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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Researchers in newspaper and magazine archives often complain about the horrendous quality of newsprint they encounter. Sometimes whole pages are brown and need to be handled with extraordinary care as they are turned, lest they crumble to dust— to the embarrassment of the researcher. The decline of paper quality seems to have begun towards the end of the nineteenth century and is attributed to the high acid content of the wood pulp used for printing cheap publications—mainly newspapers and periodicals, particularly adventure and school stories for boys, but also mass produced books issued in serial form. The decay of newsprint appears to accelerate with exposure to sunlight, which explains why single issues of newspapers and magazines are much more likely to turn brown and crumble than bound volumes.



Found among papers at Jot HQ ( heaven knows where it came from ) is this printed list of the good and great ( some not so good) who were invited by a friend or friends to attend a party for the philosopher (Lord)
This fragmentary, though fascinating Diary, that occupies a section of a tiny Address Book, was found in the Jot HQ archives. It records a visit to west Africa in the first few months of 1954 by an anonymous male diarist whose remark that Africa’s dry season of Harmattan was ‘our winter ‘ suggests that he may have been a native African or have had African heritage. He also mentions visiting his mother in Ghana. Moreover, a solo entry in the Address Book dated two years before the Diary mentions ‘ English lessons ‘, and the erratic spelling and awkward grammar of the Diary entries are also strongly suggestive.





hilarious and sometimes shocking anthology, Critics’ Gaffes (1983), come from critics who supposedly know what they’re talking about. Others are the judgements of those who haven’t a clue. Perhaps Geoffrey Grigson nailed it when he described the romantic novelist and radio presenter Melvyn Bragg as ‘a media mediocrity who couldn’t tell good literature from old gym shoes.’ Mind you, like the stopped clock which tells the right time twice a day, a few of the following verdicts have the ring of truth.



