literature at the University of Leicester, has published extensively on Evelyn Waugh –The Critical Heritage and a two-volume biography – and is Co-Executive Editor of OUP’s The Complete Works of Evelyn Waugh, editing Vile Bodies for this. Other works include the 2009 biography of Muriel Spark and the Norton edition of Ford Madox Ford’s The Good Soldier.

Auriol Smith, actor, theatre director, and founder member and former associate director of the Orange Tree Theatre, has also directed in the West End, regional theatres and at the Central School of Speech and Drama.

Sam Walters MBE, educated at Merton College Oxford, trained as an actor at LAMDA. He retired in 2014 as Artistic Director of the Orange Tree Theatre in Richmond, London which he founded in 1971 and ran for 42 years! He also directed in the West End, in many regional theatres, and at drama schools.”

For details about tickets and other relevant information click here.

 

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Evening Standard’s Waugh Twofer

Posted on February 1, 2019 by Jeffrey Manley

The Evening Standard reviews a book by David Kynaston and Francis Green of UCL entitled Engines of Privilege: Britain’s Private Education Problem. According to the review by Ann McElvoy:

What interests these two centre-Left writers is the degree of insulation that a private education brings. Evelyn Waugh put it with (public school) languor in Decline and Fall: “One goes through four or five years of perfect hell at an age when life is bound to be hell, anyway, and after that, the social system never lets one down.” […]

The article goes on to conclude:

At its best, Engines of Privilege reminds us that many arguments recur down the decades. Yet exclusive education is only superior as long as it does better than the other kind. The best London state schools now beat their private neighbours on admissions to top universities. More of that, better investment in the development of teachers and a consistent policy on improving schools are better solutions than the long-threatened clampdown on private schools. They would, as philosopher and headmistress Mary Warnock once put it, probably find yet another “ingenious dodge” to beat the rap anyway.

The Standard also has a review of the new collection of Auberon Waugh’s writings, A Scribbler in Soho. This is by Melanie McDonagh who describes the book, edited by Naim Attallah as:

…an odd book, neither an outright anthology nor biography nor memoir, but something of all three, in which [Attallah] describes in detail all the events of Waugh’s career with which he was involved, especially as the proprietor of the persistently loss-making Literary Review, which Waugh edited. There’s too much space given to libel actions but we do get lots of his pieces, which remain subversive, funny and often to the point. He couldn’t survive now, and that, you know, reflects badly on us.

Auberon at one time wrote book reviews for the Evening Standard of a quite high quality, but none of these is collected in this book so far as has been revealed in this or previous reviews.

 

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End-of the-Month Roundup

Posted on January 31, 2019 by Jeffrey Manley

–The Gale Group Publishing Company, which makes a speciality of marketing and distribution of digital historical archives, has posted on the internet several articles from its archive of The Listener magazine. One of these is a 1979 article by Graham Greene entitled “Remembering Evelyn Waugh” about his friendship with  Waugh and an appreciation of his work. This is attributed to BBC Radio 3 which suggests that it was read first by Greene over that outlet. It is an interesting and thoughtful essay and contains some heartfelt descriptions of Greene’s relations with Waugh, who he felt at the time was under-appreciated. This was only a few years before the broadcast on ITV of the serial dramatization of Brideshead Revisited turned things around.

–The Swindon Link has an article about the more recent film adaptation of Brideshead. This identifies the top five films that used Wiltshire as a location setting. It is surprising to find Brideshead among them:

Evelyn Waugh’s iconic 1945 novel was finally adapted for the big screen after a long and lengthy production process. Starring Emma Thompson and Matthew Goode in this classic story of love triangles, scandal, and debauchery among England’s upper classes, the film opened to rave reviews in 2008, despite failing to break even at the box office. Almost the entirety of the film was shot within Wiltshire, despite Castle Howard in North Yorkshire being used in exterior shots for Brideshead Castle.

–An article in Dialogo Chino, a “newsletter for the latest news & analysis on China, Latin America and the environment”, is entitled: “China extends its reach into Guyana”. This opens with a reference to Evelyn Waugh:

The Rupununi savannah of southern Guyana is one of the most biodiverse regions of South America, home to jaguars, Harpy eagles and the world’s largest ants. It is also one of the most remote. British writer Evelyn Waugh set the final scenes of his 1932 novel A Handful of Dust in the Guyanese grasslands when he needed an isolated location from which his protagonist had no hope of rescue or escape. With Chinese investment that isolation could soon be a thing of the past.

Chinese investment also followed Waugh’s footsteps in Abyssinia where among other things they recently rebuilt the railway that carried Waugh to Addis Ababa from Djibouti in the course of his travels. A better source for background information about the Rupununi region can be found in Waugh’s travel book Ninety-Two Days where he offers a detailed description of his visits to some Jesuit missions and farmers in that remote area which he used as the basis for the conclusion of his novel.

–A recent article in CityMetric also cites Waugh’s work. CityMetric is an internet publication started by the New Statesman “with the goal of creating an urbanism magazine site that would take complicated and technical ideas from the world of city planning, and make them accessible to a mainstream audience.” The article of interest to our readers related to tourism and how cities are responding to it. In the course of the article, the impact of travel writing is discussed:

In the 1970s, travel writer Paul Theroux wrote of the snobbery around travel, dating this attitude back to Evelyn Waugh’s When The Going Was Good in 1946, and to the writings of American botanist and geologist William T. Brigham. Brigham wrote in 1886 that: “Old travellers know how soon the individuality of a country is lost when once the tide of foreign travel is turned through its towns and by-ways.”

The online edition of the article is headed by the display of an anti-tourism demonstrator in Barcelona, one of the cities Waugh helped to popularize in his travel book Labels.

–The paperback edition of Ann Pasternak Slater’s book entitled Evelyn Waugh in the “Writers and their Work” series is now available from the publishers in both the UK (Liverpool University Press) and the USA (Oxford University Press). See earlier posts.

 

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Martin Stannard Lecture at Durham University Next Month (More)

Posted on January 29, 2019 by Jeffrey Manley

Durham University has posted more details about Martin Stannard’s lecture next month. The topic is Waugh’s visits to the USA in the late 1940s. Here’s a description from the Durham University website:

About the lecture

By 1947, the year of his first visit to America, Evelyn Waugh had wounded most of his friends. He had tried to bully John Betjeman and Lady Diana Cooper into Catholicism; he had condemned Olivia Plunket-Greene, the woman who had brought him to the Church, as a traitor to the faith; he had lampooned Cyril Connolly in mordant literary reviews. When, two years later, Nancy Mitford entertained him in Paris and he conscientiously insulted all her friends, she asked him why he needed to be so cruel. ‘You have no idea,’ he replied, ‘how much nastier I would be if I was not a Catholic. Without supernatural aid I would hardly be a human being.’ This much-quoted remark from Christopher Sykes’s biography is often set alongside another. Hilaire Belloc, after a visit from Waugh, described him as ‘possessed’. Waugh’s American experience, however, reveals a much more sympathetic character.

In 1944, after Waugh broke a leg while learning to parachute, the army gratefully allowed him extended leave, during which he wrote Brideshead Revisited (1945). Appearing with the Armistice, it transformed his career. In America, it was a Book-of-the-Month Club selection. At a time when most of his countrymen were suffering the austerities of the aftermath, Waugh became rich, and he had the Americans to thank for this. But he didn’t. In 1947, he travelled to Hollywood to negotiate the film rights for an additional $100,000. Waugh preferred to visit Forest Lawn and the pets’ cemetery to attending script conferences, so, although this trip resulted in no film, it did produce The Loved One (1948), an hilarious satire of the American Dream. Waugh’s agent advised him not to publish it in the US. Waugh ignored his advice, and the book rocketed into the best-seller list. His celebrity status had never been higher there. Two more American journeys, however, present us with a quite different personality. He believed that American Catholicism was likely to be the Church’s powerhouse in the post-war world, and he determined to do what he could to support it. A lecture tour was planned for January 1949. Before that, in November 1948, he went on a research trip to discuss the faith with the monks, Bishops and Professors. Less than a year after completing The Loved One, he was returning to the country his book had savaged in search of spiritual enlightenment.

Everywhere he went, he amused and baffled his hosts. He would not play the celebrity game. The great art of public presentation, he felt, was that people should never know what to make of you. A contract existed between writer and public. ‘The writer,’ he once wrote, ‘sweats to write well; the reader sweats to make dollars; writer and reader exchange books for dollars.’ That was the end of the matter. He did not seek intimacy with strangers. But this was not arrogance or hypocrisy. In fact, he was withdrawing from the world, in search of contrition, compassion and humility.

About the speaker

Martin Stannard is Emeritus Professor of Modern English Literature at the University of Leicester. He has published extensively on Evelyn Waugh, following The Critical Heritage (1984) with a biography in two volumes (1986 and 1992). His Norton edition of Ford Madox Ford’s The Good Soldier appeared in 1995 (revised 2011), and his biography of Muriel Spark in 2009. Currently he is Co-Executive Editor of OUP’s 43-volume The Complete Works of Evelyn Waugh, having edited Vile Bodies (2017) for this, and is researching a new biography of Ford. Prof. Stannard is a Fellow of the Royal Society of Literature and of the English Association.

About the Ushaw Lecture Series

The Ushaw Lecture Series celebrates the cultural and research significance of the remarkable bibliographical, archival and material-cultural collections at Ushaw, and the wider history of which they are expressions. The lectures cover music, art, drama, poetry and literature, architecture, material-culture, politics, science and theology.

The lecture is at Ushaw College on the evening of 12 February with drinks preceding the lecture. Details (including directions to the lecture site as well as free transport from Durham city center) are available here.

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