Edward Bradley’s Verdant Green, a forgotten Victorian best-seller

Edward Bradley

 

‘ A prolific and witty writer who contributed to the leading periodicals of the day, and was the author of over a score of books, many of which he illustrated himself, his best-known work, “ The Adventures of Mr Verdant Green “, was one of the great public successes of the last century ‘

 

So says George Hutchinson, writing of Edward Bradley in 1939, fifty years after his death. Bradley’s most well-known novel is rather forgotten today, but until quite recently your Jotter used to see copies of it regularly in second-hand bookshops, along with some of Bradley’s other less popular works. Along with other Victorian best-sellers, The Adventures of Mr Verdant Greenis unlikely ever to enter the curriculum of Englit departments anywhere, but as an example of the mid-century Victorian humour purveyed by magazines like Punch,to which Bradley contributed, it deserves to be read.

 

Bradley, a surgeon’s son, was born in Kidderminster in 1827. As a boy he was an avid sketcher and his artistic and growing literary interests were put to use as a contributor to a manuscript magazine, The Athenaeum, put out by a local literary society. While an undergraduate at Durham University in 1846 he began writing for Bentley’s Miscellany; the following year he contributed to Punch. In 1849 – 50 he was at Oxford, but did not matriculate. Presumably it was here that he found the material that he later used in The Adventures of Mr Verdant Green, an Oxford Freshman, to give his best-seller its full name. In 1850 Bradley accepted the curacy of Glatton-with-Holme in Huntingdonshire ( now part of Cambridgeshire), where he served for four years and where he wrote the first two parts of “ Verdant Green “ under the pseudonym Cuthbert Bede. At first the book was rejected by several publishers, despite Bradley’s growing reputation as a writer for the magazines, but eventually all three parts found a publisher in Nathaniel Cooke, who issued them as ‘ Books for the Rail ‘ . The parts were then consolidated into a book and this proved so popular that by 1870 it had sold  100,000 copies—equalling some of the best sales figures for novelists of the time. When its price was later reduced to sixpence the sale was more than doubled. Hutchinson claims that Bradley only made £350 from his best-seller, which is surprising considering that novelists like Dickens were astute enough to realise that the sales figures of their novels when first issued in series were likely to be even bigger for the one-volume books that emerged. However, it is unlikely that a clergyman like Bradley would have been sufficiently clued up on the powers that best-selling writers held over their publishers compared to a go-getting  journalist like Dickens, who knew his worth as a popular writer and was prepared to negotiate lucrative terms with his own  publishers. Continue reading →

The Bronte Country in Wartime

 

Hutchinson article Bronte Top WithinsThe journalist George Hutchinson (see previous Jots) was living in wartime Bradford when he visited High Withens, the supposed ‘ dwelling ‘ of Mr Heathcliffe of Emily Bronte’s Wuthering Heights. Up on the lonely moors Hutchinson finds it hard to recognise that ‘England is at war’,

 

‘ Indeed,  though the only indication in the whole locality is the scores of little evacuees and mothers, mostly from Bradford. The moor air and country rambles they have exchanged for city life should be of lasting benefit to these children and to many a mother, I am told, the rural beauty so near to Bradford has been quite a revelation—which in itself is salutary.’

 

Doubtless, in these days of local lockdowns, such salubrious open-air refuges from unhealthy urban landscapes, are appreciated for different reasons.

 

Hutchinson had already visited the Bronte Waterfall, not far from the Haworth Parsonage and this was not his first visit to Stanbury, the nearest village to High (or top) Withens, which he had never managed to reach before. On the way there he popped in to see the famous Jonas Bradley, former Head of Stanbury School and an international Bronte expert, at his home, Horton Croft in the village. Here he was invited to sign, not for the first time:

 

‘the third of the visitors’ books that Mr Bradley has kept since 1904. These books contain thousands of signatures, and his callers, they will tell you, have come from places as far apart as Glasgow and Godalming, Bulawayo and Brooklyn…’

 

This was probably the last time that Hutchinson saw Bradley, for he died early in 1943, aged 84, his obituary appearing that year in volume 10 of the Transactions of the Bronte Society, which he had helped to found many decades before. In this obituary Bradley’s reputation worldwide as a Bronte expert was confirmed. He had indeed been visited by ‘American University professors, statesmen, film directors and writers..’ Continue reading →

The cream of English fiction ‘: George Moore’s surprising Bronte confession

George Moore picIt’s always revealing to learn which books were the favourites of certain writers—and which books or writers were reviled. We know what Wyndham Lewis felt about the Bloomsbury set. It’s all in The Apes of God. It’s not a secret that Martin Amis worships Nabokov and Saul Bellow or that Kingsley Amis was a Janeite. The likes and dislikes of pre-modernist writers, however, tend to be less well known today, so it’s good to find someone expressing their secret admiration for a certain writer or a certain passage of prose or poetry.

 

The Irish novelist George Moore is rather forgotten today, although academic interest in his work persists for some reason or other. We personally are not drawn to his books, but Moore was certainly a fan of Anne Bronte’s The Tenant of Wildfell Hall,as he admitted to his friend Edmund Gosse in a letter dated 28thApril, 1920, a typewritten copy of which we found interleaved in Evan Charteris’ Life and Letters.

 

After gladly accepting an invitation to dinner from Mrs Gosse, Moore declares that he is very excited at re-reading the novel he had first read at the age of twelve:

 

‘ never losing sight of it for half a century and more; it is the only book I read in my infancy that I remember; it fixed itself in my childish imagination, and my mature judgement has no hesitation in declaring it to be the cream of English fiction…the first half has all the merits that Miss Austin has and other merits besides…’

 

We will forgive Mr Moore the misspelling of Jane Austen’s name, but what follows comes as a greater surprise. Continue reading →

A significant literary discovery: an envelope associated with Toru Dutt, the Indian prodigy who died at 21

Dutt father's envelope 1878 001

Found interleaved in a copy of The Life and Letters of Sir Edmund Gosse by Evan Charteris (1931) at Jot HQ is an empty envelope addressed to Gosse postmarked Simla May 8th1878. At the top of the envelope the sender has written ‘via Brindisi ‘.

A message that occupies the rest of the envelope follows thus:

 

‘ To E.W.G Esq. The writer of an article headed “ A Book of Verse from India “ in the Examiner Newspaper of the 26thAugust 1876 care of the Editor of the Examiner or of the Publisher Edward Dallow Esqre. Examiner Office. 135 Strand, London W.C.

 

What ostensibly seems to throw up problems of identification turns out, thanks to a little online research, a significant document in the history of Anglo-Indian literature. All the clues needed to identify the sender of the letter (alas missing) can be found on the cover of its envelope. Firstly E.W.G. is obviously Edmund Gosse, although at the time the letter-writer knew him only by his initials, the custom at the time being for some reviewers only to use the first letters of their names. The review in question appeared in The Examiner, a literary newspaper that had been founded by the poet, critic and friend of John Keats, Leigh Hunt in 1808. By the time Gosse was writing for it this once radical journal has lost its bite, but the fact that it was willing to allot space to a debut collection by an unknown young writer from Calcutta brought out by a small publisher in the city without preface or introduction, suggests that it recognised genuine talent.

 

And this poet deserved to be recognised. Toru Dutt was the highly educated daughter of a leading Government official from Calcutta and she was just twenty when A Sheaf Gleaned in French Fields appeared. We don’t exactly know how such an obscure volume appeared on Gosse’s desk in London, but it is highly likely that Toru’s proud father, Govin Chandra Dutt, himself a linguist and a poet, was both responsible for sending the book to the Examiner and writing the letter to Gosse. If not her father, it may have been her mother, a talented interpreter, or her translator sister, who wrote the letter. All were aware of Toru’s prodigious literary gifts. We do not know the significance of ‘via Brindisi ‘ inscribed on the envelope. Continue reading →

The Jesuit and the poet

ledwidge devas verse pic 001Inscribed on the inner board and flyleaf of a copy of the posthumously published collection Songs of Peace(1917) by the Irish poet and soldier Francis Ledwidge is this note and commemorative verse composed by Father Francis Charles Devas, the Jesuit chaplain of his battalion who had befriended him.

 

Corporal Ledwidge was just thirty years old when, ‘ on the morning of the feast of St Ignatius of Loyola’ ( in the words of Devas ) he was ‘ blown to bits ‘ by a German shell while sitting on a mud bank in a Belgian trench drinking a mug of tea with his mates in the 1stBattalion Royal Inniskilling Fusiliers. Just a few hours before, Devas had conducted Mass in a wood not far from the battlefield. Ledwidge was there and Devas had heard his confession, given him absolution and performed Holy Communion with him.

 

Back in London, Ledwidge’s publisher, Herbert Jenkins, who had brought out his debut collection, Songs of the Fieldstwo years earlier, were preparing Songs of Peacefor the press. It eventually appeared a few weeks following the poet’s death, with a Introduction by his great supporter in Ireland, Lord Dunsany, dated September 1916, in which he praised the simplicity of  his protege’s verse, his yearning for Ireland and his courage in fighting for the cause of peace.

 

‘…this devotion to the fields of Meath that, in nearly all his songs, from such far places brings his spirit home, like the instinct that has been given o the swallows, seems to be the key-note of the book…’ Continue reading →

The Whitest Man I Know

Jot 101 whitest man larkin 001Larkin’s ‘Sympathy in White Major ‘ ( High Windows 1974) is one of his best known poems. It begins with a lip-smacking description of a gin and tonic being poured and ends with the poet drinking the health of ‘Here’s to the whitest man I know, though white is not my favourite colour.’

The poem is essentially about the doubtful virtues of unselfishness. Larkin lists all the virtues of his ‘white ‘altruistic protagonist: he ‘devoted his life to others ‘, ‘and was ‘a real good sort ‘, implying that these are qualities that are generally admired. However, as Larkin suggests in another poem, ‘Self’s the man ‘, someone who marries and has children is making a selfish choice rather devoting ‘himself to others’. Larkin looks at his own life as a non-white bachelor who has rejected this ‘ family man ‘ lifestyle, and contends that by being a poet and a novelist he has contributed more to society in general than has the ‘ white ‘ family man with responsibilities to others.

But placing its possible interpretation aside, where did Larkin get the phrase ‘the whitest man I knew‘? We know that he was an enthusiast for ‘ trad’ jazz. He owned a large collection of mainly traditional jazz records and some of his writings on jazz were collected in All What Jazz. But was he also knowledgeable in the field of Music Hall recitations and the music that often accompanied them? Was he familiar with the poem ‘The Whitest Man I Know’, which was written in 1913 in the era of Dixieland by the English actor and poet  J.Milton Hayes, who also performed it to the music of R. Fenton Gower.  Continue reading →

Marie Corelli in 1909

 

Jot 101 Bookman Corelli 001Winston Churchill, Queen Victoria, Tennyson and William Gladstone admired her; Mark Twain and most of the Press did not. She is said to have outsold Dickens. Some of her novels went into twenty-five or more editions. In an era when writers like H. G. Wells were promoting the  New Woman, she reviled this modern phenomenon, and yet some of her heroines could be said to have embodied the virtues—a sense of adventure, a resoluteness and a curiosity– of this type . She promoted Christianity and yet wrote about occultism and transcendence. In her private life she dressed as a rather twee lady, but was a hard-nosed businesswoman in her dealings with publishers and the Press. She had a reputation for ostentation. Owning the grandest house in Stratford-on-Avon ( now an outpost of the University of Birmingham’s Shakespeare Institute ), she had  acres of trim garden, a tower for writing and a gondola on the river. Her readers adored her, so why, nearly a hundred years after her death is Marie Corelli, arguably the best-selling female author of all time, now almost totally forgotten ? If you wish to buy a first of her many novels today, you need not part with more than a tenner—often much less. From being a former Queen of the subscription libraries Corelli has become a literary curiosity, fit only for examination in academic studies on the cult of celebrity and the role of the popular novel in society.

Corelli sold millions of books, but was she ever any good ? The Bookman, a serious middlebrow literary journal, certainly saw her  as a significant writer. In May 1909, at the height of her fame, a whole issue was devoted to an appreciation of her life and work by A.St John Adcock, the magazine’s editor, who called on various admirers to support his view of her greatness. Firstly, Adcock takes aim at those ‘cocksure’ critics who set themselves up as the final arbiters of good writing: ‘ There are a thousand times as many critics who have never written a line of criticism, but are not therefore the less cultured, impartial, competent.’ Adcock then turns to the ‘ superior ‘ critics of Marie Corelli:

No living author has been more persistently maligned and sneered at and scouted by certain members of the Press—by the presumptuous and struttingly academic section of it particularly—than has Miss Marie Corelli; and none has won ( by sheer force of her own merits, for the press has never helped her) a wider, more persistently increasing fame and affection among all classes of that intelligent public which reads and judges books, but does not write about them… Continue reading →

Fay Inchfawn

Inchfawn cover pic 2 001Discovered at Jot HQ is this first edition of one of the ‘Homely Woman’ pocket volumes by the prolific female writer Fay Inchfawn ( aka Elizabeth Rebecca Ward, 1880 – 1978), whose work is forgotten now, but whose books, which included popular verse, religious works and children’s literature, were once, to quote the blurb from her publisher Ward, Lock & Co in 1947,  ‘to be found in countless homes, for more than half a million have been sold’.

To further quote from her publicity department:

 ‘everyone of Fay Inchfawn’s delightful little books rings with a true sincerity from cover to cover. She can extract joy from the scullery, yes, even from the wash tub…If Fay Inchfawn cannot bring some compensation to you in your humdrum daily toil—well, nobody can ! She has certainly done so for countless wives and mothers, and if you do not happen to be one of those so fortunate, it is up to you to see what she can do for you. Surely she cannot fail ! ‘

 

Inchfawn, who lived in Freshford, near Bath, for most of her life, also contributed to women’s magazines, and if she didn’t write for my grandmother’s favourite magazine, The People’s Friend, she should have done. The Day’s Journey, which is one of her ‘ religious works‘, seems perfumed with peppermint creams and Werner’s Originals.

 

A Day’s Journeyis a homily which takes its inspiration from The Pilgrim’s Progress. Its homely message seems to be that like Bunyan’s pilgrim, the wanderer through life will overcome all the difficulties that confront him by applying the self-reliance and common wisdom that God has conferred on him and by ignoring all the vices and distractions placed in his way by the ‘Prince of Evil’. Continue reading →

Hackneyed clichés of the 1940s

Kaleiposcope cover 001

Like any decent journalist Harold Murray tried to avoid using clichés and well worn catch phrases in his work. It’s a pity that more radio journalists today ( particularly on Radio Five Live) aren’t as scrupulous. In his very entertaining Kaleidoscope (1946) Murray expresses his irritation at some of the worst examples of hackneyed speech in common use back then.

I remember the editor of the Nottingham Journal talking about misused words and hackneyed clichés which “makes us feel murderous when we hear them “. A. P. Herbert has devoted much thought to the subject. We are all more or less guilty. Why do we say, “I’ve got to catch a train, “ I’ve got to go.”? Why that superfluous “got”?  Why at the end of a letter do we have to put “yours sincerely “, or, for that matter, “ yours “ anything? If ever I see girls talking now they seem to be crying ,” Ectually!”, Honestly!,” “ Definitely!”. There has been much talk about basic English. There is more silly slang from America, particularly from Hollywood, than ever before. I wonder how many popular catch phrases you can recall ( I mean before the radio) . The first I remember were, “Get your hair cut, “ Ask a policeman,” “ Now we shan’t be long,” “ Fancy meeting you, “ What ho! She bumps, “Make room for your uncle,” “Does your mother know you’re out,” “ Bob’s your uncle. “ Pop goes the weasel,“ liked nearly all catch phrases from a song was before my time, and you will know the weasel was a flat iron, pawned weekly. In these days catch phrases come mostly from “Itma” and the like.

We at Jot HQ would like to know whatever happened to “What ho! She bumps and “ Make room for your uncle “. Are there any in the Jottosphere who might have heard them being used ? We’d like to know. As for Honestly, Definitely and Ectually, we have our own Absolutely today. And we also have the recently introduced So that prefaces almost every explanation given by apparently intelligent spokesmen in radio interviews. The redundant’ Like’, liberally sprinkled in sentences delivered in estuarial accents by adolescents of all classes has been around for many decades and doesn’t look as if it will ever become unfashionable, unlike, ‘ grotty ‘ ‘way out ‘ and ‘psychedelic’.

I wonder what A. P. Herbert and Murray would have made of the frequent misuse by radio journalists with degrees in English of ‘ reticence’ for reluctance and ‘ enormity ‘ for a memorable event.

R.M.Healey

 Cotswold lawyer and poet revisited

W.H.Davies

W. H. Davies

A few weeks ago we were puzzling over a fragment discovered in the archive of Jot HQ. This was a draft in pencil of one page of a letter written in reply to literary journalist Ivor Brown around 1943. The hand was very hard to read at times, but persistence paid off and eventually I produced a decent stab at the letter. From its contents I deduced that the writer was probably an elderly lawyer from the Cotswold region of the UK who had been friendly with tramp poet W. H. Davies, enjoyed the poems of John Betjeman, Clare and Blunden and had published a slim volume of verse himself, as had his son, a former army officer.

Further research revealed that this apparently obscure amateur poet was the rather famous ‘ friend to  the poets ‘ John Wilton Haines, from Hucclecote, near Gloucester, who over nearly five decades befriended , not only Davies, but a number of  twentieth century literary figures, including Edmund Blunden, John Masefield, W. H. Hudson, J. C. Squire, Seigfried Sassoon,  Eleanor Farjeon, J. Gould Fletcher, Sir Edward Marsh, Walter de la Mare, C. Day Lewis, Lascelles Ambercrombie, Gordon Bottomley, Ivor Gurney, Robert Frost, Wilfred Gibson, James Elroy Flecker and Edward Thomas. He also communicated with some eminent musicians and composers, notably Ralph Vaughan Williams, Gerald Finzi and Herbert Howells.

Born in 1875 to a lady from India and a Gloucester solicitor whose family had practised law for generations, Haines trained as a solicitor after leaving school and then joined the family firm. Always passionate about classical and modern literature, and a dedicated book collector, Haines made it his business to seek out local authors and  poets, notably those ‘ Georgian ‘ poets who had settled in and around Dymock, on the edge of the Forest of Dean. He made friends with them and offered them financial help and legal advice. In return many sent him their latest work for his opinion. In 1921 Haines himself had a collection of his own poetry privately printed. On his death in 1960, Haines’ son Robin ( b 1913), whose own slim volume, Somewhere, Somehowhad come out in 1942, inherited his father’s literary archive, which eventually passed to his widow. It was she who donated the papers to the Gloucestershire Archives, where they can be examined today.  [RMH]

 

Facts found in fiction

Mytton-Mermaid-Hotel-Atcham-Salop-Shropshire

Can information found in fiction be trusted? By definition much of it is imaginary, but some of it can sound very convincing. However  most factoids are quickly proved or disproved online (but not so easily in the case of Le Carre, and with mixed results with Borges). Three examples from recent reading…

 

In Jorge Luis Borges’s short story Tlön, Uqbar, Orbis Tertius (in Ficciones, Grove Press 1962 page 19) he refers to a book that had appeared ‘in the library catalogues of Bernard Quaritch’  – A General History of Labyrinths by Silas Haslam. Quaritch is a real bookstore and is still trading, but the book is imaginary and cannot be found in any library (despite some wag’s  entry at GoodReads  with an Amazon ‘buy’ button.) However 6 pages later in a footnote Borges  writes – ‘Russell (The Analysis of Mind 1921 page 159) conjectures that our planet was created a few minutes ago, provided with a humanity which “remembers” an illusory past.’  A fairly typical Borges conceit? No, the book exists and the conjecture is indeed on page 159,  although as an idea, logically possible, it is swiftly dismissed by (Bertrand)  Russell*.

 

Nicola Upson’s Fear in the Sunlight (2012) is a ‘cosy’ detective novel featuring the real life crime fiction writer Josephine Tey (1896-1952) as a sleuth and sapphist. She is in 1930s Portmeirion solving a murder, while Alfred Hitchcock is casting a film. A couple of women friends, driving down to join her, stay at the Mytton and Mermaid hotel just outside Shrewsbury. Nicola Upson describes this as a half way house for people driving from London to Portmeirion (on the Welsh coast) then a full day’s journey. She states that it was bought for this purpose by Portmeirion’s architect and owner Clough Williams Ellis. TRUE! Clough actually bought it and  redesigned it in the early 1930s. It is still there on the banks of the  Severn – serving a good afternoon tea, according to tripadvisor.

 

In Le Carre’s Agent Running in the Field (2019) the aging spy  worries that he will be soon sent to the Retirement section ‘…who will offer me tantalizing openings in the arms industry, private contracting or other laying-out places for old spies such as The National Trust, the Automobile Association and private schools in search of assistant bursars…’ But can old spies just walk into jobs at the A A and the NT? Is that greying bursar at the exclusive boarding school an old spook who has handed in his Biretta? They have served their country and may deserve further employment; certainly after WW2 openings were made in many businesses for old soldiers, especially wounded ones, so it’s hard to hold up the LIE card confidently…

Portmeirion is now a 5 hour drive from London, without stopping and in good traffic. The Mytton and Mermaid  is just over half way and would still make a good stop off. It is  haunted by an eccentric  former owner ‘Mad’ Jack Mytton, or so they say.. Continue reading →

Rowling’s Professor Binns on Saki

Stubbs letter to Haining fantasy 001
Found among the Haining Archive at Jot HQ is this typewritten letter dated 6thJune 1984 from the Classical historian H(ugh). W. Stubbs (1917 – 2012) of Exeter University, who was the model for J. K. Rowling’s Professor Binns in the Harry Potter novels. While at Exeter University in the early eighties reading French, Rowling had chosen Ancient History and Culture as a supplementary subject and had attended some of Stubbs’s soporific lectures. Though not a charismatic speaker, Stubbs was far from boring as a person. In the letter he dilates on the joys of Saki, among other topics.

 

Most of the letter is taken up with Haining’s 1983 edition of stories by Saki and with the editor’s Preface in particular, but Stubbs is also good value on supernatural literature in general, as well as philology and folklore. There are also a few acerbic asides on Chips Channon ( ‘ that horrible man ‘ ) on the horror anthologies ( ‘ a singular repulsive series ‘)  edited by Christine Campbell and on the American academic Langguth  ( ‘ abysmally ignorant ‘ ). Stubbs himself seems to have taken a keen academic interest in the supernatural genre. He tells Haining that in the 1950’s he corresponded with Peter Penzoldt, author of a  pioneering study, The Supernatural in English Fiction(1952).

 

On Saki Stubbs answers various points made by Haining. Firstly, he tackles the famous Saki story ‘Sredny Vashtar’. Continue reading →

Walking without anything to listen to..

600px-Caspar_David_Friedrich_-_Wanderer_above_the_sea_of_fog There was a comedy on  BBC radio recently about a man who was transported back from today to early Victorian times. As I recall, he missed modern dentistry, and he also missed having something to listen to on his many walks. In James Runciman’s book of essays  Joints in the Social Armour (Hodder 1890) he has this solution for the bored walker:

 
…then you find the advantage of knowing a great deal of poetry. I would not give a rush for a man who merely pores over his poets to make notes or comments on them; you ought to have them as beloved companions to be near you night and day, to take up the parable when your own independent thought is hazy with delight or even with sorrow. As you tramp along the whistling stretches amid the blaze of the ragworts and the tender passing glances of the wild veronica, you can take in all their loveliness with the eye, while the brain goes on adding to your pleasure by recalling the music of the poets. Perhaps you fall into step with quiver and the beat of our British Homer’s rushing rhymes, and Marmion thunders over the brown hills of the Border, or Clara* lingers where mingles war’s rattle with groans of the dying. Perhaps the wilful brain persists in crooning over the Belle Dame sans Merci; your mood flutters and changes with every minute you derive equal satisfaction from the organ- roll of Milton or the silver flageolet tones of Thomas Moore. If culture consists in learning the grammar and etymologies is of a poet’s song, then no cultured man will ever get any pleasure from poetry while he is on a walking tour; but, if you absorb your poets into your being you have spells of rare and unexpected delight.

*Possibly a reference to a poem by Robert Browning Red Cotton Nightcap Country or Turf and Towers (1873) about the love of a desperate man for a woman called Clara..

Laughing at Poetry

Laughing at SwinburneIn the April 24th 1942 issue of John O’London’s Weekly can be found a perceptive view by the essayist Robert Lynd on the subject of risible poetry written by good poets. He takes his cue from an incident a century before when Thomas Wakley, the founder of the Lancet, stood up in the Commons to mock some puerile lines from ‘Louisa’ by the Poet Laureate, William Wordsworth.

Lynd then goes on to wonder whether ‘absurdities were so common in the older poets as they came in the period that followed the French Revolution. Shakespeare and Milton seem never to have descended to such unconscious ludicrousness as Wordsworth. I do not think that any of the older poets ever wrote a line that parodies itself so easily as Swinburne’s :–

Swallow, my sister: O Sister

     Swallow. 

‘One of Swinburne’s loveliest poems, ‘Before a Mirror ‘, Lynd continues, ‘begins with a verse of extraordinary nonsense –at least, containing extraordinary nonsense—and yet who can fail to be moved by it:– Continue reading →

Edith Allonby—-the novelist who had to commit suicide to get published


‘I have found another way… ‘So wrote fantasy novelist Edith Allonby (1875 – 1905) in a note Edith Allonby photographfound on her lap following her suicide, aged just thirty, in December 1905. When discovered she was sitting in a comfortable chair dressed in a silk evening gown with fresh flowers in her hair. By her side was an empty bottle of phenol (carbolic acid), the poison of choice (bleach was another) for many suicides in the UK at that time, due to its availability and quick, but painful, action.

For Allonby, a schoolmistress from Cartmel, Lancashire whose two previous works of ‘ satirical fantasy ‘, Jewel Sowers (1903) and Marigold 
(1905),  both set on the imaginary planet of Lucifram, had not sold well, there seemed little choice. In her suicide note she explained that after four years of labour on her latest book , a spiritual fantasy about life and death that she claimed had been given to her by God, her publisher Greening had rejected the manuscript, as had other publishers. ‘I have tried in vain ‘, she wrote,’ …yet shall The Fulfilment reach the people to whom I appeal, for I have found another way…’

That way was an act that would make her posthumous book a sensation at the time, for Greening did change their minds about its publication once the author was dead. It came out in a limited edition, which makes it and her previous two novels, scarce and valuable items today. It is possible that originally all the publishers to whom it was shown simply found the subject matter of The Fulfilmenttoo difficult to deal with. The author herself admitted that her book contained ‘either truth or page upon page of blasphemy ‘. Today, we are more open minded on spiritual matters.  [R.M.Healey]

Edith Allonby The Fulfillment 1905 cover

 

Charles Morgan to Arthur Bryant

IMG_0562Found –an interesting signed presentation from Charles Morgan to the historian, Arthur Bryant. It reads – “Arthur Bryant, more about the froggies from his old friend & admirer, Charles Morgan 7.7.49.” It was in a copy of his 1949 book The River Line.

Morgan had been awarded the French Legion of Honour in 1936 and was elected a member of the Institut de France in 1949. In his time Morgan enjoyed an ‘immense’ (Wikipedia) reputation during his lifetime, particularly in France.

The River Line became a play but was originally written as a novel in 1949 and concerned the activities of escaped British prisoners of war in France during World War II.

The inscription is interesting given Morgan’s high standing in France and his professed love for the French. He is still admired there but has become a  slow seller in Britain. The inscription possibly panders to Bryant’s tastes and views, notably to the right.  Bryant had written a book in 1940 which he had to rapidly repress (see Bookride) due to its failure to condemn Hitler.

An early review of Pound’s Personae (1909)

 

340px-Ezra_Pound_by_EO_Hoppe_1920It’s often enlightening to read very early reviews of major writers, especially modernist writers. In 2019 we have the benefit of knowing how certain ‘ big names ‘ developed and influenced others, while the innocent reviewer of an early work has only the words on a page. A gifted reviewer may sense that a writer under review is destined for greatness, but most reviewers are hacks and care little. In the case of Ezra Pound, the anonymous review of his third collection, Personaethat appeared in The Literary Worldof August 15th1909, suggests that the reviewer was already an admirer of his first two collections, A Lume Spento(1908), which had been privately printed in Venice in a tiny edition of just 150 copies, but which Pound had persuaded the London bookseller Elkin Matthews to display in his window—and the follow up, A Quinzaine for this Yule—also in a tiny edition. A London Evening Standardreviewer described the former as ‘wild and haunting stuff, absolutely poetic, original, imaginative, passionate and spiritual’. It seems that the Literary World reviewer was of a similar mind:

 

No one can lay the charge of being invertebrate against Mr Pound. His poems are marked by a singular ‘ backbone ‘ and energy. He draws largely on old romance for his themes, but imbues every theme with a certain spirit of high-handed courage. The ‘ Ballad for Gloom ‘ is striking; ‘ Mesmerism ‘is a clever imitation of Robert Browning  at his jerkiest. We quote from a poem, ‘ For E.McC, that was my counter-blade  under Leonardo Terrone, Master of Fence’.

 

              Gone while your tastes were keen to you,

              Gone where the grey winds call to you,

              By that high-fencer, even death,

              Struck of the blade that no man parrieth;

              Such is your fence, one saith,

              One that hath known you.

              Drew you your sword most gallantly,

              Made you your pass most valiantly,

              ‘Gainst that grey fencer even death.

 


Personae was a commercial success and thereafter Pound’s literary career was assured. [RR]

 

Contact Magazine 1950

Call it lazy journalism if you like, and we at Jot 101 do, but in all the obituaries of the great
publisher George Weidenfeld in 2016 there is no mention of the magazine Contact, which he edited from 1950. This is a glaring omission, since it is a showcase for the talents that this refugee from the Nazi Anschluss of Austria in 1938, shared in abundance with so many other émigrés from the Third Reich.

 

According to one obituary, having landed in the UK Weidenfeld soon put his knowledge of Germany and the German language to good use by enrolling in the BBC’s Overseas Service, though others say that he was recruited to the BBC Listening Station near Evesham, where his co-workers would have included British journalists like Geoffrey Grigson and Gilbert Harding and other German-speaking émigrés, such as the art historian Ernst Gombrich. In 1948 Weidenfeld joined up with Nigel Nicolson to form the publisher Weidenfeld and Nicholson with the express aim of launching a socialist magazine that would unite politics with the best of culture. There is no mention of the name of this magazine anyway on the Net, but Contactwas certainly not it, as there is no hint of any political agenda in the copy for September 1950 that we found at Jot HQ the other week.

 

What is obvious is that although the name of the publisher is absent from the title page of Contact, if we turn to page 56 we find that in an advert for three books published by ‘ George Weidenfeld and Nicholson’  the address of the editorial office of 7, Cork Street is the same as that of the editorial office of Contact. Why Weidenfeld should not want to be easily identified as both the editor and the co-publisher of the magazine is not immediately apparent. What is obvious is that he was keen to sign up some of the rising stars in British cultural journalism as contributors.

 

But not all were British. The ‘ provocative’ American columnist on the New Yorker, Emily Hahn, contributed an entertaining sketch on the behaviour of well-heeled American tourists in post-war London:

 

‘ They are afraid of boredom; they do not have their own kitchens and sitting rooms. They simply must find restaurants and places of amusement; they are homeless wanderers otherwise…Average English restaurants are not inspiring. Americans soon become aware of this fact. In Paris one eats with pleasure in French restaurants: in Italy one eats Italian food. But in London the wise American looks around for a restaurant which is not typically native… ‘
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Censorship in Action—-The Comics Evaluation List, number two.

Comics evaluation list maIN PAGE 001Found among a pile of literary ephemera at Jot HQ is this single sheet folded twice and entitled ‘ Comics Evaluation List  Number Two ‘. According to a handwritten inscription at the head of the text this was evidently a proof of a document to be published, probably in September 1953. In 1952, in the words of the introduction ‘ a group of writers and others concerned with children’s reading’ had drawn up a list of comics that glorified ‘ crime, brutality, sadism and lust ‘. As a result of this first ‘ evaluation list ‘ some of these publications had ‘disappeared from circulation and reputable newsagents refused to handle them’.

This second list was to be a more extensive catalogue of offensive publications that nonetheless included those comics to which the board of censors had no objection. If we look at the publication details on the bottom of the list we find that it was printed for the ‘Authors’ World Peace Appeal’. Further investigation reveals that this was a British pacifist organisation launched in October 1951 which flourished in the immediate post-war period of Cold War incriminations where the horrors of the Holocaust and of Hiroshima and Nagasaki were still fresh in the public mind. In their Bulletin number 7 (n.d.) the writers mentioned in the Comics list expressed their views thus:-

‘We writers believe that our civilisation is unlikely to survive another world war. We believe that differing political and economic systems can exist side by side on the basis of peacefully negotiated settlements . As writers we want peace and through our work will try and get it, and we pledge ourselves to encourage an international settlement through peaceful negotiations . We condemn writing liable to sharpen existing dangers and hatred. As signatories we are associated with no political movement, party, or religious belief, but are solely concerned with trying to stop the drift to war,’  

Some of the names of the signatories to this declaration are printed. The writers included:

Edmund Blunden, Vera Brittain, Albert Camus, Alex Comfort, Rupert Croft Cooke ( see earlier Jot), A.E.Coppard, Christopher Fry, William Gerhardi, Joyce Grenfell, Aldous Huxley, C.E.M.Joad, Marghanita Laski, Doris Lessing, C.Day Lewis, Compton Mackenzie, Naomi Mitchison, Sean O’ Casey, Kathleen Raine, Herbert Read, Siegfried Sassoon, Edith Sitwell, Dylan Thomas, Sylvia Townsend Warner. Continue reading →

Literary drinkers

roy_campbell

The actual book being discussed is entitled ‘More Literary Drinkers’, but as we at Jot 101 haven’t read Pete Bunten’s ‘Literary Drinkers’, we will start with this sequel.

Bunten assembles the usual suspects in alphabetical order rather than in their degrees of bibulousness, which in some cases is not why they are in his book. They are: the Brontes, Roy Campbell (left), J.P.Donleavy, Ian Fleming, John Fothergill, Oliver Goldsmith, W.W.Jacobs, Jerome K Jerome, D.H.Lawrence, C.S.Lewis and J.R.R.Tolkein,Norman McCaig, Julian Maclaren Ross, Thomas Nashe, Eugene O’Neill, Dorothy Parker, Joseph Roth, Shakespeare, R.S.Surtees, Graham Swift , and Evelyn Waugh.

The book is well written, as it should be, considering that Bunten, who is ( or was ) a schoolteacher, is a graduate in  English from Cambridge. And there are some amusing pen portraits. One of the best concerns the belligerent South African poet Roy Campbell, who comes across as a near-alcoholic, quite capable of downing 4 ½ litres of wine a day. Bunten is right to see him as a victim of his own determination to project himself as macho through reckless physical activity and alcohol. His fiancee’s father warned her against marrying a ‘dipsomaniac‘, but she ignored his advice and paid the price. The discovery of her affair with Vita Sackville West sent Campbell off on a lengthy bender, which seems to us the sign of an emotionally weak person, rather than a manly one. And is it manly, one asks, to physically attack an unarmed Stephen Spender and Geoffrey Grigson, who Bunten calls ‘ timid ‘,with a knobkerrie ?  To evade such a drunken assault, as Grigson did, after having learnt that Spender had already been hit by Campbell, is hardly the action of a timid person. Later, Anthony West commented on the encounter   with the gruff ‘ You should have kicked him in the balls ‘.In his brilliant Recollections (1984) Grigson recalls being  a witness to another example of  Campbell’s boorish behaviour.

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