Evelyn Waugh, Brexiteer?

Posted on March 6, 2018 by Jeffrey Manley

In an article in the “pro-market” website Reaction, Alastair Benn considers why more artists do not support Britain’s exit from the EU. When he reviews where today’s writers come out on this subject, Evelyn Waugh’s name comes up:

Although it might be true that opposition to Brexit has become a kind of idée fixe for the present-day cultural policy establishment, these things come and go. Fashions change. Some of the greatest English writers of the last century, those who make up the recognised canon, whose books are never out of print, are hardly hostile to a conservative world view. Take one of my favourite writers: Evelyn Waugh, whose later work becomes obsessed with social worlds that may appear quite alien to modern life. But then again, his early work is hardly conservative at all – brilliant satires engaging with the modern themes of technology, social change and with a strong anti-establishment ethic. Great writers resist easy classification.

An earlier article on this same topic by Simon Head in the New York Review of Books’ daily online edition took a more aggressive view of Waugh’s likely position:

Boris Johnson leads the cabinet faction agitating for a hard Brexit, a “clean break” from the EU, but he now has a serious rival for leadership of the party’s nationalist wing in Jacob Rees-Mogg, a deeply Euroskeptic member of parliament who outshone Johnson at the recent conference in Manchester. In their different ways, Johnson and Rees-Mogg both evoke the image of late-imperial Britain to which the aging membership of the Conservative Party feels drawn. So what would the great social geographer of the period, Evelyn Waugh, have made of  them? He would surely have spotted Johnson as a phony in a trice: his combination of bombast and faux bonhomie, his opportunism, his hack writing and intellectual sloppiness. Johnson makes a perfect fit for a villainous journalist toiling away for Lord Copper in Scoop. Waugh would surely have approved, however, of Rees-Mogg’s catholic dogmatism and his ample progeny. In his later years, Waugh complained that the Conservative Party hadn’t put the clock back five minutes; Rees-Mogg is someone who wants to put the clock back sixty years, at least.

Finally, in another battle over conservatism (or more specifically, conservation), Waugh’s name comes up in connection with a dispute between two aging rock stars over conserving a historic house in the west Kensington neighborhood. This is Tower House designed by Victorian architect William Burges. It belongs to Jimmy Page, guitarist for Led Zeppelin. He opposes improvements to the house next door by Simon Head, who was once lead singer for Take That and wants to expand his basement to include such amenities as a swimming pool. An article in The Times invokes Waugh and his friend John Betjeman as previous defenders of Tower House:

Page, who lives in Tower House, a grade I listed property that was previously owned by the poet John Betjeman and the actor Richard Harris, wrote that “it seems reasonable to expect the council to dismiss any application for subterranean development on a site so near to such an important ‘heritage asset’ as the Tower House”. He noted that the house, which was designed by William Burges, was “one of the most historic buildings in the borough” and that vibrations from building work next door would put his house and garden wall at risk. …“I believe the house was one of the first Victorian buildings in the country to be listed and was saved by John Betjeman and Evelyn Waugh, who amongst others, campaigned against the threat of its demolition in the early sixties. Having protected the Tower House for over 40 years, I am now continuing the fight against a new threat to this precious and unique building.”

Page may somewhat overstate Waugh’s role in the preservation of Tower House. Betjeman was indeed for a short time its owner, having been left a two-year remainder on the lease by the previous owners in the hope that he would preserve the house by taking it over for his own use. According to A N Wilson, Betjeman felt he could not afford that burden, and the house was sold to actor Richard Harris in the hope that he would fulfill the owners’ wishes. Waugh comes into the story indirectly at best. Several years before he became owner of the house, the owners gave Betjeman a washstand from the house that had also been designed by Burges. When installation of this in Betjeman’s house proved impracticable, he made a gift of it to Evelyn Waugh. This then became the subject of a delusion in Waugh’s novel The Ordeal of Gilbert Pinfold. Waugh himself suffered similar delusions relating to what be believed was a piece he had remembered seeing that had gone missing when the washstand was delivered to his house. Whether Waugh was ever drawn into the later issue of the preservation of the house itself during Betjeman’s brief ownership is unclear.

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Update: Churchill’s Secret Affair

Posted on March 5, 2018 by Jeffrey Manley

Channel 4’s documentary Churchill’s Secret Affair broadcast last night differs in several important details from the account published in the Daily Mail last week. See previous post. Several experts contribute to the documentary. From our perspective the most important are UK academics Warren Dockter (University of Aberystwyth) and Richard Toye (University of Exeter), both of whom have written books on Churchill, and Judith Mackrell who has written on Doris Castlerosse (The Unfinished Palazzo). Also contributing are Catherine Delevigne, Doris’s niece, and historian Hugo Vickers.

The story begins with Dockter’s discovery of a 1985 tape in the Churchill College archive at Cambridge in which John “Jock” Colville, one of Churchill’s secretaries, mentions that, while Churchill was not particularly active sexually, he did have one brief affair with Doris Castlerosse. Dockter’s joint researches with Prof Toye track this to a 1933 visit by the  Churchill family (including wife and at least some children) to a villa in the South of France. This was called Château de l’Horizon and was owned not by Lord Beaverbrook, as is suggested by the Mail, but by an American actress by the name of Maxine Elliott. Doris,  who by then had already married and divorced Valentine Castlerosse, was also a guest. The next detail isn’t entirely clear but is important to our readers. Doris had an affair with Randolph Churchill before, not after Winston’s. C4 dates this only to the “early 1930s” so it may have been before or during the 1933 visit. Evelyn Waugh contributes to the story in his later report (Letters, p. 552) where he writes of the contretemps between Randolph and Valentine in a London restaurant that would probaby have occurred during this affair. Alas, Waugh’s contribution does not get mentioned in the documentary, and Randolph’s affair takes up only about 1 minute of the film.

Doris’s affair with Winston was more extensive than was suggested in the Mail story. Winston returned to the château by himself on four separate occasions beginning the following summer (1934). It was on the first of these that the affair began (not at the Hotel Ritz). It was also on these vists that Winston painted three portraits of Doris, one of which he gave her. He only painted one portrait of his wife Clementine, who it is also suggested on Colville’s evidence, may have herself had an affair with an art dealer Terence Philip while she was on a cruise without Winston in 1934. After Doris moves back to London in 1937 (apparently having been residing full time in the South of France) meetings are occasionally arranged in her Berkeley Square residence. According to Catherine Delevigne (based on information from her mother and her father, Dudley Delevigne, Doris’s brother) on these occasions the staff were temporarily dismissed so there was no one present except Doris and Winston. After Winston returned to the government and became more involved in events leading up to the war, the affair ended.

The story concludes with Doris’s decampment to Venice and then New York in 1939 where she never found anyone willing to pay her way and from whence she is rescued by Winston’s discrete intervention in 1942 facilitating her return to London. Lacking no more support in London than she had in New York, however, Doris died after overdosing on sleeping pills a few months after her return. The one-hour documentary is available for streaming on Channel 4’s internet service 40D. A UK internet connection is required. It seems likely, given the high quality and content of the film, that it will appear on US television in due course.

Meanwhile, more information has become available about the play Happy Warriors in which Waugh’s WWII mission to Yugoslavia with Randolph Churchill is dramatized:

A new play, ‘Happy Warriors’, written by 91-year old James Hugh Macdonald, makes its worldwide premiere Upstairs at the Gatehouse Theatre in Highgate from 28th March – 22nd April. WT Stage, the producers, wanted to buck the trend of young writers giving a veteran his chance to have his script come to life on stage!

Happy Warriors is set in a war zone and based on a true story. … Along with Randolph [Churchill] and Evelyn [Waugh], who are billeted in a small deserted farmhouse, is Zora Panic, a young, belligerent, university-educated partisan. Zora is far from thrilled when told by her guerrilla commander she must learn to be less arrogant ahead of joining her comrades in the battle against the German army. In addition, she was told that her employment in the menial position of cook/housekeeper to the two Englishmen must be endured. Zora takes out her indignation, frustration and anger on the two men. What could possibly go right?

 

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Weekend Roundup: French Connections

Posted on March 4, 2018 by Jeffrey Manley

In a Times review of  Nina Caplan’s new book The Wandering Vine: Wine, the Romans and Me, reviewer Michael Henderson includes this as his opening:

“O for a beaker full of the warm south!” Keats, who died in Rome, gave voice to a universal wish when he marvelled at the nightingale singing of summer in full-throated ease. Wine as consolation. Evelyn Waugh was hardly less clear when he described Charles Ryder’s dinner with the vulgar Rex Mottram in Paris. Draining a sapid Clos de Bèze, Ryder “rejoiced in the Burgundy. It seemed a reminder that the world was an older and better place than Rex knew, that mankind in its long passion had learned another wisdom than his.” Wine as civilisation.

The reference is of course from Waugh’s novel Brideshead Revisited; a formal citation is deemed unnecessary.

The same issue of the Times also contains a review of Agnes Poirier’s book Left Bank: Art, Passion and the Rebirth of Paris 1940-1950. This is by Laura Freeman who discusses the contribution to the subject by noted Francophile, Waugh’s friend Cyril Connolly, who never ceased to express his longings for things French throughout the run of his magazine Horizon:

After the Occupation ended Connolly complained of the “lassitude, brain fatigue, apathy and humdrummery of English writers” compared with a Paris that “blazed with intellectual vitality and confidence”. Evelyn Waugh, visiting the Horizon office, complained to Nancy Mitford: “Miss Sonia Brownell [Connolly’s editorial scout and later Mrs George Orwell] was working away with a dictionary translating some rot from the French.”

This quote is from Waugh’s letter to Mitford dated 10 October 1949 (NMEW, p. 149) in which he continues with the statement: “That paper [Horizon] is to end soon”, which it did. Waugh had done what he could to support the magazine’s continued existence by allowing Connolly to include the text of his novella The Loved One which took up the entire February 1948 issue. The only payment asked by Waugh was his yearly subscripton fee. Horizon’s last issue was a double: No. 120-121, dated December 1949-January 1950.

In what amounts to a hat trick plus one (or a “haul” in soccer) yet another Times book review (for a total of four in the 2 March 2018 edition–including the one discussed in the preceding post) contains a reference to Waugh:

All who are familiar with the prologue of Brideshead Revisited will instantly grasp what this book is about. It’s about those houses, like Brideshead, that were requisitioned by the War Office in 1939 and freely handed over by their owners, who had to move out or live in the bachelor wing for the duration. It’s Nissen huts on the lawn, Essex board nailed over the murals, locked drawing rooms, Van Dycks used as dartboards, men in uniform barking orders with their hot breath in the cold air, unheated dormitories and not nearly enough bathrooms. …

This is in a review by Ysenda Maxtone Graham of the book Our Uninvited Guests: The Secret Lives of Britain’s Country Houses 1939-1945 by Julie Summers.

Meanwhile, the Canadian magazine Maclean’s also cites Brideshead in an article by Tabatha Southey entitled “Why we should talk about masculinity more often”:

Mostly, I’m just confused when people complain about the recent “feminization” of education as the cause of cause of men not pursuing higher education. Were there chapters of Brideshead Revisited I missed where they suddenly stopped picnicking and punting and just spat and bludgeoned each other with sledgehammers for a spell? Certainly there was that one time that Boy Mulcaster and some others tried to throw Anthony Blanche into a fountain, but he jumped in himself, “struck some attitudes, until they turned about and walked sulkily home…” Brutal stuff, but they all had to have a sherry afterwards. The beloved teddy bear in Brideshead, Aloysius—the model for whom was Archibald Ormsby-Gore, Sir John Betjeman’s teddy—was perhaps part of the nuance we’ve been rejecting for our boys and men that they may just demand, in a manly way, to have back, thanks very much.

Finally, UK Channel 4 tonght at 10pm will air Churchill’s Secret Affair which also has a French connection, as previewed by Suzi Feay in the Financial Times:

…The sizzling Doris Castlerosse had racehorse legs and zero scruples. … Before marrying a besotted Lord Castlerosse, Doris was a “professional mistress” who “slept her way up the social ladder”, according to her biographer. She’s a figure straight out of Evelyn Waugh, partying on the Côte d’Azur at the racy Château de l’Horizon with Randolph Churchill and other socialites just before the war. She moved on from Randolph to his father, who promptly brandished his paintbrushes and got her to pose. The resulting portrait was far from racy, but times were different and two academics get very excited about what might have happened to Churchill’s reputation had the scandal not been hushed up. …

The preview in the Daily Mail had Winston passing her along to Randolph, and this was backed up by dates. (See previous post.) Perhaps the TV script will clarify this.

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Waugh’s Oxford Reviewed in Times; “The Scarlet Woman” Online

Posted on March 3, 2018 by Jeffrey Manley

The Times is the first paper to review the new book Evelyn Waugh’s Oxford to be published by the Bodleian Library later this month. The book is by Dr Barbara Cooke who is Co-Executive Editor of OUP’s Complete Works of Evelyn Waugh project. James Marriott is the reviewer and begins with a description of his own days as a student beginning in 2011 when the city was still populated with characters from Waugh’s novels. Here’s some of what he has to say about Dr Cooke’s book:

In Evelyn Waugh’s Oxford, Barbara Cooke, an academic at Loughborough University, gives a good rundown of his endless creative enthusiasms, which included writing, bookbinding and engraving. He also acted in a film, The Scarlet Woman, in which the Pope and the dean of Balliol College (played by Waugh) conspire to convert the English monarchy to Roman Catholicism. Amazingly, you can watch the whole camp thing on the website of the British Film Institute.

…In Cooke’s amiable trot round Oxford, the place is still very much Waugh’s “city of aquatint”… Readers new to the writer will get the impression that he was a high-spirited, bitchy, but ultimately good-natured chap. In fact, Waugh’s infamous nasty streak was well developed by the time he was an undergraduate. Cooke touches on Waugh’s persecution of his tutor, CRMF Cruttwell, but doesn’t hint at its insane extent. Waugh and Cruttwell never got on, but the older man hit the snobbish, insecure Waugh’s nuclear button when he called him “a silly suburban sod with an inferiority complex”… If Cooke gives the man an easier ride than he deserves, we can forgive her indulgence to the city. Everyone who has seen Oxford has fallen in love with it. If the university’s graduates eventually squirm at all that Brideshead nonsense, tourists deserve a chance at infatuation too. Evelyn Waugh’s Oxford is a decent guide for those longing to fall in love with the Brideshead dream for the first time.

Marriott gets one thing slightly wrong. Waugh did not exactly “flunk out” in 1924 as he puts it. He took his final exam in the term before he completed his residency (he started in Hilary term, January 1922) and passed but with a low third class grade. However, this poor result did cause the loss of his scholarship, and his father (Arthur Waugh) refused to pay the fees and expenses for Evelyn’s final term of residency that would have been required for a degree. This was due more to Evelyn’s extravagant expeditures than to disappointment with his degree results. As Dr Cooke explains in her book, Arthur Waugh also passed with a third but remained long enough to collect his degree. Under current university practice, Evelyn would have probably received his degree today as the residency requirements are normally waived for those who pass their final exams before their ninth term (unless of course Dean Cruttwell were still alive to withhold the waiver).

Thanks to James Marriott for citing the BFI’s posting of The Scarlet Woman. It can be watched on the BFIPlayer free of charge at this link. (A UK internet connection is required.) As is explained in Dr Cooke’s book, the film was made in and around the back garden of the Waugh family house on North End Road NW11 based on a script written by Evelyn shortly after he had taken his exams. It was directed by Evelyn’s Hertford College friend Terence Greenidge. As noted in a previous post, Dr Cooke will discuss her book at the Oxford Literary Festival on Sunday, 18 March at 10am in the Weston Library on Broad Street next to Blackwells. Click here for details.

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Henry Green, Enthusiasms, Tammy Faye, and Clarissa

Posted on March 2, 2018 by Jeffrey Manley

The attempted revival of Henry Green’s works and reputation marches ever onward. The latest contribution is an article by Dominic Green (no likely relationship since Henry’s family name was Yorke) in the New Criterion. Green makes the case that Yorke (to avoid confusion) was influenced heavily by cinematic dialogue and tracks the historic development of that genre against developments in Yorke’s own literary style. The article includes the now familiar cite to Evelyn Waugh’s defense of Yorke’s novel Living in a 1929 Vogue article but fails to note the deflation of Waugh’s enthusiasm for Yorke’s later work (at least as expressed in private communications). According to Green, Waugh was influenced by Yorke but only up to a point:

Waugh capitalized upon Yorke’s conversational effects, and nodded to Eliot too, in A Handful of Dust (1934). But the conversational fireworks were only one weapon in the Waugh arsenal, and the resemblance does not run deep. Yorke has wit and can be sexually knowing, but he lacks the eighteenth-century ebullience that drove Waugh to name a character Polly Cockpurse, to tack “The Man Who Liked Dickens” onto the manuscript, and then to cook up an alternative ending to accommodate serialization in an American magazine.

The Weekly Standard in an in-depth article by Martyn Wendell Jones considers the careers of Jim and Tammy Faye Bakker. religious evangelists in the USA who thrived in the 1970-80s until brought down by sex scandals. The article traces the strand of the Bakkers’ brand of evangelism back to movements in the 17th and 18th centuries discussed by Ronald Knox in his book Enthusiasm:

The American continent, wrote Monsignor Ronald Knox in 1950, “is the last refuge of the enthusiast.” Knox, a Catholic writer and friend of Evelyn Waugh’s, considered the 600-page study Enthusiasm: A Chapter in the History of Religion his life’s work. The primary emphasis in religious enthusiasm, he wrote, “lies on a direct personal access to the Author of our salvation, with little of intellectual background or of liturgical expression.” In both Catholic and Protestant variations, enthusiasm knocked established Christianity off the rails. This personal spirituality was often accompanied, Knox wrote, by “a conviction that the Second Coming of our Lord is shortly to be expected” and “ecstasy, under which heading I include a mass of abnormal phenomena, the by-products, it would seem, of prophecy.” Then, too, there were the tremors and shakes, the falling into trances, and the glossolalia—outbreaks of “unintelligible utterance” believed by the utterers to be a private means of direct communication with the Lord.

Waugh later declared Knox’s book “the greatest work of literary art of the century” (Books on Trial, October 1955; EAR. p. 477). Knox dedicated his book to Evelyn Waugh who after Knox’s death wrote his biography.

Waugh’s friend Clarissa Eden (née Churchill and now Lady Avon) is interviewed in Spear’s Magazine. Winston Churchill was her uncle and Randolph a first cousin. The interviewer asks her about her life before her marriage to Anthony Eden in 1952 and she replies:

…in May 1940, … Churchill became prime minister. The future Lady Avon was just 19, and just two years after she had ‘come out’, as one of the notable debutantes of her year presented at court with Deborah Mitford, later Duchess of Devonshire. That followed several years in Paris and Oxford, where she befriended Evelyn Waugh – ‘a good writer… But that was my world before I was married. I don’t think I ever saw him afterwards’ – Isaiah Berlin, Anthony Powell, Greta Garbo and many others.

She is too polite to recall Evelyn Waugh’s persecution of her (like him a Roman Catholic) for her marriage to Eden, who was divorced. Of course, so was Waugh when he married his second wife, but that didn’t bother him since he had obtained an annullment of his first marriage from the Roman Catholic hierarchy. This was not Waugh’s finest hour (Letters, pp. 378, 381-82).

Finally, the Daily Telegraph has published a list of what its staff reporters have selected as the greatest 100 novels of all time. This includes novels in languages other than English. How the selection was conducted is not explained but no author has more than one work listed (although in same cases multi-volume works are classified as one). Waugh’s 1938 novel Scoop appears on the list at Number 18 (the ranking or numbering is likewise unexplained):

Waugh based the hapless junior reporter hero of this journalistic farce on former Telegraph editor Bill Deedes.

Other novels by writers of Waugh’s generation include Dance to the Music of Time (#32), Brighton Rock (#16), 1984 (#21) Code of the Woosters (#15) and Mrs Dalloway (#9).

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Waugh as Biographer, Up to a Point

Posted on March 1, 2018 by Jeffrey Manley

In this week’s Spectator, the lead book review (“Biography is a thoroughly reprehensible genre”) is by Roger Lewis. In this, he describes a book by James Atlas entitled The Shadow in the Garden: A Biographer’s Tale. Atlas is a literary critic and biographer, having written on Saul Bellow and Delmore Schwartz. Lewis thinks most literary biographies are a waste of time and ruin the writer in the minds of both those who write and read them. But there are exceptions, and Evelyn Waugh falls into one of them:

The best biographers are artists themselves. Atlas has interesting digressions about Greene on Rochester, Evelyn Waugh on Campion, Powell on Aubrey. I’d add Anthony Burgess on Shakespeare, André Maurois on Shelley, Stefan Zweig on Mary Queen of Scots, Nabokov on Gogol and A.N. Wilson on Iris Murdoch and John Betjeman. There is a personal investment in these works; the imagination is operating.

Powell and Greene are mentioned as writers whose lives have been exhaustively written by their biographers: Norman Sherry in the case of Greene and, although not named, presumably Hilary Spurling in the case of Powell. Lewis offers no comment on Waugh’s biographers although they are conspicuous by their number: there are at least six that I can think of, most recently Philip Eade.

The Financial Times considers another phenomenon that can be a writer’s ruination. This is the celebrity speaking circuit and is described by Simon Kuper:

The best business nowadays is selling to the 1 per cent. A caste of pundits has accordingly arisen to supply them with thoughts, or at least talking points. These pundits make decent money themselves, especially on the speakers’ circuit, which is now the place where original thinkers go to die.

Kuper considers several examples, including writers of a successful political book on a specific topic who, like “Christopher Hitchens, prostituted his talent in the cause of the Iraq war.” Another example includes a mention of characters in an Evelyn Waugh novel:

You are a rightwing journalist. There aren’t many of those, so you are adopted by a rightwing press proprietor. You serve his empire and his friends, telling yourself that his cause is generally just, even if some of the details make you queasy. Reading Evelyn Waugh’s Scoop, you used to identify with the naive young journalist. Now you are the editor who is always telling the proprietor, “Up to a point, Lord Copper.”

In another Spectator article, Waugh is mentioned as one of several writers associated with a rare patch of wild land just north of Oxford. This is Otmoor and the article is written by Christopher Fletcher. Waugh is not one of the writer’s who describe or use the area as a setting in their books (as did Aldous Huxley in Crome Yellow and Lewis Carroll in Through the Looking Glass) but did frequent the area on excursions from Oxford:

Otmoor is encircled by seven villages whose church towers can confuse as much as aid navigation as perspectives shift. One is Beckley, where Evelyn Waugh drank to his third-class degree in the Abingdon Arms. It is now an excellent community pub — that rallying spirit again.

Finally, in Vogue’s online edition, a photo slide show by Karen Walker includes a shot of what looks like a mint condition copy of a 1951 Penguin edition of Waugh’s A Handful of Dust sitting next to a dish of Soufflé Suisse at the Wolseley restaurant.

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Greatest Writer of “Our” Generation ?

Posted on February 28, 2018 by Jeffrey Manley

Literary critic, novelist and publisher Dr Stoddard Martin has written a review of Philip Eade’s biography which he turns into an assessment of Evelyn Waugh’s career and legacy. This is entitled “Class Act” and appears in The Quarterly Review, an online literary  journal. Dr Martin (born in Philadelphia in 1948 and graduated from Stanford: Class of 1970) has lived in England for about 40 years. He has several books of criticism to his credit (mostly from the 1980s) and, according to the Library of Congress, 11 novels (all self-published by his Starhaven Press of La Jolla, California and written under the name of Chip Martin). He begins his article by describing an interview with “a literary editor of contemporary repute [who maintained] that ‘Brideshead is what we all want.’ She went on to posit that such nostalgia is what impelled Brexit.”  This takes place in the Academy Club on Lexington Street in Soho that Dr Martin explains “was not only founded by Bron Waugh but my home-away-from-home for a quarter century.” He goes on to trace the evolution  of his own assessment of Waugh and his works, beginning with his reading of The Loved One in the late 1960s. He was at first:

appalled at what [was taken] as unforgivably partial satire – indeed, malicious misrepresentation – of a culture that had feted the author when lured to L.A. by the lucre of a film prospect. Years passed, and further readings of that novella produced a deeper perception of Waugh’s purpose, as well as a belated sharing of what was hard to dispute in the general critical verdict: that Waugh as stylist stood above almost all…[He has made] his way to a predominance almost of his own fashioning, opportunistic yet solid and in the event prudent enough that such an empire as he created has not fallen, but flourished – carried on by his successors now to a point where a million pounds is being spent to publish in annotated, definitive, official edition every word he ever wrote.

After summarizing Eade’s biography, Dr Martin gets down to the question of where Waugh’s reputation stands today, and he seems to feel that he has become rather overrated. He thinks a better claim to canonical greatness can be made by:

…Graham Greene, who among English contemporaries must be the rival contender for title of great writer of the era. Greene’s books may seem shabby and sour when set against Waugh’s, in style quite inferior, yet in content perhaps they are clearer. It strikes me as telling that I am able to recall their purpose and plots better than those of many in Waugh’s oeuvre.

But Dr Martin does not stop there. He concludes his article with another suggestion:

It seems plausible that, if one is obliged to look back, playing the bubble games of ‘greatest writer’ and ‘desert island’, it would be to one who flourished in the Anglo-sphere just before the fall that the Waugh/Greene era was taking, presaging tendencies in both along with something more in range of inquiry and less in partisan fracture – Somerset Maugham. This is a provisional suggestion. But like many a ‘bloody awful yank’, not least one who’s plied the expatriate path for decades, it is hard not to admire the sensibility which fashioned The Razor’s Edge rather more than those which produced The Loved One or The Quiet American, however clever – if not to say accurate – those painfully satirical, counter-idealistic portraits may be. That said, it may be that looking back is the problem. However much some may wish it to be otherwise, that is not the direction ‘we’ are going.

Why the three writers cannot share “canonical greatness” seems not to have occurred to Dr Martin.

These excerpts and summaries do not do justice to his article. It is interesting, thought-provoking and enjoyable and should be read in full by anyone who agrees or disagrees with the opinions quoted above.

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Roundup: From Seven Deadly Sins to Four Brandy Alexanders

Posted on February 27, 2018 by Jeffrey Manley

–The Spanish newspaper El Mundo has a story about the career of novelist Ian Fleming, best known for his James Bond novels and films. This begins with a discussion of Fleming’s less well-known role as International Editor of The Sunday Times. During his tenure in that position, he put together a series of essays on the subject of the Seven Deadly Sins. According to El Mundo:

As he writes in the preface, the idea of ​​making a book about the seven deadly sins was [Fleming’s], and he himself chose and matched the outstanding writers–several of them his friends–with the sin they were to write about, giving rise to an intelligent, funny and insightful work. So the result remains: Angus Wilson (envy); Edith Sitwell (pride); Cyril Connolly (covetousness); Patrick Leigh Fermor (gluttony); Evelyn Waugh (sloth); Christopher Sykes (lust) and W. H. Auden (anger). Three of these writers (Sitwell, Waugh and Sykes) were Catholics.

These articles were first published as a book in 1962 by The Sunday Times, which had earlier published them in the newspaper. The first UK edition does not mention Ian Fleming’s role in their production and has an introduction by Raymond Mortimer. The US edition, by William Morrow, also published in 1962, has a “Special Foreword” written by Fleming, and it is probably to this that the El Mundo article refers. Waugh’s contribution on “Sloth” is available in Essays, Articles and Reviews and A Little Order.

–Several papers report the premiere USA performance of the Letters Live review at the Ace Hotel in Los Angeles. The Daily Mail prominently mentions the appearance of Stephen Fry, the first since he announced his cancer diagnosis late last year. According to the report by Sam Blewett in the Belfast Telegraph and other Irish papers: “Fry read a letter from Brideshead Revisited author Evelyn Waugh as well as one from Archibald Clark Kerr during his tenure as ambassador to the Soviet Union during the Second World War.” This may be the same Waugh letter (31 May 1942, Letters, p.161) read out in previous performances of this program by other actors. This was written to his wife from Scotland where he was stationed in the Army and describes the Army’s removal of a tree from the garden of a local aristocrat with disastrous unintended consequences. See previous posts.

–The New York Times in its “New & Noteworthy” book review column includes a recommendation of Waugh’s novel A Handful of Dust. This is written by its Sr Staff Opinion Editor, Honor Jones:

I can’t help it. I like books set in pleasant English country houses. But I also like books that shake me up. In Evelyn Waugh’s A HANDFUL OF DUST, I have found the perfect combination. Imagine you’re watching ‘Downton Abbey’ and Carson the butler, instead of serving the sherry, slits the throat of the family dog…

–British politician Dan Hannan writes in the Washington Examiner about the muddle of “conservatives” in the USA. This is illustrated in Hannan’s article by the recent invitation extended by the conservative association CPAC to Marion Maréchal-Le Pen to speak at a major gathering this Friday. Hannan, a British MEP and member of the Conservative Party, argues that the Republican Party and its supporters appear to be moving beyond traditional conservatism to what he calls the European “far right” model based on an authoritarian state structure. Ironically, he sees a convergence of extremists on the right and the left, citing Evelyn Waugh’s response to a previous example of this phenomenon:

…the reason that the rivalry between “far-right” statists and left-wing statists is so fierce is that they are competing for the same kind of voter. Theirs is, as Hayek used to say, a quarrel between brothers. Both sets of socialists — national socialists and Leninist socialists — regard classical liberals, not as heretics, but as infidels, damned beyond redemption. From time to time, the two sets of socialists have patched up their quarrels to stand together against Western free-market democracy. It happened in August 1939, when Hitler and Stalin signed their pact. The British writer Evelyn Waugh — a proper conservative if ever there was one — recorded the moment in one of his novels: “The enemy at last was plain in view, huge and hateful, all disguise cast off. It was the Modern Age in arms.” That, surely, is the proper conservative response to authoritarians of any stripe. They have done enough damage in Europe. No American should want to copy them.

Waugh’s statement appears in his novel Men at Arms and is Guy Crouchback’s reaction to the Nazi/Communist Non-Aggression Pact.

–A Dutch blogger (Ferdi de Lange on Jalta.nl) has posted a discussion of Alan Hollinghurst’s new novel The Sparsholt Affair. In this, he compares Hollinghurst’s previous novel The Stranger’s Child to Brideshead Revisited: “At the center is the somewhat famous poet Cecil Valence, in which Hollinghurst in five episodes – from 1913 to 2008 – after Valence is killed in the First World War– makes the link between the lifestyle of a diverse range of characters.” If such a comparison is to be made, however, the story in The Sparsholt Affair itself seems closer to Brideshead than The Stranger’s Child: “A young fit man who studies in Oxford at the beginning of the Second World War. Sparsholt is an endless source of inspiration and fascination for a group of well-to-do students who secretly all have an eye on him.” Indeed, Hollinghurst’s earlier novel The Line of Beauty, also discussed by the blogger, may come closer than either of these later ones: “A novel where we follow the young Nick Guest who settles in the family of a British Conservative MP and eventually steals the show by dancing with Margaret Thatcher.” Several reviewers, when it was published, noted the similarity. Perhaps it suffices to say that there is much in Hollinghurst’s novels that reminds one of Brideshead Revisited.

–Finally, in the online newsletter Quartzy, which is dedicated to “living well in the global economy,” there appears an article on cocktails that opens with this:

Cream is not an intuitive mixer for alcohol, as lime juice and ginger ale are. You might try a creamy cocktail as a kitschy throwback, or make one for a themed party, but how often do you crave what amounts to a boozy milkshake? At least that was my thinking, until I read about the history of the Brandy Alexander in 3-Ingredient Cocktails by Robert Simonson. According to Simonson, Tennessee Williams was known to drink one before his daily swim. Evelyn Waugh wrote about them in Brideshead Revisited, and Kingsley Amis counted them among his favorite drinks, so long as the standard amount of brandy was quadrupled…

It was, of course, Anthony Blanche in Book One, Chapter II of Waugh’s novel who was so ecstatic over the experience of a Brandy Alexander (or four):

At the George bar he ordered ‘Four Alexandra [sic] cocktails please,’ ranged them before him with a loud “Yum-yum’ which drew every eye, outraged, upon him. ‘I expect you would prefer sherry, but, my dear Charles, you are not going to have sherry. Isn’t this a delicious concoction? You don’t like it? Then, I will drink it for you. One, two, three, four, down the red lane they go. How the students stare!’…

Actor Nicholas Grace, playing Anthony Blanche in the 1981 TV film adaptation of the novel, made an absolute meal of this scene. It was one of the most memorable moments in a film that was overflowing with them.

Translations from Spanish and Dutch are by Google with a few minor edits.

 

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Naim Attallah Interviews Harold Acton

Posted on February 26, 2018 by Jeffrey Manley

Writer and publisher Naim Attallah has posted on his weblog what looks like the complete text of his interview of Harold Acton in 1990. This was only a few years before Acton’s death in 1994. Acton and Waugh were friends at Oxford and corresponded for many years afterwards. Waugh destroyed his first novel The Temple of Thatch after Acton criticized it. Whether or where this interview has ever been published previously is not stated. Attallah is the owner of Quartet Books and was an early investor in both the Literary Review and The Oldie so the interview may have first appeared in one of those journals. Here is an excerpt from the interview where Acton discusses his friendship with Evelyn Waugh :

Your friendship with Evelyn Waugh spanned many years. Did you admire him as a man and writer equally?

I admired his writing far more than I admired his character, but he was a delightful, warm-hearted, hot-tempered personality such as you rarely find today. He was a man of extreme views and a convert to Catholicism, and a passionate convert at that, which is also rather rare nowadays. He was a deeply religious person, but his gifts were not really in the most serious vein. His gifts were humorous and I think his best novels are the least serious. For instance, Decline and Fall, dedicated to myself, is still I think one of the most brilliant of English light novels. He got a little more serious towards the end, and he lost somehow the light touch, so rare in English literature. Not many people have that light touch. Evelyn Waugh was a master of prose as well; he wrote very good English. That’s another thing that is rare nowadays: good, sound, logical English. I wouldn’t say Waugh was depressing as a person. He was rather more depressed than depressing because he saw the way the world was going and it didn’t appeal to him at all. But he had a heart of gold and I was really very fond of him. I was best man at his first wedding, a marriage which went badly, alas. I’m afraid he married a rather superficial lady who flirted with others and he couldn’t stand it. He was very old-fashioned, expected his wife to be loyal and faithful to him. He couldn’t stand the strain of her going off on her own. He was a proud man and he was very loyal as a friend. We stayed friends till the day he died and he’s one of the few friends I’ve never quarrelled with. I’m also a friend of his son Bron. Towards the end of his life, Evelyn became a kind of recluse, except that he loved his family, and loved to be in the company of his devoted wife, surrounded by his children. He didn’t care to join literary societies, but liked to stand on his own. He was independent. There’s too much nowadays of congregating in these literary societies, of people blowing their own trumpets, but Evelyn was dignified about all of that.

It has been said that characters in Brideshead Revisited are based on your own character. Do you find the idea flattering or provoking?

I think it is very flattering, but I don’t recognize any character in Brideshead connected with myself. He’s taken little traits from me in one of the characters, certain physical traits so that people confuse me sometimes with that particular character, but I don’t think it was in his mind. A novelist has to take everything in his experience and use it. That’s why we respond. If we felt a novelist’s work was false, we wouldn’t admire it, unless his fiction were absolutely farcical and fantastic, and Evelyn’s is only farcical up to a certain degree. There is seriousness underlining all his fiction.

According to Auberon Waugh, Attallah was instrumental in hiring him as editor of Literary Review. They met through Auberon’s daughter Sophia who worked for Attallah at Quartet Books after coming down from Durham University.

UPDATE (7 March 2018): Sophia Waugh came down from Durham University (not Oxford as originally posted) “with a good degree in English” according to her father’s autobiography (p. 265).

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Armies of the Night; Writers on the Right

Posted on February 26, 2018 by Jeffrey Manley

The Hoover Institution at Stanford University has posted a 1968 TV interview of novelist Norman Mailer by William F Buckley, Jr. This was in Buckley’s Firing Line series which went out for many years on PBS. The subject of the interview was to be Mailer’s then recent book Armies of the Night, now considered by many to have been his best nonfiction work (if, indeed, it can properly be considered to fall into that category). The book was Mailer’s retelling of the story of his participation with other Vietnam War protestors, including Dwight MacDonald and Robert Lowell, in their attempt to occupy the Pentagon. As Buckley notes when introducing the subject: “The Pentagon won.” In the course of the interview, this exchange occurred:

WFB: “Oh, sure, I’m very anxious to discuss [Mr. Mailer’s latest book, Armies of the Night]… [which] I think everyone should read, because I think it’s an extremely interesting and enjoyable book, if that’s the right word for it.”

NM: “Well, I wish someone on the right wing would write a book that would be as good, because it would be a great help to us on the Left. I wanted to help the right wing understand-”

WFB: “You wouldn’t notice it if it were written.”

NM: “No, I would notice it. You know I’m a lover of literature.”

WFB: “Yes.”

NM: “I think Evelyn Waugh is a marvelous writer…. Unfortunately, he’s not an American.”

WFB: “Yeah. Unfortunately, he’s dead.”

NM: “That too.”

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