Another Gerhardie Revival

Posted on August 14, 2018 by Jeffrey Manley

According to an article by novelist Jonathan Coe in The Sunday Times, another attempt to revive the works of William Gerhardie is underway. There seems to be an ongoing competition between Gerhardie and Henry Green for who can be the most revived author from the interwar period. I have some evidence of a 1970s effort to produce a set of “revised definitive” editions. Gerhardie was still alive when this began and may have taken part in the revisions; Michael Holroyd wrote introductions. These were published in the USA by St Martin’s Press in handsome uniform editions which populated remainder shelves for serveral years thereafter. Some of these made it from there to my own shelves, but after starting 2 or 3, they all remained unread. A biography by Dido Davies was published in 1990 and was reviewed by John Bayley along with three of Gerhardie’s books in the London Review of Books. That review is collected in Bayley’s The Power of Delight.

Jonathan Coe is reviewing the latest reissuance of Gerhardie’s first novel Futility, originally published in 1922. He opens with this quote from Gerhardie’s autobiography, Memoirs of a Polyglot:

“Yesterday, at dinner, it suddenly occurred to me what a fine fellow I was. How modest I have been! How good! How unduly unassuming! Arnold Bennett once confided to me that it didn’t matter how you wrote: what mattered was whether you were a good fellow. How unerring that man’s instinct!”

Coe’s text then continues:

If you want to get the measure of what Gerhardie has to offer, I’m not sure that you need to read much more than that. The essence of his tone is there, and Gerhardie is all about tone. An affectation of conceit, done with a twinkle in the eye and a slightly arch mock-formality in the diction and the rhythms of the sentences…It can, in small doses, be enormously funny and engaging. This was the tone that prompted Edith Wharton to recommend Gerhardie’s first novel Futility to the reading public (“most of all for the laughter, the tears, the strong beat of life in it”) and Evelyn Waugh to declare, modestly and generously: “I have talent, but he has genius.”

Coe’s article in The Sunday Times also features that quote in its heading; the same quote also graces the front dustwrapper of the 1990 biography. Waugh was certainly an admirer of Gerhardie’s work and mentions him favorably in an essay on Firbank written in 1929. He also wrote him something of a fan letter in May 1949 relating to what appears to have been a radio talk about Waugh’s work given by Gerhardie:

Very many thanks for speaking about me & for sending me a copy of your address which I read with great interest. As no doubt you recognized I learned a great deal of my trade from your own novels. (Letters, p. 298)

When and where made Waugh made the quoted statement declaring Gerhardie’s genius was a mystery until reader Dave Lull came up with the answer. It actually comes from a letter written by Gerhardie to the TLS appearing in their 12 October 1967 edition (p. 961). It is headed “The Ordeal of Evelyn Waugh” and begins with Gerhardie’s discussion of the importance of anecdotal information in the retrieval of what “has been written and spoken about Evelyn Waugh.” After several rather obscure examples offered to support his point, Gerhardie presents this example of Waugh’s “Proustian snobbery”:

…Of the friends we had in common two women stood out by their beauty–the late Hazel Lavery, wife of the portrait painter, and Wanda Baillie-Hamilton, who on her deathbed recalled Webster’s “cover her face: mine eyes dazzle; she died young.” In the thirties Hazel volunteered to drive me and Evelyn to a house in Piccadilly once occupied by Byron, where Catherine D’Erlanger had stayed with her Paul Morand and the Prince (last but one) of Monaco. We picked up Evelyn at the house of the Lygon sisters (his spiritual home) and on our drive back Hazel remarked: “I should’ve thought you two boys would have made more of the Prince.” At this Evelyn expostulated: “But he’s a Frenchman ! Now had he been, let us say, the Duke of Gloucester, that would’ve been a vastly different matter.”

“Proust”, I observed. “might well have pressed that Monte Carlo thorn to his own long-suffering nightengale breast, with cancerous proliferations of his literary undulations and intermittences of a self-centered heart.”

“Without doubt.”

“But since you two boys place writers above rulers, I might tell you, William, what Evelyn said of you the other day.”

“What ?”

“Picking up a novel of yours, he said: ‘I’m envious of that man. I know I have great talent. But he has genius. I shall never write as well as he.'”

“Great talent!”, I exclaimed. “Evelyn ! What unutterable conceit!”

Cross, he turned on Hazel: “I didn’t say it to you. I said it to Wanda.”

“But I was there”,  she said.

“Wanda told me this herself “, I  appeased his feelings of betrayal by, I hardly realized, a double betrayal.”…

So according to Gerhardie, the phrase was uttered by Waugh to two women, both of whom, separately, repeated it to him. Gehardie closes his letter by quoting Waugh’s 1949 “fan” letter to him also quoted above.

To return to the matter at hand, the latest Gerhardie revival may have been given a somewhat fitful start at the turn of the century. According to Coe, Gerhardie is today probably :

…best known through the work of a novelist from a different generation: William Boyd, who used him as the model for Logan Mountstuart, the protagonist of Any Human Heart (2002). Boyd conceived the writer-hero of that epic and masterly novel as “a minor talent but one who, through the rackety, roller-coaster life he led, would be somehow exemplary of the human condition, would be a true man of the 20th century”.

Coe’s article goes on to describe the plot of Futility and discuss its place in Gerhardie’s oeuvre and then concludes with this:

Was Gerhardie’s oblivion really his due? That, certainly, would be too harsh a verdict; but Boyd’s assessment of him as “a minor talent” feels just. Nonetheless, his voice (reminiscent at times of PG Wodehouse, but a strongly politicised Wodehouse) is unique in English literature. You could argue that everyone should read one Gerhardie novel, at least, and Futility is probably as good as any.

UPDATE: The information about the source of Waugh’s quote was added after its source was provided by Dave Lull.

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Faringdon Auction Includes Waugh Portrait (Update)

Posted on August 13, 2018 by Jeffrey Manley

In an earlier post, we described a portrait of Evelyn Waugh as a child that was the subject of an auction sale. This included several items from the Faringdon Estate, former home of Lord Berners and his heir Robert Heber-Percy. We have now received comments from the buyer of the portrait, Peter Ellis, who operates a bookstore at 18 Cecil Court, London WC2. He has researched several points raised in our post relating to the portrait’s attribution and subject matter and has kindly drafted the results as a comment. Unfortunately, because original story was dated 4 April 2018, the receipt of the comment was delayed by the spam filters that block comments on posts more than 60 days old. We regret any inconvenience to Mr Ellis that may have been caused by this delay:

As the current owner of lot 19 I would like to take issue with several points raised by Mr Manley. I have examined Frederick Etchells’ handwriting on papers held at King’s College, Cambridge, and can confirm that it resembles in all respects that on the front of the picture in question. ‘T. Chesell’ is not a ‘code’ for Etchells, it is a straightforward anagram (no ‘perhaps’ about it). Mr Manley states, ‘It is not obvious, however, why the inscription on the front (including the identification of the subject of the portrait) is entitled to any greater credibility than that on the reverse’. Why, one wonders, should the inscription be entitled to any lesser credibility? The picture is not, strictly speaking, a ‘portrait’ (Etchells calls it a ‘rendering’). It is a caricature and, as such , should not be expected to resemble any particular photos of Waugh ‘as a child (or adult for that matter)’. I can see that any member of the Waugh Society might feel aggrieved that Waugh should be subjected to what is, undoubtedly, a pretty cruel depiction, but that is no reason to doubt the artist’s word on the matter. Finally, I should like to point out that the Bloomsbury art dealers Austin Desmond currently have in stock a painting by Etchells, not a caricature but unmistakably similar in execution to the one we are discussing.

“Lot 19” was described in the sale catalogue as:

Portrait of Evelyn Waugh as a child, wearing a pale blue coat inscribed ‘Unfinished Rendering of/Evelyn Waugh at a/youthful age/T.C./ T. Chesell (upper left and right corners); inscribed on the reverse; pencil, watercolour, bodycolour and chalk on card.

 

 

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Roundup: Orphans and Entrecote

Posted on August 13, 2018 by Jeffrey Manley

This week’s roundup relates mostly to books and book reviews:

–In reviewing the book Orphans: A History by Jeremy Seabrook in The Spectator, novelist Philip Hensher considers several eaxmples of how orphans have been treated in literature by various authors, including Evelyn Waugh:

Of course, frequently the figure of the orphan­ is used for heartbreaking ends: poor Eppie in George Eliot’s Silas Marner, or Jo in Charles Dickens’s Bleak House. But there is also the question of the briskly sensible orphan, unsentime­ntal about their fate. Mildred, in Barbara Pym’s Excellent Women, assures the lachrymose Julian, sighing over his fiancee’s condition: “Well, of course, a lot of people over 30 are orphans. I am myself. In fact I was an orpha­n in my twenties.” Other novelists take a sharply cynical view of the condition, such as with the appalling Connoll­y children in Evelyn Waugh’s Put Out More Flags, for instance. When, in Dickens’s Our Mutual Friend, it becomes known that the millionaire Boffins are searching for a suitable orphan for adoption, excitement breaks out…

Now that the state of being an orphan is relatively rare in the West, we have a tendency to assume novelists were preoccupied with orphan­s for abstract, narrative reasons. But of course orphans were much more common in ages of high mortality. What to do with them, and how institutions could fulfil the duty of care that ought to fall to parents, became questions of public debate from the 16th century onwards.

Whether the Connolly children were technically “orphans” is unclear. When he introduced them into the novel, Waugh wrote that they had “no credentials” and that “nothing was ever discovered about their parentage.” (POMF, Penguin, 1976, pp. 79-80). They were put onto the evacuation train by an “Auntie” with whom they had been living, who absconded from her former residence without leaving a trace as soon as the train had left the station.

–The New Criterion in its “Critic’s Notebook” column, reposts a 2008 review of the book by David Lebedoff, entitled The Same Man: George Orwell and Evelyn Waugh in Love and War. The review is by David Pryce-Jones who also edited the 1973 collection of essays Evelyn Waugh and His World. Lebedoff’s book is brief and thought-provoking and Pryce-Jones is provoked accordingly to write what is a very entertaining and informative review. It ends with this:

Lebedoff concludes by arguing that rejection of moral relativism brings the writers together as two of a kind. Their moral absolutes might be different, but they nonetheless had a common belief that there is such a thing as a moral right and a moral wrong. Lebedoff is on to something there. Orwell and Waugh both saw clearly that what was coming would be worse than what was now, whether it was to be the Airstrip One of 1984, or the philistine vacuity of Hooper. In either case, the future would owe nothing to the past. Fortunately the worst did not happen and Soviet Communism is no more, but little enough is left of England as they knew and appreciated it, and their legacy has the haunting echo of the Last Post.

It is odd that neither Lebedoff nor Pryce-Jones took the opportunity to compare Waugh’s own dystopian novella Love Among the Ruins with 1984 even though it was printed only a few years after Orwell’s book. Lebedoff’s book is still in print and both it and Pryce-Jones’ review are worth reading.

—Tablet, a US-based magazine of Jewish news, ideas and culture (not to be confused with the British magazine The Tablet, containing similarly broad-based subject matter from the Roman Catholic perspective) in a recent “Bookworm” column by Alexander Aciman recommends books to take to the beach. These are described as books “that you can pick up and put down midparagraph when someone calls your name, ones you can finish in a day but still leave you longing for more, ones with stunning clear prose that mimic the foggy pace of your brain after a day in the salty heat.” Among the three recommended is Brideshead Revisited by Evelyn Waugh:

This book wears beach-read camouflage. It has almost all the characteristics: an easy story and a nostalgic narrator, flashbacks to a simpler time, syrupy prose that is somehow clear even when it rambles on a bit. A lightness of touch. You can picture yourself reading it aloud to someone on a hammock. But it’s all a trap. Brideshead Revisited is actually one of the most sophisticated English books written since WWII.

If it’s almost impossible to produce any meaningful spoilers about Brideshead Revisited it’s because even under the pretext of plot (which unfolds over many years), it’s a book about nothing. Somewhere in this story of romance and friendship and the English countryside is a much deeper, more compelling story about yearning, and specifically in that a subdued, English fashion. …[I]t’s widely acknowledged to be a gay love story even though nothing explicit ever really happens between the two friends. It’s easy to confuse English restraint for repression. In reality, however, this kind of restraint in craft is so precise and so focused that the product is overwhelmingly sensual. Reading this book makes you feel the kind of ache that belongs only to dreams. You feel suspended in the gray, dewy air of an English country morning…

Other books recommended are Erica Jong’s Fear of Flying and Patricia Highsmith’s The Talented Mr Ripley.

–A weblog called MyDomaine.com has collected recommendations for books to read on long flights. This one includes a Waugh novel:

Half of my family lives in England. Whenever I visit them, I’m likely to re-read Brideshead Revisited by Evelyn Waugh or Excellent Women by Barbara Pym. … I do so because I am a chronic re-reader (you yourself are different from the last time you picked up the book, so why wouldn’t the book change as well?) and because there’s such humor, subtlety, and important social commentary in both books that end up serving as a refresher course on aspects of the culture I’m about to immerse myself in.

–The Daily Mail has an article about 4 writers taking nostalgic holidays. One of them is Daisy Waugh, daughter of Auberon, who recently went back to her family’s favorite holiday spot when she was a child:

It was my mother who discovered it. Directed to L’Entrecote in Toulouse by a distant French cousin, she took my older sister there in a carrycot. That was in 1962. My family has been going ever since.As the natives know (there’s a queue outside, seven days a week), this inexpensive, one-dish restaurant is the most delicious one in the world. My husband Peter and I recently returned to L’Entrecote for the first time in 21 years. Nothing had changed. Same yellow tablecloths, same tartan wallpaper, same brisk French service, same salade aux noix first course, same steak and chips with the same fameuse sauce secrete for main. The Parisian who opened the first L’Entrecote and created said sauce bequeathed its secrets to his children, who created near-identical chains…

The sauce is so exquisite that 50-odd years ago my parents used this restaurant as the fulcrum around which to search for a holiday house. They bought a ramshackle farmhouse a 40-minute drive away, and our trips to Toulouse, and L’Entrecote, three or four times each summer — to buy satchels for school, to celebrate exam results; any excuse, really — are a highlight of my childhood.

–Finally, The Sheen Center has announced an upcoming Great Books Series that may be of interest to our New York area readers. This series:

… will focus on three outstanding Catholic novels, beginning with Graham Greene’s masterpiece, The End of the Affair (1951), continuing with Evelyn Waugh’s classic, Brideshead Revisited (1945), and concluding with Walker Percy’s dystopian existential comedy, The Thanatos Syndrome(1987). The series will be taught by author and playwright James P. MacGuire. Jamie is the author of over ten books and two produced plays.

The Brideshead lecture is scheduled for 14 November at 7pm at The Sheen Center, 18 Bleeker Street, NY 10012. Tickets are available here.

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V S Naipaul (1932-2018) R.I.P.

Posted on August 12, 2018 by Jeffrey Manley

V S Naipaul, writer of fiction and non-fiction, mostly about third world countries or their natives displaced to other lands, has died in England at the age of 85. His last notable action was to win the Nobel Prize in 2001 but he has written nothing of any particular note since then. This may be due to some extent to the death in 1996 of his first wife (Patricia) who, according to his biographer, Patrick French, had been his editor and collaborator on much of his earlier works.

Waugh was never a friend or even acquaintance of Naipaul. As he did, however, in the case of many young writers in whom he recognized talent, Waugh helped boost Naipaul’s early career. This was in a 1962 review of Naipaul’s first book-length non-fiction entitled The Middle Passage. His earlier fiction had mostly been comic or satirical portrayals of West Indians. Waugh began his review with a recognition that Naipaul was himself:

an ‘East’ Indian Trinidadian with an exquisite mastery of the English language which should put to shame his English contemporaries. He has shown in his stories–particularly in The Suffrage of Elvira–that he is free of the delusion about independence and representative government for his native land. Humour and compassion are the qualities inevitable and most justly predicted of him. (EAR, p. 601)

I doubt that there are many who would agree that Waugh was correct in his prediction of the path Naipaul’s work would take. The early humour and compassion gave way to  unsympathetic and ever darker treatment of his third-world themes. In a few cases, he seemed to be returning to the career Waugh has predicted, most notably in the 1987 novel The Enigma of Arrival which was set, for a change, in rural England. But he failed to follow through on the success of that novel.

In reviewing The Middle Passage, Waugh describes Naipaul’s conflicted attempts to depict his native Trinidad but felt he “was happier when he reached the mainland.” Here he was writing about something of which Waugh had first hand knowledge–Dr Jagan’s Guyana. Naipaul retraced much of Waugh’s journey described in Ninety-Two Days. Waugh himself had  returned a few months earlier from a reprisal of his own 1930s trip, this time in the company of his daughter Margaret. He found that Naipaul wrote about Guyana with “the artist’s eye and ear and his observations are sharply discerning.” According to Waugh, when Naipaul reached the end of his journey in Jamaica, he was “everywhere conscious that the history of the Caribbean is replete with atrocities. He offers little hope (as can no honest trevaller in  these lands) that a new era of hope and plenty is about to open” (EAR, p. 602).

At least one of the obituaries also quotes a letter Waugh wrote to Nancy Mitford referring to Naipaul a few weeks after his review of Naipaul’s book appeared. This was dated 7 January 1963. The quote by Dwight Garner in the New York Times online edition includes only the sentence: “Oh to have a black face.” But this follows a rather more offensive sentence that the NYTimes, understandably, decided to paraphrase: “That clever nigger Naipaul has won another literary prize.” (Emphasis in original.) Dwight Garner comments in the NYTimes:

Naipaul was aware of this sort of racism. He once rewrote the racist slogan “Keep Britain White” by adding a comma: “Keep Britain, White.”

According to Charlotte Mosley’s editorial note (NMEW, p, 474, n. 2), Waugh’s mock envy refers to the 1963 Hawthornden Prize awarded to Naipaul. This is erroneous for two reasons. Waugh himself won the same prize in 1936 for Edmund Campion and would hardly be likely to feign envy of another writer who received that particular award. Moreover, Naipaul’s prize was awarded in 1964 for Mr Stone and the Knight’s Companion which had not even been published when Waugh wrote Nancy Mitford.

Some later articles have also mentioned the influence of Waugh’s writings on Naipaul. For example, a letter in the Stabroek News, a Guyana newspaper, said this:

The work of Naipaul will always be revered along the  work of great scholars: Tolstoy, Dickens and Conrad, etc.  However harsh his criticism, it should help a person or society grow and develop. … He wrote “Guyana has always been land of fantasy” based on the novel A Handful of Dust by Evelyn Waugh. This is the land of El Dorado that never fails to disappoint. Naipaul apart from being the third Nobel Laureate after Arthur Lewis and Derek Walcott has placed the Caribbean on the map of the world with his scholarship that touched every corner of the globe.

The Wall Street Journal in an obituary said something similar:

Mr Naipaul’s writing often blends menace and dark wit, a literary cocktail he discovered while a teenager in the work of Evelyn Waugh, the author of Decline and Fall, A Handful of Dust and other novels. Although hopelessness pervades Mr Biswas’s existence, Mr Naipaul also exposes the humor in his character’s misfortune.

UPDATE: The obituary in the New York Times by Dwight Garner added a reference to a letter written by Waugh after his review of Naipaul’s book. The last paragraph was added to put that reference into context.

UPDATE 2 (15 August 2018): References to Waugh’s influence on Naipaul were added from later stories. Thanks to readers for calling these to our attention.

 

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Another Waugh Literary Debut

Posted on August 11, 2018 by Jeffrey Manley

The Daily Mail in Richard Eden’s gossip column, reports the literary debut of another descendent of Evelyn Waugh:

…Panda La Terriere, his great-granddaughter, has become the talk of the Edinburgh Fringe festival with a play she’s written about someone addicted to the internet Still only 20, Panda is the daughter of film producer Peter La Terriere and author Daisy Waugh…A student at Bristol University, Panda says her play, Isle of Muck, set on a remote Scottish island, is a reflection on the influence of social media on young people. ‘It’s a comedy, it’s a love story, it’s whimsical and goofy,’ says Panda … ‘It’s set in a rehabilitation centre for internet addicts.’… [H]er grandfather, newspaper columnist Auberon Waugh, whose writing was a haven of political incorrectness, had an acute sense of the absurd. She tells me: ‘I’d like to think he’d be proud of me.’

Here’s a description of the play from the Edinburgh Fringe ticket site:

Basil abandons university to join his Uncle January, an ageing party boy, on the sparsely populated Isle of Muck. He finds that his uncle, motivated by an irrational distrust for technology and the financial pressure of his castle’s upkeep, has set up a rehabilitation centre for internet addicts. Together they succeed in running a dysfunctional place of refuge that awkwardly combines January’s decadence with Basil’s meagre understanding of – but colossal admiration for – new-age spiritualism. That is, until the arrival of Maisie: a confusing patient who inadvertently throws everything into disarray.

One wonders what is Basil’s surname? Reviewing the play in the University of Bristol’s student newspaper, Naomi Adedokun wrote:

Isle of Muck thrives in its weirdness; the dialogue is snappy and thoughtful, the characters are weirdly wonderful and the story meanders somewhere between. Filing into the **space, the audience are greeted by three actors already on-stage, not interacting but certainly not still. They wait, appearing bored and antsy, pacing the floor and looking around. We’re left to anticipate what they’re anticipating, and the tension grows until the scene starts….The play would massively benefit by being longer and fleshing out more characters. …Overall, it’s a very fun time. I don’t want to spoil anything about the dance sequence near the end of the play, but that alone is worth the price of admission. ..We’ve only just started to consider internet addiction a real thing, and it’s refreshing to see a piece tackle that. The rehab centre is isolated on a tiny Scottish island (the eponymous Muck) and run by a veritable madman. The characters are over-exaggerated and the humour is eccentric. Slowly but surely the reality of the play becomes the normalised reality of the audience. We learn to love these people and their craziness – possibly because we recognise a bit of ourselves in them.

Other reviews are available at edfringereview.com. (Thanks to David Lull for that link.) The play opened on 3 August, and remaining performances are scheduled for 1715pm on 11, 13-18 August at the venue Greenside, 1b Royal Terrace–Jade Studio. Tickets are available here,

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Scoop Hotel in Addis Reopens

Posted on August 10, 2018 by Jeffrey Manley

The South China Morning Post has a feature length article about the reopening of the  Taitu Hotel in Addis Ababa. This is written by Ian Gill who made a recent visit. His story opens with this:

The ghost of William Boot is back to haunt the resurrected Liberty Hotel. Addis Ababa’s Itegue Taitu Hotel, made famous as the Liberty in Scoop, Evelyn Waugh’s acclaimed 1938 satire about sensation-seeking foreign corres­pondents, has been restored following severe fire damage in early 2015, more than a century after it was built. “It is a heritage building and has been repaired close to its original form,” acting manager Woineshet “Winy” Teshome says, as I wallow in literary nostalgia over curried chicken in Ethiopia’s oldest hotel.

The story goes on to discuss the journalists described in Waugh’s novel who stayed in the hotel, at the time the best available. According to Gill:

Today, compared with its many-starred rivals, the Taitu is modest in facilities and price; Lonely Planet describes it as offering “a cash-strapped overlander a classy experience for very little coin”. Outside, the bustling, noisy Addis Ababa develops at unceasing pace – largely financed by billions of dollars from China – but the Taitu remains an oasis of quietude and a unique window on more than 100 years of drama.

After a summary of the Addis depicted in Waugh’s novel, the article concludes:

The Taitu Hotel, however, wears its past lightly. The portraits of Menelik II and Taitu Betul hanging from the walls add atmos­phere, but are not accompanied by much explanatory text. Missing is any memento of Waugh. His absence could perhaps be explained because Scoop was unflattering to Abyssinia and Waugh, going against the popular outcry against Mussolini’s attack, supported the colonialist adventure, believing it might bring order and civilisa­tion to a barbarous land. Another factor might be that Ethiopia was long denied access to Western writers under a communist regime.

Since the author’s day, the hotel has instituted one important change. Witness this passage from Scoop: “Corker and William [Boot] sat down to luncheon. The menu did not vary at the Liberty; sardines, beef and chicken for luncheon; soup, beef and chicken for dinner; hard, homogeneous cubes of beef, sometimes with Worcester Sauce, sometimes with tomato ketchup; fibrous spindles of chicken with grey-green dented peas.” Today, the menu offers a variety of Ethiopian and Western fare. William Boot would be pleased.

It is perhaps not so surprising that there is no memento of Waugh at the Taitu. In the trip described in Scoop, Waugh himself stayed in a smaller venue called the Deutches Haus. As detailed in an earlier post, Waugh also mentions both hotels in Waugh in Abyssinia where he calls what is now the Taitu, the “Splendide” (pp. 66-78). This may well be the source of the hotel (or at least its name) which provided the setting for many skits and much laughter in the Benny Hill Show; it was there called the “Hotel Sordide”.

The online version of the article is accompanied by several contemporary photos of the interior and exterior of the refurbished hotel. Mr Gill also reported on his visit in a letter to the Evelyn Waugh Studies. This appears along with some of the same photographs in No. 49.1 (Spring 2018).

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Memory of Wartime Piers Court

Posted on August 9, 2018 by Jeffrey Manley

A letter reposted from the magazine This England recalls WWII schooldays at Piers Court. The magazine appears quarterly, and this letter is in its Autumn 2018 issue. This is from an evacuee who now lives in America. The letter is reposted in PressReader, but the name of the writer is unavailable in that source:

…When I started to attend school I was evacuated with nuns and girls from the Dominican Convent in Chingford, Essex. The author Sir Evelyn Waugh [sic] loaned his country house, Piers Court in Gloucestershire, to the convent for the duration. This was a wonderful place to be during those bad times. We could sometimes hear gunfire in the distance, but we happily played in the grounds and in the woods.

My mother visited from time to time and my father when he was home on leave from the RAF. We went home, when possible, by train from Stroud to Paddington Station. As I walked along the London streets with my mother I saw the devastation caused by the bombing.Terrible times, but we were resilient and survived. Winston Churchill is still my hero.

Another school with a Waugh association is mentioned on the website Muddy Stilettos: The Urban Guide to the Countryside in its Hertfordshire edition. This is Heath Mount School which Waugh attended in his youth. At that time it was in Hampstead but as explained on the school’s website it has moved north since then:

By the early 1930s, Hampstead had expanded rapidly and the New End site no longer met the needs of the school. The search for a new site outside London started in 1933 and Headmaster Rev Arthur Wells secured the lease of a beautiful Georgian country mansion on the Woodhall estate in Hertfordshire, Heath Mount School’s new home. The school, together with its 32 boys from Hampstead, moved to its current home in January 1934.

The school website also provides a fairly detailed list of illustrious alumni and among them are:

Cecil Beaton and Evelyn Waugh who were pupils at the school from 1913 to 1916 and 1910-17 respectively. The main Reception room at Heath Mount is named the Beaton Room after this most talented photographer and designer. Evelyn Waugh refers to Heath Mount School in his diaries.

One would have thought that they might have named the school library for Waugh.

Finally, another bit of nostalgia attributed to Waugh opens a story appearing in the Otago Daily News. This is published in Dunedin, New Zealand, and is written by Joe Bennett who is anticipating the onset of springtime in that country:

EVELYN Waugh, best of all novelists, wrote that the smell of food cooking gave more pleasure than the meal itself. To him, the most wonderful of feasts would be a series of dishes brought from the kitchen, passed under the diner’s nose, held there a few moments, then taken away again.

Course could follow course – soup, meat, fish, cheese, dessert and back again, if you so wished, to soup, and all with whiffs of wine to match – without the diner ever being disappointed by satiety. He would merely be blessed with a constant sense of pleasure about to happen, the delightful tease of expectation. The thought applies not only to food. Sex, sport, parties: all are better in anticipation.

The food passage must refer to Vile Bodies (1965 ed., p. 64) where Adam is eating breakfast  This story is also reposted by PressReader.

UPDATE (9 August 2018): Thanks once again to reader Dave Lull who came up with the source for the reference in the Otago Daily News. This is now incorporated into the text.

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Another Waugh School Under Threat

Posted on August 6, 2018 by Jeffrey Manley

Last week, The Spectator reported the threat of closure faced by the Downside Abbey School. (See previous post). Now the Daily Mail has announced that another Waugh-related school is endangered, although there is no imminent threat to its continued existence. This is Lancing College. According to the Mail, Lancing:

… has gone to war with Ikea over its plans to build a huge store less than a mile from its famous Gothic spires. Lancing College said a giant furniture store would threaten the school’s future and put the ‘guardianship’ of its 550-acre estate at risk. Bursar Mark Milling claimed the increase in traffic caused by shoppers descending on the area would put parents off enrolling their children. The college, which was founded in 1849 and counts writer Evelyn Waugh among former pupils, is on a hill near Shoreham, West Sussex. It overlooks flat ground where developers want to build an Ikea store and 600 houses.

Although not entirely explained in the Mail’s story, the opening of the IKEA site will apparently require rerouting of traffic to/from the school. The Bursar:

… warned plans for a diversion for school visitors would lead to an annual 430,000-mile increase in local car journeys. Natural England and the Campaign to Protect Rural England are also opposing the plans because they involve building on flood plains and mud flats that are feeding and breeding grounds for rare wading birds. … Adur District Council’s planning committee voted to defer its decision because developers were unable to prove the project would enhance the environment. It said developers should meet Lancing College to discuss the proposal. Ikea’s Tim Farlam said: ‘We are disappointed with the decision as the proposal met all national and local planning guidelines … We will now discuss the decision with New Monks Farm Development to consider our next steps.’

The story does not explain why Lancing does not itself offer buy the parcel of land to preserve it or whether it could afford to do so.

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Roundup: From Australia to Europe via Mexico

Posted on August 4, 2018 by Jeffrey Manley

–A recent issue of The Australian has an essay by Paul Monk entitled “Western Civilisation: A primer for willing readers.” This includes a broad consideration of liberal arts educational experiences over the years. Among those discussed are the Oxford years of Edward Gibbon and Evelyn Waugh:

… The young Edward Gibbon was an omnivorous reader from childhood; a habit, he wrote in his autobiography, that he would not have exchanged “for the treasures of India”. But when, in 1752, aged 15, he was sent to Magdalen College, Oxford, he found the atmosphere stifling, describing the academics as “monks sunk in port and prejudice”. He was expelled for becoming a Catholic and was sent by his father to Lausanne to a private tutor, in 1753. The next five years of private tutoring were decisive in the formation of his mind and character. His stock of erudition was set in order by a plan of study. He mastered French and Latin and the rudiments of Greek. He ceased to be Catholic and even “English”, becoming instead a cosmopolitan European.

On his own grand tour, he vis­ited Rome in 1762, 24 years ahead of Goethe, and it was there that he discovered his vocation: writing the history of the decline and fall of the Roman Empire — out of an interest in its implications for the “European Republic” of his time. …. Evelyn Waugh’s Oxford, so memorably depicted in his novel Brideshead Revisited, was also stifling — 150 years after Gibbon. Waugh, too, left the university to pursue more creative ideals.

–On a related note, in the TLS for 20 July, the N B column (written that week by “A T”) has a section that begins with this:

Evelyn Waugh, as we know, left Oxford without a degree, but what about writers who had the opportunity to attend university but didn’t take it?

The first example is Gore Vidal who was accepted at Harvard but didn’t attend, serving in WWII instead. Also mentioned is Francoise Sagan who was admitted to the Sorbonne but dropped out after her first novel (Bonjour Tristesse) was published when she was 18.  There are also several other French writers mentioned who either failed or didn’t take the entrance exam (Baccalaureat): Emile Zola, Jean Cocteau, Andre Malraux and Apollinaire.

—Project MUSE has posted the abstract of an article by Alex Murray entitled “Decadence Revisited: Evelyn Waugh and the Afterlife of the 1890s.” It originally appeared in the academic journal Modernism/modernity for September 2015. The abstract (portions of which are quoted below) is taken from the opening pages of the article:

The young Evelyn Waugh’s first encounter with decadence came via his elder brother, Alec, in 1916: “He had a particular relish at that time for the English lyric poets of the nineties; their dying cadences were always the prelude to his departure.” Around the same time, Evelyn marked approvingly the lyrics of Oscar Wilde, Ernest Dowson, and Richard Le Gallienne in his copy of The Oxford Book of Victorian Verse (1912). This early encounter with the 1890s inaugurated a lifelong relationship that was marked by both influence and antagonism. The shifts and changes in Waugh’s position on the literature of decadence offer a salutary reminder that the relationship between modernism and its literary forebears is never simple or stable. Much scholarship on Waugh’s work tends to flatten out his attitude, reducing it to either an endorsement or a rejection of the nineties. … The cumulative effect can be to paint Waugh as a neodecadent in a way that smooths over the complexities of literary history. …

In this article I outline the relationship between Waugh and the 1890s as part of the broader problem of charting the afterlives of decadence….Waugh’s response was idiosyncratic, but it also reflected broader cultural currents: he was drawn to the modish neodecadence of Ronald Firbank in the early 1920s and then satirized and dismissed the increasing popularity of Wilde in the late 1920s, before developing a fond, even nostalgic attitude towards 1890s aestheticism in Put Out More Flags (1942) and Brideshead Revisited (1945). These shifts reflect the broader cultural climate of the first half of the twentieth century, during which writers, artists, and critics went from rejecting to embracing the 1890s, producing a history that can help us to understand the ways in which we read decadence today. …

–The website Five Books has posted an interview of author Hugh Thomson who discusses five books he recommends about Mexico. One of these is Waugh’s Robbery Under Law:

This is a good one. There was a big fashion in the 1930s for making the most of the trip by writing both a novel and a travel book about Mexico, as Greene and Lawrence did, but Waugh only wrote a travel book. It is little known and should be more widely read. It may be little known because of its awful title. The book has an odd genesis – it was a commission from the Pearson family who had oil holdings in Mexico that had been expropriated by the revolutionary government. They were so outraged that they paid Waugh to write a book about how arbitrary and unjust this was.

So, it’s an odd, sponsored book and while Waugh fulfils the brief, he also ranges far and wide across Mexico. He sees that its history is not as simple as ‘noble Indians and brutal Europeans’ and thinks Mexicans should celebrate their post-Columbian inheritance as much as their Aztec history. There is a fair amount of ‘dog eat dog’ in the Mexico Waugh describes – it was a tough place to live and work, and Waugh shows this with no sentimentality.

Among the others recommended are Malcolm Lowry’s Under the Volcano and B Traven’s The Treasure of the Sierra Madre, both novels.

–Finally, another review of the recent German translation of Remote People appears in the journal Junge Welt. The German title of the book’s slightly revised text is Expeditionen eines englischen Gentleman. Here’s an excerpt:

…After a long wait, came the coronation; none of the planned buildings finished in time. The workers had hardly received any wages, were slow and had to be forced. The imperial horses also went on strike, “reared up, climbed on top of one another, tore off the gilded front of the coach, and tore at the harness.” The brass band played the national anthem, and for a long time the psalm and prayer ceremony was held in the extinct church language Ge’ez. Other reporters had apparently missed these details, devoting themselves to wonderful parade, uniforms, and glamor, gold and silver….Evelyn Waugh’s unusual travelogue sometimes drifts into the satirical and captivates as an ingenious, contemporary observation of the reality of European imperialism.

The review is by Thomas Behlert and the translation is by Google, slightly edited. No attempt was made to conform quotes from the book into the original English version.

UPDATE (5 August 2018): After the original of the above was posted, a reader kindly sent a recent article from the TLS that was related to the essay in The Australian. This is now discussed in a newly added second roundup point.

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Delingpole on Sword of Honour

Posted on August 3, 2018 by Jeffrey Manley

Journalist and novelist James Delingpole has written a brief essay on Waugh’s Sword of Honour trilogy. This appeared in the May 2018 print edition of The Conservative magazine and has now been posted online. He declares the book to be

if not the 20th century’s greatest novel, it almost certainly qualifies as its greatest conservative novel. Besides the obvious reasons–the reverence for tradition and suspicion of the novel–there’s Waugh’s relentless, unfashionable, clear-eyed contempt for the way his hero’s contemporaries and allies keep deluding themselves as to the evils of Communism.

The article does not start well. Delingpole cites the usual canards about the deficiencies of Waugh’s military career and Lord Lovat’s estimation that he could not lead troops in combat because they would have shot him. He seems to have written the essay without the benefit of having read Donat Gallagher and Carlos Villar Flor’s recent study debunking these myths, In the Picture. He also asserts that Waugh wrote the book in three parts and over a period of 13 years “so as to make him more money.” It was much more complicated than that. He almost stopped after volume two and wrote other books in the same period, including The Ordeal of Gilbert Pinfold and his biography of Ronald Knox, as well as shorter works such as The Holy Places and Love Among the Ruins.

A brief and in itself quite amusing summary of the trilogy is provided; as described by Delingpole, it ranges:

… from broad comedy to sudden pathos; farce to tragedy; domesticity to Stuka attacks; fashionable London restaurants to dreary south coast training camps; laird’s dining halls to bombed-out Cretan villages; hallucinogenic sea voyages to grand Catholic funerals; literary pseuds, society hostesses, decent but stupid officers (poor “Fido” Hound), African witch-doctor abortionists, Jewish refugees
 All human life is here, all drawn with an engagement and fluency and breadth of sympathy quite remarkable from such a crashing snob.

Some of the characters and events are preposterous. But, according to Delingpole, the book’s “preposterousness”

serves a deeper moral purpose. It’s there to tell you that war–at least in Waugh’s view–is the bleakest of black comedies in which no good deed goes unpunished but where shits, incompetents, cowards and even traitors too often prosper…it comes across as  quite outrageously, cynical, bitter and perverse as a judgement on Britain’s finest hour.

Delingpole declares, however, that what most distinguishes the book is

the sublime technique. Elegant, economical, never a word out of place, ever adept with the mot juste, Waugh’s prose is simply matchless. (As too is his dialogue, so authentic, honed, perfectly formed that he almost never needs to add adverbs to explain how it is spoken–or even needs to tell us who is speaking.)

The article concludes with this:

When I first read it in my early 20s, I was disappointed that there was so little combat in it. Now that I am older, I realise that this is part of its strength: it’s not really about war at all but something much bigger–about life itself and our quest for meaning in a world which makes so little sense. I cannot recommend reading–or rereading–it highly enough.

Delingpole is, according to his Wikipedia entry, a self-described “satirist” and “libertarian conservative”. He has also written several novels, including two comic novels set in WWII: Coward on the Beach (2007) and Coward at the Bridge (2009), featuring “World War II’s answer to Flashman, only much more honorable—Dick’s a Coward by name but not by nature—our hero has the uncanny knack of being in just the right place at just the wrong time.” A third volume (Coward in the Woods) was announced in 2012 but has mysteriously failed to appear. His latest book is Watermelons: How the Environmentalists are Killing the Planet... It should also perhaps be mentioned that he believes that Anthropogenic Global Warming is a myth.

 

 

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