Fogs of Waugh

A new book on the history of London fogs has inspired a reference to Evelyn Waugh’s thoughts on the subject. The book is London Fog: The Biography to be published next month and reviewed in this week’s London Review of Books. (Full access requires a subscription.) Waugh addresses the subject of London fogs in Put Out More Flags. Ambrose Silk muses on their history in a conversation with Geoffrey Bentley, former publisher, lately in the employ of the Ministry of Information (Penguin, pp. 174-75; emphasis in original):

The decline of England, my dear Geoffrey…dates from the day we abandoned coal fuel…We used to live in a fog, the splendid, luminous, tawny fog of our early childhood…We designed a city which was meant to be seen in a fog. We had a foggy habit of life and a rich, obscure, choking literature. The great catch in the throat of English lyric poetry is just fog, my dear, on the vocal chords. And out of fog we could rule the world; we were the Voice of Sinai smiling through the clouds. Primitive peoples always choose a God who speaks from a cloud. Then, my dear Geoffrey,…some busybody invents electricity or oil fuel or whatever it is they use nowadays. The fog lifts, the world sees us as we are, and worse still, we see ourselves as we are. It was a carnival ball, my dear, which when the guests unmasked at midnight, was found to be composed entirely of impostors. Such a rumpus, my dear.

Although Ambrose was speaking in 1940-41, the pea soup fogs continued after the war (including a particularly deadly example in 1952 in which thousands died). They finally lifted after legislation in the early 1960s imposed additional restrictions that included banning any further use of coal for heating in central London. Since this more or less coincided with the last flicker of the British Empire, Ambrose seems to have got it right 20 years earlier.

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Evelyn Waugh and the Charvet Shirt

A recent issue of the New York Times style magazine, somewhat presumptuously called “T,” carries an article (“Not Just Any White Shirt”) describing shirts made by the Parisian fashion house Charvet. In his efforts to validate this company as the benchmark brand for men’s shirts, the author (James McAuley) cites Evelyn Waugh’s Brideshead Revisited:

Is it any wonder that Charvet is how Evelyn Waugh suggests the elegance of Sebastian Flyte in ‘‘Brideshead Revisited’’?

Having only recently reread that passage, I thought something didn’t sound right about this reference. It comes from the opening scene of the novel (following the prologue) where Sebastian arrives to summon Charles for his first visit to Brideshead Castle (Penguin, p. 24):

Sebastian entered–dove-grey flannel, white crepe de Chine, a Charvet tie, my tie as it happened, a pattern of postage stamps…

It was a Charvet tie, not a shirt, and it belonged to Charles, not Sebastian. By that time (after they had known each other for several months) Charles’ tastes in clothing may have been influenced by Sebastian, but there is nothing in particular to link Sebastian himself to the Charvet brand. Although the “white crepe de Chine” worn by Sebastian may refer to a shirt, the article says that Charvet’s shirts are best known for their cotton fabrics, and crepe de Chine is (according to Wikipedia) woven from silk, wool or synthetics.

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Independent Includes Waugh Novel in Weekend Reads

The Independent newspaper has published a list of its top 23 recommendations for a book to be read conveniently in a single weekend. It has included Waugh’s Brideshead Revisited in its selections. This seems odd, given that it is one of Waugh’s longer books and one that is more densely written (and is preferably read more slowly) than his others. The Loved One might have been a better choice. Others on the list from writers of Waugh’s generation are Fitzgerald’s The Great Gatsby and Steinbeck’s Of Mice and Men (both short) and Hemingway’s The Sun Also Rises (rather longer).

Meanwhile, Waugh’s May 1942 letter to his wife describing the embarrassing commando misadventure with tree removal has been included in a collection published in the U.K. and entitled More Letters of Note. This letter was read out by actor Jude Law to much comic effect at this year’s Hay Literary Festival and subsequently on a video read by actor Geoffrey Palmer. See earlier post.

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2001 Sword of Honour Starring Daniel Craig on Acorn TV

William Boyd’s 2001 television adaptation of [easyazon_link identifier=”B000GYI3D6″ locale=”US” tag=”theevewausoc-20″]Sword of Honour[/easyazon_link] is currently showing on Acorn TV (“[t]he best British TV streaming on demand”) in the United States and Canada. The two-episode show stars Daniel Craig as Guy Crouchback.

Earlier this year William Boyd (who’s also adapted [easyazon_link identifier=”B007EMRLPO” locale=”US” tag=”theevewausoc-20″]Scoop[/easyazon_link] for television) addressed the Evelyn Waugh conference at the University of Leicester on his writing process and the problems of adapting literary sources for film and television. An audio recording of his presentation is available here, and a video recording of the Q&A session which followed it is available here.

Acorn TV is a paid streaming service available on a multitude of devices including personal computers, Roku, some smart televisions and DVD players, iPad, and Apple TV. It costs $5 a month or $50 a year. Also currently showing on the service is the 1981 Granada Television adaptation of [easyazon_link identifier=”B005GP7ELW” locale=”US” tag=”theevewausoc-20″]Brideshead Revisited[/easyazon_link].

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2015 John H. Wilson Jr. Evelyn Waugh Undergraduate Essay Contest

Submissions are solicited for the (newly re-dedicated) John H. Wilson Jr. Evelyn Waugh Undergraduate Essay Contest.

Essays (normally limited to 20 pages or 5,000 words) are invited on any aspect of Waugh’s life or work and will be judged by the editorial board of Evelyn Waugh Studies. The winning essay will be published in the journal, and the author will receive a prize of $500. The submission deadline is December 31, 2015. Email submissions to (click to email) or (click to email).

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Mrs Stitch on Parking Etiquette

The Lady magazine in a recent installment of its Guide to Modern Manners series offers advice to its readers on parking. The column opens with this example of Julia Stitch’s answer to the parking problem:

Lady Diana Cooper, the grand socialite and beauty, was famous for her notes to parking attendants: ‘Dearest Warden, Front tooth broken off; look like 81-year-old pirate, so at dentist 19a. Very old – very lame – no meters.’ Evelyn Waugh depicted her in Scoop as Mrs Stitch, who avoided a traffic jam in London by driving her small car into an underground station, across the ticket hall and up the other side.

Mrs. Stitch may well wield considerable expertise in dealing with parking wardens, but the story of her driving through an underground station is not quite accurate. In Scoop, Chapter 2, Part 3, she drives into an underground gentlemen’s lavatory in Sloane Street “looking for a man I’ve been wanting to speak to for weeks and I thought I saw him popping in here.” And rather than driving out the other side, she and the car had to be extricated on the shoulders of six men for whom the police cleared a passage up the stairway.

The Lady goes on to suggest that while it may be appropriate to wrangle with the authorities, one has to park properly–no occupancy of two spaces or parking at an awkward angle.

 

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Daily Telegraph Lists Brideshead as a Top ITV Production

The Daily Telegraph last week marked the 60th anniversary of ITV by asking its critics to name their favorites among the network’s programs.  Granada TV’s 1981 production of Brideshead Revisited was ranked number 8:

This sumptuous adaptation of Evelyn Waugh’s novel was obsessively faithful to its source material and it showed. Leisurely and literary, this examination of the aristocratic Marchmain family seen through the eyes of Charles Ryder  …remains the benchmark for costume dramas.

Other ITV adaptations of written works ranked in the top places included The Naked Civil Servant (No. 6) and  Jewel in the Crown (No. 20).

In a subsequent article, one of the Telegraph’s critics (Jasper Rees), reviewed a recent BBC effort to adapt literary works to TV in a series of 90-minute productions. This has included Lady Chatterley’s Lover, An Inspector Calls, The Go-Between and concludes tonight with Cider With Rosie, all available to stream via UK internet connection on BBC iPlayer. Now that ITV’s Downton Abbey is coming to a close, Rees asks the TV producers for more such one-off period dramas. One candidate he mentions is Waugh’s Scoop, last appearing on TV in a 1987 adaptation by William Boyd. That was an ITV production and was, as I recall, quite good of its kind. (Odd that Rees did not apparently think to vote for it in the Telegraph’s poll of ITV’s top productions.) Why not just show it as a rerun? Its worth watching if only for the opportunity to see Denholm Elliott in the role of Mr. Salter and Michael Hordern as Uncle Theodore. The scenes at Boot Magna are particularly well done.

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Evelyn Waugh, Cigar Lover

USA Today recently ran a story about renewed interest in the cigar industry following restoration of relations between the U.S. and Cuba. The story looks forward to the day when Cuban cigars will again become routinely available to U.S. smokers. In an effort to explain the seemingly fanatical interest in this tobacco product, the paper concludes its article as follows:

After a long, stressful day of traveling, few things feel as good as lighting up. The caustic English writer Evelyn Waugh was uncommonly mellow when he observed, “The most futile and disastrous day seems well spent when it is reviewed through the blue, fragrant smoke of a Havana cigar.”

This statement is widely quoted and attributed to Waugh on the internet, but these quotes are not accompanied by a source reference. Waugh does write of the “sweet, rich smoke of a Havana cigar” in Brideshead Revisited (Penguin, pp. 114-15) but in that image the pleasant  aroma is mixed with the “smell of dirt and disinfectant” as Charles, Sebastian and Boy Mulcaster await release from a jail cell. As a source, that is, at best, “close, but no cigar.”  If anyone reading this knows the source of the quote in the USA Today article, will they please write in a comment in the space provided below.

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Hetton Abbey Cited in Gilbert Scott Article

Architectural historian and critic Gavin Stamp refers to Hetton Abbey in his recent Spectator review of a biography of George Gilbert Scott:

Briefing his illustrator for the jacket of A Handful of Dust (1934), Evelyn Waugh asked for a country house in ‘the worst possible 1860’. The result was a neoGothic extravaganza with a pinnacled entrance tower and spiky dormer windows — just the sort of thing that might have come from the drawing board of George Gilbert Scott, the most eminent architect of that time. Scott’s Kelham Hall in Nottinghamshire, its bright red brick distantly visible from the western side of the carriage as the train heads north from Newark, gives the picture perfectly.

The illustration was by J.D.M.Harvey and appeared on both the dust wrapper and frontispiece of Waugh’s Handful of Dust (1934) in the U.K. editions published by Chapman & Hall. It did not appear in the U.S. edition published that same year by Farrar and Rinehart. Waugh’s reference to the Victorian taste in which the drawing was executed is in a letter to Tom Driberg dated September 1934 (Letters, 88).

NOTE (25 September 2015): After the foregoing was written, an article by another architectural historian/ critic was posted that implicates Waugh’s own architectural tastes as well those of his contemporaries Graham Greene and George Orwell. This was “Dark city: the architectural imaginaries of Senate House” by Paul Dobraszczyk:

Both Graham Greene and, more famously, George Orwell, would seize on Senate House’s wartime function and extrapolate the building’s imaginative possibilities: whether as the dark heart of an international spying network in Greene’s novel The Ministry of Fear (1943), or the even darker heart of a future totalitarian dystopia in Orwell’s Nineteenth-Eighty-Four (1949). Likewise, in Evelyn Waugh’s wartime novel Put Out More Flags (1942), the building’s ‘gross mass of machinery’ protected ‘all the secrets of the services’.

The POMF quote is from the scene where Ambrose pays a visit to the Ministry Of Information, then occupying the Senate House (Ch. 1 Autumn, section 7, p. 73).

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Spectator Article Reprises the Perroquet

In this week’s Spectator, Bruce Anderson calls up scenes from Black Mischief to describe the ideal nightclub. This is the Perroquet in Debra Dowa:

I thought about Black Mischief while giving dinner to delightful young Alex in a more conventional club in London. Youth has many enviable aspects, including the pleasure of reading Evelyn Waugh for the first time. One of the few consolations of moving from brave new world to stoical older world is the realisation that Waugh re-reads: in my case, with Black Mischief, recently. Leaving Brideshead on one side, it is fun to argue about his comic novels: which deserves the blue riband? At present, I would vote for Black Mischief, but scenes from Decline and Fall, Scoop and Put Out More Flags effervesce and enchant. Thus effervescing and enchanted, I beamed at Alex, who told me that I must come to one of her clubs.

The visit to today’s nightclub (identified by the name Ton-Tons Macoute) does not go well by comparison with the Perroquet. The drinks are overpriced and over diluted and the clientele overpopulated with Russian oligarchs who are much less interesting than those who patronized the Perroquet:

Unlike Prince Fyodor, they could not be described as elegant. They are all accompanied by their equivalent of Madame Fifi. Although they neither realise it nor intend it, they are doing something which the world would have thought impossible: making a moral case for the Soviet Union.

After a night of club crawling, Anderson has a sobering (and self-deprecating) thought, also reminiscent  of Waugh’s novels:

At my club, inter alia, Alex and I had finished off a bottle of ’99 Yquem that another diner had abandoned: goodness knows why. She was thrilled; it was her first taste of Yquem. Although I enjoyed her enjoyment, I thought it needed at least another five years. I just hope that this is not crabbed age speaking.

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