Tax Day (USA) Roundup

–Writing in the Times newspaper, Johanna Thomas-Corr comments on Queen Camilla’s appearance in public wearing her wedding dress.  Thomas-Corr thinks that this is a good practice and one in which she herself has engaged. Here’s the conclusion:

…I often wonder if I should see what I can get for [my wedding dress] on Vinted or one of those many online sites that barely existed when I bought it second-hand. Would it fetch enough for a weekend away — or a new mattress? Or should I keep it hanging in my wardrobe ready to pass down to a niece or daughter-in-law? Another idea is to just liberate it, allow it a more fun fate. I’m inspired by a comment in Evelyn Waugh’s letters in which he describes how in the 1960s, his daughter Margaret got married in a dress of her great-grandmother’s “out of the acting cupboard, used in countless charades”.

Why not, then, throw it in a family dressing-up box? Perhaps one of my male descendants can squeeze into it for some sport? I envisage a glorious afterlife for my wedding dress in which it lives as fully and undemurely as I have.

Tatler magazine devotes a substantial part of its latest issue to the Mitford family, several of whom were close friends of Evelyn Waugh. Here is their description of the magazine’s display of Mitfordiana:

‘If one can’t be happy,’ Nancy Mitford once wrote, ‘one must be amused,’ And how better to beat the blues when life gets dulling than sitting down with a copy of Tatler? Nancy herself would certainly approve: the May issue is full of more Mitfords than the Black Cat Club itself. Cover star Bessie Carter may not actually be part of the family dynasty herself – though with parents like Imelda Staunton and Jim Carter, she’s close to British theatre royalty – but she tells Tatler just how she transformed into the Pursuit of Love author for the upcoming Mitford biopic Outrageous. …

And while the Outrageous days of Nancy, Diana, Unity, Deborah, Pamela, and Jessica may be behind us, their legacy lives on in the hotspots of Britain’s new Bright Young Things. Just ask Lady Gina Hope, who has followed in the footsteps of Nancy (as well as her own grandmother, Lady De La Warr) by selling books to the cognoscenti at the storied Heywood Hill bookshop.

In the Tatler May issue, she takes readers behind the scenes at the shop that Cecil Beaton and Evelyn Waugh once stalked – and where Nancy’s ghost might still have a thing or two to say to slacking shelf stackers. With the shop now owned by Nicky Dunne, son-in-law of Nancy Mitford’s nephew, Stoker Cavendish, 12th of Devonshire, today’s customers are just as discerning: A Second World War biography with ‘only planes, no boats’?…

The Last Mitford: on the anniversary of her birth, discover the magical world of Deborah, Dowager Duchess of Devonshire in one of her final ever interviews. Revisit one of the final ever interviews of Deborah, Dowager Duchess of Devonshire, published in the March 2010 issue of Tatler

–The Financial Times has a story by Charles Spencer about the origin and recently renewed interest in country house “attic sales”.  After describing the experience of such a recent sale at Holkam Hall,  the story continues with a description of one held several years ago at Castle Howard and concludes with this:

…James Miller, for 25 years in charge of Sotheby’s attic sales, says: “[The success of such sales] didn’t go unnoticed by those with historic houses who had lots of bog-standard stuff knocking about.” Indeed, when, in 1991, Miller was asked by the owners of Castle Howard to select one of their pictures for disposal, he recommended an attic sale instead.

It was all cleverly curated. Castle Howard had achieved fame as the setting for TV series Brideshead Revisited, based on the Evelyn Waugh novel. Aloysius, a lead character’s teddy bear, became the motif of the sale, and the recent appetite for aristocratic Englishness — identified and commercialised by Ralph Lauren — was deployed by Sotheby’s marketing department.

The behind-the-scenes reality of the Castle Howard attic sale was rather less refined; some lots were hoicked out of their castle cubbyholes at the last minute. Miller remembers how “the ceramics came out last, were shoved into an industrial washing machine, then passed down a line of my assistants, some wielding a hairdryer, others a glue gun”, before being presented for sale. The key to successful sales was found to be keeping estimates reasonable. …

Britain has … moved on from the Brideshead days, when ancestral mansions were viewed as bastions of a distant but still relevant past. Now, many of the great historic houses have little to sell: their attics have long been cleared out.

Here’s a link to the full story.

–Finally, The Spectator has an article by Ameer Kotecha exploring whether there has been a return of the “Young Fogey”. The article is headed by a photo from the 1981 Granada TV adaptation of Brideshead Revisited. The story opens with a discussion of the origin of the Young Fogey concept:

…The term Young Fogey was popularised by Alan Watkins in a Spectator diary in 1984. Attempting to put his finger on this curious breed that he encountered at the Spectator offices and among most of his friends, he mused that it was a conservative type defined by his politics (‘libertarian but not liberal’), but also by his aesthetic and interests:

“He is a scholar of Evelyn Waugh. He tends to be coolly religious, either RC or C of E. He dislikes modern architecture. He makes a great fuss about the old Prayer Book, grammar, syntax and punctuation. He laments the difficulty of purchasing good bread, Cheddar cheese, kippers and sausages – though not beer, because the cause of good beer has been taken over by boring men with beards from the Campaign for Real Ale. He enjoys walking and travelling by train. He thinks the Times is not what it was and prefers the Daily Telegraph.”

So does he exist today? Young men’s drift to the political right is well-documented. And that social and cultural conservatism is cultivating what has been described as a ‘right-wing retro revivalism’…

The story continues with an exploration of the characteristics of the renewed variety, but there is no reference to their interest in Evelyn Waugh novels or those of any other writer. Their reading material seems to consist of magazines in which they are likely to find discussions of examples of contemporary Fogeydom. A copy of the article is available here.

 

Share
Posted in Adaptations, Auctions, Brideshead Revisited, Letters, Newspapers | Tagged , , , , | Comments Off on Tax Day (USA) Roundup

Evelyn Waugh, d. 10 April 1966, R.I.P.

The Times newspaper in its regular  “On This Day” column includes this memory of Evelyn Waugh’s death along with a photo of Waugh in a tweed jacket, holding onto a picket fence in one hand and a cigar in the other:

…[I]n 1966 Evelyn Waugh, the author of Decline and Fall (1928), A Handful of Dust (1934) and Brideshead Revisited (1945), died aged 62, after attending a Latin Mass, a liturgy close to his heart.

Here’s a link.

Share
Posted in Anniversaries, Newspapers | Tagged | Comments Off on Evelyn Waugh, d. 10 April 1966, R.I.P.

Roundup: Single-Sex Schools, The Mitfords, and Tales from Amazonia

–In last week’s Sunday Telegraph, Rowan Pelling had an article entitled “When single-sex schools die, will we all be poorer?” Here is an extract:

…I can’t help wondering how the shelves of children will look in 20 years after all the upheavals in the private education sector. Surely the subject of single-sex boarding schools will be firmly relegated to the realms of fantasy, if it informs literature at all.

This week The Telegraph revealed that Labour’s imposition of VAT on school fees has had a particularly brutal effect on single-sex independent schools, which are closing or going co-ed at a rate of knots. Once boys public schools littered the land, including many ropey ones (think of Evelyn Waugh’s Pennyfeather in Decline and Fall, teaching at Llanabba Castle School). Now there are only four all-boys boarding schools left in the UK: Eton, Harrow, Radley and Tonbridge. Meanwhile, all-girls establishments are racing to take boys, despite studies showing girls do best when educated separately.

Not only will children’s shelves be changed by the upheaval, adult literature will be transformed too. So many books I’ve loved unlock British history and our national temperament – in particular our stiff upper lip and fortitude – by taking an unsentimental look at boarding school life. Jane Eyre wouldn’t linger long in the imagination had she not triumphed over the hideous deprivations she endured at Lowood School. Logan Mountstuart in William Boyd’s Any Human Heart has a life underpinned by the friendships and rivalries he establishes at public school.

More chilling is Sebastian Faulks’ fine novel Engleby, where the working-class anti-hero is at an “ancient university” after winning a scholarship to Chatfield, a public school for the sons of naval officers. During his schooldays he was hideously bullied and called “Toilet Engleby” for the heinous crime of not saying “lavatory”, like his posher classmates.

If you think that sounds off-putting, then I can only say that literary memoirs like Charles Spencer’s A Very Private Education and Antonia White’s Frost in May are darker still. But they’re also beautifully written, salutary reminders that a late 20th-century revolution in the field of child psychology served to revolutionise private education, introducing the previously alien concept of well-being.

Not all boarding-school lit is grim.

Look at James Hilton’s Goodbye, Mr Chips, a tear-jerking love letter to the finest teachers, while many women would kill to take refuge from modern life at Angela Brazil’s St Chad’s. The sad fact is these time-honoured avenues of escapism will slowly disappear, along with the schools themselves. Future generations, schooled by AI, will never know the worlds of nuance summoned by the phrase “chiz-chiz”. It will all be another country…

This week’s edition of The Sunday Telegraph has an article by Felicity Day entitled “Five literary houses that have been lost to history”. One of those is Plas Dulas in Wales which she notes had been visited many times by Waugh when he was teaching in a single-sex school nearby (or possibly in the house itself), as mentioned above and described in Decline and Fall. According to the Telegraph:

The author visited and dined in the house on many occasions during the six months he spend in Llanddulas in 1925 when he was teaching at the nearby Arnold House school. It is thought that it was an inspiration for Llanabba Castle, home for the boy’s school where hapless Paul Pennyfeather is employed after his expulsion from Oxford in 1928’s Decline and Fall. Waugh may have even written parts of the novel at Plas Dulas itself.

More details on this are available in a previous post.  The Telegraph article posted in Yahoo Entertainment is dated Sat, April 5, 2025 at 11:15AM so may have appeared in that day’s edition of the Daily Telegraph or the next day’s edition of the Sunday Telegraph or a later issue.

The Tatler has an article by Ben Jureidini about filming of the Downton Abbey grand finale in the country house known as Highclere Castle in Hampshire. Here are the opening paragraphs:

When writer Evelyn Waugh arrived in Georgetown, British Guyana, he was probably in need of a break. The journey overland had been exhausting, and the recently divorced writer was probably still languishing in the throes of unrequited love for socialite Teresa Jungman. This 700-mile psychomachia in the Amazonian rainforest would go on to inspire A Handful of Dust, one of Waugh’s most sinister novels. Clearly, though, between scorpion-ridden mattress, soporific rum swizzles and vampire bats, Waugh found himself in suitable comfort to employ one of his most exclusive of adjectives. ‘Darling Blondy and Poll,’ he wrote in a letter to Lady Mary Lygon, the niece of the Duke of Westminster on whom Waugh would base Julia Flyte in Brideshead Revisited, ‘I am back in Georgetown and all the world is Highclere.’

So enamoured by Highclere Castle was this most caustic of high-society cartographers that Waugh would employ the name of the seat of the Earls of Carnarvon to describe any country house or weekend of partying that he deemed to be sufficiently luxurious. Almost a century later, its Jacobean towers and Capability Brown gardens attract thousands of visitors, who make the pilgrimage from climes as far flung as Tennessee to spend a day at the ‘real Downton Abbey’…

A branch of the family of Waugh’s second wife Laura Herbert lived at Highclere, but I have never seen any reference to Waugh’s having visited there.  If anyone knows of such a visit, please send a comment.

The Tatler also has an article anticipating the release of a new dramatic TV series based on the Mitford sisters. This is by Clara Strunck. Here are some excerpts from the article:

New drama Outrageous will delve into the lives of the Mitford sisters, promising to ‘bring the full, uncensored story’ of the family’s scandalous exploits to life, according to the show description. The series – which will be based on Mary S. Lovell’s biography, The Mitford Girls – features Tatler cover star Bessie Carter (best known for her role as Prudence Featherington in Bridgerton) as the much-loved author, Nancy Mitford; other cast members include Anna Chancellor as the Mitfords’ mother.

The article goes on to offer photos and brief biographies of each sister.  Waugh was a close friend of Nancy and also knew Diana and Deborah quite well.  His friendship with Diana is mentioned:

Earning plenty of column inches for her political affiliations, Diana made a name for herself not just as an author and reviewer (at one point, she even contributed to Tatler and Evelyn Waugh’s famous novel, Vile Bodies, is dedicated to her) but for her controversial marriages. Although she initially wed Bryan Guinness, heir to the barony of Moyne, the partnership ended in divorce as Diana was pursuing a relationship with Oswald Mosley, leader of the British Union of Fascists.

In 1936, she married Mosley at the home of Joseph Goebbels, with Adolf Hitler as a guest of honour. Her choice of husband strained relationships with her family, particularly Diana’s younger sister Jessica, who became permanently estranged from the couple in the later 1930s. Nancy’s novel, Wigs on the Green, satirised Mosley and his beliefs and, after it was published in 1935, relations between the sisters were even more frosty…

They might have mentioned that Waugh dedicated both Vile Bodies and his travel book Labels to Diana and her husband, while his novella The Loved One was dedicated to Nancy.

–Finally, a TV review in The Sunday Times by Rod Liddle finds a BBC TV series that had an ending reminiscent of a Waugh novel:

… There were plenty of laughs to be had on the box this week if you were prepared to look for them — for a start, Tribe (BBC2), which had me howling with mirth. The format is simple. Take a simpering, endlessly credulous amateur anthropologist and shove him somewhere really remote — among a tribe of Lost People Who Have Never Encountered Civilisation, say — and see how he gets on. It was a scream.

The dupe was a wide-eyed Bruce Parry who, 20 years after his adventures in the first series, was deposited among the Waimaha (who hate outsiders) in the Amazonian rainforests of Colombia. His task was to be allowed to take part in the tribe’s “magical” ceremony, where they dance around a bit and get blitzed out of their skulls on yagĂ©, a hallucinogenic plant extract. […]

It was a neat conceit for a comedy, unveiling the epic condescension that lies at the heart of these non-judgmental liberals. It seems to have been based on the final chapters of Evelyn Waugh’s novel A Handful of Dust, in which poor Tony Last ends up marooned in the Amazon. One can only hope that at some point Parry is captured by a madman and forced to read aloud the entire works of Dickens. It would be a brilliant ending 
 I think next week’s episode is set in Sheerness.

UPDATE: 8 April 2025 relating to Telegraph article re Plas Dulas.

Share
Posted in A Handful of Dust, Adaptations, Decline and Fall, Labels, Newspapers, The Loved One, Vile Bodies | Tagged , , , , | Comments Off on Roundup: Single-Sex Schools, The Mitfords, and Tales from Amazonia

End of Wintertime (UK) Roundup

–A review by Dylan Neri in The Spectator about a book entitled Carbon: The Book of Life by Paul Hawken opens with this:

There is a scene in Evelyn Waugh’s The Loved One in which a magazine’s advice columnist ‘the Guru Brahmin’ (in fact ‘two gloomy men and a bright young secretary’) receives yet another letter from a compulsive nail-biter: ‘What did we advise her last time?’ Mr Slump, the chain-smoking drunk, asks. ‘Meditation on the Beautiful.’ ‘Well, tell her to go on meditating.’

The opening of Paul Hawken’s Carbon gives the impression that it was dictated by the gloomy Mr Slump in response to a climate activist asking what he should think about the destruction of the planet. Tell him that ‘to better understand the riddles and luminosity of life’ he must ‘go far upstream, and look at the flow of life through the lens of carbon’. (That is, to understand the world and how it works, look at something almost completely abstract.) Or he must remember that carbon is ‘the narrator of lives born and lost, futures feared and imagined
 The flow of carbon is a story that may allow us to escape the labyrinth of anxiety, ignorance and fear the world bequeaths’.

It is clear then from the beginning that this is not to be the intriguing biography of carbon (‘the most misunderstood yet versatile element on the planet’) that the title suggests, grounded in science and research. In fact, it is not really a book about science at all. It is a series of essentially self-contained essays on the theme of the oneness of life, with all the predictable references to ‘other ways of knowing’ and the ‘ancient teachings’ of ‘Hindu or Buddhist cosmologies’…

The Spectator also has an article by Mark McGinniss, well-known to our readers, about two anniversaries to be celebrated this year for Waugh’s friend and fellow novelist Anthony Powell. Here are the opening paragraphs:

Anthony Powell died on 28 March 2000, twenty-five years ago today. It is also fifty years since he completed his 12-novel series, A Dance to the Music of Time, written over a quarter of a century.

How well has this unique opus worn? With a title taken from Poussin’s masterpiece of the four seasons, Dance, has been described as ‘Proust Englished by P.G. Wodehouse’. But perhaps Powell’s closely-observed study of 20th-century bohemacy has suffered from being too real: its texture a trifle tweedy; its colours slightly faded.

Powell was not an escapist like Wodehouse; a moralist like Orwell, nor a satirist like Waugh. And yet his 3,000 pages, 1 million words and nearly 500 characters are still a singular and extraordinary achievement – a very English life over 60 years through the eyes of the narrator Nicholas Jenkins.

Auberon Waugh said on the publication of his father’s diaries, ‘[They] show that the world of Evelyn Waugh’s novels did in fact exist.’ This is even truer of his friend and contemporary. Powell’s Dance is not just a roman-fleuve, a series of novels, each complete in themselves; it is also largely a roman-a-clef: in essence, Nick Jenkins is Anthony Powell…

Apollo: The International Art Magazine interviews Owen Hatherley about his new book The Alienation Effect: How Central European Emigres Transformed the British Twentieth Century. The interview opens with this response by Hatherley:

…I wanted to see if I could do a history book where you didn’t have to be particularly interested in the built environment, you didn’t have to be particularly interested in me, and where you could try and run together lots of different art forms and see the ways in which they connect.

The subject matter is a much easier question to answer because it came out of my irritation with a specific book (and, if I mention it, I want it on record that I’ve liked a lot of other things he’s done), which is Bauhaus Goes West by Alan Powers. There’s a dual thing going on in that book where, on the one hand, he suggests that maybe interwar British culture wasn’t totally insular. But I think he gets bored of that halfway through – because you can’t justify that position – and then goes, well, does it matter that it was backward at all? And I think you have to make one argument or the other. I was reading that book when I was writing Modern Buildings in Britain and trying to contextualise in the introduction modern architecture in Britain and how it came here. I went into it not really knowing what position I would take on the Ă©migrĂ©s and the more I was reading, the more I realised that, without them, Britain would really have remained a backwater.

There’s a great Evelyn Waugh line about John Betjeman where he says – and I don’t completely agree with him – that all the stuff that Betjeman writes about is basically rubbish and second rate. This only happened because of the Second World War and the austerity that followed, meaning that the English middle classes could no longer go to Italy and France and see actually good architecture. Instead, they had to construct these cults around quite some second- and third-rate architecture. It’s unfair, but it has an element of truth. And I think a lot of that has happened again in the last 10 years. Not that people haven’t left, but they’ve left less often. There are certain times in British history where the channel becomes a wall. The last 10 years is one of those times and the 1920s was also one of those times. The reaction to the First World War was a wave of nostalgia and xenophobia and insularity. It really is one of the most culturally barren decades in Britain – in a way that really contrasts with so much of what was happening on the continent, particularly in Central Europe. The reason it was missed was partly because of that insularity and partly because it was coming from a place where British intellectuals didn’t usually look.

Britain just sits out this moment and I find that really interesting to think about. So the book started with that, rather than thinking about migration and the Ă©migrĂ©s themselves. It came out of trying to answer that conundrum….

–The April 2025 issue of The Critic carries a story about journalism and its practitioners by Helen Joyce. This is entitled “The men making the news” and opens with this quote from Waugh’s novel Scoop:

“The general editor looked. He saw ‘Russian plot
 coup d’etat 
 overthrow constitutional government 
 red dictatorship 
 goat butts head of police 
 imprisoned blonde 
 vital British interest jeopardized,’ it was enough; it was news. ‘It’s news,’ he said, ‘Stop the machines at Manchester and Glasgow. Clear the line to Belfast and Paris. Scrap the whole front page. Kill the Ex-Beauty Queen’s pauper funeral. Get in a photograph of Boot.’”

This is the moment when Evelyn Waugh’s wittiest creation, the bumbling William Boot, “makes good”. Accidentally sent to cover a war in Africa, Boot gets the titular scoop — that a coup is being planned — because he is too green to realise he’s supposed to follow the press pack out of town on a wild goose chase, and the local British consul is a prep school chum. Even while parodying the news business, Scoop captures its excitement: if that quote doesn’t give you the shivers, you’re not cut out to be a journalist…

–The website Anglican Samizdat carries an entry dated 25 March 2025 entitled “Buffoons are running the world” that discusses the present politicians who are struggling to govern the United States. It contains this insight:

Evelyn Waugh’s Sword of Honour trilogy has a selection of comic characters that eerily echo the current occupants of the White House. While equally comic, I fear the real thing is more sinister. I strongly suspect that, rather like the hapless Apthorpe in Waugh’s trilogy, Mike Waltz has an unnatural attachment to a Thunder-Box stored in his attic.

 

Share
Posted in Anniversaries, Art, Photography & Sculpture, Internet, Interviews, Men at Arms, Newspapers, Scoop, Sword of Honour, The Loved One | Tagged , , , , | Comments Off on End of Wintertime (UK) Roundup

New Biography of Lady Pamela Berry

–A new biography of Waugh’s friend Pamela Berry has recently been announced. This is entitled Lady Pamela Berry: Passion, Politics and Power. It was reviewed in The Sunday Times by Max Hastings in an article entitled “The grand dame of Fleet Street”. Here is an extract:

…I approached this biography cautiously because it is written by [Pamela’s] daughter Harriet Cullen, whom I feared might skip the naughty bits. How wrong I was! She omits nothing and shows how ghastly it was to be a child of a grande dame.

…[Berry] stormed through the 1930s, becoming a famous figure at parties, courted by Brendan Bracken and Isaiah Berlin and feuding with her family in a fashion worthy of the Mitfords. “I wish she were dead,” she said of her elder sibling Eleanor. “I wish she’d never been born. On God, I hate her so. Why is she my sister, the bloody swine?”

Her judgments on lovers were no more charitable. She found Victor Rothschild “extraordinarily attractive and loveable, but he doesn’t look so good in the daytime”. In 1936 she married the diligent, decent, taciturn, rich but monumentally dull Michael Berry, younger son of Lord Camrose.

When Camrose died in 1954 and his elder son, Seymour, proved uninterested in running the Telegraph, Michael took over, with his wife front-seat driving. Anybody wondering about their marriage, although it produced four children, need know only that when a friend asked if Michael liked the monogrammed silk underwear she had given Pam for the honeymoon, the bride said laconically that he never noticed it.

It was a reflection of a passion for brains even greater than her enthusiasm for wealth that for a decade she conducted an affair with [Malcolm] Muggeridge, a serial adulterer. Only when “St Mugg’s” sexual powers were exhausted did he become a conspicuous Christian and repent, perhaps even of Berry.

She was for a time friendly with Evelyn Waugh, Nancy Mitford and Debo Devonshire, but eventually fell out with all three. One of her less appealing characteristics was a willingness to toady to people even richer than herself, for instance the billionairess Jayne Wrightsman and The Washington Post’s owner Katherine Graham. But she also cherished such poorer folk as Arthur Schlesinger and the brilliant, albeit bonkers, polemicists Paul Johnson and Peregrine Worsthorne, together with the serpentine publisher George Weidenfeld.

Is there a serious theme underlying the astonishing roll-call of once-famous names in this book? Not really. Berry surfed a life rather than living it, as was probably inevitable for a clever, rich woman in the mid-20th century.

The story Cullen tells will delight the sort of people who read Henry “Chips” Channon’s diaries, myself included,  for I devoured the book. She makes no bones about her mother’s heroic lack of interest in her children, who were dumped in the country while Berry got on with the London whirl. But in those days, as the author says, that was what many mothers did, including my own. We loved our nannies, and did not care a straw for Mummy, even if we could recognise her in an identity parade.

[Paul] Johnson wrote after Berry’s sudden death from cancer in 1982 that he admired her as a “superlative hater”, and for her “deep and glorious passion for friendship” and her genius as a hostess: “a Valkyrie of the festive table, a Brunhilde of the fĂȘte”.

When the Berry family lost control of the Telegraph in 1986, it was widely said that this would never have happened had Lady Pam still been around. I disagree. She was too busy firing the ship’s guns, or partying in the wardroom, to notice that her husband was steering for the rocks. But she was by any measure a fascinating figure of her time, and her daughter’s book does her full justice.

It makes me relieved, though, that I did not know her better.

Charles Moore has also reviewed the book in the Daily Telegraph (18 Feb 2025): “A Secret History of Poetry and Politics at the Telegraph“.   Here’s an excerpt from his review:

…The most important period of Pam’s politics began in 1956. Early in that year, The Telegraph, though Tory-supporting, accused Anthony Eden’s administration of lacking “the smack of firm government”. The article caused a great stir, though by modern standards the words were mild. It was known that Pam Berry disliked Eden. There were complaints and cartoons in the press about her “petticoat power”.

As the year continued, Eden steered into crisis. Britain and France tried and, thanks to US disapproval, failed to regain control of the Suez Canal from Egypt’s firebrand leader, General Nasser, who had seized it. Suez is seen as the point at which the British Empire truly ended.

Pam attacked Eden partly because she had taken against her former friend, the clever and beautiful Clarissa Churchill, niece of Winston, who had become Eden’s second wife two years earlier. At 35, Clarissa was seven years younger than Pam. Winston’s son Randolph stirred things up against his cousin, writing of Pam having “a tongue and pen which are both fluent and vivacious”.

Michael Foot, the future Labour leader, got involved: “The real snake in the grass is Lady Pamela Berry 
 She runs a salon in true 18th-century style.” She would be there “when the moment comes for the kill”.

In the New Statesman, Malcolm Muggeridge, the great Left-wing polemicist and later – but very much not yet – a Christian of saintly asceticism, attacked Eden, writing of “his ingratiating smile and gestures, the utter nothingness of what he has to say”. In private, Pam’s ex-friend, Evelyn Waugh, called her “a prize booby”, though describing her mischief-making as “the nicest side of her character”.

As Harriet Cullen points out, the Muggeridge intervention was significant because he was, at that time, Pam’s lover. Previously deputy editor of the Telegraph, he now edited Punch.

Eden resigned, formally on grounds of ill health, in January 1957. Was her mother Lady Macbeth, asks Harriet Cullen. Clarissa Eden certainly thought so, and Isaiah Berlin described Pam as “the greatest single opposing factor in the anti-Eden campaign”. Had her “petticoat power” also enlisted Muggeridge?

The author sidesteps slightly, and says, “My mother was not a ‘political’ hostess in the old Tory tradition of brokering compromises … She was a press hostess, who used her tongue and position to mix press and politicians …and her first loyalty … was to the newspaper she had married into.” So perhaps this respectable organ has much to thank her for. Today, the whole thing would play out in furious tweets – much less enjoyably.

According to Michael Davie, editor of Waugh’s Diaries (p. 795), “Waugh relied on [Pamela] to keep him in touch with London gossip…One of the last London hostesses to maintain a salon.” The editor of the Mitford-Waugh letters , Charlotte Mosley, wrote (p. 507):

…[Pamela Berry’s] friendship with Nancy and Evelyn was meteoric. In 1949 Nancy described her as ‘blissful Pam Berry’, and over a period of six years they exchanged hundreds of letters and met regularly. By 1954, when Michael Berry succeeded his father as editor-in-chief of the Daily Telegraph, their friendship had withered and their correspondence had dried up. A sharp letter from Nancy to the Telegraph in January 1955, making fun of Lady Pamela’s forays into the fashion world, marked the end of their intimacy. [See note below] Evelyn admired Lady Pamela greatly at first but by 1955 was writing to Maurice Bowra, ‘Lady Pamela has faded from my life like a little pat of melting butter.'”

Based on reader comments, it is clear that Waugh’s friendship with Pamela continued until about 1962 and that of Nancy, until about 1968.  “Pam took her friend Nancy’s teasing about London fashions in good heart. They remained in constant touch until the mid 60s, and wrote friendly letters less regularly till 1968, as I can attest from Nancy’s letters in my possession and copies of Pam’s to her also, now held in the Chatsworth Archives. I can also vouch, from letters in my possession and in the British Library, for the fact that Pam’s relationship with Evelyn Waugh was sometimes stormy, but they didn’t fall out finally until July 1962.”  With respect to Waugh, this dating is also consistent with his published diaries and letters. The book will be released in the UK on 2 April and in the US on 18 July 2025. It is issued by Unicorn Publishing.

NOTE (27 March 2025): The final paragraph of the above post was amended  consistent with an email from the book’s publisher.

COMMENTS (26 March 2025): Mark McGinness posted the following comment about the book mentioned above:

“I don’t recall the event or cause of the breach between EW and Lady Pamela – it couldn’t have been her enmity for Clarissa Eden whom EW had already fallen out with on her marriage to Anthony Eden.
Sir Max Hastings’ review of the biography is brilliant. One can’t help but feel how similarly un-maternal his own mother, Anne Scott-James, was. And interestingly, his step-father; Anne’s second husband was Osbert Lancaster, the master of the pocket cartoon and EW’s old friend).”

 

 

 

Share
Posted in Biographies, Newspapers | Tagged , , , , | 2 Comments

Spring Equinox Roundup

The Economist has an article about the updating of the “basket of goods” put together by the UK’s Office for National Statistics for the purpose of measuring inflation. Here is an excerpt:

To read the contents list of the basket of goods, updated this week by the Office for National Statistics (ONS), is an intriguing experience. For economists it offers a sober measure of consumer-price inflation. For everyone else it is a births-and-deaths column for British consumerism, announcing the arrival of some objects and acting, for others, as their epitaph.

Thus this week the list noted the arrival of “men’s sliders” and the demise of newspaper advertisements. It has previously recorded the demise of linoleum (in 1980), of corsets (1970) and of oil lamps (1947). Its very name is a relic: that word “basket” sounding like something that might have hung from the arm of a British housewife as she went to the shops in her mackintosh (1947-52) to buy Brussels sprouts (1947-2006). Sometimes, it is an enigma: in the 2000s a “small caged mammal” appeared, unexpectedly, in the ONS’s calculations.

The basket itself, in its modern form, was born in 1947. The political mood was tense. British families, who had paid a high price—in some cases the ultimate one—for the war were angry at the high prices they had to pay for everything else in the peace….

As well as about many other, more unappetising things. The 1947 list, at the height of rationing, shows a nation surviving on Brussels sprouts, margarine and the ominously oblique “compound cooking fat”. This, Evelyn Waugh later wrote, was “a bleak period of present privation” and, he added, even more bleakly, “of soya beans”. Rationed food was“unbelievably dreary”, says Max Hastings, a historian.

It did not fill stomachs but did, oddly, fill books. In the “hungry novels” of wartime and post-war Britain, British novelists with poor diets and rich imaginations allowed their characters to gorge on the foods which they could not. In “Brideshead Revisited” Sebastian Flyte eats strawberries and sips ChĂąteau Peyraguey beneath a spreading summer elm. It “isn’t a wine you’ve ever tasted,” he says. Given that “Brideshead” was published in 1945, and “table wine” didn’t appear until 1980, this was probably true…

Here’s a link to the full article.

Liberties, a quarterly journal of culture and politics published in Washington, has in its latest issue a reassessment of Waugh’s novel Brideshead Revisited. This is written by Henry Oliver and entitled “Evelyn Waugh’s Decadent Redemption”. It opens with this:

Brideshead Revisited is one of the great English novels of the twentieth century. It is beloved, but it also provokes antipathy — as it always has. When Evelyn Waugh wrote the novel in 1945 many of his fellow writers reviled it. They, like so many secular contemporary readers, found its Catholicism bizarre, its breathless depiction of the upper classes appalling, and the prose grossly over-stylized. All of this was intentional. Brideshead was supposed to be a  door into a lost world…

The first part describes the book and considers its critical reception. That section concludes with this:

Readers often grumble that the luscious Oxford section which opens Brideshead gives over to a slower, dimmer setting. Such a bait and switch! Such delicious bait! Why did the author, capable of heaping details about pleasures, art,  silk ties, country houses, poetry, and wealth — why did such an author suddenly throw us out of Paradise? Why all this strange religious fervor? Where are the strawberries and champagne? What happened to the madrigals?

Objections are more than aesthetic.Why must Sebastian suffer? Why must Lord Marchmain come home to die in splendour and convert? Why, oh why, must the love stories fail?  So many readers find the ending unbearable. One writer I know cried on the underground the last time he read it.

An excellent reappraisal  which appeared in the New Statesman in 2023 said Brideshead was “quite inexplicable to non-Catholics.” Even Jeffrey Manley of the Evelyn Waugh Society recommends crossing out the religious parts so you are left with a funny novel. All of this is disastrously wrong. Without the operation of divine grace, Brideshead would be merely a sketch, a series of scenes. What makes the novel great is the power of its ending which vibrates with emotion and fervor. And it cannot work without God. We can only appreciate Paradise in our fallen world…

It then proceeds with a description of Waugh’s writing the book and the author’s own assessment after multiple readings over several years. The article is well written and worth reading. It is available at this link.

–Another website called The Homebound Symphony contains a comment on the article discussed above. The comment relates to Waugh’s closing passage where Charles Ryder encounters the “small red flame” emitted by a lamp still burning in the Brideshead chapel at the end of the war (and the story). Here’s an excerpt:

…Oliver says that Waugh’s point here is that “what animates modern civilization is the way the lights burn and the bells ring as they have done throughout Christendom in the one true church.” He goes on to say, “There is only one light left burning at the end of this book of shadows: not the lights of Oxford, not the sparkles of diamonds, not the candlelit beauty of Brideshead house, but the lamp in the chapel.”

What Oliver may not know is that this is a sanctuary lamp: the candle lit next to the tabernacle, that is, the receptacle (usually in a niche in a wall) where the consecrated Host is kept. It is typically, though not always, distinguished from other lights in the church by being placed in a red glass chimney, thus the “small red flame.” …

The point here is that the light that Waugh invokes at the end of Brideshead is not just any old religious candle — any old light in a church, even in a chapel of the One True Church — but the light that marks the presence of the consecrated Host, the bread transformed into the flesh of Christ, “the present immanence of God.” This is why in many churches people do not pass the tabernacle, when the candle it lit to indicate its contents, without bowing. This, we may infer, is what Charles Ryder does that morning in the Brideshead chapel.

–A Lithuanian website notes the translation of another of Waugh’s novels into the language of that Baltic country:

During the Vilnius Book Fair, another book by English writer Evelyn Waugh translated into Lithuanian was presented – his novel “Elena”, which tells the story of the empress Helena, who lived at the turn of the 3rd-4th centuries, and whom the Catholic Church venerates as the saint who discovered the true cross of Christ. His translator Augminas Petronis talks about the work.

As noted in a previous post, at least two of his other novels have been published in Lithuanian translations: Vile Bodies and Brideshead Revisited.  Translation is by Google. Full article is available here.

 

Share
Posted in Brideshead Revisited, Helena, Newspapers, Translations | Tagged , | Comments Off on Spring Equinox Roundup

St Patrick’s Day Roundup

–Ben Lawrence writes in the Daily Telegraph that “The arts are now terrified of God”. Here are the opening paragraphs:

“We don’t do God.” Such was Alastair Campbell’s Rottweiler-like shutdown of journalists asking about the faith of his then-boss Tony Blair. Those words, spoken in 2003, still haunt British politics and culture today. To be fair, Campbell’s intervention has always seemed sensible to me. Bringing one’s personal religious beliefs into an arena of utter tribalism is always going to create a collision course between the personal and the public. But religion and culture have had a more fascinating, if fractious, relationship for centuries. And while the National Gallery’s new show, Siena, proves that there’s still a thirst for the numinous, it also serves to highlight the fact that the arts in contemporary Britain is reluctant to “do God” – which is a seriously bleak state of affairs.

In recent times, most worryingly, there has even been a move to remove religion from works where it has been previously tantamount. The Golden Compass (2007), Warner Bros’s cinematic adaptation of Philip Pullman’s Northern Lights, was doomed as soon as they took out its ecclesiastical themes; they lost the great Tom Stoppard, the film’s original adapter, in the process. I’ve also heard a rumour that the previously announced BBC TV adaptation of Evelyn Waugh’s Brideshead Revisited was dropped because nobody was sure what to do with the intense Catholicism of the Marchmain family, which is integral to the novel’s power.

How did this happen? The marginalisation of public faith in Britain has a lot to do with it. Fewer than half the population of the United Kingdom now sees themselves as Christian, while Islam, the second largest religion, is only practised by four million Britons, or around six-and-a-half per cent of us. But it isn’t simply that the relevance of religion would appear to be diminishing. The fact is that many people in the arts have become reluctant to engage in anything that’s likely to prove controversial – and religion has always been so…

–Two newspapers have recently posted stories about the gardens at Stancombe Park in Dursley, Glos. The longer and more detailed one is by Marion Mako and appears in Country Life. It begins with a history and description of the gardens and estate and continues with this:

…Stancombe Park was a short stroll from Evelyn Waugh’s home at Piers Court and the author, like Sebastian Flyte, surely rested ‘supine on a sunny seat in the colonnade’ overlooking the fountain, although this one is smaller than the ‘dominating’ Italianate one that Waugh conjured up in Brideshead Revisited. ‘It was a sequestered place, enclosed and embraced in a single, winding valley
 [the river] had been dammed here to form three lakes, one no more than a wet slate among the reeds, but the others more spacious, reflecting the clouds and the mighty beeches at their margin. The woods were all of oak and beech, the oak grey and bare, the beech faintly dusted with green by the breaking buds
 And lest the eye wander aimlessly a Doric temple stood by the water’s edge.’

Close to the temple are two cottages of warm Cotswold stone. Built in the cottage ornĂ©e style and originally housing estate workers, they are suggestive of John Nash’s 1811 Blaise Hamlet in Bristol. Leaving the temple behind, the lakeside path runs under an arbour of Vitis coignetiae to rejoin the labyrinthine network. The upper path leads to a camellia grove, studded with specimens of various shades, including the enormous Camellia japonica ‘Yukimi-guruma’ with its fried egg-like flowers. Hidden beyond are two little cupola-topped huts that likely doubled as changing rooms and as winter protection for the more tender plants. Overhung by a magnificent Clerodendrum trichotomum, their view is of an ornate tiered swan fountain. Perhaps this was the inspiration for Waugh’s fountain, ‘found there a century ago by one of Sebastian’s ancestors; found, purchased, imported, and re-erected in an alien but welcoming climate’…

The article which is accompanied by excellent illustrations can be read at this link.

The other, briefer article appears in The Express and stresses the Doric Temple at the top of the gardens as the central point of interest. This is written by Jessica Knibbs and includes this reference to  Waugh:

…The setting is something out of a fairytale and was said to have inspired author Evelyn Waugh, who wrote in her [sic] novel Brideshead Revisited about a Doric temple which overlooked a lake.

Perhaps the less said about this article, the better. Waugh was briefly employed as a probationary reporter when the paper was known as The Daily Express and despised the then owner Lord Beaverbrook. The illustrations might be worth a look.

The Guardian has an article based on a new book that discusses the state of higher education in Britain. Here’s the opening:

Don’t treat dons like schoolmasters; treat them as you would the vicar at home,’ Charles Ryder is advised at he arrives at Oxford at the start of Brideshead Revisited. Evelyn Waugh seems in tune with a wider public scepticism towards ‘boffins’.

Indeed, it is almost a source of national pride: a tribute to our practical conservatism. ‘When intellectual or aesthetic matters are regarded as the centre of interest, one is apt to be plagued by the sham intellectual, than whom no more insufferable being walks the earth,’ warned Harold Nicolson.

But a fascinating new history suggests such cultural thuggery is little to worry about. Stefan Collini’s Absent Minds argues that since the days of Samuel Taylor Coleridge and his plans for a clerisy – a cadre of public intellectuals – highbrows have been obsessing over their demise. Today’s commentators rue the absence of such great minds as Isaiah Berlin, EP Thompson or Iris Murdoch. But those self-same intellectuals had themselves lamented the loss of the TS Eliots, RH Tawneys and Virginia Woolfs of yesteryear. And so it goes on….

–Finally, the website of The Fleming Foundation, a sort of academic think tank, has announced an upcoming program that

…will be devoted to the late Sam Francis’ favorite novel, Evelyn Waugh’s A Handful of Dust.  We shall probably also take up the first four books of Xenophon’s Anabasis, which Edward Gibbon regarded as the liveliest of historical narratives, the Old Testament books of Job and Tobit and the corresponding Greek play Aeschylus’ Prometheus’ Bound,  and Walker Percy’s The Last Gentleman.

The first episode will be broadcast before the end of March.  We shall probably have a surprise guest and we invite our readers to post questions as comments to this announcement.

Further details may become available at this link.

Share
Posted in A Handful of Dust, Brideshead Revisited | Tagged , , , , | Comments Off on St Patrick’s Day Roundup

WSJ at Castle Howard

The Wall Street Journal carries a story about how the Howard family have over the years renovated Castle Howard. The article is by J S Marcus and the photographs by Joanna Yee. Here’s an excerpt:

…The Lake Sitting Room is one of the Howards’ living spaces that has recently received a freshening up from Remy Renzullo, a 33-year-old American interior decorator, who added 19th-century French table lamps. Changes to other rooms include new French wallpaper ($3,885), and new hand-woven floor coverings ($12,952). A new Italian marble fireplace for the sitting room, based on Vanbrugh drawings, cost around $32,362. The Archbishop’s Bedroom has a canopy bed and rare 19th-century Japanese wallpaper.

Renzullo, who divides his time between the U.S. and Europe, also made changes to the Archbishop’s Bedroom, the family’s primary guest room, which is off limits to the public. Large naval pictures were removed in order to highlight the room’s rare 19th-century Japanese wallpaper. Renzullo also redid the 18th-century canopy bed with new French silk damask coverings. Viewers of “Brideshead Revisited” might remember the room as the place where Lord Marchmain, played by Laurence Olivier, dies.

“Brideshead Revisited,” based on the 1945 novel by English writer Evelyn Waugh, is now indelibly linked with Castle Howard. Waugh visited the castle in the late 1930s, and the Howards believe the property at least partially inspired him to create the fictional, dome-topped Brideshead Castle. Jeffrey Manley, an American author affiliated with the Evelyn Waugh Society, said most of the details about Brideshead Castle were based on other sources, but that the conspicuous dome likely draws on Castle Howard. Castle Howard’s Anglican chapel, created in the 1870s, was used in the television series ‘Brideshead Revisited.’

Key locations in the series remain integrated into Howard family life. Nicholas and Victoria [Howard] were married in the castle’s chapel, a monument to the Victorian-era Arts and Crafts movement that appeared in “Brideshead Revisited.” The Howards generally attend public services there at Easter and a few other times a year.

Though the East Wing is their base, other areas of the castle are also reserved for the family, including the New Library, which Nicholas uses as his office. The 1940 fire destroyed the space where the New Library is now located. Nicholas’ father, George Howard, used the proceeds from the filming of “Brideshead Revisited” to create and furnish the new room…

The reference to the chapel at Castle Howard illustrates how Waugh’s use of other structures to describe certain elements in the story created issues for the film-makers. As was explained to me by the late Derek Granger (who produced the Granada TV series), there were Brideshead scenes in the chapel that were filmed at Castle Howard. But in the novel, those scenes took place in a chapel as described by Waugh that was located in Madresfield Court. The Castle Howard chapel was heavily Victorian (see illustration in WSJ article) while that at Madresfield was art nouveau. Here’s how Waugh described the chapel in the novel:

The whole interior had been gutted, elaborately refurnished and redecorated in the arts-and-crafts stye of the last decade of the nineteenth century. Angels in printed cotton smocks, rambler- roses, flower-spangled meadows, frisking lambs, texts in Celtic script, saints in armour, covered the walls in an intricate pattern of clear, bright colours. There was a triptych of pale oak, carved so as to give it the peculiar property of seeming to have been moulded in plasticine. The sanctuary lamp and all the metal furniture were of bronze, hand-beaten to the patina of a pock-marked skin; the altar steps had a carpet of grass-green, strewn with white and gold daisies. (May 1945 ed., pp. 35-36)

Granger explained that several features of the Castle Howard chapel had to be hidden or disguised to assure that it was consistent with Waugh’s fictional description. Evelyn Waugh Studies 50.3, Winter 2019, pp. 8-10.

Share
Posted in Adaptations, Brideshead Revisited, Evelyn Waugh Society, Newspapers | Tagged , | Comments Off on WSJ at Castle Howard

Dame Edna’s Book Sale

The Daily Mail has reported the upcoming auction sale of the book collection of the late comedian Barry Humphries (aka Dame Edna Everage). The most interesting item (Lot 235) among the three lots offered relating to Evelyn Waugh is this collection of four large paper reprint volumes of his early work:

Decline and Fall [&] Viles Bodies [&] A Handful of Dust [&] Black Mischief, together 4 vol., each number 3 of 12 large-paper copies signed and numbered by the author, contemporary blue morocco, spines a little darkened, t.e.g., others uncut, Chapman and Hall, 1937; and a copy of the Glen Horowitz catalogue for the Library of Michael M. Thomas, housed in calf-backed drop-back box to almost match the set, large 8vo (5)

⁂ A superb set of this rare limited edition, likely the only such set to exist.

Waugh requested this series to be printed in conjunction with the third, reset, trade editions. Most copies were presented individually to close friends and family, however this set was presented, in its entirety, to Thomas Balston, director of the publishers Duckworth and Co. who had given the young Evelyn his first break in the literary world, when he gave him a ÂŁ50 advance for his biography of Rossetti. [Emphasis supplied]

Also for sale is a presentation copy of The Ordeal of Gilbert Pinfold (Lot 236):

The Ordeal of Gilbert Pinfold, first edition, one of c.50 large-paper copies, signed presentation inscription from the author to “Andrew & Debo [Cavendish] with love from Evelyn. July 19. 1957” to front free endpaper, bookplate of Deborah Devonshire to front pastedown, original red cloth, slight fading to spine, spine tips a trifle bumped, large 8vo, 1957.

⁂ One of an unspecified number of large-paper copies that Waugh kept for private distribution. Andrew and Deborah Cavendish, later the Duke and Duchess of Devonshire, were friends and drinking companions of Waugh’s. Andrew Cavendish was a member Waugh’s gentlemen’s club, White’s . [Emphasis supplied.]

Deborah Cavendish may be better known to Waugh’s readers under her maiden name of Deborah Mitford, sister of the more famous Nancy.

For more information about these and other bookish items of the Barry Humphries estate here is a link to the catalogue. The sale is scheduled for 26 March in London at 1:00pm. I believe that internet participation is possible.

Share
Posted in A Handful of Dust, Auctions, Black Mischief, Decline and Fall, Newspapers, The Ordeal of Gilbert Pinfold, Vile Bodies | Tagged , , | Comments Off on Dame Edna’s Book Sale

Daylight Savings Time (US) Roundup

–The New York Review of Books has posted a review by Martin Filler entitled “Build Britannia.” This is about a book entitled Interwar British Architecture, 1919-1939 by Gavin Stamp. Here’s an excerpt:
…A visceral distrust of European Modernism–emblematic of British xenophobia in general–is captured in Evelyn Waugh’s comic novel Decline and Fall (1928), which revolves around the destruction of an unrestored sixteenth-century Hampshire country house called King’s Thursday, deemed “the finest piece of domestic Tudor in England.” At its new owner’s behest, this fictive landmark is torn down and replaced by a soulless International Style house designed by Professor Otto Silenus, a German Modernist architect transparently based on Walter Gropius, the chilly and officious founder of the Bauhaus. Silenus complies with the patron’s vague request for “something clean and square,” but before it is completed he delivers a cartoonish screed that echoes Waugh’s deep-seated antipathy to the new:
“The problem of architecture as I see it,” he told a journalist who had come to report on the progress of his surprising creation of ferroconcrete and aluminium, is the problem of all art–the elimination of the human element from the consideration of form. The only perfect building must be the factory, because it is built to house machines, not men. I do not think it is possible for domestic architecture to be beautiful, but I am doing my best. All ill comes from man,” he said gloomily; “please tell your readers that. Man is never beautiful; he is never happy except when he becomes the channel  for the distribution of mechanical forces.”

–From The Times comes an article by Janice Turner entitled: “Spontaneity succumbed to Covid, like so much else.” Here is an excerpt:

Late for a train — yes, because I hadn’t “pre-booked” — I had to sprint across the King’s Cross concourse. “Where do I change for Hull?” I gasped, and the train steward’s accent, warm and familiar, instantly calmed me down. “Doncaster, love.”

I’ve passed through my old home town en route to York since my mother died in 2022, but not set foot there. No reason. No one left to visit. And in the 20 minutes at Doncaster station until my connection, it felt very wrong not to be rushing up the steps to find a taxi, bracing myself for a day at the care home. Platform announcements pricked my heart: Scarborough (where my parents were happiest), Wakefield (my godmother’s home), South Elmsall (the run-down pit town where all my family lived).

Hull is not Doncaster: Londoners might not discern a different accent but I still can. On the way back, another half-hour change at Doncaster, I felt what Evelyn Waugh described (writing of cradle Catholicism) as “a twitch upon the thread”. I need to go north.

–In an earlier edition, The Times carried a story by James Marriott about Donald Trump’s foreign policy negotiating skills (or lack thereof). Here’s the conclusion:

…Of course the answer to cynicism is not naivety. How often is the serious study of history an exercise in discovering the terrible smallness of great men? US foreign policy in South America and the Middle East has often made a mockery of high-sounding phrases: has any war in recent history been heralded with more jubilant hootings over its “moral mission” than our tawdry and tragic outing in Iraq? America’s critics are not wrong to remind us that it has often acted disgracefully. But I am reminded of the expostulation directed by an outraged lady to the writer Evelyn Waugh: “How can you behave so badly — and you a Catholic!” To which Waugh replied: “You have no idea how much nastier I would be if I was not a Catholic.”

Even sceptics of the West’s claims to moral superiority should accept that a more idealistic political culture offered statesmen with their eyes on the history books an important inducement to better behaviour. It is to that fading culture of idealism that we owe our foreign aid programme and billionaires like Bill Gates who spend their money eradicating malaria rather than buying political influence. Anybody listening to Europe’s leaders over the weekend knows that high-flown idealism can risk sounding implausible. But in these dark times, we all need it. Citizens no less than politicians.

–The Diario de Sevilla has an article about a review by Ignacio PeyrĂł of a new biography of Spanish writer Julio Iglesias, entitled The Spaniard Who Fell in Love with the World. It opens with this (translation by Google):

There have been many biographies as a genre, with weight and scope. Academic and thoughtful. Literary but widely read and popular (think of Stefan Zweig’s Antoinette or Magellan). There have been canonical ones, knowing that all roads lead to Rome ( Suetonius’s Parallel Lives or Suetonius’s Lives of the Twelve Caesars ). There are also hybrid ones, by author, like Emmanuele CarrĂšre’s Limonov (you can now see the eponymous film about the unclassifiable Russian poet and quarrelsome man made by Kirill Serebrennikov). And there is Evelyn Waugh’s about the Catholic and martyr Edmund Campion, one of the favourites, precisely, of Ignacio PeyrĂł (Madrid, 1980)….

Share
Posted in Art, Photography & Sculpture, Decline and Fall, Edmund Campion, Newspapers | Tagged , , | Comments Off on Daylight Savings Time (US) Roundup