Jessica Mitford describes Faces of Philip: A Memoir of Philip Toynbee as “A record of events, not purporting to be a complete history, but treating of such matters as come within the personal knowledge of the writer, or are obtained from certain particular sources of information.” With such a qualification, one can excuse the fact that this book is likely to have been of more interest to those who knew Mitford and Toynbee that anyone who might read it then or now.
Philip Toynbee was the son of Arnold Toynbee, the best-known English historian of his time, whose magnum opus, A Study of History, is probably read today by barely more people than read any of his son’s books (all of them now out of print). He and Mitford became friends in the Thirties, when she married Esmond Romilly, with whom Toynbee was working as an anti-fascist activist. Mitford and Romilly moved to the U. S. in the late 1930s and she was stuck there when the war broke out. Romilly joined the Royal Canadian Air Force and was shot down on a mission over Germany and Mitford later married an American, Robert Treuhaft, and became an American citizen herself. Toynbee wrecked his first marriage and married again himself. Through it all, he and Mitford remained friends, writing each other often, seeing each other less often.
As Mitford makes clear without saying it outright, for much of his adult life Toynbee was an alcoholic and perhaps a manic depressive, given to such stunts as stripping to the nude while being returned to his Army unit after a riotous bender in town. But they shared a common sense of affection and fun, as reflected in Toynbee’s letter to Mitford in the late 1970s:
Believe it or not, I’ve just been asked to write your Times obituary. In some ways I see that this is tremendously one up on you–unless, of course, you’ve also been asked to write mine. On the other hand, it does give me a good deal of freedom, doesn’t it: I mean either you’ll never read it, or you’ll read it From Beyond where all is forgiven in every conceivable direction.
All love – and please don’t croak before I get this obit done. Drive carefully for next month or so.
Faces of Philip did offer Mitford the opportunity to pay tribute to Toynbee’s own magnum opus, a series of experimental novels in verse known as “Pantaloon.” Four volumes were published in the 1960s: Pantaloon (1961); Two Brothers (1964); A Learned City (1966); Views from a Lake (1968). As Mitford writes, “These have a small but devoted readership of fellow-poets and critics, some of whom discussed the series in their obituary articles.”
She provides a healthy sample of these assessments of “Pantaloon.” Patrick Leigh Fermor called it a “far-too-little-known, many volumed, and extremely brilliant narrative poem. Far more than a poetical feat of self-mockery, it is a most precious and perceptive documentation of a certain kind of growing-up, with all the problems, trends, dogmatic attractions and revolts to which the restless youth of the middle and late Thirties were prone.” To Stephen Spender, Pantaloon reflects Toynbee’s “serious, religious, ribald, self-mocking attitude to life. His friends will remember him as a poignant and moving personality who lived his life almost as if he were the ironically self-viewing hero of a fiction written by himself.”
Robert Nye, a champion of the experimental in literature, considered it “a remarkable achievement, perhaps a masterpiece…. It strikes me as one of the last authentic works of the spirit of modernism. After Toynbee’s death, Nye wrote that it was “one of the most important landmarks of post-war fiction in England. To re-read the individual volumes consecutively is to realise that here, at last, we have something that can be mentioned in the same breath as A la Recherche.”
In a review of Two Brothers, V. S. Pritchett wrote: “Another important reason for Mr Toynbee’s success is that he has hit on the right subject: the Grand Tour. This cannot fail in the hands of a restless, fervent .and cultivated writer who responds to the gay, the comic and the intense . . . Mr Toynbee has done a very fine thing.” Even The Times’ anonymous obituary writer described it as “A formidable achievement. Even now it is difficult to evaluate it confidently–passages of apparent rambling are juxtaposed with areas of intensely concentrated verbal experience–but it is never less than highly interesting.”
Despite this acclaim, “Pantaloon” has never been reissued and has now been out of print for 50 years. Mitford does mention that as someone who made his living as a book reviewer for most of the 1950s and 1960s, Toynbee took the reception of his own books with ironic humor. “There is only one review worth getting,” he once said. “The one that simply says ‘This is the Best Book Ever Written.'”
A brief excerpt from “The Third Day,” the third chapter in Pantaloon:
Once, in another age or life, I was standing on the moving-staircase, Going down. Wheels and unseen chains were rattling And feet were scraped on the metal slats of the steps. Warm air was blown in our faces, A warm wind breathed up the shaft From the intricate dark mole-run of the Underground. The blown air reeked of rubber and sparks And a mild municipal disinfectant; Of fagged-out breath and hasty scent, Warm bodies and clothes. I welcomed the old smell of a London lifetime.
I have always thought of him as Mr. Eliot. When I went to London I ran into people who referred to him as Tom Eliot: I soon realised this did not always mean that they had met him. I saw him many times, so often indeed that it seemed to me that ifyou had your being in central London you could not not see him, for he was part of it. I sat opposite him in tube trains. I saw him in theatres, I stood behind him in a queue to buy stamps at Holborn Post Office, I saw him in restaurants in Soho, I recall I was once in the lift with him at Notting Hill underground station. In 1938 and 1939 I went on occasion at lunchtime to a pub called The Friend at Hand behind Russell Square tube station for the express purpose of seeing Mr Eliot come into the saloon bar, carrying his rolled umbrella and wearing his gent’s city clothes and black trilby hat. Without speaking a word to anyone, he would drink his double whisky before going to his lunch engagement.
The Friend at Hand pub today
Towards the end of the Fifties, at a late-night party at the Savoy Hotel I saw him dancing with his young wife. And soon after this I met him. He invited me to have tea with him in his office at Faber’s, for I was thinking of writing a book on Wyndham Lewis, who had recently died. He was very cordial and gracious. He had known Lewis from the time he first arrived in England, and Lewis had told me with some pride that Mr. Eliot went round to his flat every Thursday evening to read to him, for these were the years of Lewis’s blindness. 1 was after information. Mr. Eliot was an amiable sphinx. “You know,” he said, “I never felt I really knew Lewis.” That was all he would vouchsafe. It was a wonderfully baffling meeting.
In his memoir, As I Walked Down New Grub Street (1981), English novelist and critic Walter Allen offers a set of recollections that is perhaps a little closer to popcorn than steak in terms of substance. Not that Allen was not a solid and serious writer. Raised in a lower middle class household in Birmingham, his roots were more in the factories and mines than in the quads or cricket fields. Unable to win an Oxford scholarship, he had to settle for one to his hometown university, and forever after chafed against the innate bias in favor of Oxbridge held by much of the English literary establishment of his time.
Graduating in the midst of the Depression, Allen fought against the tide and insisted in making his way as a working writer. Although he eventually took academic jobs to keep from starving, but the time of the Second World War, he had made it to London. There, as a long-time member of the staff of The New Statesman as well as a novelist in his own right, he came to know many of the best writers of his generation, including L. P. Hartley, Joyce Cary, and Graham Greene. Greene was the best-known of them, and Allen was at first a bit of an imitator. He was fascinated by Greene’s exotic travels and his obsession with sin–although Malcolm Muggeridge once cautioned Allen, “Where Graham is, sin stops.”
He also made friends with a loose set of writers that is sometimes referred to as the Birmingham Group. Although Allen was the stand-out survivor of the lot, the best known of the group was his close friend, the novelist John Hampson, author of Saturday Night at the Greyhound. Hampson introduced him to W. H. Auden, whom Allen came to know as Wystan. Allen recounts how Auden contrived to get Hampson married:
He had married Erika, Thomas Mann’s daughter, in order to provide her with a British passport. It somehow seemed typical of him that the woman he had done this service for should have been the daughter of the most illustrious of living novelists. He persuaded John, who was homosexual, that he should marry Erika Mann’s friend Therese Giehse, an actress and a very fine one, later associated with Brecht and the Berliner Ensemble and at this time running an anti-Nazi cabaret in Zurich for which Auden wrote some satirical sketches. Hampson asked me what I thought of Wystan’s suggestion. He was obviously wistfully attracted by its romantic appeal. I suppose I said all the conventional things; I advised caution; later, he might discover he wasn’t homosexual, fall in love with a woman and want to marry in a real sense. Now I see my advice as comic: Hampson was ten years older than I and knew incomparably more of life. He listened to me and said: “Wystan says, ‘What are buggers for?'” I knew I was defeated. Put in that form, Auden’s appeal, I realised, was irresistible.
Following the civil ceremony near Victoria Station, the wedding party retired to a nearby pub:
Well, John and Therese were married in the eyes of Sir William Joynson-Hicks, the Home Secretary, if not in God’s. Wystan chivvied us down the stairs. In the street he said: “We all need a drink”and led the way to a large mock-Tudor pub on the other side of the High Street. We seated ourselves in an empty lounge. The barmaid came, and “Large brandies all round,” Wystan ordered. When she brought them, “Is there a piano here?” he demanded. “Yes, sir,” she said, “but you can’t play it.” This made Wystan very indignant. “Who is to stop me?” he wanted to know. The girl answered: “It’s Mr.____. He’s dead. He’s in there.” She pointed to the billiard room. Led by Auden, we rose and went into the billiard room. There was a coffin on the billiard table. An occasion when Wystan was not allowed to play Hymns Ancient and Modern.
As I Walked Down New Grub Street, by Walter Allen William Heinemann Ltd., 1981
In the last summer of my mother’s life, I was sitting with her on the little lawn of her cottage in Sussex, when she said suddenly, “I feel it is wrong to repine as life goes on, for I can always say to myself, ‘I, too, have lives in Arcadia.”
She must have seen that I was wondering to what part of her life she referred, for she could look back to many delightful and remarkable experiences.
She put her hand on mine. “I mean the five years with your father, and the further nine summers I spent with his mother, at La Celle St. Cloud.”
So opens the first volume of Marie Belloc Lowndes’ memoirs, in which she recalls the uniquely gracious and intimate world that her grandmother created in her modest country home in a village less than ten miles from the center of Paris. It all began in 1867, when two friends, both pioneering English women’s’ rights advocates, Bessie Parkes and Barbara Bodichon, reunited in Paris. Bodichon was recovering from a fever contracted while living in Algiers with her husband, Dr. Eugène Bodichon, a prominent physician. Concerned at her friend’s condition, Parkes sought a place in the country where they could relax and get away from the stagnant summer air in Paris.
She came across a flyer advertising a chalet for rent in La Celle St. Cloud offered by a Madame Belloc. Madame Belloc was Louise Swanton Belloc, daughter of James Swanton, an Irish officer who had served in the armies of both King Louis XVI and Napoleon, and widow of the recently deceased painter Jean-Hilaire Belloc. She was also the leading advocate of English literature in France. She produced a steady stream of translations of Dickens, George Eliot, Sir Walter Scott, and others, and her network of acquaintances included many of the most famous writers of both countries. The chalet was on the grounds of a small tract where she lived with her son Louis and a frequent visitor, Adelaide De Montgolfier, daughter of the famous balloonist Jacques-Étienne Montgolfier.
Louis Belloc had been a busy and successful official in the Paris city government, but at some time in his late twenties, he collapsed from overwork or perhaps a stroke and was now living as an invalid with his mother. At the time that Bessie Parkes came to stay with the Bellocs, this model of Victorian rectitude, independence, and industry probably had no intention of remaining more than a few weeks.
But some kind of profound intimacy was sparked between Bessie and Madame Belloc, and soon after, between Bessie and Louis. When the two Englishwomen returned to Paris, Bessie had promised to come back to La Celle St. Cloud in the autumn. And she confided to Barbara, “I want you to know of a certain decision I have made! I have made up my mind to marry Louis Belloc.” Louis had not, in fact, asked her. “Such an idea, I feel sure, has never crossed his mind…. But he will do so when I stay with them this autumn.”
Barbara and Bessie’s family argued strongly against the marriage. They found it hard to conceive how a woman with such drive, responsible to dozens of initiatives to improve the lives of women and the working poor in England, could suddenly tie herself down to a sick man living on a tiny French estate. But an entry from her diary, written just two months after her wedding, offers a clue to the emptiness that the love of the Bellocs filled in Bessie:
How utterly my life has changed! In the old days it was always astonishing to me that with so many elements which should have made for real happiness–intelligence, great interest in literature, sufficient money, and the highest principles–my mother’s house was so lacking, at any rate where I was concerned, in real happiness….
How strange that Barbara should think I ever feel lonely! There have been times in my life when I have felt painfully alone, but never since the fortunate day when she and I settled into the chalet last spring. I remember feeling that evening as if I had stepped into a new dimension, and in that dimension I have, thank God, dwelt ever since, with increasing joy and peace.
Within a year of marrying Louis, Bessie gave birth to a daughter–Marie–and two years later, to a son, Hilaire. The couple had little time to celebrate Hilaire’s birth, because the Franco-Prussian War had begun a week before, and less than two months later, the family had to flee to England ahead of the imminent siege of Paris. Mademoiselle Montgolfier, however, remained, and her letters, along with those of Louis’ sisters, all of whom stayed throughout the long and difficult siege, demonstrate the kind of strength and dedication in the face of hardships that seems to have been given in exceptional degree to some people in that era.
When the Bellocs returned to La Celle St. Cloud after the armistice, they found that Prussian troops had looted the estate, leaving much of it damaged and uninhabitable. But Madame Belloc and Bessie plunged into the business of restoration, and within a few months were able to live there again. Their relief was short-lived, however. One day in August 1872, Louis collapsed, and he died just a few hours later. As Bessie wrote to Barbara afterward, “I had an angel of goodness by my side for five years. From the time he uttered his marriage vows, giving his whole self to me as he did then, I never had cause to regard him other than with the exceeding reverence which ended in exceeding love, which made me hold so lightly all the real difficulties of a life to which I was never blind.”
Marie and Hilaire Belloc would become two of the most prolific English writers of their generation. When she began to write her memoirs, Marie had seen, for the third time in her life, German troops invading her first home. Even though I, Too, Have Lived in Arcadia was written in the time of the Blitzkrieg and the Blitz, it is very much a book of the century before. This is not to imply that it is stiff or outdated in any way. Instead, it is marked throughout by a sincerity of emotion that we have grown too jaded to trust and, hence, that seems antique. But as Elizabeth Bowen wrote when it first came out, “It is a book in a thousand, for it conveys the character of a group of people, at once civilized and original, and the atmosphere of an unusual place.”
Marie Belloc-Lowndes wrote three more volumes of memoirs: Where Love and Friendship Dwelt (1943); The Merry Wives of Westminster (1946); A Passing World (1948). I am nearing the end of Love and Friendship and can report that it maintains the same warm and intelligent spirit as I, Too, Have Lived in Arcadia. Despite wartime printing limitations, Macmillans in the U. K. managed to put out a handsome set of volumes that are as pleasant to hold and read as anything I’ve come across. I started reading the series with the U. S. edition published by Dodd, Mead, but I liked the Macmillan editions so much I bought another copy just to keep.
I, Too, Have Lived in Arcadia, by Marie Belloc-Lowndes London: Macmillan, 1941
Ann Farrer, from the “Ingenues” section of The Spotlight, Autumn 1939
Reading Jessica Mitford’s memoir of the critic, novelist, and poet Philip Toynbee, The Faces of Philip (1984), I stumbled across a mention of a book that turns out not only to be neglected but (at the moment) unattainable outside a couple dozen libraries: Ann Farrer’s 1966 memoir of her struggles with depression and the relatively ineffective attempts of a series of Freudian psychiatrists to help her with it, If Hopes Were Dupes, published under the pseudonym of Catherine York. A cousin of the famous Mitford sisters, Ann Farrer was known to her family as “Idden.” She became a moderately successful actress in London and married a fellow actor, David Horne, and together they ran a small theatre company in the 1940s and 1950s.
Mitford writes:
As background: Unknown to me (for I was in America at the time), Ann suffered the almost unimaginable torture of a severe nervous breakdown. Later, she wrote a book about the experience: If Hopes Were Dupes, published in July 1966. My sisters and I thought it the best book on this dire subject we had ever read. I was confident that it would be embraced by a large general readership for its intrinsic excellence, and by fellow sufferers for the light it shed on a shared malady.
These expectations did not materialize. Nancy, who thought very highly of If Hopes Were Dupes, faulted the title as too obscure. (It comes from a poem by Arthur Hugh Clough: “Tf hopes were dupes, fears may be liars.” Andrew Devonshire misheard this line as: “If hopes were dukes, peers may be liars.”) [Deborah Mitford, Andrew’s wife, wrote of the book years later, “This is by my first cousin, Ann Farrer, who wrote this sorrowful account of her nervous breakdown and total dependence on her psychoanalyst. It would send a shiver down any spine.”] She thought a title more directly describing the subject would have made for better sales. I happened to be in London a few months after Ann’s book was published. To my extreme disappointment, it seemed to have sunk without a trace.
Longing to revive it, I sent a copy to Philip, asking if he could review it in The Observer. As I had hoped, it struck an instant responsive chord; he liked it enormously, but explained that it was against The Observer policy to give a full-scale review to a book that had been out for some time [A policy shared by most book reviews and a major reason why many good books never stand a chance to be noticed–Ed.]. He would try to sneak in something under “Shorter Notices.” He wrote to Ann (28 October 1966): “I thought it extremely well done–dreadfully vivid . . . Decca tells me I was once sick on your floor. Quite enough to start anybody off on a neurosis! With best wishes, Philip.”
The Shorter Notice (The Observer, I December 1966) heaped praise: ‘She emerged from the darkness at last. Her courageous return to those appalling shadows will be read with great benefit by all lonely sufferers from mental and nervous affliction.
Of the few notices that If Hopes Were Dupes earned, not all were as positive. Sid Chaplin gave it a mixed review:
Catherine York gives a narrow, intense and often muddled account of the depression that propelled her to five psychoanalysts or psychiatrists in turn. The better part of the book is about the male consultants, to whom she ‘transferred’, for the most part with singularly distressing effects. The end is muted, but there is some hope in the full line from which the title is taken: ‘If hopes were dupes, fears may be liars’. The case history is necessarily incomplete, but it seems significant that Catherine York is a failed career woman, an unlucky actress with a hus- band evidently prospering in the same line of business. Fame is the spur, but it often draws only blood. Not only young Tolstoy could cry: ‘I felt the need to be known and loved of all the world; to name my name.’ The hope sustains a lot of us. It died in Catherine York. Yet none of the experts seemed to discern this. It caught my imagination on the raw. I have a feeling that the failed actress has the makings of a first-rate writer, once she learns to look outwards. That at least is some- thing to settle for.
Ten years later, after David Horne’s death in 1970, Farrer retired to Jordans, a Quaker hostel in Buckinghamshire. She began to write poetry, which Jessica Mitford shared with Toynbee. Toynbee and Farrer struck up a correspondence that Mitford quotes from extensively in The Faces of Philip. Among these are the following, in which Toynbee offers sober advice that every writer should take note of:
[12 August 1980:] Believe me, dear Ann, I know those kind of feelings and have often experienced them in the past . . . In fact I have never written anything which was so much a projection of my inmost self that I regarded an attack on it as an attack on me. Nor do I believe that the process of creation is of this kind: there is always a necessary and inevitable distancing of the writer, painter etc from his work. The idea of pouring out one’s heart straight onto the paper is, I believe, a romantic illusion; and rather a dangerous one . . .
In the course of writing Pantaloon I had just such feelings of absolute rightness, glorious confidence, only to discover later that these feelings had utterly misled me. Sometimes I wrote for as much as six months as if inspired; then found that I had to scrap almost every word of what I had done and start all over again. This is one of the very hard facts about trying to write: nearly always it is a matter of hard slogging and constant revision, rather than the Muse suddenly touching one’s shoulder or receiving one’s words direct from heaven.
[15 October 1980:] I think that when one writes burningly out of one’s own experience, still filled with the overflowing emotions of real life, one usually misses one’s aim. Who wrote about ’emotion recollected in tranquillity’? Anyway, I’m sure that in nearly all cases there has to be a real pause, a taking stock, however unconscious, a distancing . . . Then the emotions are still there all right, but they are just far enough away for one to be able to marshall them; order them about; then alter the whole emphasis of them for the sake of the poem. After all, a poem is always an artifact; indeed an artifice. Put another way, if the bleeding wounds still show then I think there is something wrong. (Except in very very rare cases).
If Hopes Were Dupes, by Catherine York London: Hutchinson, 1966
Gladys Bronwyn Stern, or G. B. Stern (17 June 1890 – 20 September 1973), born Gladys Bertha Stern in London, England, wrote many novels, short stories, plays, memoirs, biographies and literary criticism,” states the opening sentence of G. B. Stern’s Wikipedia entry. Many as in over fifty, or roughly one a year starting in 1914.
She was never, apparently, at a loss for words.
One way she managed such an impressive rate of production was that she dictated most of her books while laying on the sofa, staring up at the ceiling. “If I wrote them myself, I know I should always be stopping to draw patterns,” she told an interviewer once. Another was that she was perhaps more open to the potential of detours than any other writer. Wherever her thoughts might wander in the course of her dictation, she was more than willing to follow:
A straight line, so I have been taught, is the shortest way between two given points. This book [Monogram, her first volume of autobiography] will probably prove to be the longest possible way between three given points: objects picked up at random from my own sitting-room; from the rubbish heap of a garden in the South of France; from anywhere. A straight line cannot enclose anything; but if you join three points, you have a triangle, and something exciting may or may not be discovered, afterwards, enclosed inside a triangle, wherever and however you happen to draw it.
So Stern was a born non-linear thinker, and her reader should not be surprised when her thoughts not only lead off the beaten path but often cross the lines between one genre and another. Her temperament was well-matched with the imaginative absurdity of the snippet of Marx Brothers dialogue that serves as the epigraph to Monogram:
Groucho: “It’s my opinion that the missing picture is hidden in the house next door.”
Chico: “But there isn’t a house next door.”
Groucho: “Then we’ll build one!”
When her publishers, Chapman and Hall, approached Stern with the idea of writing an autobiography, she chose to interpret the label liberally: “So let us try, for a change, to put our words into thoughts. Surely this should be what they call autobiography?,” she asked.
Inspired by the example of Xavier de Maistre’s Voyage Around My Room, she determined to follow his example, in which “everything is linked to everything else.” This worked for Stern, for as she saw it,
There is hardly an object, however recently acquired, however sharply free from cobwebs and memories, that would not start an association with some incident, some person, that would lead on to another and another; honestly allowing the line of the pattern to take whatever twists and curves and backward looks, angles and zigzags and convolutions it wills; honestly; not forcing it in this direction nor in that, simply because this or that direction might make the prettier or the more rhythmical pattern.
So Stern seizes upon a little blue and white glass dragon figurine on her mantelpiece, and off she goes. In the space of the next ten pages, she leads us to the Mount Wilson Observatory in Los Angeles, to the fact that she had named characters Maitland in four different books but had never known anyone with that name, to a memory of associating the word “Hydrant” with magical powers until her Nannie explained what one was, to a recollection of a chalet in the Tyrols, to an account of attending the first performance of R. C. Sherriff’s war play, Journey’s End, in Berlin in the early 1920s.
And on the book rolls, taking countless twists and turns and diversions, until ending 300 pages later with a joke about Einstein’s wife. And on Stern would roll, through a further eight volumes over the course of the next twenty-four years. Although several conformed a little more closely to a pre-set structure (And Did He Stop and Speak to You? (1957) was a collection of sketches of famous people she had known, such as Somerset Maugham and Max Beerbohm, All in Good Time (1954) and The Way It Worked Out (1956) were about her conversion to Catholicism), none fully restrained her from wandering off-topic when her curiosity took over.
It’s no surprise, then, that some critics couldn’t stand this approach. Reviewing Trumpet Voluntary (1944), Albert Jay Nock wrote that Stern “… presents uninteresting personages doing most uninteresting things in extremely uninteresting circumstances. Its narrative is desultory, garrulous, inconsequential.” (Another critic wrote that Stern was “occasionally inconsequential but never trivial”).
Most reviewers struggled to capture the unique nature of these books. One called Another Part of the Forest (1941) “a desultory, enticing, and ingenious volume of recollection, comment, reverie, and imagination.” Another labeled Trumpet Voluntary “a Commonplace Book, into which the author throws quotations, favorite and otherwise, opinions on books, on authors, everyday happenings–in short, everything that comes into her head at the moment.” A third wrote that “for those who love them,” each of Stern’s autobiographies was “a river of a book, now in flood, very rarely reduced to a trickle, but with occasional excursions into idle, tree-protected pools.” In its starred review of Monogram, Kirkus Reviews provided a good description that could any of the nine books:
There is no beginning, no end; no background of birth and parentage; no chronology of events; no category of friends and acquaintances. Instead, at the end, you have a rich tapestry of a full life, a life savored, shared, enjoyed to the utmost. You pick up facts, and weave them into the pattern, with no illusion of importance as to where and when they belong. You meet as intimates — or as passing acquaintances–the people that enliven today’s literary world, artistic world, theatrical world. There is humor–and poetry–and appreciation–and keen commentary on the passing scene–and it’s grand reading from first page to last.
Looking across the full set, from Monogram (1936) to One is Only Human (1960), a gradual trend toward more serious, deep-rooted thoughts can be seen. Monogram is almost effervescent, still retaining the high spirits and optimism of Stern’s first great successes as a novelist, playwright, and celebrity in the 1920s. Another Part of the Forest (1941) is full of enthusiasm for Merry Olde England (and crazy new America) but mentions of mobilization, bomb shelters, and the fact that her beloved France was cut off and under occupation remind the reader that Stern was writing in wartime. the war becomes even more prominent in Trumpet Voluntary (1944), which opens with a reflection on the destruction of her flat in London:
I used to wish that something would happen, something quite harmless, naturally, to remove the Military Tailors [a shop across the road from her flat] and leave me with a wider view. How I used to wish it! … I need not even have seen it happen; one morning, pulling aside the curtains, the building opposite would not be there, and I should have my unremorseful view.
… And then one morning, the morning of October 15, 1940, to be exact, the Military Tailors drew aside their curtains, and my rooms were not there, and instead, they had a heavenly outlook; at least, they would have when the rubbish and ash and bits of gutted wall had been cleared away. It was almost the same thing, you see; the Green Djinn had got it as nearly right as could be expected from Djinns, only it had not struck me, and I am afraid did not strike me till two years later and on this afternoon of November, 1942, that the Military Tailors might also have been doing a bit of intensive wishing, and that they were better at it than myself.
In Benefits Forgot (1949), the memories of war are still fresh. Stern comes across letters written her by American and British soldiers and learns that the R.A.F. pilot who wrote her in praise of Trumpet Voluntary died while on a raid the day after he posted his letter. All in Good Time (1954), The Way It Worked Out (1956), and, to a large extent, One is Only Human (1960), all deal with spiritual matters, tracing Stern’s long journey from being raised as a secular Jew to embracing Catholicism in her late fifties.
Throughout all the books and all their many changes of subject, one thing remains constant: Stern’s unwavering good humor. Even Albert Nock admitted that, “Chatterbox as Mrs. Stern is, commonplace as her people and their doings are, she brings them before you pervaded with the warmth and glow of an inexhaustible affection.” If her spirit of whimsy and stream-of-consciousness narrative logic can, at times, become a wee bit tiresome, Stern’s fundamental generosity and gently self-mocking tone almost always provides a restorative effect.
I have to confess that while I’ve never managed to read any of them from beginning to end, I have kept one or more of Stern’s books in my nightstand for most of the last two years and probably always will. Dip into any page of any of these books, and I guarantee that within a page or two you will have read something interesting, something amusing … and probably switched subjects at least twice along the way. Someone could probably assemble a terrific book of about 400-500 pages with the best excerpts from the lot, but I suspect it might come off a bit like a fruitcake without the cake. Till then, I highly recommend picking up any one of them (many copies are going for as little as $1.00 plus shipping) and diving in.
As a veteran, I would like to take this day as an opportunity to remember that one of the worst things about a war is the suffering that continues after its end. In the stereotypical versions of the end of World War Two in Europe one sees in America and Britain, the symbol of V-E Day was the great joyous crowd doing the Lambeth Walk in Piccadilly Circus. But on the Continent, the end of the war merely opened a time of displacement, disruption, and slow, painful reconstruction.
Four fine neglected books, all written by women, remind us of one of the greatest tragedies to follow the war in Europe — namely, the plight of the millions of prisoners, forced laborers, and refugees who were displaced from their homes and stranded in foreign countries, often without the means to return.
Wilson, an English academic who had already worked with refugees from the First World War, Russia, and the Spanish Civil War, joined the United Nations Relief and Rehabilitation Administration (UNRRA) in early 1945, and was one of its first staff members to arrive in Germany to begin to deal with the enormity of the problem created with the liberation of concentration camps by the Allies. The first DP (Displaced Persons) camp she worked at was Feldafing in Bavaria, which the U.S. Army set up to house a trainload of Hungarian Jews one of its units found near Mühldorf , a satellite camp of Dachau. In these early days, those organizing relief quickly realized that they were dealing with people who had been subjected to a dehumanization more extreme than anything that even an experienced worker like Wilson had ever experienced:
They had the furtive look and gestures of hunted animals. By years of brutal treatment, by the murder of relatives, by the constant fear of death, all that was human had been taken away from them. We went into the dormitories where they were eating — the collected their food from the kitchen and brought it back to devour in relative privacy: nothing would persuade them to eat in communal dining-rooms. I noticed a man who was trying to eat but was too weak to finish his food. Three boys were staring at his plate. I had once seen the same look of burning yet cautious intentness on the Russian steppes. When the sick man pushed his plate away a thin arm shot out and seized the lump of meat left on it. The lad who had secured it slid out of the room, like a starving dog with a bone.
Despite the challenges of woefully inadequate supplies and staff, an oncoming winter, and a population devastated by malnutrition, disease, and depression, UNRRA and other relief organizations gradually established some degree of sanitation and comfort in the camps. But none of them was quite prepared to delete with the special challenge presented by the former residents of lands now incorporated into the Soviet Union. And their responses were not always something to be proud of:
They are now in exile because they do not wish to become Soviet citizens. Only they can decide about this. Soviet citizenship should be accepted voluntarily, and the policy not to compel their return is a right one: but the policy of leaving them to rot in DP camps is utterly wrong. Poland will not accept her former Ukrainian citizens — those who tried to go back there were turned back from her frontiers. Military authorities in Austria were trying last September to make a temporary solution. They reduced their rations, which had been kept to the 2,000 calorie level, to the 1,200 of the surrounding population, saying at the same time that all those who were physically able must pay for their board and lodging in the camps…. But unless these uprooted peoples are to be permanently absorbed in the German or Austrian economy — and this neither they nor their hosts desire — this is only a temporary solution. When all have gone home who will or can, there will still be three-quarters of a million irrepatriable DPs….
In 1945, Kathryn Hulme arrived as UNRRA director of the Wildflecken DP camp in northern Bavaria. Like Wilson, she encountered a desperate situation and struggled in the first months to establish conditions fit for the people in the camp. Her first impressions, she wrote “entered with such sharp shock that never again would I be able to look on a refugee mass, even in pictures, and see it collectively, see it as a homogeneous stream of unfortunate humanity that could be handled with the impersonal science of the engineer who does not even think of the drops of water when he is controlling the flood.” At Wildflecken, she also met Marie Louise Habets, a Belgian nurse and former nun. The two became close friends and were to remain together as companions when they left the camp. Hulme would later fictionalize Habets’ experiences as a nun in the 1958 best-seller, The Nun’s Story. The Wild Place won the Atlantic Monthly award as best non-fiction book of 1953. Although not rare (AddAll.com lists over 50 copies for sale), it’s become something of a collector’s item, with prices starting at $35 and running to over $400 a copy.
Roosenburg was a young Dutch woman imprisoned in 1944 by the Nazis as a Nacht und Nebel (Night and Fog) inmate for her activities as a member of the Dutch Resistance organization. When the war ended, she and four other Dutch women were inmates of a prison near Waldheim in Saxony, in the Russian zone of occupation. Because one of the women was too ill to walk, they were left behind in the initial evacuation, and after turning their friend over for medical care, they had to work their way back over four hundred miles of territory that was still in chaos. It required an extraordinary amount of strength, ingenuity, and persuasiveness, and reading The Walls Came Tumbling Down serves as another illustration of the fact that a group of women is usually ten times smarter, better organized, and more practical than any equivalent group of men. Roosenburg, who worked as a journalist after the war, first wrote about these experiences in a four-part series in The New Yorker titled, “Annals of Liberation — The Journey Home.”
The Children was the only book of non-fiction published by Ursula Torday under the pen-name of Charity Blackstock that she used mostly for murder mysteries and light thrillers. In it, she recounted her five years’ work as director of a scheme organized by an association of British Jews organized to help locate and reunite family members who had survived the Holocaust. The scheme involved arranging for displaced Jewish children being kept in group homes in France to be placed — only temporarily at first — with Jewish families in England. The Children provides a vivid demonstration of the paradoxes of memory: how quickly people in France and England could forget their own troubles during the war and grow callous to the plight of children orphaned and displaced in its wake; and how long these children remained scarred and disturbed by their experiences. Even for herself, Torday admits, “This business of going back is dangerous: by doing it one virtually stands still, and tomorrow is surely more interesting than today.” And she is able, writing nearly fifteen years later, to recognize that for the children, “The Scheme, the families, the Homes, are all part of a black and stinking past, to be remembered by all of us, but to be forgotten as far as it is possible by them. Even I myself, even the best of hostesses, must be unwilling reminders of a time when they were dependent on charity, deprived children, pathetic victims.”
I don’t believe in golden ages. Pick anyone’s candidate for a golden age — the Athens of Socrates, the Italian Renaissance, Paris in the Twenties, Eisenhower’s America — and without much looking you will find someone — the slaves, the serfs, the blacks — for whom the time was no great party. But I do believe in golden moments — a few months or a few years when circumstances allow a few people to something uniquely marvelous and irreproducable. Music at Midnight is a memoir of one of these golden moments: two years (1912-1914) when Paul and Muriel Draper rented a house at 19 Edith Grove, Chelsea, and it became the center of the music world of London.
Paul Draper was an aspiring American tenor who came to London to study lieder with a renowned voice coach, Raimund von Zur Mühlen, bringing his socialite wife Muriel and their two sons in tow. Although Draper proved a good but not great singer, the couple quickly managed to attract many of the finest musicians living and performing in London at the time. A list of their friends and acquaintances is impressive: Igor Stravinsky, Nijinsky, Chaliapin, Rubinstein, Pierre Monteux, Pablo Casals, Eugene Goossens, Gertrude Stein, John Singer Sargent, and even Henry James were among those who spent evenings at the Draper’s. And no gathering was complete without music.
It often occurred that an artist who did not live in London would arrive for the night of the concert only, leaving London the next day. This meant that he would not arrive at Edith Grove until after the concert and its tedious artist’s-room salutations and compliments were terminated (though I never knew one who did not like them) anywhere between ten-thirty and midnight, and would not leave until it was time to catch the boat-train in the morning. He would find perhaps a movement from a Brahms violin sonata, a Beethoven trio for flute, violin, piano, a Chopin mazurka or German song cycle already in full swing and would creep into a chair or on a cushion until it was over. Then, usually hungry and a little tired from the strain of a concert, we would carry him off upstairs for food and drink. After which the really serious work of the evening would begin and continue until the skylight in the roof above us would turn from black to black-blue to blue-grey to yellow-grey and at last show clear blue sky beyond yellow sunlight, seen through blue-yellow-grey layers of smoke from burning wood, burning tobacco and burning candles. It would be six o’clock — seven o’clock — eight o’clock in the morning before we would make another visit to the dining-room, where the miracle maids after eight hours’ sleep had somehow managed to clear away the debris of Chester’s pink food and lonely parts of deserted fowl and make room for fresh coffee, scrambled eggs in an enormous chafing dish, raspberries and strawberries in big bowls. Oh! those English berries! We would breakfast, and break day by going to bed.
Their neighbors were less enthusiastic about the Draper’s musical soirées. The folks behind them once staged a protest one evening, going from window to window, “blowing policemen’s whistles, shooting off torpedoes, and filling the night air with hootings and rattles.” In response, Rubenstein and John Warner merely attacked the Bach prelude and fugue with even greater enthusiasm. “Bach is stirring enough played by two hands: by four, it is not conducive to sleep,” Muriel notes.
In one way, Music at Midnight is a bit like a snooty man’s version of People magazine — or, as Jim Gaffigan puts it, McDonald’s of the soul. It’s utterly superficial and primarily of interest for the glimpses of the great when they let down their guards. But what English major can resist an account of Henry James on the phone?
To be called to the telephone by Henry James was an experience in itself. The first time it happened I, all unaware, took up the receiver eagerly, and said, “Yes — this is Muriel.”
A voice that began to twist and turn on the other end of the wire, finally spoke.
“Would you be — er — or, rather, my dear, — er — my very dear, if I may call you so, child, would you, — not by — er — er arrangement, but would you — more — er — truthfully speaking — be — er — er NATURALLY at home — this afternoon?”
By that time I was not naturally anything at all, and could only gasp, “Yes, always, any time — yes, yes, this afternoon at five, I will, unnaturally or not, be here — yes,” and hung up.
Muriel soon discovered a trick that many a reader of James has probably been tempted to repeat:
I soon learned to talk with him and listen to him, by withdrawing the weight of my attention from his actual words and the anguished facial contortions that accompanied them, and fastening it on the stream of thought itself. I even diverted my eyes from that part of his face from which the phrases finally emerged, namely, his mouth, and directed them to a more peaceful spot between his eyes, which I imagined to be the source of tought. It proved helpful. … My effort to ignore the words and extract the meaning by a sense of weight, inflection and rhythm which emanated from him … proved an excellent modus operandi from then on….
Muriel Draper, photographed by Carl Van Vechten, 1934Even though Carl van Vechten groused in his diary that Muriel Draper couldn’t write, Music at Midnight bubbles with what one critic called “the zeal of a child anticipating a good time,” and is filled with memorable sketches of the greats. Of the actress Eleanora Duse, for example: “She permeated the air with the ethereal assurance that she was inhabiting her body, but could leave it if she chose.” Or the intimidating Russian bass Feodor Chaliapin, who “had the shape and substance of a rock, the smell and sound of vast stretches of earth and water, and breathed like the winds in the air.”
The parties at 19 Edith Grove might have carried on for years, but like most golden moments, it came to a ugly and unexpected end with the start of World War One. Caught on a tour in Germany, Paul Draper obtained passage back to America, leaving Muriel and the boys in London. She hung on, selling off bits of furniture for cash while foreign exchange with the U.S. was restricted, but by mid-1915, after the sinking of the Lusitania, she decided it too risky to postpone their own return. When the cab arrived to take them to the train station, a group of friends serenaded their departure.
The Drapers divorced not long after Muriel’s return to the US. Paul Draper married a show girl in 1920 and she divorced him a few years later. He died in 1925 at the age of 38. The New York Times reported the cause as heart disease, but in truth, he drank himself to death. Muriel carried on without him, remaining active in New York social and artistic circles. Despite the fact that Van Vechten dismissed Muriel’s ability to write, he photographed her often in the 1930s. And she was a great supporter of young talent, as actress Marian Seldes recalls in this YouTube clip.
Muriel Draper and her sons Sanders (L) and Paul, Jr. (R), in the late 1930s
Her son Paul Jr. became a well-known dancer, particularly for his fusion of tap and modern dance. His brother, Sanders, went to England and joined the Royal Air Force in 1940. He died a hero’s death when he steered the plane he was flying, which had been severely damaged and was plummeting to the ground, and avoided crashing into a school full of children in Hornchurch, just outside London. Muriel became a proponent of Communist and socialist causes until scared off by investigators from the House Un-American Activities Committee. She died in Manhattan in 1952.
Music at Midnight, by Muriel Draper New York: Harper and Brothers Publishers, 1929
Louise Bogan didn’t write her autobiography. Or rather, she didn’t write this book. Always an intensely private person, she rarely risked putting details about her life in print, preferring to confide in her own diaries and journals and, occasionally, in letters to a few friends. “The poet represses the outright narrative of his life. He absorbs it, along with life itself,” she once wrote. “Actually, I have written down my experience in the closest detail. But the rough and vulgar facts are not there.”
Journey Around My Room was assembled some years after Bogan’s death in 1970 by her literary executor, Ruth Limmer, a professor of English at Goucher College, after the idea was suggested by Amanda Vaill, then an editor at Viking. Limmer framed the work in rough chronological order, using text from a story Bogan published in The New Yorker in 1933 titled “Journey Around My Room” as introduction, close, and chapter prefaces. She also used the lines from one of Bogan’s poems, “Train Tune” (“Back through clouds/Back through clearing/Back through distance/Back through silence…”) as chapter titles. Finally, she pulled from the mass of papers Bogan left: extracts from journals, notebooks, poems, letters, short stories, scraps of paper, essays, even recorded conversations hundreds of fragments — the tesserae from which she assembled this mosaic.
The rough and vulgar facts are not there. Without the outline of Bogan’s life that Limmer provides in her introduction, the reader would not know when she was born, that she was briefly married to a soldier with whom she had almost nothing in common, that she had a daughter and then left him, that she had a second marriage to writer Raymond Holden that also ended, that she had an affair with Theodore Roethke and an infatuation with Edmund Wilson, that she served as Poet Laureate to the Library of Congress, that she was hospitalized several times for depression, that she spent much of her later life living alone in what she called the faubourg of Washington Heights. Bogan explained her reticence as an attempt to make sure that future researchers into her life would have to work for their pay, but the truth was simpler: her solitude was essential to both her work and her survival.
William Jay Smith, one of her few close friends, with whom she collaborated on a collection of poems for children, wrote after her death that when he used to call her up to meet for lunch, Bogan would always decline, saying she had a dentist appointment. He eventually figured out that no one could need so much dental work. As Limmer puts it, “She came first.” She once wrote, in response to a questionnaire she set for herself, that her wish was “To live without apology.” She had no desire to confess her sins and no interest in trumpeting her virtues. “The fact of the matter,” Limmer writes, “is that Bogan was far more absorbed by the texture and meaning of experience than with the events giving rise to them.”
Bogan’s childhood experiences clearly did much to shape her sensibility and emotional strengths and weaknesses. Her father was a reticent man who held a series of jobs in small mill towns in Maine, New Hampshire, and Massachusetts, moving the family every few years. Her mother was the catalyst of the explosions and scandals that led the family to pull up stakes. “The secret family angers and secret disruptions passed over my head,” Bogan writes, but she does remember one scene: “The curved lid of the trunk is thrown back, and my mother is bending over the trunk, and packing things into it. She is crying and she screams. My father, somewhere in the shadows, groans as though he has been hurt. It is a scene of the utmost terror.”
From Elizabeth Frank’s Pulitzer Prize-winning biography, Louise Bogan: A Portrait (1986), one can learn that Bogan’s mother saw herself as a great beauty and pursued men she met in the hotels and boardinghouses in which the family often stayed. She was victim to “her own vanity’s desire for praise and love.” She left her husband on at least one occasion and always considered him unworthy of her. As she grew older, her pursuits more and more ended in frustration. A certain level of resentment and impending chaos simmered throughout Bogan’s childhood. “I had no idea of ordered living.” No wonder she remembers such affection for the home in which her friend Ethel Gardner lived. “I can only express my delight and happiness with the Gardners’ way of living by saying that they had one of everything.”
Eventually Bogan’s mother surrendered her hopes of romantic escape and the family settled in a poor neighborhood on the edge of Boston. Revisiting the area as an adult, Bogan found the sense of failure overwhelming: “I felt the consuming, destroying, deforming passage of time; and the spectacle of my family’s complete helplessness, in the face of their difficulties, swept over me.” Yet she also recognizes that “The thing to remember, and ‘dwell on,’ is the extraordinary courage manifested by those two disparate, unawakened (if not actually lost) souls: my mother and father.” What little money they had paid for music lessons for Louise and her brother, for occasional theater tickets, for tram fares to the Girl’s Latin School, from which Louise graduated in 1915. And they survived “in this purgatory — with an open hell in close relation.”
Again, for what happened next we have to turn to Limmer’s introduction or Frank’s biography. Bogan attended Boston University for year and was offered a scholarship to Radcliffe. She had begun to attract some attention for her writing, getting a number of poems published as a freshman. She chose instead to marry an Army corporal named Curtis Alexander and followed him when he was assigned to a post in the Panama Canal Zone. She found the life unendurable. “All we had in common was sex. Nothing to talk about. We played cards.” She took her baby, Maidie, back to Boston in May 1918. A few months later, the family was notified that Bogan’s brother Charles had been killed in a battle in the Haumont Woods in France. The news devastated Bogan’s mother, leaving her emotionally shattered for the rest of her life. About a year later, Alexander died.
Bogan took the meager widow’s pension from the Army and used the money to pay for a trip to Europe. She spent a year in Vienna studying piano, reading Tolstoy, Joyce, and T. S. Eliot, and writing. Then she returned to the U. S., settling in New York City, where her first collection of poems, Body of This Death (1923), was published. Her portrait appeared, along with those of Edna St. Vincent Millay, Amy Lowell, Elinor Wylie, and Genevieve Taggard in a Vanity Fair article, “Distinguished American Women Poets Who Have Made the Lyric Verse Written by Women in America More Interesting Than That of the Men.”
She began a relationship with Raymond Holden and they married in 1925. She was invited for a stay at the Yaddo Colony and published her second collection, Dark Summer (1929). On Boxing Day 1929, the house she and Holden were living in burned down, taking with it almost all of her first ten years’ work. Her relationship with Holden was troubled by her jealousy and their mutual heavy drinking, and she entered a sanitarium, complaining of depression and exhaustion. There would be more such stays in the next thirty years. She took advantage of a Guggenheim Fellowship in 1933 to return to Europe, this time spending the spring and summer in Italy and France.
She separated from Holden in 1934, began her affair with Roethke in 1935, and lived by writing reviews and stories for The New Yorker and other magazines. These stories, which can be found in Poet’s Prose: Selected Writings of Louise Bogan (2005), edited by Mary Kinzie, were impressionistic but clearly autobiographical, and Bogan discussed the possibility of building a novel, to be titled Laura Daly’s Story, with an editor at Scribner’s. Limmer incorporates passages from several of the stories into Journey Around My Room.
By the end of the 1930s, Bogan had divorced Holden, taken up residence in the apartment in Morningside Heights that she maintained to the end of her life, and become the regular poetry editor for The New Yorker. Over the next three decades, she continued to write, if more slowly as time wore on, and kept up a steady round of engagements as a lecturer and visiting professor at colleges around the U. S.. She published three more collections, one per decade: Poems and New Poems (1941), Collected Poems, 1923-1953 (1954) and The Blue Estuaries: Poems 1923-1968 (1968).
Unlike many of her peers, she avoided involvement with social causes, and one would have little idea what was going on in the outside world, as well as her own life, from reading Journey Around My Room. “What is staler than old politics?” she once wrote. “It is like walking over old furnace cinders to read what once was news of political chicanery or change.” Her foremost concern was her own work. “Saw my real, half-withered, silly face in a shop mirror on the street, under the bald light of an evening shower, and shuddered. The woman who died without producing an oeuvre. The woman who ran away.”
Bogan felt her talent doomed her to insignificance.”‘My time will come,’ you say to yourself, but how can you know whether or not your time has not already come and gone?”:
Perhaps it has been spent, all spent, squandered out, in taking streetcars, drinking gin, smoking cigarettes — in connubial love, in thousands of books devoured by the eye, in eating sewing, in suspicions, tears, jealousy, hatred, and fear. Perhaps it is now, on a dark day in October, in the bedroom where you sit with emptiness in your body and heart; beside the small fire, drying your hair — older, more tired, desperately silent, unhappily alone, with faith and daydreams (perhaps luckily) broken and disappearing, with the dreadful pain in your shoulder which presages dissolution, infection, and age.
This is not to suggest that she faded away in lonely isolation. While Journey Around My Room shows us a woman who spent a great deal of time exploring the deeper currents of her spirit, an hour reading her letters, particularly those from the Forties on, in What the Woman Lived: Selected Letters makes it clear that she never lost touch with what was going on around her. She read copiously and was quick to recommend books to her friends. She went to plays and kept up with the movies, taking delight in Jules and Jim and other films that hit the New York art houses in the Fifties and Sixties. She loved an occasional indulgent dip into gossip and could toss out razor-sharp barbs when in the mood.
But she also struggled increasingly with depression and was frustrated by the necessity for — and the effects — of the the drugs she took to cope with it. “This morning I thought that the 1st pill was going to see me through; a clear, untroubled interval would show up (take over) every so often…. But soon that secondary sort of yearning hunger (which is not real hunger, but is in some way attached to the drug) began again.” She found less and less energy to write. “Any true writing … will have to be done in the afternoon.” The unpublished poems Limmer includes in the last chapter, “Back through the midnight,” however, reveal that Bogan maintained some amount of hope that this, too, would pass:
The Castle of My Heart
Cleanse and refresh the castle of my heart Where I lived for long with little joy. For Falsest Danger, with its counterpart Sorrow, has made this siege its long employ.
Now lift the siege, for in your bravest part Full power exists, most eager for employ; Cleanse and refresh the castle of my heart Where I have lived for long with little joy.
Do not let Peril play its lordly part; Show up the bad game’s bait, and its employ. Nor, for a moment, strut as future’s toy. Advanced, and guard your honor and my art.
Cleanse and refresh the castle of my heart.
Six months before her death, she wrote her long-time New Yorker editor, William Maxwell:
The struggle with silence still goes on. —But I plan some secretarial help, after the holiday. If this doesn’t help, I’ll have another conference with you; and plan some strategy. Surely I can outwit this thing! I don’t want to give up just yet.
Louise Bogan died in her apartment, in the early hours of February 1970, of a heart attack.
“Whatever I do, apart from the short cry (lyric poetry) and the short remark (journalism), must be in the form of notes. Mine is the talent of the cry of the cahier,” she once complained. Yet the scraps she left and the mosaic that Limmer assembled from them are breathtaking in its power, truth, and beauty. Journey Around My Room has not left my nightstand since I first read it over 18 months ago. I have discovered and written about many good books over the course of the past ten years, but I am conservative in the use of words like “great” and “masterpiece.” Journey Around My Room is a masterpiece, one of the truly great American autobiographies. Every time I open it I find something stunning in its honesty and insight.
Journey Around My Room: The Autobiography of Louise Bogan – A Mosaic by Ruth Limmer New York: The Viking Press, 1980
For a writer who became associated with Maine and the Northeast and life on a small farm, Elizabeth Coatsworth managed to cover more of the rest of the world’s terrain in her first 25 years than many of her more cosmopolitan peers. And her last book, Personal Geography is aptly named, covering both great travels and years spent in the space of just a few square miles.
The book’s subtitle, “Almost an Autobiography,” is also apt. While Coatsworth manages to tell us most of the essential facts of her life, she does it by weaving together passages from her diaries and journals, going as far back as the early 1900s and running up to the time she was writing — an amalgam of things, she calls it, “Each piece a moment in my life, caught in passing.” And she recommends it be read the same way she wrote it: “in snatches — picked up and put down, and I hope picked up again.”
Coatsworth was born in Buffalo, New York, in 1893. She refers to Buffalo as “my Middle East”: “There is a Middle East in this country as surely as there is a Middle West, but it is not called by that name. It is an emotion rather than a nomenclature.” Her father owned Buffalo’s largest grain exchange and the family lived in one of the best houses in town, designed by Henry Hobson Richardson. They wintered in California, traveled to Europe and Egypt, and sent Elizabeth and her sister to Buffalo’s best girl’s school and, in Elizabeth’s case, on to college at Vassar.
When her father died in 1912, her mother sold the mansion. After Elizabeth graduated from college in May 1914, they set off, with her younger sister Margaret, for Europe. They visited England, France and Holland before war broke out, but carried on regardless, moving on to Spain, Italy, Egypt and Palestine. Then they sailed to Japan and China, down to Southeast Asia, and finally back to California. Of all the countries they visited, she loved China the best: “I think my whole preference for China could be epitomized by a flaking wall near a temple, on which someone had sketched a narcissus and a line of Chinese characters. In Japan that would have been tidied up. But not in China, the lovely decrepit China of those days.”
Elizabeth’s idle itinerant life ended in 1929 when she married the writer Henry Beston. Beston had just written his best-known book, The Outermost House, which related the story of a year living in an isolated house on the Great Beach of Cape Cod. A year later, they bought Chimney Farm, near Nobleboro, Maine, which remained their home for the rest of their lives, and Coatsworth published her second book, The Cat Who Went to Heaven, which went on to win the Newberry Medal as the best children’s book of the 1930.
Though they together wrote nearly two dozen books at Chimney Farm, Beston and Coatsworth had fundamentally different approaches to writing. Beston would spend months planning, researching, organizing, thinking — and lining up his publishing contract. Coatsworth tended to write in a flash. “Writing was for me an addiction like drink, which I kept as much as possible out of sight.” A dedicated naturalist, Beston helped her learn to observe the life of the plants and animals in and around Damariscotta Pond, the lake alongside Chimney Farm. And she came to find outside her window sights as amazing as anything she’d seen on her world travels:
Now and then a heavy shower passes over our road eastward beyond the lake and its dark shores. The clouds will mass in a black wall there on the other side, while the sunshine strikes in the fields on this side, and every grass-blade, weed, and flower in them, to a wet and burning green. A tremulous rainbow hangs against the clouds. Looking out through your skull’s two windows you know you are seeing a beauty rare and certain to be gone in a moment. It is one of the miracles of daily life that you should see it at all. It is, surely, an enchantment more fit for the eyes of magicians than for everyday human beings ourselves.
Still, she never thought she could match Beston’s gift for observation: “I think sometimes that when Henry and I die, Henry will go knowing that he has given an exact impression of the world and life as he has seen it, but that I shall know that I have left behind me only glimpses, random remarks, things seen at a tangent.” Henry, who was five years older, died in 1968. When Coatsworth wrote Personal Geography, she had lived alone on the farm for eight years. “After so many travels, I am home, and my happiness here is no less than it was in foreign lands and my sense of wonder has not dulled with all these years. I am as happy as an old dog stretched out in the sunlight.”
Yet she is in no hurry. “I don’t want to die because even in this narrower radius there are so many people and things still to enjoy.” And even as she acknowledges having to give up driving, her mind is still wandering far afield. She imagines the lost cities in the oases of the deserts between China, India and Russia, the icebergs off Greenland, and the hundreds of small volcanic cones in Anatolia. “None of these places have I ever seen and certainly never will see. But I do not wish to see them. They swim in my fancy, often nameless. They are a living part of my thought.”
Personal Geography belongs on many a nightstand, to be picked up and put down and picked up again.
Personal Geography: Almost an Autobiography, by Elizabeth Coatsworth Brattleboro, Vermont: The Stephen Greene, 1976
All the Books of My Life was the last of Sheila Kaye-Smith’s over fifty books, most of them novels with settings in rural England — the sort of books that Stella Gibbons parodied in Cold Comfort Farm. In scope, it puts the bibliomemoirs of the 21st century to shame: this is truly a lifetime’s account of reading, starting with the books she came to know at the foot of her nanny and ending with the religious works that came to command a larger part of her reading list as her interest in Catholicism and mysticism grew over the years. And in the titles covered, it provides a remarkable contrast with the kinds of titles one finds in recent bibliomemoirs.
I doubt, for example, that many of today’s girls would be willing to put up with the earnest Victorian morality and innocence found in the many tales by L. T. Meade that she devoured. They will not find the works of Rosa Nouchette Carey, Mrs. George de Horne Vaizey and Mrs. Philip Champion de Crespigny filling up the tables of their local lending library — particularly since lending libraries were already a thing of the past when Kaye-Smith was writing. Nor are young readers likely to come across a copy of Richardson’s Sir Charles Grandison, let alone spend the next months reading it. Kaye-Smith’s mother encouraged her daughter to follow her interests wherever they might lead, as long as they remained within the confines of the school library: “If you find anything that’s improper you can always skip it. It seems a pity not to read the book when you’re enjoying it so much.”
She acknowledges that her youthful hunger for reading often led her past the point of her own understanding. “Read Thackeray later,” one of her mother’s friends advised. “You wouldn’t understand him now. You’d miss a lot.” “This was perfectly true,” she admits, “and I only wish her advice had been applied more widely, for I spoilt a number of books and authors for myself by reading them too early.” Among these was Middlemarch: “I read it painstakingly, without skipping a word, but most of its virtues — and they are pre-eminent — were thrown away on me.” I have to say that I thought the same thing many times when I saw the college-prep reading lists our kids received: “King Lear? For a sixteen year-old? Are you kidding me?”
She admits to have struggled unsuccessfully with certain authors who were regularly recommended to her. While Austen became a lifelong love, each time she picked up something by Trollope, “I waded —- yes, that is my word —- through Trollope’s prosy style, in which his characters struggle for life like sheep in a swamp.” She also argues that a fair number of the authors whose works were considered classics in her youth have failed the test of time: “Any novelist in the second or third rank today could make rings round Maria Edgeworth; and compare Bulwer Lytton’s method of writing history with that of Oliver Onions or H. V. Prescott —- it is not only changing fashion that has blurred the colours of the earlier writers. They were always dingy and no closer to what they represented than a Victorian stained-glass window.” Ironically, one could say the same thing now if comparing a book by Oliver Onions or H. V. Prescott to Wolf Hall or The Seige of Krishnapur. Of the two writers whose work she stored up to tide her through the dark years of World War Two, P. G. Wodehouse’s readership stays comic and carries on; I’m not sure the same could be said for the Catholic theologian Friedrich von Hügel or his relatively light Letter to a Niece.
“In spite of all the books I have read there are so many more that I want to read and there is so much more that I want to know,” Kaye-Smith writes at the end of All the Books of My Life. Sadly, however, she did not even live to see this last of her own books in print.
All the Books of My Life: A Bibliobiography, by Sheila Kaye-Smith New York: Harper & Brothers, 1956
When Evelyn Waugh read Daphne Fielding’s memoir, Mercury Presides, he quipped that the book was “marred by discretion and good taste.” Considering that the author was one of the more sparkling of the Bright Young Things whose exploits and indulgences Waugh satirized in Vile Bodies and other early novels, one can understand his assessment.
There is an awful lot of material about her travels with her first husband, Henry, Viscount Weymouth (later 6th Marquess of Bath) and their efforts to prop up Longleat, the family estate that Henry’s father dumped upon him in the early 1930s. Though considered one of the stateliest of the stately homes of England, Longleat was a money pit and Henry and Daphne had to resort to ingenious measures (read, selling tickets for tours and opening up parts of the grounds for public use) to keep it up. Even then, they got the occasional complaints from their guests, such as Lord Beaverbrook’s sharply-worded letter about the dust on the windowsills and the dried-out inkwell in his room.
What there isn’t is much about Daphne’s carryings-on, which led the 5th Marquess of Bath and his Marchioness to disapprove of her marrying their son (not “steady wife” material). Before the marriage (which was first made in secret to avoid the wrath of the parents), Daphne was known as the kind of girl who liked to par-tay — which in those days usually involved lots of French champagne, driving too fast on narrow country roads (which was pretty much all the British road system in those days), and making absurd impositions on servants and other members of the working class. Ah — good times, good times. No wonder Waugh remarked that “the adult part [of the book] is rather as though Lord Montgomery were to write his life and omit to mention that he ever served in the army.”
We do, however, learn why Daphne might have been inclined to be a bit out of control. Her mother ran off with another man when Daphne was four (or, as she was told, her mother had “gone away to the sea-side”), and her father appears to have struggled to understand that Daphne and her brother Tony were not to be treated as just a couple more of his hunting dogs (his usual admonishment to his children was “Heel!”). And her mother’s father was a right charming old Victorian who used to bring prostitutes home and order them at gun-point to undress and climb in bed with his wife. No wonder that Granny McCalmont, as Daphne knew her, “was a great hater.”
In fact, Daphne had more than her share of odd pieces of fruit in her family tree. Take, for example, her uncle Shugie — Sir Hugo de Bathe, Granny McCalmont’s brother:
He was a tall, thin, sunburnt man with lean hollow cheek-bones, side-whiskers and a brushed-up moustache which particularly enthralled me. His arms were tattooed, and one of them was disfigured by a long burn scar. He accounted for this by explaining that he had once loved a princess of the South Sea islands, whose name had been tatooed in the place of honour in the middle of his forearm, but since she had been untrue to him he had held his arm in the flame of a candle and burnt her out of his flesh.
Once married to the Viscount, much of Daphne’s time and energy, up to the start of World War Two, went into having children — four sons and one daughter. She reprints a long extract from her diary about the birth of her fourth son, Valentine:
They started giving me chloroform. Nanny B. did not give it well; it was either too much or too little, and the cotton wool seemed to smother me and burn my nose, nevertheless it was balm. Roy Saunders arrived to give me the anaesthetic. I vaguely took him in; he had helped with Christopher’s birth. Whenever they let me come round the pains seemed to be crushing me and all my strength pressed down to fight them out. Roy Saunders is really a gynaecologist but gave the chloroform beautifully. How I love it — the buzzing, swimming feelings, the dreams which solve everything. I become a Jimmy-Know-All in the ether.
I came to in my own big bed, crying, and wanting to see Henry. “Lady Weymouth, you have got a beautiful little boy … a beautiful little boy … beautiful little boy ….” Another boy? I wished it was triplets, or black … or a furry little animal, different in some way … just not a boy. But the baby was there, a new person … I opened my eyes, sat up quickly and asked for the child. Unutterably sweet was the new little son shown to his mother.
When the war did come, Longleat was soon commandeered as a military camp, first by the British and then by the Americans. Daphne helped out in various ways, including running the camp switchboard at one point. The Viscount spent most of the war as a prisoner of the Germans. Aside from further mentions of trips taken and problems with Longleat, she offers little about their relationship — until, three paragraphs before the end of the book, she simply states that, “During and since the war we both developed along different lines, so divorce became inevitable.”
Of course, the fact that she had spent six months gallivanting about Crete with Alexander (Xan) Fielding, best known for his SOE exploits on the island during the war alongside Patrick Leigh Fermor, might also have had something to do with it.
But you’ll have to read the sequel, The Nearest Way Home (1970), to find out what happened after that. I suspect that a lot of Lord Montgomery’s army career is missing from it, too.
Mercury Presides, by Daphne Fielding London: Eyre & Spottiswoode, 1954
Books on jazz, blues, country, rock, soul, and other styles of popular music are, for me, the closest written equivalent to potato chips. I have to be careful taking one down from the shelf, because there is a high risk I will get nothing else accomplished until I finished it. And it’s worse now with the Internet, since just about any tune mentioned, no matter how obscure, can be located and downloaded in seconds, so reading slips all too easily into listening and, suddenly, who knows where the time goes? At least in the old pre-Net days, all you could do was write down the record title and hope that some day in the distant future you might have the luck to find a copy in some used record store.
So when I got a copy of Val Wilmer’s terrific autobiography, Mama Said There’d Be Days Like This, I saw a lost weekend coming. She got her first taste of jazz via an early teen boyfriend and a copy of Rudi Blesch’s pioneering study of jazz, Shining Trumpets (1949), and the rest is history. Over the course of the last 60 years, she has listened to, photographed, interviewed, wrote about, partied with, and gotten to know most of the major figures, and many more of the minor ones, in pop music. You can get a good sample of her talent for sizing up musicians as performers, artists, personalities, and human beings in The Guardian’s archive of obits she’s written (and you can get a small sample of her work as a photographer here, here, and here).
But there’s some serious starch in Mama Said There’d Be Days Like This. As Wilmer’s eyes and ears were opened up by her exposure to a variety of styles — including African, West Indian, and Jamaican pop years before it hit white audiences — her understanding of the social, economic, and gender dimensions of the music and the musicians also grew deeper and more sophisticated. She quickly learned a few lessons as a young and single white woman spending hours in the company of musicians, mostly black and uniformly male:
Many feminists believe there to be an unspoken bond between males, the understanding that all women belong to all men. Where the white woman and the Black man are concerned, this understanding of the woman as shared possession, breaks down under the white man’s gaze — unless the woman can be shown to be a “prostitute.” If she wasn’t, back in the 1960s, then in my experience the white men on the scene made sure she’d be treated like one. This was the penalty to pay for associating with Black men and breaking down the order of things white men had established. No woman was allowed to exist in her own right as an autonomous individual, if she was there, it had to be for the benefit of some man. As a result, hotel porters, bus drivers, stage doormen — real “jobsworth” to a man — became a thorn in my side when it came to moving around with musicians. If the thought of sex had never crossed anyone’s mind, these people certainly put it there.
Mama Said There’d Be Days Like This is really much more than a book about music, though it’s exceptional on that level. But Wilmer’s life is something of a distillation of much that was of importance in the 1960s and 1970s. The growing recognition of race as a political factor, of the rise of civil rights. The increasing influence of American culture in British life. The changing British economy (Wilmer collaborated on a never-published oral history of coal mining). And the sexual revolution.
“It is how we are treated as women, rather than as individuals, what happens to us because we are women, that dictates the direction of our lives,” she declares in the book’s introduction. “To us the personal is political, whether we like it or not.” In her case, it was not only a matter of being witness to the rise of the woman’s movement: she took an active part, helping to organize the first “Take Back the Night” events in London.
And her understanding of her own sexuality grew, as she came to recognize her preference for women. She describes experiencing a thrill when Althea Gibson was kissed by an opponent after a match at Wimbledon and the shock of seeing lesbian couples openly embracing and dancing in Paris nightclubs. In the mid-1960s in London, however, lesbians had to seek the safety of forming private clubs — which even then were occasionally subjected to vice squad raids. Yet the act of going to one of these clubs was also a matter of asserting a gay woman’s rights:
… because what we were doing by walking through that door was declaring ourselves — what some would call “coming out” — there was about the whole exercise a sense of terrible excitement. It revolved around bravado and ritual. Getting ready to go there was a ritual, the crease in the trousers, the eyes made-up just so Parking the car was a ritual, as near to the club as possible to avoid the voyeurs and the challenge of passers-by. Gaining entry meant mustering bravado. And for what? To spend time in a place where you could, supposedly, be yourself.
Val Wilmer’s mother and drummer Herbie Lovelle, 1959Wilmer acknowledges the large and positive role her mother played in her life. Her father died when she was still young, and her mother raised two children on her own, taking in boarders to get by. Despite a most conventional English middle class upbringing, her mother was remarkably open to both her daughter’s interests and the string of musicians — almost all of them black, male, and from other countries — that Val brought home for tea. Her hospitality became legendary among jazz performers visiting London. Harry Carney, Duke Ellington’s great baritone sax player, sent her Christmas cards every year. “Randy Weston stayed at our house and talked Africa and Nationalism, she cooked him bacon and eggs; the Liberian Ambassador invited her to his parties and she drank champagne.”
And though her mother never quite understood her daughter’s sexuality — “Well, not for women, dear” — she was open to just about anyone Val associated with: “I always knew I could bring my friends home to a warm welcome. Without such a love behind me, I doubt whether I could have even coped with the stresses of trying to be myself in an essentially homophobic society.” The only things she wouldn’t tolerate were slovenliness and mistreatment of her daughter. Other parents could learn from her example.
“People often write autobiographies as if they had no mother, no children, as if sexual love had passed them by,” Wilmer writes at the start of Mama Said There’d Be Days Like This. “This not one of those.”
Amen.
Mama Said There’d Be Days Like This, by Val Wilmer London: The Women’s Press Limited, 1989
I came to Stella Bowen’s memoir, Drawn from Life (1941), through Drusilla Modjeska’s wonderful book, Stravinsky’s Lunch (which I’ll discuss in a separate post). Born in Adelaide, Australia, Bowen met the writer Ford Madox Ford while studying art in London and they lived together from 1919 to 1927. Modjeska devotes the first half of her book to an account of how Bowen struggled to establish herself as an artist while simultaneously dealing with domestic demands — first of Ford and later as a single mother raising their daughter, Julie — and quotes liberally from Drawn from Life. It only took a few excerpts to convince me that I had to read more.
“The land where I was born is a blue and yellow country,” opens Drawn from Life, with a rhapsody about the landscape of Australia — which, ironically, she left at the age of 18 and never returned to. Though her father died when she was just three, her childhood, as she recounts it, was entirely conventional: “We were, in fact, a suburb of England.” Her mother was a staunch Victorian, pure and true in her principles, and Bowen acknowledges it “a privilege to be associated with anyone whose life is a simple and perfect demonstration of all that they believe.” Her mother did, however, bend a little, allowing Stella to take classes at an art school run by a pioneering woman painter, Rose McPherson.
When her mother died in early 1914 and Stella and her brother were left with an annuity of two hundred pounds a year, Stella seized an opportunity to accompany a friend’s family on a journey to England. In London, she studied painting under Walter Sickert, who drove the importance of seeing the unique visual features of any subject. “He taught one to trust one’s faithful eyes, and to open them wide. I had never before been required to look at things so minutely, and having looked, to record them with so little fuss.”
She also met a number of influential figures, starting with the poet Ezra Pound, and in early 1918, at one of Pound’s parties, she was introduced to Ford Madox Ford. They experienced an instant rapport. Bowen found him “quite simply the most enthralling person I had ever met.” He quickly began confiding in her about all his troubles, including his inability to divorce his wife and to disentangle himself from his lover, the writer Violet Hunt. Soon he was telling her that “he wished to place his person, his fortune, his future in my hands.” He was tired of the world and just wanted “to dig potatoes and raise pigs and never write another book.”
Within a year, after Ford’s discharge from the Army, they were moving into a tumble-down cottage in Sussex. It had a hole in the roof, continuously damp, and surrounded by mud whenever it rained, but they loved their hideaway. They bought some chickens and pigs and planted a garden. Not long after, Bowen became pregnant.
Although Ford had vowed to give up writing, it didn’t take long for them to realize they couldn’t survive without the income. He set to work on articles and a novel, eventually published in 1923 as The Marsden Case. Soon the rhythm of the house became set by Ford’s work:
He would retire upstairs to write, and leave me to wrestle with the dinner. At eight I would say, “are you ready to eat?” and he would reply, “in a minute.” At eight-thirty I would say, “It is eight-thirty, darling,” and he would reply, “Oh, give me another twenty minutes,” and I would return to the kitchen and concoct something extra — another vegetable, or a savoury. At nine I’d say, “what about it?” and he’d tell me to put the meal on the table. At nine-thirty I would suggest putting it back on the fire, to re-heat. “What!” he’d cry, “dinner on the table all this time? Why ever didn’t you tell me?” Well, we’d eat perhaps at ten, with enormous appetite, and discuss the progress of his book and of my cooking.
“We enjoyed ourselves,” Bowen writes, but the preservation of Ford’s “working conditions” meant that she had to take over most of the domestic chores and all of the responsibility for managing their affairs. “I must manage to keep all worries from him, which was difficult. It meant that I must not let him know how overdrawn we were at the bank, nor how big the bill from the corn mills had become, nor how badly we needed a paraffin tank.” It was not enough for Bowen to keep the pig from wandering off to the next farm or take care of all the cooking and cleaning and feeding while in the last months of her pregnancy. “If ever a man needed a fairy godmother, he did,” she eventually concluded. And meanwhile, her painting “had, of course, been hopelessly interfered with by the whole shape of my life….”
Stella Bowen: Self Portrait, 1928A major theme in Drawn from Life is the near-impossibility of a woman working as an artist when all her time, attention, and energy is devoted to caring for a man pursuing his own career. “I was learning the technique of a quite different role: that of consort to another and more important artist.” Bowen’s blunt eloquence makes this a pioneering work of feminism, on the order of Virginia Woolf’s “A Room of One’s Own.” And still quite relevant, as the following quote from Jenny Offill’s recent novel, Dept. of Speculation: “I was going to be an art monster instead. Women almost never become art monsters because art monsters only concern themselves with art, never mundane things. Nabokov didn’t even fold his own umbrella. Vera licked his stamps for him.”
Eventually, both Ford and Bowen came to resent the drudgery of rural life, and in 1922, they sold the cottage and, with daughter Julie in hand, headed for France. Their friend, the poet Harold Monro, had offered them the use of his tiny villa perched on a hilltop outside the town of Villefranche. Although the house was barely better furnished than their cottage, they relished the warmth of the Mediterranean weather, and Ford began working on Some Do Not …, the first volume of Parade’s End. The next spring, Ezra Pound’s wife Dorothy invited Bowen to join her on a tour of Tuscany, and the precise and flattened perspectives of Giotto’s murals strongly influenced her subsequent work.
They moved to Paris in September 1924, and were soon at the heart of the thriving expatriate scene. Ford’s brother, Oliver Hueffer, convinced him to take on the job of editing a new magazine he was establishing called the transatlantic review. Although the review failed after just one year, what a year that was. Ford has a marvelous gift for spotting good writing and collected pieces from Hemingway, Gertrude Stein, Djuna Barnes, and H. D., although with the first excerpts from James Joyce’s “Work in Progress” (Finnegans Wake). He also published the work of a fragile and destitute writer from the West Indies named Jean Rhys — and began an affair with her.
Though circumspect about the affair, the memory of it drives her to her most strident tones. She lumps Rhys in with a larger group of bohemians she refers to as “Wild Ones”: “It was quite all right to be dirty, drunk, a pervert or a thief or a whore, provided that you had a lively and an honest mind, and the courage of your instincts.” The affair was brief, however, and Ford and Bowen agreed to stay together in another rough villa outside Toulon for the winter of 1925-6.
Here, the Spanish painter Juan Gris encouraged Bowen to put her painting ahead of the matters of tending after Ford, and she managed to produce a number of vibrant landscapes. It was becoming clearer, however, that she could not continue to struggle with two competing demands, particularly not after being betrayed. When a French painter remarked that her work still seemed very immature, she thought in exasperation, “It is platitudinous to say so, but being a woman does set you back at great deal.” She refers to homemaking as a “specialization”: “Perhaps you never intended to devote your life to his kind of specialization, but society, and your own affections, and the fear of loneliness that besets us all, may keep you at it…. But beware: unlike other specialists, you will receive no promotion after years of faithful service. Your value in this profession will decline, and no record of long experience, or satisfaction given, will help you if you want to change your job.”
They made one last move back to Paris, and enjoyed something of a productive truce period. They placed their daughter in the care of a French woman outside the city and rented a space in Montparnasse where Bowen was able to set up a studio and the two worked during the week, visiting Julie on the weekends. But even with her own work space, Bowen found Ford constantly sending her out on errands: “I wish you’d go and sound so-and-so about such-and-such. I don’t want to do it myself, but it should be quite easy for you.”
Ford spent much of the next two winters in the United States, and Bowen was able to focus on her own work without distraction for the first time. Upon his return from his second trip to the U.S., however, Ford informed her that he had taken up with another woman painter, Janice Biala. That was enough for Bowen. She began action to take full custody of Julie and told the girl that Ford would no longer live with them. “I imagined that facing Paris without Ford was going to be full of difficulties,” she writes. Instead, “There were none. I felt chilly and forlorn at one moment and like a million dollars the next.”
Unfortunately, that feeling soon faded as Bowen confronted the practical obstacles of an increasingly unfavorable exchange rate and a crashing real estate market. Desperate for ways to bring in some much-needed cash, she took an opportunity raised by her American friend, Ramon Guthrie, and sailed for the U.S. where she could get portrait commissions and make several thousand dollars in the course of a few months. Though it helped her out of her financial straits, the visit to America makes for easily the weakest chapter in the book, one filled mostly with unremarkable observations about American life and culture.
By the time Bowen returned to Paris, it was clear that she could not afford to keep living in France, and she and Julie moved back to England, settling in London. With the onset of the Depression, work was almost impossible to get and the two struggled through some lean years. And Bowen found herself temperamentally out of place: “I dare say I have never known how to communicate with people in the English idiom.” In Paris or New York, she could manage to carry on conversations, tossing the ball back and forth with others. In London, however, the conversational ball “crashes to the ground where it lies looking like a suet pudding under the cold and silent eyes of the company. Agony!”
After a few years, she managed to make some headway. “I developed a technique for doing portrait sketches in two or three days and got a good many orders.” Julie studied set design at the London Theatre School and Bowen found a quiet cottage to her tastes in Green End, a hamlet in the Norfolk countryside east of London. Janice Biala contacted them saying that Ford was dying and Julie traveled to Honfleur, France to see her father one last time. It was June 1939.
Drawn from Life closes as summer 1940 nears. Though military encampments are being set up around Green End and the possibility of evacuation is being whispered about, for Bown, “Mostly I feel this is my last ditch.” Earlier, she wrote, “Four times in my life I have gone away with two suitcases, leaving all behind me, never to return,” but she was ready to “stay put and take what comes.”
Three group portraits painted for the Australian War Memorial by Stella Bowen
Though written on the promise of popular interest in her relationship with Ford, Drawn from Life earned Bowen little more than her advance, and she struggled to keep things going until late 1943, when she was commissioned to paint for the Australian War Memorial in Canberra. She produced several dozen canvas over the next two years, including several group portraits of Australian bomber crews that evoke the murals of Giotto that she’d seen in Italy with Dorothy Pound. Before the war ended, however, she had been diagnosed with colon cancer, and, after a short remission, she died in October 1947 at her home in Green End.
Drawn from Life deserves to be recognized as a minor classic. It’s a fiercely feminist text, one that echoes the messages of Elizabeth Cady Stanton’s speech, “The Solitude of Self,” and anticipates The Feminine Mystique and other works of decades later:
If you are a woman, and you want to have a life of your own, it would probably be better for you to fall in love at seventeen, be seduced, and abandoned, and your baby die. If you survived this, you might go far! Otherwise, emerging from a love-affair into the position of a middle-aged housekeeper, you may suffer the most desperate sensations of constriction and futility which your situation will give you little chance to survive.
At present, there appear to be around thirty copies available for sale, with prices starting at over $20 and ending at over $2,000, according to a search on AddAll.com. First published in the UK in 1941, when a paper shortage ruled out the possibility of any immediate reissue, it’s been republished several times (in 1976 by George Mann, a small regional UK press, in 1984 by Virago, and in 1999 by Picador in Australia), but none of these were large quantity runs and (I’d like to think), it’s a book that, once bought, people tend to hang onto.
Drawn from Life: Reminiscences, by Stella Bowen London: Collins Publishers, 1941
Eliza Lynn Linton, scanning the horizons for another victimBetween John Sutherland’s wonderful encyclopedia, The Stanford Companion to Victorian Fiction, and the Internet Archive, I can lose hours wandering through the three-volumed forest of English 19th century fiction, particularly in the last year that written by women. It can be soul-leeching, though. There is something relentlessly earnest and deliberate in so much English fiction after Amelia Opie. There aren’t many female counterparts to Thomas Love Peacock, Thackeray, Dickens or Wilde to lighten things up.
I thought I’d stumbled across a hidden gem when I started reading Amy Dillwyn’s 1884 novel, Jill, in which our heroine, making her own way through the world, is not above padding her travel claims or pocketing a precious object her employers clearly failed to appreciate adequately. And then I found that Jill was reissued by the Honno Press a few years ago as part of its Welsh Women’s Classics series.
And then I came across the following sentence in an essay about George Eliot: “She held her hands and arms kangaroo fashion; was badly dressed; had an unwashed, unbrushed, unkempt look altogether; and she assumed a tone of superiority over me which I was not then aware was warranted by her undoubted leadership.” It was attributed to Eliza Lynn Linton, a minor Victorian novelist and essayist, and a brief memoir that was published after her death in 1898. Such undisguised nastiness, so uncharacteristic of memoirists before Frank Harris and Beverly Nichols made it acceptable to add a hearty shake of bitters into the mix, deserved further investigation.
And the good old Internet Archive didn’t let me down. I quickly located an electronic copy of Mrs. Linton’s My Literary Life and proceeded to read the whole thing online (it’s a short book).
You know you’re in for some splenetic prose when the book opens with a warning — in this case from Mrs. Linton’s friend, another neglected late Victorian novelist, Beatrice Harraden (Ships that Pass in the Night — Anyone? Anyone?): “It is to be regretted also that she is not here herself to tone down some of her more pungent remarks and criticisms, hastily thrown off in bitter moments such as come to us all.” “Mrs. Linton’s pen was ever harsher than her speech,” Harraden offers in excuse, but My Literary Life rages on while Mrs. Linton’s dulcet tones have been silenced for more than a century. “It has been thought,” her publisher writes in introduction, that the incomplete sketches she was able to write before her death “possess an independent value which justifies republication.” Perhaps the same value upheld on a weekly basis by the National Enquirer.
Linton opens with a quick series of sketches of “My First London Friends,” who included the painter, Samuel Laurence, George Henry Lewes (not yet involved with Mary Ann Evans), and the poet Walter Savage Landor. Laurence, we learn, “by his experiments in glazes, grounds, and varnishes, some of his oil paintings were soon ruined by peeling off in broad patches, or by sinking into the canvas.” And was married to “a tall, fine, handsome woman, who overtopped him in height and I should say surpassed him in weight.” Lewes, she tells us, “would discourse on the most delicate matters of physiology with no more perception that he was transgressing the bounds of propriety than if he had been a learned savage.” And Landor, who is otherwise portrayed by Linton as a man of great kindness and learning, was a bit challenged in the haberdashery department:
He was dressed in brown, and his whole style was one of noticeable negligence. His clothes were unbrushed and shabby; his shirt-front was coarse and plain, like a nightshirt ; a frayed and not over-clean blue necktie, carelessly knotted, was awry; his shoes were full of bumps and bosses like an apple pie….
Linton goes on to discuss Thackeray and Dickens, contrasted the two men in both character and literary style for pages before adding the caveat, “I did not know either man intimately, but if not the rose itself, I knew those who stood near.” For their sakes, we can be grateful, since she quickly adds, with ominous tone, “Many secret confidences were passed on to me, which, of course, I have kept sacred; and both men would have been surprised had they known how much I knew of things uncatalogued and unpublished.”
She concludes with a chapter on “A First Meeting with George Eliot” in which she offers her timeliness comparison of the great author to a kangaroo. But not before polishing off a sampling of the women writers from the generation before hers — or, as Linton describes them, “remnants of a palaeozoic age.” These include Jane Porter, once celebrated for her historical tales such as The Scottish Chiefs, but in Linton’s eyes, “a kid of ghost from the tomb — a living monolith of pre-historic times.” Sadly, Linton confesses that “Charlotte Bronte I never saw; nor Harriet Martineau….” Lucky ladies. Linton only met Mrs. Norton only once, but that was enough to slip a quick knife in (it was “in later years, when her beauty was more a memory than a possession”).
Needless to say, the reader learns nothing of importance about George Eliot and far too much about Mrs. Linton’s squinted perspective on her contemporaries, and with her judgment that Eliot’s relationship with Lewes was nothing more than a house of cards, closes the cover on this short, brutish, and nasty book. Utterly forgettable and more than justly neglected, of course.
But after a long and heavy meal of Victorian seriousness, a palate cleanser nonetheless.
My Literary Life, by Mrs. Lynn Linton London: Hodder and Stoughton, 1899
Not having access to a major library, I often indulge my love of browsing in the Internet Archive. I’ll admit that it often requires much sifting through extraneous material to locate the occasional gem, but even after ten years I’m surprised at what I manage to find. Here, for example, is a selection of some exceptional autobiographical works by women, mostly published between the 1920 and 1960.
Born and raised in Terre Haute, Indiana, Janet Scudder was one of the first American women to make a name and career for herself as a sculptor. Passionate about art from childhood, she studied drawing and sculpture and then moved to Chicago, where she worked carving decorative features on furniture before being hired by Lorado Taft as one of his White Rabbits, a remarkable team of women sculptors who created dozens of statues and decorative friezes for buildings in the 1893 World’s Columbian Exposition. She then traveled to Paris, where she studied under Frederick MacMonnies. She writes of the experience, “I’m sure, if I had known it when I was studying in MacMonnies’ Paris studio, the only woman among a number of men who were working from nude models, I should have seen the ghosts of the whole congregation of missionaries rising up in their wrath to denounce me.” She found Paris liberating, but hardly the sinpot it was considered in America: “Zulh Taft ([Lorado’s sister] and I were there quite alone, unchaperoned; she was studying painting in a studio, while I worked away at sculpture; we ate about in restaurants, we were thrown with all sorts of people who were responsible only to themselves, we had no one watching us and no one to whom we were accountable, we went to life classes in the evening and tramped home from school late at night and we felt as protected and safe from harm as though we had been living in the heart of a family in the Middle West.” She went on to Florence, where she began to create the classically-inspired fountains that became her specialty. Returning to the U. S., she struggled, but eventually managed to establish a reputation and a steady stream of clients. Modeling My Life ends with an account her return to France as part of a YWCA mission that helped care for and entertain troops with the American Expeditionary Force.
The Stone Wall is something of a landmark in American LGBT history, perhaps the first autobiography in which the author openly acknowledges her attraction to another woman and their long and happy partnership. Born and raised on a New England farm to family with deep Puritan roots, Casal recalls having to defend herself from sexual assault from hired hands and other men while still a teen. She began to realize her feelings towards women early on, and had her first physical contact (kisses and hugs) with another woman while in college. She felt great pressure to conform to conventions, and even married a man, an entirely unsatisfying experience that ended in divorce after she gave birth to a stillborn child and, in her grief, fled to New York City. There, she came to peace with her feelings for the first time: “My city contact had caused me to look at myself less and less as a sexual monstrosity.” She writes candidly of the practical difficulties of finding ways to spend time with another woman in public, given the rigid social customs of the time, let alone taking the risk to express her feelings. It was not until she was in her thirties that she met her long-term lover, Juno, and they set up house together in an apartment in Greenwich Village. Today’s reader will probably cringe at a few aspects that date the book (she refers to homosexuals as “inverts”), but it’s a window into how one gay woman managed to make a life for herself in a time of considerable intolerance.Louise Baker, playing tennis (press photo from 1955)
Reviewing Out on a Limb in the Saturday Review, Grace Frank quipped that Louise Baker could have easily called her book “The Leg and I,” in imitation of Betty Macdonald’s best-seller of the same period. The two books certainly share the same comic outlook, with every character an eccentric and every episode retold with tongue in cheek. While still a girl, Louise Baker was struck down by a passing automobile and had to have her right leg amputated. “When I regained consciousness ten days later in a white hospital bed, with the blankets propped over me like a canopy, I had one foot in the grave.” Such are the sort of puns with which Baker fills her book. Baker’s parents insisted that she make every effort to get along with her bi-pedal friends, and she soon developed a spirit of independence that led her, in the course of time, to learn to ski, skate, and play tennis (she was encouraged to write the book to provide inspiration to the many disabled veterans just returned from World War Two). She preferred using crutches to wearing an artificial leg, and accumulated a considerable “crutch wardrobe”: “Crutches don’t come in gay colors but any good enamel works the enhancing transformation. I am now just as likely to complain, ‘I haven’t got a crutch I’d wear to a dog fight,’ as I am to say, ‘I haven’t got a decent dress to my name.'” Baker also wrote a comic novel, Party Line, about the 43-year career of switchboard operator Elmira Johnson in the small town of Mayfield, California, and a humorous account of her time working in a boy’s boarding school in Arizona, Snips and Snails, which was made into a gawdawful movie, Her Twelve Men (1954).
Published the same year as Out on a Limb, Borden’s book is its polar opposite in tone. The book recounts Borden’s experiences in organizing and leading the Hadfield-Spears Ambulance Unit throughout much of the Second World War, beginning in France in February 1940 and then, after evacuating to England and regrouping, in Syria and Egypt, and finally, in France again after D-Day. This was Borden’s second experience of battlefield nursing: she wrote of her time in field hospitals on the Western Front in The Forbidden Zone (1929). Borden, an American heiress and novelist (I featured her ambitious 1927 novel, Flamingo, here in 2009), was married to Brigadier General Edward Spears, who was Churchill’s military liaison with the French government up to its defeat and then with DeGaulle’s Free French forces. Much of Journey Down a Blind Alley is colored by a bitterness towards DeGaulle that stems in part from his at times petty treatment of Spears and in part from the many egos and attitudes among the French military with whom Borden had to deal, since the ambulance unit spent most of its time assigned to support Free French forces. She does admit that much of the difficulties had their roots in the complexity of interests among the French: “Looking back I realized now that the confusion and discord in the hospital reflected what was happening throughout France. Was not France herself in the winter of 1945 a medley of discordant elements with her F.F.I. and F.T.P., her heroic resistance and her bogus resistance, her Petainists and her milice and her armies from overseas who were straining their strength to the utmost limit of endurance so that France should not be said to have been liberated by strangers?” Journey Down a Blind Alley offers a sobering antidote to anyone still harboring an inclination to view the Second World War in simple good-and-bad terms.
“I went on this journey to find an image of the human being that I could feel proud of,” Lillian Smith writes at the start of The Journey. Smith, whose 1944 best-seller, Strange Fruit, was one of the first books to openly deal with segregation and racism in the South, finds herself reconsidering memories from her childhood and decides to travel along the coastal roads of South Carolina and George, “trying to recover the feel of the country where my family once lived.” Along the way, she encounters people with varying views of life, race, and faith, including a motel owner whose ideas of progress, she realizes, come from a very different place than hers:
The manager of the motor court came to my door to offer a television set. He was of the swamp country, I saw now, as he stood there. He had the look that is left on a face when hookworm and malaria and malnutrition have done their destructive work early in life. And in his speech were the old accents which were natural to the wire grass and swamp people who found schooling as hard to come by in the old days as shelter and food. People who, in my childhood, were almost as remote from books and learning and science and art and comforts as are the peasants of China and India.
Now he operated a motor court, looked at television, drove a Buick, took a trip in a plane each fall (so he told me) to the World Series, and read a newspaper.
As I made use of the conveniences with which our scientific age has filled this motor court, set close to the swamp — old and mysterious and deep-rooted in time as our human past — I kept thinking of this man.
“Everything in the place is modrun,” he proudly told me, as he flung open the door to show me the mauve-colored lavatory and the mauve-colored toilet and mauve-colored toilet paper. And as I stared at the splendor I knew that his sanitary facilities as a child had been limited to a wash pan, a lean-to privy and the ancient corncob. No wonder he was proud of participating in these modern times.
As with many books, the best parts of The Journey are those that deal with the specific, the individual. As Orville Prescott wrote in his New York Times review, when Smith “writes about people she has known — quoting their conversation and telling their stories — she does so with sure skill and considerable emotional power.” However, “When she writes about abstract ideas she occasionally lapses into spasms of embarrassingly lush rhetoric and passages where her generous feeling is obvious, but where her precise meaning is lost….”
Dickey Chapelle rarely followed a conventional path in her life. At age sixteen, she was studying aeronautical engineering on a scholarship to M. I. T.. Though she flunked out after two years, her love of airplanes and flying remained, and she earned her pilot’s license, paying for lessons with articles she sold to aviation magazines. When her husband was stationed to an Army unit in Panama after Pearl Harbor and she was told that wives could not accompany the men, she figured out that she could follow as an accredited journalist, and her career as a war correspondent began. Chapelle worked as both reporter and photographer. Her first combat assignment took her to Iwo Jima a week after the first landings. There she had a sudden wake-up call when encountering a wounded Marine whose “story probably is one of the reasons I’ve kept on being a chronicler of wars”:
After I took his picture, while the chaplain administered the last rites as the corpsman began transfusing him, he came back to consciousness for a moment. His eyes rested on me. He said, “Hey, who you spyin’ for?”
“The folks back home, Marine.”
“The folks-back home-huh? Well-fuck the folks back home,” he rasped. Then he closed his eyes. I didn’t see where his stretcher was carried.
After we had ceased loading for the day, his voice haunted me. What lay behind that raw reflex answer? What dear-John-I-know-you-understand letter? What other betrayal?
I remembered his wound. A piece of a giant mortar shell had sliced across his stomach. So I went down into the abdominal ward with my notebook in my hand. There were no names in it yet because I wasn’t willing to hold up moving stretchers while I spelled out names. But I had copied the dogtag numbers of each man as I made his picture. The nurses’ clipboard listed the serial numbers of the men being treated. The number I wanted wasn’t there. I thought perhaps I had been mistaken about the kind of wound he had, so I tried to find him in the other wards, the other decks, even those of the officers. I couldn’t find his number.
There was only one more set of papers aboard. This showed the dogtag numbers of the men who had died on deck. The number for which I was looking was near the top of the list.
So I think I was the last person to whom he was able to talk. And I had heard him die cursing what I thought he had died to defend.
It was my first and most terrible encounter with the barrier between men who fight, and those for whom the poets and the powers say they fight.
Chapelle went on to report on the overthrow of Mossadegh in Iran, on the U. S. Marine intervention in Lebanon, on Castro’s war against Batista in Cuba, and on the civil war in Algeria. She was captured by the Russians while accompanying a group of Hungarian resistance fighters along the border with Austria in 1956 and spent seven years in a Budapest jail. She had strong anti-Communist views and, with her husband Tony Chapelle, formed a relief organization, AVISO (American Voluntary Information Services Overseas), that provided food and information support on both sides of the Iron Curtain in the years following the Second World War. She was killed in Vietnam on November 4, 1965 while on patrol with a Marine platoon near Chu Lai. She was the first female American war correspondent killed in action. A selection of Chapelle’s photographs was published on the Washington Post website in December 2015 and over 500 of her pictures are available online at the Wisconsin Historical Society website.
Portraits of Carobeth Laird from a 1975 Parade Magazine profile “Never before have I heard of an exiting new literary talent bursting forth at the age of 80. But here, I am convinced, we have one,” Tom Wolfe in Harper’s Bookletter in 1975. He was remarking upon the publication of Carobeth Laird’s first book, a memoir of her marriage to anthropologist John Peabody Harrington, Encounter with an Angry God, by the small, volunteer-run Malki Museum Press.
Chances are slim that Wolfe would have learned of the book had not two writers, Harry Lawton and Anne Jennings, associated with the museum, sent copies of it to some of their contacts in New York publishing circles. Lawton and Jennings knew a remarkable piece of writing when they saw it. Encounter is a frank, self-deprecating, and eloquent account, written from a distance of fifty years, of how Laird met, married, worked with, and, ultimately, divorced Harrington, a pioneering linguist and anthropologist who was singularly driven to pursue his researches at the cost of everything else, including his wife’s health. Thanks to their efforts, the book gained reviews in a number of major papers, including The Washington Post, in which Larry McMurtry positively gushed: “… if it were fiction, it would be a great, if not the greatest, American novel.” The small press’s initial edition of 2,000 copies sold out quickly, another run of 5,000 was released, and the book was picked up for release as a mass market paperback by Ballantine Books.
Yet Encounter is a classic case of a book being so entwined with an author that the two cannot be judged separately. Carobeth Tucker was already an exceptional young woman when she enrolled in Harrington’s introductory class on linguistics at the San Diego Normal School in 1915. Born in Texas, she had traveled with her family to Mexico in 1913, met and fell in love with a married man, and became pregnant with his child. She moved with her parents to San Diego and together, they raised Carobeth’s child. Unable to gain admission to a college, given her situation, she undertook self-study instead, demonstrating a real aptitude for learning languages. When the opportunity to study linguistics at the Normal School came up, she jumped at it.
Her first thought upon seeing Harrington enter the classroom on the first day was that he looked “like an angry god.” Although he hated teaching and his manner was abrupt and awkward, “his magnificent head and face” stirred her imagination, and Harrington soon learned that she, in turn, was extremely alert and grasped both the principles and details of linguistics with ease. She started staying after class to help him grade papers and they discussed poetry, evolution, and his dreams of field research. In a matter of weeks, Harrington was speaking “as if it were completely settled that he and I should spend our lives together,” although she was already noticing that “at other times all his planning left me out completely.” He later tried to explain his fluctuating manner by saying that he was worried she was a Jew.
He was also tactless and intellectually arrogant, wore clothes that were threadbare and needed a wash, shoveled his food in with a spoon, and talked with his mouth full. Her parents weren’t particularly impressed when they met him, but they considered him somewhat prestigious, given his degrees and faculty position, and already thought Carobeth “desparately self-willed.” They merely went along with her wishes when she followed Harrington up to Los Angeles and joined him on a field trip researching Indian languages in the Santa Ynez Valley. Though he virtually ignored her aside from relying on her command of Spanish and typing skills as research tools. They fought. And, after a few months in the field, they got married.
Early in the book, Laird acknowledges that what Harrington needed was “a wise, firm and sympathetic guide, not a youthful slave and disciple.” From what she describes, slave was her primary role in their time together. Harrington was not only utterly focused on research work he saw as a race against time, given that the California Indian populations had been so decimated and many of the surviving native speakers of Indian languages were aging and ill, but he also had a deep streak of paranoia. Despite the fact that they worked together day in and day out, and he could see the sacrifices to personal concerns she was making on his behalf, he would take off at times without a word and tried to keep some of his field notes in code to avoid her reading them. Although a diagnosis from a distance of a century is risky, I strongly suspect that Harrington was suffering from Asperger’s syndrome.
When Carobeth became pregnant, Harrington’s received the new with irritation, concerned mainly about the disruption it would bring to their work. At one point, when Carobeth was eight months pregnant, he left her alone in a rude mountain cabin with barely any food, and she slept each night with an axe beside her bed. He packed her off to San Diego to have the baby, a girl, and counted on her returning as soon as the infant could be left to be raised by her parents. (Which brings up one of the disconcerting aspects of Encounter. Laird would ultimately have seven children by three different men, but the two daughters she had at the time of this book go virtually unmentioned aside from when they are waving goodbye to her from a train window.)
Although Harrington essentially neglected his wife, he did respect her intelligence and skill in field work, and when an opportunity arose to document the language of the Chemehuevi Indians, he sent her alone to Parker, Arizona, to begin work on a study he would ultimately take over. She quickly developed a friendship with her guide there, a soft-spoken blacksmith, “built like a buffalo,” named George Laird: “From the moment of our meeting, there was a rapport between us which went much deeper than a shared interest in words and myth, though at first it could only be expressed in such sharing.”
George Laird was twice her age, living with another woman, and barely educated. But she soon found herself weaving “amorous fantasies about him.” Harrington was so impressed by the quality and detail of the notes his wife was sending on the Chemehuevis that he asked her to bring George to meet with him in Santa Fe, where he was now teaching. At one point in the visit, Harrington tossed a book to his wife for her to read. It struck her in the stomach:
Both men leaped to their feet. Both exclaimed with a single voice.
George said, “Did it hurt you?”
Harrington said, “Did it hurt the book?”
When Harrington was assigned to the Bureau of American Ethnology in Washington, he insisted on bringing both Carobeth and George along Over the course of the following winter, with George sleeping on a cot in the couple’s kitchen, the two men worked on Harrington’s notes on the Chemehuevi and Carobeth and George fell in love. By the spring on 1920, she decided to leave Harrington, and she and George drove back to San Diego in an old Chevrolet.
Her parents didn’t think much of Carobeth’s new lover and insisted he find a room in a hotel to stay in. George took a job as a ditch-digger and slowly began working his way into her mother’s good graces. After a year, her father agreed to pay for a divorce lawyer, and, despite many delays and a last minute attempt by Harrington, the divorce was finalized in 1922. Her parents asked Carobeth and George to wait a year to get married, but helped them look for and buy a small farm in Poway, a town outside San Diego. The couple finally married in August 1923. She was 28. He was 52. They were to be married for 17 years, until George died in 1940.
Much of the power of Encounter with an Angry God as a story comes from the contrast between the edgy, tense relationship between Carobeth and Harrington and the gentle and patient love she shared with George Laird. If she was able to take a more balanced view of Harrington, recognizing her own faults as well as his, it is surely due in part to the influence of George, who appears, in her affectionate portrait, to have been a man of remarkable strength and forbearance.
In 1969, Carobeth was living with Georgia, the oldest of the children she had with George, when she was contacted by researchers looking to pick up the threads of the research on the Chemehuevi they found in the huge archive of field notes (over a million pages, by one account) left by Harrington. What they discovered was that what complete work there was in the archive was probably done by Carobeth. And, more amazingly, they learned that throughout the time she and George had been together, she had been documenting the Chemehuevi language and myths.
The Malki Museum Press contracted with her to publish The Chemehuevis, a summation of her research. When Harry Lawton, on the board of the press, learned of Carobeth’s story, he encouraged her to write her own autobiography. As a memorial to Carobeth put it, “The rush of memories came in flood, so much so that she completed almost a chapter a week,” and the book was finished in a little over three months. Anne Jennings sent a copy of the galley proofs to her acquaintance, Tom Wolfe, and Wolfe offered to contribute a blurb for the back cover. “Carobeth Laird’s story of how she married the Genius Anthropologist and left him for one of the natives he was studying manages to be at once tender and ruthless — ruthlessly funny — and to offer and amazing slice of American life.”
Malki published The Chemehuevis not long after Encounter with an Angry God. The subject and the more scholarly approach of the book meant that it was unlikely to have the same popular success, but in its field it was immediately recognized as a classic work. In a memoriam written after her death in 1983, Lowell John Bean, professor of anthropology at California State University, Hayward, paid tribute to her accomplishments as an anthropologist:
The Chemehuevis is an important book not only because of its enormous amount of ethnographic detail, but because that detail is so well analyzed. Laird implicitly understood what anthropologists today call a systems approach. She saw how each aspect of the culture was systemically related to other aspects of culture. The book is not a laundry list or simple description, it is an analysis of culture. This is particularly clear in her use of mythic materials where she draws out the sociological, economic, psychological, and philosophical implications of the myths for everyday Chemehuevi life.
Carobeth had little chance to enjoy the fruits of her recognition. A little while before the publication of Encounter, she suffered a severe inflammation of her gallbladder while living with one of her grandsons in a trailer near Lake Havasu. She was hospitalized and soon operated on, but being dirt poor and with none of her children in a position to help, she was sent to a fairly spartan nursing home. There, she found that most of her fellow residents were suffering from some form of dementia, and that the staff simply assumed that she had to be, too. It took a considerable effort, culminating in a ruse by several of her friends to rescue “Professor Laird” from the home.
She was taken in by two of her old neighbors from Poway, who gave her a safe place to recuperate. So angered and frustrated was she by her experience in the nursing home that she immediately began writing an account. “It was neither the best nor the worst of nursing homes,” she wrote “It wasn’t horrible, just dehumanizing.” Although she finished the book quickly, it took months to find a publisher, as none of the major firms wanted to deal with a book about aging. She finally signed a contract with a tiny firm, Chandler & Sharp, out of Novato, California, and Limbo: A Memoir about Life in a Nursing Home by a Survivor was published in 1979. Once again, a small press was no impediment to her publicity, and stories about Carobeth were run in dozens of newspapers, include a two-page profile spread in the popular Sunday supplement, Parade Magazine.
Her health began to fail soon after this, and she died in 1983. Her last book, which collected the many Chemehuevi myths she had been told by George Laird, Mirror and Pattern: George Laird’s World of Chemehuevi Mythology, was published posthumously by the Malki Museum Press. The University of New Mexico Press reissued Encounter in paperback in 1993, but it’s been out of print since then.
Depending on one’s perspective, A Prison, A Paradise is one remarkable book or two remarkable books in one cover. The first half, “The Summer Birdcage,” is the diary of a woman caught up in a mad, bad love triangle that nearly destroyed two of the three principals; the second, “The Tilted Spiral,” the diary of a woman consumed in a quest for a spiritual love that could overcome her earthly concerns. The first book competes with Alison Waley’s A Half of Two Lives, discussed here last year, as an account of a passion pursued about twenty exits past all reason; the second has been compared with Julian of Norwich’s Revelations of Divine Love. And together, they tell the story of a woman who, as Kathleen Raine put it in her introduction, “followed the unfashionable vocation of living her thoughts.”
In A Prison, A Paradise, the names have been changed to protect the guilty. “Loran Hurnscot,” an anagram of “Sloth and Rancour” — which she saw as her principal sins — was Ethelwynne (Gay) Stewart McDowall, who was known Gay Taylor after she married Harold Midgeley Taylor (referred to as Hubert Tindal in the book), an idealistic and tubercular aesthete whose failed enterprises included the Golden Cockerel Press, which became one of the premier British art presses after it was bought by Robert Gibbings in 1924. In Taylor’s largely untrained hands, however, it was strictly an amateur affair. A. E. Coppard later wrote of the Golden Cockerel edition of his first collection of stories, Adam and Eve and Pinch Me that, “the type was poor, the paper bad, the leaves fell out, the cover collapsed….”
Coppard (referred to as Barney) was also, as it happened, the third corner of the triangle. Barely capable of taking care of themselves, Gay and Harold convinced themselves that they shared enough interests to justify getting married. As Loran/Gay put it in her Afterword to “The Summer Birdcage,” “I married in the eighth proposition of Euclid.” Unable to perform as a sexual partner, Harold encouraged Gay to take Coppard as a lover. Then, when she did, he became insanely jealous … while also becoming increasingly dependent upon her as his illness grew worse. Gay fell madly in love with Coppard, running off to sleep with him in the fields, to dance naked in the rain, and to generally rub salt into Hubert/Harold’s wounds. To compound problems, Coppard (already married) was a philanderer.
Within a year of starting the affair, Loran/Gay was writing, “I live with him [Coppard] in superficial happiness, but with a grief of heart, a loss of self-respect, that doesn’t end.” She began to see that the only way to keep Coppard’s interest was to constantly keep him wondering: “He loves me best when he is loved least.” “There’s something sub-human about Barny … that will eventually destroy our relation.” At the same time, she was “deeply convinced” that Hu/Harold “only wants me near him so as to have something weaker than himself to bully.” Still, all three remained entwined in their own miserable, self-destructive web until finally Loran/Gay found herself abandoned by both men. Harold died, leaving her just £50, and Coppard carried on with other women. Looking back on the affair, Loran/Gay would conclude that “the central sin was that no one loved anyone.”
Volume Two, “The Tilted Spiral,” picks up over a decade later. Loran/Gay is barely surviving, living in cheap flats in London and taking whatever work came to hand. Having given up on romantic love, she is desperately seeking salvation if unclear on how to find it. She went to endless lectures by P. D. Ouspensky. She studied Buddhism. She studied Swedenbourg. She read Thomas Merton. She scoured astrological charts, and developed an intricate system by which to record her moods:
Towards the end of the war I started to keep a mood chart, just to see whether I was turning into a melancholy gloomy character: I classified the mental states by colours, of which there were ten divisions, based on the spectrum but ending in dark blue and black. It was kept in a book of squared paper, and I put down my “temperature” as T. B. cases do, twice a day. Perhaps, as I have often held, the observed thing changes. But to my surprise the general level was far higher than I’d supposed; there were weeks and even months that could be called happy and equable; the descents were rare and rapidly recovered from. I kept it for two or three years and then laid it aside.
Much of this part the book is a record of Loran/Gay’s encounters with different belief systems, in each of which she initially finds something attractive and satisfying, only to grow disenchanted — often more with the personalities involved (Ouspensky) or the dogmatic constraints (“even the cloister is now like the Civil Service,” she writes of one Christian retreat). Yet she also managed to find joy. While living in a particularly dingy rooming house, at one point, she wrote that, “Almost immediately, heavenly bliss flooded me, and even in my wretched room, the Beloved was there. The flow of divine love was almost overwhelming, and tears of adoration and sorrow stood in my eyes.”
In the end, Loran/Gay came to believe that the only spiritual guide she could truly trust was herself. “There has always been a fastidiousness in Loran Hurnscot that rejects all that rings false in human behavior, or in religious cant,” Raine remarks in her introduction, and the days recorded in “The Tilted Spiral” had as many moments of disgust and disillusionment as they did of serenity.
“You must understand,” Loran/Gay once said to Raine, “all I have is my life.” And A Prison, A Paradise ranks with Alice Koller’s An Unknown Woman as an account of a woman following Polonius’ injunction, “To thine own self be true,” to such an extent that friendships, creature comforts, and the conventions of society could all be sacrificed in the interest of self-discovery. And yet, it’s also sensual, acerbic, and even, on occasion, funny, as in this encounter with a census-taker:
“Let me see — are you a housewife?” “No, I am not a housewife.”
“Well, are you employed?” “No, I am not employed.”
“Self-employed, perhaps?” “No, at present I am not self-employed.”
“Well, then, you must be unemployed.” “No, I’m not unemployed either.”
He began to look sweaty and anxious. “I’ve got to put you down as something,” he said.
“Haven’t you any other categories,” I suggested.
“Only incapacitated.”
“Then put me down as incapacitated,” I said firmly. “I’ve been looking for that word for years.”
“When I say I’m a feminist, what do I mean?” Ann Oakley asks near the end of Taking It Like a Woman. “I mean that I believe that women are an oppressed social group, a group of people sharing a common exclusion from full participation in certain key social institutions (and being over-represented in others). The oppression, she argues, is that of being “subject to the awful soul-destroying tyranny of being told the meaning of their lives by others in terms which are not theirs.” In part, Taking It Like a Woman is an account of the various interpretations of the meaning of her own life that Oakley encountered in the first forty years of her life.
Oakley’s childhood and youth were heavily influenced by the success of her father, Richard Titmuss, who played a large role in the shaping of the British welfare state and the policies of the Labour Party in the 1950s and 1960s. Along with the example of her mother, a social worker, he defined for his daughter a life model involving competition, intellectual rigor, and dedication to society — in other words, one little open to anything that might smack of selfishness. To a young woman full of the natural doubts and uncertainties that any teenager might experience, it was, while never harsh or cruel, as relentless as the rigidity of sworn Fundamentalist parents.
Ironically, while Oakley found a very forward-looking husband, who was open to sharing household chores and comfortable with her playing the more dominant role as a bread-winner, and managed to find time and space to raise children as well (which she described in Becoming a Mother (1980)), she still struggled to find a fully satisfactory life model for herself. Indeed, I found it rather odd that she devoted such a significant portion of Taking It Like a Woman to what she refers to on her website as “fictionalised narratives about a love affair.” Nine of the book’s twenty-five chapters, in fact. In them, a woman (Oakley, I assumed, until I read the statement on her website) and a man, a sophisticated jet-setting academic from a far-off country (India? Indonesia? Japan? I couldn’t tell), meet in different hotels and resorts and share their souls — and amazing sex. After some years, he breaks it off, and she suffers a terrible crisis, only to decide that, “In the end, no one else was a reason for living: faith had to come from within, but within was no faith. So she finally took responsibility for her own life in a way that she always knew she would — being in the end just another woman.”Ann Oakley, 1984
It’s hard to accept that these passages are purely fictional, in light of a remark Oakley makes at the start of the book: “I have persevered in this task precisely because I know I am living and writing about something which is recognizable to others.” Really? Yes, growing up, marriage, children, making a career, running a household, dealing with the death of a parent, recovering from cancer — all of which Oakley describes — are things recognizable, even familiar to others. But an extended affair with a handsome, intelligent, exotic man in good hotels all over Europe? Maybe not so much.
Oakley ends with more questions than answers: “There is no certainty in anything,” she says to her daughter, as they walk along a seaside. Yet she does establish at least one fact that she has seen in her own life and the lives of the women she has studied and worked with: “The tension between the interests of the family and the interests of women as individuals has been rising for some two centuries. It is not possible for these interests to be reconciled.” She foresees more battles over this issue to be fought, and if she finds any hope, it is in the growing willingness of other women to “look at the circumstances of their lives.” For me, her own example was intellectually intriguing but not inspiring. I wasn’t convinced that Oakley provided any clues for how other women could overcome their “common exclusion from full participation in certain key social institutions.”
Taking It Like a Woman: A Personal History, by Ann Oakley New York: Random House, 1984
Her pen-pal Abbie Raymundo, who wrote letters “in black ink, green ink, and white ink on blue paper, in mirror writing and on handcrafted jigsaw puzzle pieces” and who once sent “a selfauthored, handwritten booklet ‘How to Burp,’ giving numerous multicultural (e.g., the Chinese After Tea Burp) variations on the theme.”
Her mother’s clothes shopping technique: “Buy half a dozen, … try them on at home after school, return five of them the next day, bring home some more and start the cycle again.”
All the aunts and uncles. Aunt Pearl, whose peculiar way of venting her anger at Linda’s mother was to whisper over the girl’s crib, “You have a bad mother, you have a good aunt, you have a bad mother, you have a good aunt.” Uncle Harry, “dapper as Adolphe Menjou” but petrified at being left alone by himself at night.
The family myths. Offered the choice of marrying one of two sisters, her grandfather answered, “I’ll take the fat one.”
Aunt Beck’s way of swearing: “Canary!”
The Wise Old Aardvark: “My favorite picture book was The Wise Old Aardvark, the story of a wiseman-turned-anteater who got a job giving diabolically clever solutions over the radio to the perplexing problems of people all over the world—such as a Chinese family whose grandmother had been carried up into the sky by a huge balloon, some Eskimos who saw two scary eyes glaring out of their igloo, and two Egyptians whose camels hated each other. The wise old aardvark finally earned enough money to retire and employ an esteemed Italian singer named Signor Pompinelli Ragusa to sing to him exclusively for the rest of his life.” Published in 1936 and written and illustrated by Dorothy Kunhardt, best known for Pat the Bunny, this children’s book is scarcer than hen’s teeth now: I found one copy for sale, at over $300. I want this book!
The structure, which stems from a list Rosenkrantz began making on a flight from New York to Los Angeles: “I opened my notebook and found myself writing the words ‘500 Things About My Childhood: My Life is [sic] a List,’ followed by a few sentences: All my elementary school teachers had the same handwriting. All my aunts floated but none of them swam. There were only two girls in my class who weren’t Jewish.”
It’s not one that would sustain a long book, but neither could it make for a book worth reading without (a) the individual entries being striking or interesting enough to stand on their own and (b) there being a sufficient shape and flow to the whole collection. Rosenkrantz remarks that “the thought struck me several times that in a sense this was an exercise that would be interesting and revealing for other people to try doing, in their own way.” Yet, if this was only a therapeutic exercise, it wouldn’t have deserved publication.
Rosenkrantz’s first experiment with form, her 1969 novel, Talk, was reissued last year as a New York Review Classic. Talk is entirely composed of dialogue among three characters and was based on tapes she recorded as she lay on the beach in New York talking with her friends. Given that most of the rest of her published output consists of a bunch of books about naming a baby, the downside to her creative approach is that it apparently hasn’t produced too many finished works.
“This is not an autobiography as much as an evocation of a time that is gone,” write Jon and Rumer Godden at the start of this magical book. At the time the book was published, both women were experienced writers of novels and short stories. Rumer was the more prolific and successful, best known for her 1939 novel, Black Narcissus, and her 1963 best-seller, The Battle of the Villa Fiorita. Jon did not begin publishing until she was over forty, but like Rumer, she set a number of her books in India, including her 1956 novel, The Seven Islands.
Two Under the Indian Sun is a lyrical, funny, and charming recollection of the seven years the sisters spent with their family in Narayanganj, a city on the Shitalakshya River in then-East Bengal (and now Bangladesh). The girls had been sent to live with relatives in England and receive proper English educations in 1913, but a year later, with war about to break out in Europe, they were brought back to the relative safety of India.
And safe India was, particularly from their child’s eyes: “We never felt we were foreigners, not India’s own; we felt at home, safely held in her large warm embrace, content as we were never to be content in our own country.” Their father, referred to as Fa, ran a steamship company based in Narayanganj, and the girls enjoyed the run of a large house with a courtyard and a retinue of cooks, amahs, maids, babus, and other servants. Like many of the better-off Anglo-Indians, the family travelled into the lower reaches of the Himalayas and summered in one of the hill stations like Simla.
They also had the chance to travel up some of the wide, slow rivers on their father’s steamships and were able to experience a considerable part of East Bengal. “We never thought,” they write, “as many people do, that the Bengal landscape was monotonous and dull; each little village, with its thatched roofs among the tall slim coconut palms and dark mango trees against the jewel-bright background of the rice or mustard fields, was beautiful in its own calm way and full of interest.” These trips were among their favorite times. “It was bliss to wake early and lie watching the reflected sunlight dancing on the ceiling, to feel the comfortable beat of the engines beneath us, to listen to the tinkle of the carafe on the washstand, and to know that another whole river day was before us.”
Rumer and Jon Godden, 1966Taught at home by their Aunt Mary, the girls quickly discovered a talent for writing. They competed in devising stories and offered rudimentary criticism to each other as — usually — the sole readers of each other’s work. Only rarely did any of the adults take notice, as in the case of Jon’s carrot saga:
Jon could illustrate her books; she seemed set fair to be that luckiest of combinations, an author who could illustrate her own writing, an artist who could write her own text, and this double talent meant that her books were more exciting that Rumer’s, but most even of Jon’s efforts stayed unnoticed. Occasionally, though, one would soar into attention, as unpredictably and, to us, as inexplicably as any best seller in the real literary world. It happened, for instance, when Jon wrote a novel about a family of carrots, four male carrots called No. 1, No. 2, No. 3, No. 4. In spite of their prosaic names they were surprisingly alive characters and, in its miniature way, the book was a complete novel; very often we did not finish ours. There were two villains, a cross cabbage and an apple tree that spitefully rained apples on the carrots’ heads. Then, “Ho, horror!” as the book said, a human boy dug up No. 1 and carried him away, but it was only to scoop him out and hang him up in the window to grow again — as we had done in our London day school. Finally the cabbage was dug up and eaten, the apple tree had its apples picked; No. 1, having grown, was replanted and four more carrots came up in the carrot bed, luckily all females, so that “there were four little carrots more.” It was vividly illustrated and Mam and Fa showed it to their friends. Jon was congratulated, which she half liked and half detested.
Reading Two Under the Indian Sun, one is challenged to tell one author’s voice from the other. The two blend together into an almost seamless narrative, and the only clue to a change is when one of the sisters is named: if it’s Jon, then Rumer is writing, and vice versa. And the book was also something of a unique creation from the publishing standpoint, as it was released under the dual imprints of Knopf, Rumer’s publisher, and Jon’s publisher, Viking. Distributed by Viking and picked up by the Book of the Month Club, it was probably Jon’s best-selling book. It was reissued in the late 1980s by Beech Tree Books, but is now out of print.
from Two Under the Indian Sun, by Jon and Rumer Godden New York: Alfred A. Knopf and The Viking Press, 1966
In his memoir, 
Wilson, an English academic who had already worked with refugees from the First World War, Russia, and the Spanish Civil War, joined the 
In 1945, 
. “I mean that I believe that women are an oppressed social group, a group of people sharing a common exclusion from full participation in certain key social institutions (and being over-represented in others). The oppression, she argues, is that of being “subject to the awful soul-destroying tyranny of being told the meaning of their lives by others in terms which are not theirs.” In part, 
(1980)), she still struggled to find a fully satisfactory life model for herself. Indeed, I found it rather odd that she devoted such a significant portion of 
, was reissued last year as a New York Review Classic. 
, and her 1963 best-seller, 
. Jon did not begin publishing until she was over forty, but like Rumer, she set a number of her books in India, including her 1956 novel, 
.
is a lyrical, funny, and charming recollection of the seven years the sisters spent with their family in 